Antonia Pont shows us how to identify when practising is happening and explains, using the early philosophy of Gilles Deleuze, how it fosters transformation, and gives us access to deep memory and rest, while also cultivating stability and responsiveness in the present. Practising, in other words, gives us three kinds of time instead of one. Practising involves an interweaving of differences expressing themselves among intentional repetitions. By engaging in practising, we open times other than our habitual presents, we slip the binds of identity and we thin out our relation with behaviours that shut out the future.Whether you practise already, are curious about embarking, or are a reader of Deleuze, this book for makers, thinkers, lovers and activists is a rigorous account of why practising is hard to say, why it works and why it matters.

Provides an account of 'practising', its mechanisms and implications, in conversation with Deleuze's Difference and RepetitionOffers a detailed account of practising (as mode of doing), its criteria and relation to time, as well as lived implications Applies Deleuzian thought to practice-based modalities and everyday contexts with political, artistic, spiritual and personal examples including from yoga, creative writing and meditationIncludes a wide range of examples from the fields of the creative arts, physical activities, scholarship, daily life, yoga and meditationAntonia Pont shows us how to identify when practising is happening and explains, using the early philosophy of Gilles Deleuze, how it fosters transformation, and gives us access to deep memory and rest, while also cultivating stability and responsiveness in the present. Practising, in other words, gives us three kinds of time instead of one. Practising involves an interweaving of differences expressing themselves among intentional repetitions. By engaging in practising, we open times other than our habitual presents, we slip the binds of identity and we thin out our relation with behaviours that shut out the future.Whether you practise already, are curious about embarking, or are a reader of Deleuze, this book for makers, thinkers, lovers and activists is a rigorous account of why practising is hard to say, why it works and why it matters.

These days, it’s easy to get the impression that people are really very anxious. Who? you ask. Well, people you hear about. People who tell you they are. Friends. Lovers. Acquaintances. Colleagues. The Youth. The term is around and people are applying it to themselves, or having it applied to them, willy-nilly.What would it mean to be able to live a plain life? Would a plain life just be an unambitious one – a drab or routine life, without colour, variation, unknowing or luck? Or would a plain life be one in which we’d fret slightly less, suspect ourselves less, and thus listen to ourselves and others in new ways? We may not need to do more and be more – in the quiet spaces already within us, lurking in the interstices of our days and conversations, there are ways and choreographies to nurture a plainer, saner, odder, less reactive and therefore less terrifying life.In Plain Life, Antonia Pont questions our thinking about capacities, virtue, envy, wanting, love and kindness – suggesting that it might be fine, more than enough, indeed so much, to live a plain life.

This volume seeks to explain the notion of control artists possess, and given they are changed by the action, the sense in which they can claim an artwork as theirs. Standard explanations of action and agency struggle to explain various artistic practices. Requiring recourse to a prior intention, these accounts are challenged by the spontaneity of dance and musical improvisation, a painter’s realization of an artwork, and how writers manifest meaning in a piece of writing. Furthermore, in such artistic practices, the artist is changed by the demands of the action. This interdisciplinary volume combines thirteen contributions from various artistic practices, in photography, music, dance and painting, with philosophical perspectives from post-war France to consider the changing role of the artist. This identifies what it is about an artistic practice that is creative, and how everyday occurrences can become artistic, describing the ethical and political implications of various artistic practices.

Antonia Pont shows us how to identify when practising is happening and explains, using the early philosophy of Gilles Deleuze, how it fosters transformation, and gives us access to deep memory and rest, while also cultivating stability and responsiveness in the present. Practising, in other words, gives us three kinds of time instead of one. Practising involves an interweaving of differences expressing themselves among intentional repetitions. By engaging in practising, we open times other than our habitual presents, we slip the binds of identity and we thin out our relation with behaviours that shut out the future.Whether you practise already, are curious about embarking, or are a reader of Deleuze, this book for makers, thinkers, lovers and activists is a rigorous account of why practising is hard to say, why it works and why it matters.

Provides an account of 'practising', its mechanisms and implications, in conversation with Deleuze's Difference and RepetitionOffers a detailed account of practising (as mode of doing), its criteria and relation to time, as well as lived implications Applies Deleuzian thought to practice-based modalities and everyday contexts with political, artistic, spiritual and personal examples including from yoga, creative writing and meditationIncludes a wide range of examples from the fields of the creative arts, physical activities, scholarship, daily life, yoga and meditationAntonia Pont shows us how to identify when practising is happening and explains, using the early philosophy of Gilles Deleuze, how it fosters transformation, and gives us access to deep memory and rest, while also cultivating stability and responsiveness in the present. Practising, in other words, gives us three kinds of time instead of one. Practising involves an interweaving of differences expressing themselves among intentional repetitions. By engaging in practising, we open times other than our habitual presents, we slip the binds of identity and we thin out our relation with behaviours that shut out the future.Whether you practise already, are curious about embarking, or are a reader of Deleuze, this book for makers, thinkers, lovers and activists is a rigorous account of why practising is hard to say, why it works and why it matters.

These days, it’s easy to get the impression that people are really very anxious. Who? you ask. Well, people you hear about. People who tell you they are. Friends. Lovers. Acquaintances. Colleagues. The Youth. The term is around and people are applying it to themselves, or having it applied to them, willy-nilly.What would it mean to be able to live a plain life? Would a plain life just be an unambitious one – a drab or routine life, without colour, variation, unknowing or luck? Or would a plain life be one in which we’d fret slightly less, suspect ourselves less, and thus listen to ourselves and others in new ways? We may not need to do more and be more – in the quiet spaces already within us, lurking in the interstices of our days and conversations, there are ways and choreographies to nurture a plainer, saner, odder, less reactive and therefore less terrifying life.In Plain Life, Antonia Pont questions our thinking about capacities, virtue, envy, wanting, love and kindness – suggesting that it might be fine, more than enough, indeed so much, to live a plain life.

This volume seeks to explain the notion of control artists possess, and given they are changed by the action, the sense in which they can claim an artwork as theirs. Standard explanations of action and agency struggle to explain various artistic practices. Requiring recourse to a prior intention, these accounts are challenged by the spontaneity of dance and musical improvisation, a painter’s realization of an artwork, and how writers manifest meaning in a piece of writing. Furthermore, in such artistic practices, the artist is changed by the demands of the action. This interdisciplinary volume combines thirteen contributions from various artistic practices, in photography, music, dance and painting, with philosophical perspectives from post-war France to consider the changing role of the artist. This identifies what it is about an artistic practice that is creative, and how everyday occurrences can become artistic, describing the ethical and political implications of various artistic practices.