Eric Alliez – författare

Time is money, Benjamin Franklin once said, and in a reading of European philosophy, this text shows how true this adage is. A history of philosophy of time, and a comparison of ways of conceiving the temporal, this work attempts to unravel the theoretical frameworks that have given time its shape in Western civilization. It analyzes the social and political processes involved in conceptions of time in ancient and medieval tradition and sets them in the context of contemporary political and philosophical debates centering on the thought of Kant and Marx. It forces the reader to re-evaluate the philosophical and historical status of time in Western culture.

The Signature of the World focuses on one of the most influential works of contemporary philosophy: What is Philosophy? by Gilles Deleuze and Felix Guattari, their last joint work after Anti-Oedipus and A Thousand Plateaus. It sets What is Philosophy? in the context of earlier work by the two thinkers and, in a manner sure to challenge and provoke, juxtaposes it to the work of both analytic philosophers and continental phenomenologists. Alliez explores the distinctive theory of thought put forth by Deleuze & Guattari from a series of angles, delving into their revolutionary, Spinozist treatment of the history of philosophy, elucidating their engagement with the metaphysics of current research programmes in the sciences and delineating their invention of a material meta-aesthetics capable of responding to the most radical experiments in contemporary art. Much recent philosophy has revelled in declaring the end of metaphysics, of ontology, and sometimes of philosophy itself. In sharp contrast, The Signature of the World is a forceful reminder of the power of ontology and the need for a materialist reinvention of metaphysics.The Signature of the World is here accompanied by two appendices, Deleuze Virtual Philosophy and On the Philosophy of Gilles Deleuze: An Introduction to (the) Matter, as well as a preface by Alberto Toscano.

The Guattari Effect brings together internationally renowned experts on the work of the French psychoanalyst, philosopher and political activist F;lix Guattari with philosophers, psychoanalysts, sociologists and artists who have been influenced by Guattaris thought. Best known for his collaborative work with Gilles Deleuze, Guattaris own writings are still a relatively unmined resource in continental philosophy. Many of his books have not yet been translated into English. Yet his influence has been considerable and far-reaching. This book explores the full spectrum of Guattaris work, reassessing its contemporary significance and giving due weight to his highly innovative contributions to a variety of fields, including linguistics, economics, pragmatics, ecology, aesthetics and media theory.Readers grappling with the ideas of contemporary continental philosophers such as Badiou, ek and Rancire will at last be able to see Guattari as the extraordinary philosopher Deleuze claimed him to be, with his distinctive radical ideas about the epoch of global deterritorialization we live in today, forged within the practical contexts of revolutionary politics and the materialist critique of psychoanalysis.

This is a collection of essays from leading experts in a number of fields offering an overview of the work of Felix Guattari. "The Guattari Effect" brings together internationally renowned experts on the work of the French psychoanalyst, philosopher and political activist Felix Guattari with philosophers, psychoanalysts, sociologists and artists who have been influenced by Guattari's thought. Best known for his collaborative work with Gilles Deleuze, Guattari's own writings are still a relatively unmined resource in continental philosophy. Many of his books have not yet been translated into English. Yet his influence has been considerable and far-reaching. This book explores the full spectrum of Guattari's work, reassessing its contemporary significance and giving due weight to his highly innovative contributions to a variety of fields, including linguistics, economics, pragmatics, ecology, aesthetics and media theory.Readers grappling with the ideas of contemporary continental philosophers such as Badiou, Zizek and Ranciere will at last be able to see Guattari as the 'extraordinary philosopher' Deleuze claimed him to be, with his distinctive radical ideas about the epoch of global 'deterritorialization' we live in today, forged within the practical contexts of revolutionary politics and the materialist critique of psychoanalysis.

The Guattari Effect brings together internationally renowned experts on the work of the French psychoanalyst, philosopher and political activist Félix Guattari with philosophers, psychoanalysts, sociologists, anthropologists and artists who have been influenced by Guattari's thought. Best known for his collaborative work with Gilles Deleuze, Guattari's own writings are still a relatively unmined resource in continental philosophy. Many of his books have not yet been translated into English. Yet his influence has been considerable and far-reaching. This book explores the full spectrum of Guattari's work, reassessing its contemporary significance and giving due weight to his highly innovative contributions to a variety of fields, including linguistics, economics, pragmatics, ecology, aesthetics and media theory. Readers grappling with the ideas of contemporary continental philosophers such as Badiou, Žižek and Rancière will at last be able to see Guattari as the 'extraordinary philosopher' Deleuze claimed him to be, with his distinctive radical ideas about the epoch of global 'deterritorialization' we live in today, forged within the practical contexts of revolutionary politics and the materialist critique of psychoanalysis.

