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Chaos, territory, art [electronic book] Deleuze and the framing of the earth
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  • Tillgänglig inom Konstfack
Main Entry - Personal Name
Title Statement
  • Chaos, territory, art [electronic book] Deleuze and the framing of the earth
Publication, Distribution, etc. (Imprint)
  • Columbia University Press, New York : ©2008
  • 2008
  • Språk: Engelska.
Dewey Decimal Classification Number
SAB Classification Code
Physical Description
  • 1 online resource (xi, 116 pages.).
Series Statement
Series Added Entry - Uniform Title
Bibliography, etc. Note
  • Includes bibliographical references (pages 105-109) and index.
Formatted Contents Note
  • Chaos: Cosmos, territory, architecture -- Vibration: Animal, sex, music -- Sensation: the Earth, a people, art.
Subject - Personal Name
Subject - Topical Term
Additional Physical Form Entry
  • null Original ISBN 9780231145183 ISBN 0231145187
Electronic Location and Access
  • https://liverpool.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=677387 Go buttonView this e-book online
  • http://libanswers.liverpool.ac.uk/faq/182315 Reading advice (software, printing, accessibility, privacy)
  • Ko https://ebookcentral.proquest.com/lib/konstfack/detail.action?docID=895287 Read online / download
  • 9780231517874
  • 0231517874
  • 9780231145183
  • 0231145187
  • 9780231145190
  • 0231145195
  • 1322592551
  • 9781322592558
  • 0 (0)
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*1001 $aGrosz, Elizabeth.
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*4901 $aThe Wellek library lectures in critical theory.
*504  $aIncludes bibliographical references (pages 105-109) and index.
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*60010$aDeleuze, Gilles,$d1925-1995.
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*650 0$aArts$xPhilosophy.
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*830 0$aWellek Library lecture series at the University of California, Irvine
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Instead of treating art as a unique creation that requires reason and refined taste to appreciate, Elizabeth Grosz argues that art-especially architecture, music, and painting-is born from the disruptive forces of sexual selection. She approaches art as a form of erotic expression connecting sensory richness with primal desire, and in doing so, finds that the meaning of art comes from the intensities and sensations it inspires, not just its intention and aesthetic.

By regarding our most cultured human accomplishments as the result of the excessive, nonfunctional forces of sexual attraction and seduction, Grosz encourages us to see art as a kind of bodily enhancement or mode of sensation enabling living bodies to experience and transform the universe. Art can be understood as a way for bodies to augment themselves and their capacity for perception and affection-a way to grow and evolve through sensation. Through this framework, which knits together the theories of Charles Darwin, Henri Bergson, Gilles Deleuze, F#65533;lix Guattari, and Jakob von Uexk#65533;ll, we are able to grasp art's deep animal lineage.

Grosz argues that art is not tied to the predictable and known but to new futures not contained in the present. Its animal affiliations ensure that art is intensely political and charged with the creation of new worlds and new forms of living. According to Grosz, art is the way in which life experiments with materiality, or nature, in order to bring about change.