Rethinking architecture - Delueze

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/