The Guattari Effect brings together internationally renowned experts on the work of the French psychoanalyst, philosopher and political activist Félix Guattari with philosophers, psychoanalysts, sociologists, anthropologists and artists who have been influenced by Guattari''s thought. Best known for his collaborative work with Gilles Deleuze, Guattari''s own writings are still a relatively unmined resource in continental philosophy. Many of his books have not yet been translated into English. Yet his influence has been considerable and far-reaching. This book explores the full spectrum of Guattari''s work, reassessing its contemporary significance and giving due weight to his highly innovative contributions to a variety of fields, including linguistics, economics, pragmatics, ecology, aesthetics and media theory. Readers grappling with the ideas of contemporary continental philosophers such as Badiou, Žižek and Rancière will at last be able to see Guattari as the ''extraordinary philosopher'' Deleuze claimed him to be, with his distinctive radical ideas about the epoch of global ''deterritorialization'' we live in today, forged within the practical contexts of revolutionary politics and the materialist critique of psychoanalysis.

A detailed and inventive study of the thinking at work in modern painting, drawing on a formidable body of scholarly evidence to challenge modernist and phenomenological readings of art history, The Brain-Eye presents a series of interlinked ‘case studies’ in which philosophical thought encounters the hallucinatory sensations unleashed by ‘painter-researchers.’Rather than outlining a new ‘philosophy of art,’ The Brain-Eye details the singular problems pursued by each of its protagonists. Striking readings of the oeuvres of Delacroix, Seurat, Manet, Gauguin, and Cézanne recount the plural histories of artists who worked to free the differential forces of colour, discovered by Goethe in his Colour Theory, in the name of a “true hallucination” and of a logic proper to the Visual.A rigorous renewal of the philosophical thinking of visual art, The Brain-Eye explores the complex relations between concept and sensation, theory and practice, the discursive and the visual, and draws out the political and philosophical stakes of the aesthetic revolution in modern painting.

A detailed and inventive study of the thinking at work in modern painting, drawing on a formidable body of scholarly evidence to challenge modernist and phenomenological readings of art history, The Brain-Eye presents a series of interlinked ‘case studies’ in which philosophical thought encounters the hallucinatory sensations unleashed by ‘painter-researchers.’Rather than outlining a new ‘philosophy of art,’ The Brain-Eye details the singular problems pursued by each of its protagonists. Striking readings of the oeuvres of Delacroix, Seurat, Manet, Gauguin, and Cézanne recount the plural histories of artists who worked to free the differential forces of colour, discovered by Goethe in his Colour Theory, in the name of a “true hallucination” and of a logic proper to the Visual.A rigorous renewal of the philosophical thinking of visual art, The Brain-Eye explores the complex relations between concept and sensation, theory and practice, the discursive and the visual, and draws out the political and philosophical stakes of the aesthetic revolution in modern painting.

A detailed and inventive study of the thinking at work in modern painting, drawing on a formidable body of scholarly evidence to challenge modernist and phenomenological readings of art history, The Brain-Eye presents a series of interlinked ‘case studies’ in which philosophical thought encounters the hallucinatory sensations unleashed by ‘painter-researchers.’Rather than outlining a new ‘philosophy of art,’ The Brain-Eye details the singular problems pursued by each of its protagonists. Striking readings of the oeuvres of Delacroix, Seurat, Manet, Gauguin, and Cézanne recount the plural histories of artists who worked to free the differential forces of colour, discovered by Goethe in his Colour Theory, in the name of a “true hallucination” and of a logic proper to the Visual.A rigorous renewal of the philosophical thinking of visual art, The Brain-Eye explores the complex relations between concept and sensation, theory and practice, the discursive and the visual, and draws out the political and philosophical stakes of the aesthetic revolution in modern painting.

The Signature of the World focuses on one of the most influential works of contemporary philosophy: What is Philosophy? by Gilles Deleuze and Felix Guattari, their last joint work after Anti-Oedipus and A Thousand Plateaus. It sets What is Philosophy? in the context of earlier work by the two thinkers and, in a manner sure to challenge and provoke, juxtaposes it to the work of both analytic philosophers and continental phenomenologists. Alliez explores the distinctive theory of thought put forth by Deleuze & Guattari from a series of angles, delving into their revolutionary, Spinozist treatment of the history of philosophy, elucidating their engagement with the metaphysics of current research programmes in the sciences and delineating their invention of a ''material meta-aesthetics'' capable of responding to the most radical experiments in contemporary art.Much recent philosophy has revelled in declaring the end of metaphysics, of ontology, and sometimes of philosophy itself. In sharp contrast, The Signature of the World is a forceful reminder of the power of ontology and the need for a materialist reinvention of metaphysics.The Signature of the World is here accompanied by two appendices, ''Deleuze Virtual Philosophy'' and ''On the Philosophy of Gilles Deleuze: An Introduction to (the) Matter'', as well as a preface by Alberto Toscano.

