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Deleuze experiences is a discussion board for brand spanking new paintings at the writings of Gilles Deleuze. It publishes serious paintings on Deleuze and his milieu. It additionally publishes translations of his paintings and the paintings of alternative authors that have been very important to him (e.g., Guattari and Simondon).

A daring interdisciplinary magazine, Deleuze stories goals to problem orthodoxies, inspire debate, invite controversy, search new functions, suggest new interpretations, and mainly make new connections among students and concepts within the box. It does this by way of publishing a large choice of scholarly paintings on Gilles Deleuze, together with articles that spotlight at once on his paintings, but in addition severe studies of the sector, in addition to new translations and annotated bibliographies. it's drawn to publishing paintings on Deleuze whatever the disciplinary field.
ISSN: 1750-2241
E-ISSN: 1755-1684

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Qxd 8/5/07 11:09 am Page 33 Phil's G4 Phil's G4:Users:phil:Public: PHIL'S The Work of Art that Stands Alone 33 Everyday time is given from the human viewpoint, as the retention of the past into the present, and the anticipation of the future from the present; and the life of this time or the specificity of this duration is determined by the limits of the organism – how much we can remember, how much difference we can include in the present, and how much we can anticipate or imagine. But the transcendental possibility of this personal time is the image as such; one perceives the present in terms of its virtuality, the pasts that it draws along and that may or may not be actualised, and the futures towards which it may or may not lead.

Deleuze and Guattari 1994: 99) Together the deterritorialising impulse proper to philosophy and the synthetic relationship between philosophy and its milieu explain Deleuze’s appeal to ‘becoming-democratic’ as a concept capable of resistance to the present. Let us consider each of these features in turn. What is Philosophy? presents the emergence of philosophy as the result of an entirely synthetic and contingent encounter between the Greek milieu and the plane of immanence of thought. This encounter gave rise to a specific kind of thought defined in terms of its affinity with absolute as opposed to relative deterritorialisation.

We can now see how art works to allow affect or percept to stand alone. A film dominated by narrative would tie suspicion to the suspicion of this or that specific crime or outcome, but as film becomes increasingly non-narrative or liberated from the desire for unfolding connections and a logic of consequences and fulfilment, it allows the image in its actual-virtual aspect to tear life from its ‘own’ unfolding, in order to create diverse or incompossible worlds: the full reality of what does not or cannot happen.

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