Dessau institute of Architecture
Rethinking architecture
Essey : “Gilles Deleuze�
Professor : Neil Leach Student : Smirnova Daria (Master of Architecture) Dessau 2013
When Joyce was asked, "Are you looking for a mot juste?", He replied: "No. The words that I already have. Now I'm looking for immaculate order of words in a sentence. Such precise construction of the phrase exists for every thought. Its what I'm trying to grope"
considered by many scholars to be his magnum opus.[1] Deleuze's works fall into two groups: on one hand, monographs interpreting the work of other philosophers (Spinoza, Leibniz, Hume, Kant, Nietzsche, Bergson, Foucault) and artists (Proust, Kafka, Francis Bacon); on the other, eclectic philosophical tomes organized by concept (e.g.,
difference,
schizophrenia,
sense,
cinema,
events,
philosophy).
Regardless of topic, however, Deleuze consistently develops variations on similar ideas. I would like to mention that the ‘A Thousand Plateaus ’ and other works of Gilles Deleuze (18 January 1925 – 4 November
1995)
was
a
Delueze will serve as a topic for this essay.
French
philosopher who, from the early 1960s until his death, wrote influentially on philosophy, literature, film, and fine art. His most popular works were the two volumes of Capitalism and Schizophrenia: Anti-Oedipus (1972) and A Thousand Plateaus (1980), both co-written with Félix Guattari. His metaphysical treatise
Difference and Repetition (1968) is 1 "Gilles Deleuze". Stanford Encyclopedia of Philosophy. Retrieved 17 February 2011.
The authors of ‘A Thousand Plateaus ’
like, the gap between the two acts, which
show the destruction of order, and they
becomes less and less. While the gap is
are not creating a new model of unity,
variable acceleration now, and time as a
otherwise, the method of repairing a total
whole - is a spiral, open in both
of universality – a way of understanding,
directions: the immensity of the past and
interpretation, which operates with any
the
materials.
expandable now would turn into a self unit;
boundless infinitely
future.
Infinitely
compressible
whole
shrunk to a gap. Of installation or composition of images, movements idea is born, this indirect way of time ...[2] I would like to make a comparison to the films by Alfred Hitchcock, to mention some kind of reflection or coherence in P Deleuze and films Whenever we considered time in relation to the movement, each time that we have identified it as a measure of motion, we detected two aspects of time that it ishronosignumami features: on the one hand, as a whole, like a spiral, as a great circle comprising the totality of the universe movement on the other hand, while a gap designating the smallest unit of motion or action. Time as a whole, the set of motion in the universe, like a soaring bird continuously increase their circles. But the numerical unity of movement and rhythmic beating of wings
psychology of characters . ‘’ Once the screenplay is finished, I'd just as soon not make the film at all... I have a strongly visual mind. I visualise a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score... When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 percent of your original conception.’’ [3] 2 Deleuze, G. 3 "Hitchcock: "Never mess about with a dead body – you may be one..."".
By analyzing some of Hitchcock films,
changing
Franรงois Regnault allocated to each of
decomposed into the relative movement
them a global movement or a "basic shape
on the local form, addressed to the
or geometric dynamic", which in its
respective positions of a plurality of parts,
purest
considered
to the attribution of facing the people and
Hitchcock's
objects, to a redistribution of elements.
form
proprietary
can
be
techniques
"spiral of" Vertigo ", polylines and
of
the
whole,
can
be
contrasting black and white pattern frame in "Psycho", carrying away into the distance Cartesian coordinates of the film "north by Northwest" ...
Movie poster "Citizen Kane" (1941)
His cinema procherchivet border between the image and the image that directly take Mental images in the film A. Hitchcock
"And, perhaps, significant movement of these films, in turn, are the components of a still greater movement, which could be express the whole entire work of Hitchcock, and how this creativity to develop and change. Of equal interest is the other direction, according to which significant movement concerning the
into account the audience, images, desires, images, treats, what Deleuze calls "mental images". These images are not in the film, but between the viewer and the screen, between people. It is no accident Deleuze Hitchcock brings innovation is the development of a specific mental image, to the ability to boldly and clearly visualize any idea, any character or event [4]. No dialogue, no
Rogerebert.suntimes.com. 14 December 1969. Retrieved 26 July 2009.