How one of the leading artists of Neo-Concretism Hélio Oiticica presaged the unique trajectory of Brazilian contemporary art with his intensive color-architectures.“The IMAGE-grip is dislocated and a more fundamental element emerges: in short, IMAGE is not the work’s supreme motive or unifying end.”—Hélio Oiticica  At the turn of the 1950s–1960s, one of the leading artists of Neo-Concretism, Hélio Oiticica, presaged the unique trajectory of Brazilian contemporary art with his intensive color-architectures. In the wake of this vivência of “time-color,” which subordinates the aesthetic to the sensorimotor powers of color, Oiticica’s transcategorial, transmedia works critically and clinically undermine physical and social architecture, while semiotically subverting the forms of domination exerted by the image. In this culmination of their reassessment of the relation among art, philosophy, and the contemporary, Éric Alliez and Jean-Claude Bonne show how these works are exemplary not only of a truly diagrammatic thought and practice, but also of the South’s resistance against the coldly indifferent globalism endemic to the pacified institutions of contemporary art. Oiticica’s tropicalization of the commonplaces of sixties art signals the latent potential of a marginal dissidence from both the aesthetic form of art and the conceptual form of anti-art.

In seinem Notizbuchbeitrag überträgt der Philosoph Éric Alliez Überlegungen seines im Entstehen begriffenen Buchprojekts zur Diagrammatik und deren Implikationen für den Bereich der zeitgenössischen Kunst visuell auf die Gestalt des Textes selbst und reagiert damit auf das Format der deutsch–englischen Publikationsreihe, für die in der Regel Texte in einer Länge von 3000 Wörtern in Auftrag gegeben werden: Der Text besteht aus drei Teilen, wobei in Teil I und Teil III nur einige ins Englische übersetzte (oder original deutsche) Wörter lesbar sind, während der Rest des französischen Ursprungtextes unter einer Durchstreichung durchschimmert, so dass der Gesamtkontext in einem kontinuierlichen Hin und Her zwischen Sprachen sowie Lesbarkeit und Unlesbarkeit vom Leser dechiffriert werden muss. Teil II dagegen ist ins Englische und Deutsche übersetzt und ohne »Verdunklungen« abgedruckt. Dieser Eingriff verkörpert für den Autor die diagrammatische Intervention zwischen dem (Un)Sagbaren und (Un)Sichtbaren und spiegelt wider, was er zum Ende des zweiten Teils zusammenfasst: »Diese zeichenästhesische (signestésique) Politik der Kunst kann, in einem zeitgenössischen Sinn, der eine strikte Alternative zu ihrer ›konzeptuellen‹ Version bildet, als Art after Philosophy bezeichnet werden. In einem ›nach‹ (après), das kein ›gemäß‹ (d''après) ist – noch ein analytischer Firnis (apprêt) (à la Kosuth) –, insofern sie ontologisch ›voraus‹ (en avant) ist, zusammen mit der postkonzeptuellen Kritik und Klinik der Philosophie, die sie transportiert.« Der Philosoph Éric Alliez ist Professor am CRMEP, Kingston University, London, und an der Universität von Paris 8.

In seinem Notizbuchbeitrag überträgt der Philosoph Éric Alliez Überlegungen seines im Entstehen begriffenen Buchprojekts zur Diagrammatik und deren Implikationen für den Bereich der zeitgenössischen Kunst visuell auf die Gestalt des Textes selbst und reagiert damit auf das Format der deutsch–englischen Publikationsreihe, für die in der Regel Texte in einer Länge von 3000 Wörtern in Auftrag gegeben werden: Der Text besteht aus drei Teilen, wobei in Teil I und Teil III nur einige ins Englische übersetzte (oder original deutsche) Wörter lesbar sind, während der Rest des französischen Ursprungtextes unter einer Durchstreichung durchschimmert, so dass der Gesamtkontext in einem kontinuierlichen Hin und Her zwischen Sprachen sowie Lesbarkeit und Unlesbarkeit vom Leser dechiffriert werden muss. Teil II dagegen ist ins Englische und Deutsche übersetzt und ohne »Verdunklungen« abgedruckt. Dieser Eingriff verkörpert für den Autor die diagrammatische Intervention zwischen dem (Un)Sagbaren und (Un)Sichtbaren und spiegelt wider, was er zum Ende des zweiten Teils zusammenfasst:  »Diese zeichenästhesische (signestésique) Politik der Kunst kann, in einem zeitgenössischen Sinn, der eine strikte Alternative zu ihrer ›konzeptuellen‹ Version bildet, als Art after Philosophy bezeichnet werden. In einem ›nach‹ (après), das kein ›gemäß‹ (d''après) ist – noch ein analytischer Firnis (apprêt) (à la Kosuth) –, insofern sie ontologisch ›voraus‹ (en avant) ist, zusammen mit der postkonzeptuellen Kritik und Klinik der Philosophie, die sie transportiert.«      Der Philosoph  Éric Alliez ist Professor am CRMEP, Kingston University, London, und an der Universität von Paris 8.

A reevaluation of Matisse that reveals the complex function of his work and thought in contemporary art's escape from the image, from traditional forms of art, and even from the art form itself.