Sunday, January 31, 2010


Continuing concept

5. Presentation
A conceptual persona models how the concept thinks the problem plane. It remains to add to this instruction the manner of this modelling, its aesthetic premises. A text with a relevant instruction is the following:
The history of philosophy is comparable to the art of the portrait. It is not a matter of "making lifelike," that is, of repeating what a philosopher said but rather of producing resemblance by separating out both the plane of immanence he instituted and the new concepts he created. These are mental, noetic, and machinic portraits. Although they are usually created with philosophical tools, they can also be produced aesthetically. Thus Tinguely recently presented some monumental machinic portraits of philosophers, working with powerful, linked or alternating, infinite movements that can be folded over or spread out, with sounds, lightning flashes, substances of being, and images of thought according to complex curved planes (What is Philosophy? 55-6).
D&G immediately criticize some of Tinguely's designs, but their opposition to "resemblance" or "representation" throughout the argument, with references to Cezanne, Klee, or Francis Bacon as relays, reinforce the instruction: do for concept what modernist vanguard arts did for painting. With this theme D&G identify the Analogy of our CATTt (modernist art practice).

Tinguely Video.

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