Pintura: El Concepto de Diagrama

by Gilles Deleuze

Al modo de Deleuze, las clases que se presentan en su primera edición castellana en este libro no podían ser otra cosa que el recorrido de un encuentro muy singular entre pintura y filosofía. No es un curso de pintura y tampoco es una estética.

Genres: Art, Philosophy

317 pages, Paperback

First published January 1, 2007

About the author

Deleuze is a key figure in poststructuralist French philosophy. Considering himself an empiricist and a vitalist, his body of work, which rests upon concepts such as multiplicity, constructivism, difference and desire, stands at a substantial remove from the main traditions of 20th century Continental thought. His thought locates him as an influential figure in present-day considerations of society, creativity and subjectivity. Notably, within his metaphysics he favored a Spinozian concept of a plane of immanence with everything a mode of one substance, and thus on the same level of existence. He argued, then, that there is no good and evil, but rather only relationships which are beneficial or harmful to the particular individuals. This ethics influences his approach to society and politics, especially as he was so politically active in struggles for rights and freedoms. Later in his career he wrote some of the more infamous texts of the period, in particular, Anti-Oedipus and A Thousand Plateaus. These texts are collaborative works with the radical psychoanalyst Félix Guattari, and they exhibit Deleuze’s social and political commitment.

Gilles Deleuze began his career with a number of idiosyncratic yet rigorous historical studies of figures outside of the Continental tradition in vogue at the time. His first book, Empirisism and Subjectivity, is a study of Hume, interpreted by Deleuze to be a radical subjectivist. Deleuze became known for writing about other philosophers with new insights and different readings, interested as he was in liberating philosophical history from the hegemony of one perspective. He wrote on Spinoza, Nietzche, Kant, Leibniz and others, including literary authors and works, cinema, and art. Deleuze claimed that he did not write “about” art, literature, or cinema, but, rather, undertook philosophical “encounters” that led him to new concepts. As a constructivist, he was adamant that philosophers are creators, and that each reading of philosophy, or each philosophical encounter, ought to inspire new concepts. Additionally, according to Deleuze and his concepts of difference, there is no identity, and in repetition, nothing is ever the same. Rather, there is only difference: copies are something new, everything is constantly changing, and reality is a becoming, not a being.

He often collaborated with philosophers and artists as Félix Guattari, Michel Foucault, Guy Hocquenghem, René Schérer, Carmelo Bene, François Châtelet, Olivier Revault d'Allonnes, Jean-François Lyotard, Georges Lapassade, Kateb Yacine and many others.

Reviews

[Alexis Iparraguirre · Rating 5 out of 5]

A diferencia de lo que ocurre en el curso sobre Spinoza, en el curso sobre la pintura, Deleuze no parte de logros exegéticos que ya constituyen premisas de su propia obra, sino de una serie de intuiciones, producto de sus lecturas sobre la pintura y las artes, que buscan ensamblar conceptos que expliquen, desde una perspectiva dinámica, deleuziana, lo que llama "el hecho pictórico". Se trata de una revisión meticulosa de las diferentes estratificaciones que entrañan estilos pictóricos históricos a partir de aquellas ideas de grandes críticos de la pintura que resuenan mejor con sus propias observaciones sobre cuadros puntuales, los que, indudablemente, Deleuze ama. Es impresionante la manera en que Deleuze hace trabajar el vocabulario de la filosofía clásica en conjunción con el produce para la clase a fin de definir lo que "deviene pintura" y en la que su noción de "diagrama" cumple un rol de catalizador en lo que significa "querer pintar".

[elba¡¡]

hasta la 150 porque es lo que tengo que leer para clase y lo voy a dejar aquí

[Molsa Roja(s) · Rating 5 out of 5]

Molt bo, molt bo el curs de Deleuze sobre pintura, que caldria pensar o refabular parcialment per tal d’adaptar-lo a la resta de disciplines artístiques. Les primeres cent pàgines són brillants, emparant-se de testimonis i anècdotes sobre Cézanne, van Gogh, Klee, Kandinsky, Francis Bacon. El desenvolupament de caos-gérmen fins a diagrama, la noció de diagrama, és meravellosa, un llampec sobre la lògica de la pintura. Desenes de pàgines d’apunts. Després, es desmorona. El codi abstracte, sí, encara, però amb l’entrada dels espais pictòrics, i amb l’intent d’acabar de completar un concepte que en sí ja era operatiu, per mi —i per la resta d’assistents al curs, diria— es perd, es perd. Brillant, com sempre.