4 G. Deleuze Cinema. Moscow: Ad Marginem,
2004.
text, not even link the episodes, but that
(sight), so we'll look at it from the point of
camera explain Hitchcock what is
view of linguistic or semiotic structure.
happening in the picture - this is a way to,
say, hanging on the wall Photo racecar makes it clear why a broken leg at the hero of the film "Rear Window" . Himself "Hitch", removing one of his best films - "Vertigo" and instructing the female lead, Kim Novak, expressed this principle very clearly: "I am not interested plot and visual interpretation of history" [5]. What Deleuze created, there was no theory of cinema, cinema or philosophy, but there was kind of ‘kinophilosofiy’. In fact, he is very critical of the two very strong currents - Freud and Jacques Lacan - mostly psychoanalytic structure, but also the type of linguistic models to understand the movie, Christian Metz and
Katrien De Blauwer
Jean-Louis Baudry and others where you
Deleuze rejects both of these approaches
or traktuete " picture "of the film, as
as not exactly related to the image. What
relevant to the request or imaginary, or
happens then? Is there a philosophy then
any connection with the desires screen.
a movie? Here you get the classic
So you look at the [movie] through
ontological research. Instead, you get an
psychoanalysis. Or the second option, you
attempt to extract concepts associated
say: the movie - it's a kind of language,
with the movie, but who develop different
and so the image does seem like a kind of
philosophical ways of understanding or
linguistic unit or linguistic or image
experience of a movie. Thus, the direct theorizing or philosophizing about that,
5 Cinematography by F. Truffaut Hitchcock. Moscow's library, "notes film history", 1996.
this approach tries to comprehend, to extract concepts that are changing the
way we think about the philosophy ... And here is concerned, how can a philosophy to meet with art and change in the process. [6] Rhizome is everywhere, it is a way of multiplicity, of movement, it’s penetrate, spirit
of
reality,
lines,
segments,
directions, culminations. I compare rhizome to the cinema, painting, and to his ‘kinophilosofy’. Here rhizome its no one, no multiplicity, it made not from figures, from something one, it’s made from perspectives, without start
and
ending,
only
moveable
directions, planes, I n t e r m e z z o. overlappining of the plans
way to other concepts of depth, when the characters are placed diagonally and how to address each other from one plane to another, when the elements of one plane and act responsive to elements of the Dresdener Romantiker
other when neither of shapes and none of
the colors are not confined to a single
In the history of painting a similar
plane, and all that is located in the
evolution occurred between the XVI and
foreground is displayed in the form of an
XVII centuries: the imposition of plans, all
abnormally increased, but is direct
of which turned out to be filled with their
relations with the background with a
own scene - despite the fact that the
sharp decrease in size. The fourth type of
characters come across scenes - has given 6 from interview about Deleuze
plan-episode cases (there are many variations of it) is not referring to any
kind
whatsoever
depth
nor
the
imposition or the background: on the contrary, all the spatial plans, he "flatten" on a single foreground, held through a series of frames so that the unity of the plan to make absolutely planar image, which correlates multiple correlation. So he worked Dreyer, whose plans are similar
to
flat-scenes
images
and
eliminate all sorts of differences between different spatial plans, because the
motion goes through a series of
Anish Kapoor, Sky Mirror
rearrangements that replace the shift
plan ("Word", "Gertrud").
The principles with the planes can have
reflection with the rhizome as principles
With the same things as moving plans,
as cartography, as the same think has a
may be released only by the material
feature of imitation as copies.
conditions of perfect unity of form,
While copies reproduce restructure
depending on the nature of their
rhizome, it reproduce only itself, it’s
connection: these are, for example, hitting
dangerous, it creates only cul-de-sac.
the top two in the "Citizen Kane" by Orson
Welles, the camera literally pierces the window glass and penetrate into the large rooms, and it happens for the first time - under cover of the rain that hits the glass and obscures it, and the second - in a thunderstorm when the glass is broken by the thunder rattle.
‘’Crocodile doesn’t reproduce the trunk of a
O mother,
tree, like a chameleon doesn’t reproduce
adieu
the colors of the environment. ” [7]
with a big black shoe
adieu with the Communist Party and knitted underwear ... with your big belly sagging with your fear of Hitler with your mouth full of bad quips ... with thy womb strikes and factory chimneys
he did not stop ... BREAKING HIS rhizome, Mara his map again to smooth it for him, blocking his way out at any price, as long as he does not desire the own fear and guilt, while it does not take root shame and guilt ... [8] 7 Deleuze, Gilles and Félix Guattari. -. 1980. A Thousand Plateaus. Trans. Brian Massumi. London and New York: Continuum, 2004. Vol. 2 of Capitalism and Schizophrenia. 2 vols. 1972-1980. Trans. of Mille Plateaux. Paris: Les Editions de Minuit. ISBN 0-8264-7694-5. 8 Deleuze, Gilles and Félix Guattari. -. 1980. A Thousand Plateaus. Trans. Brian Massumi. London and New York: Continuum, 2004. Vol. 2 of Capitalism and Schizophrenia. 2 vols. 1972-1980. Trans. of Mille Plateaux. Paris: Les Editions de Minuit. ISBN 0-8264-7694-5.
with your chin of Trotsky and the war in Spain with your singing voice for workers, exhausted STI [HAND ...] with your eyes with your eyes Russia with your eyes lack of money ... with your eyes hungry India ... with your eyes of Czechoslovakia attacked by robots ... with your eyes, gone to the police station with your eyes, matted as the operating table with your eyes amputated pancreas with your eyes of abortion with your eyes electroshocks with your eyes of lobotomy with your eyes divorced ... Allen Ginsberg
One of the important point which Deleuze
In the matter are found everywhere, not
and Guattari said about the things, which
only organisms, but also the soul.
you can perceive (and you also can be as
Therefore, when the body should deploy
perceived).
their own parts, its animal or sensual soul
To back to the relation with a films, not
is revealed towards downright theater,
long time ago I was watching one film -
which she perceives and feels according to
this is the story of Berkeley, tired of being
its unity, regardless - and yet inseparable -
perceived and perceived. Therefore, a role
from his own body. [9]
that could only perform Buster Keaton, this is the role of Bishop Berkeley. Or, rather, it is the transition from one Irishman to another, from Berkeley, who perceived and which are perceived to Beckett, who has exhausted "all the joys and percipere percipi".
Deleuze had amazing penetration of existing rhizomatic think, he was a translator. Rhizome as a tige – it’s a bulbs, other rhizome isomorphic. By itself the rhizome has an extremely vitiated forms, branched in
all
direction,
ending
with
a
specialization in bulbs and tubers. Meaning - this is the fourth of supply. [...] ... it is incorporeal, complex and irreducibly to anything else on the surface of the essence of things; pure event, inherent supply and dwelling in it. Feline Zegers by Feline Zegers
9 Deleuze, Gilles
corresponds to the superstrong quite hard bearing living condition. [10] Through painting hysteria becomes art. Or, more likely, by the painter is painting hysteria. Painting does what the hysteric can not - brings the proportion of art. And about the painter must be said that he I would like to back to the paintings , and
was not hysterical, in the sense of
notice that how he describes this system
negation
with a same coherence inside of
Abomination is the splendor, the horror
cinematography,
of life itself becomes a pure, intense life.
the
system
quite
rhizome isomorphic :
the problem is not that of the painter,
how to enter into the picture, because it is
already there (it - up to a picturesque
problem), and how to get out of there and
thus get out of the discharge clichĂŠ from
the field of probability (pictorial task).
Philosophy often was compared with
schizophrenia, but it is one thing when a
schizophrenic - it is a conceptual
character who lives in a heavily thinker
and makes him think, and another thing
when this type of psychosocial, which
displaces a live person and steals his idea.
And sometimes they both are mated
interlock with each other, as if the event
in
negative
10 Deleuze, Gilles
theology.
Bibliography 1. F. Dosse, Gilles Deleuze and Felix
6. Rethinking architecture , A reader in Cultural theory , Edited by Neil Leach. London and New York , 2005
Guattari: Intersecting Lives. "Immanence:
A Life" has been translated and published
7.http://en.wikipedia.org/wiki/Gilles_Dele
in Pure Immanence and Two Regimes of
uze
Madness, while "The Actual and Virtual" has been translated and published as an
8.http://slovari.yandex.ru/~книги/Слова
appendix to the second edition of
рь%20изобразительного%20искусств
Dialogues.
а/Дрезденские%20романтики/
2. Deleuze, Gilles and Félix Guattari. 1972.
http://philosophytoday.ru
Anti-Œdipus. Trans. Robert Hurley, Mark Seem and Helen R. Lane. London and New York: Continuum, 2004. Vol. 1 of Capitalism and Schizophrenia. 2 vols. 1972-1980. Trans. of L'Anti-Oedipe. Paris: Les Editions de Minuit. ISBN 0-82647695-3. 3. Deleuze, Gilles and Félix Guattari., 1980. A Thousand Plateaus. Trans. Brian Massumi. London and New York: Continuum, 2004. Vol. 2 of Capitalism and Schizophrenia. 2 vols. 1972-1980. Trans. of Mille Plateaux. Paris: Les Editions de Minuit. ISBN 0-8264-7694-5. 4.http://www.ubu.com/sound/deleuze.ht ml 5. http://deleuze.ru/bibliography/