# Elizabeth Grosz (2008). *Chaos, Territory, Art: Deleuze and the Framing of the Earth*. : Columbia University Press. > [!INFO] > Type:: [[book]] > Title:: Chaos, Territory, Art: Deleuze and the Framing of the Earth > Author(s): [[Elizabeth Grosz]] > Year:: 2008 > Tags:: > DOI:: > Citekey:: grosz_chaos_2008 > ZoteroURI:: [Open in Zotero: Chaos, Territory, Art: Deleuze and the Framing of the Earth](zotero://select/items/@grosz_chaos_2008) > ReviewedDate:: [[2023-09-23]] ## Citation ```latex [@grosz_chaos_2008] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@grosz_chaos_2008]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation 이 책은 [[Ontology]], 특히 물질적 개념적 예술의 구조에 대하여 묻고 있다. (This small book is directed to questions about the [[Ontology]], that is, the material and conceptual structures, of art. (1) 이 글을 통해서 글쓴이는 건축, 음악, 회화, arts in general의 "origins"에 대해 의논하지만 역사적, evolutionary, 혹은 매테리얼 오리진을 이야기하는 것은 아니다. 무엇이 예술을 가능하게 하며 what concepts art entails, assumes, and elaborates. (1) > These, of course, are linked to evolutionary and material forces, that is to say, to the historical elaboration of life, but are nevertheless metaphysically or ontologically separable from them.(1) 물론 이것들은 진화와 물질적 힘, 즉 생명의 역사적 정교화와 관련이 있지만, 그럼에도 불구하고 형이상학적으로나 존재론적으로 분리될 수 있습니다. 저의 목표는 예술에 대한 비미학적 철학, 즉 미술사와 비평을 대체하거나 예술의 가치, 질 또는 의미에 대한 평가를 제공한다고 주장하지 않고 대신 예술의 공통된 힘과 힘, 다양한 예술과 철학 사이의 중첩 영역을 다루는 예술에 적합한 철학을 개발하는 것입니다. (2) 예술은 재현보다 영향의 예술이며, 기호의 체제 하에서 기능하는 독특한 이미지의 체계가 아니라 역동적이고 영향을 미치는 힘의 체계입니다. (3) “Art is the art of affect more than representation, a system of dynamized and impacting forces rather than a system of unique images that function under the regime of signs” (Grosz, 2008, p. 3) > 예술이 다른 형태의 문화 생산과 구별되는 점은 예술적 생산이 감각과 합쳐지고, 강화되며, 감각을 영속화하거나 기념비화하는 방식입니다. What distinguishes the arts from other forms of cultural production are the ways in which artistic production merges with, intensifies and eternalizes or monumentalizes, sensation.(4) 상품, 심지어 '예술적 상품'의 생산은 사전에 경험된 감각, 특히 슬프거나 즐거운 방식으로 영향을 미칠 것으로 미리 알려진 감각의 생성을 지향합니다. 철학이 예술에 무엇을 컨트리뷰트할 수 있을까? > <mark style="background: #FF5582A6;">What can philosophy contribute to an understanding of art other than an aesthetics, that is, a theory of art, a reflection on art?</mark> (4) 이러한 시작점은 도대체 무엇일까? 시작엔 카오스가 있다, "소용돌이치고 예측할 수 없는 힘의 움직임, 우주를 구성하는 vibratory scillations." (5) > 여기서 혼돈은 절대적인 무질서가 아니라 서로 구별되거나 구별될 수 없는 수많은 질서, 형태, 의지, 즉 물질과 그 물질이 존재하기 위한 조건, 실제와 가상을 구분할 수 없는 힘으로 이해될 수 있습니다. Chaos here may be understood not as absolute disorder but rather as a plethora of orders, forms, wills—forces that cannot be distinguished or differentiated from each other, both matter and its conditions for being otherwise, both the actual and the virtual indistinguishably. (5) 생명의 진화는 생명체가 점점 더 전문화되고 서로 갈라지거나 분화되는 것, 매우 다양한 형태와 신체적 형태가 정교해지고 발전하는 것뿐만 아니라, 무엇보다도 존재의 최소한의 요건을 뛰어넘는 자기 변형, 즉 예술이 되는 것에서 볼 수 있습니다.The evolution of life can be seen not only in the increasing specialization and bifurcation or differentiation of life forms from each other, the elaboration and development of profoundly variable morphologies and bodily forms, but, above all, in their becoming-artistic, in their self-transformations, which exceed the bare requirements of existence. (6) 다시 말해, 예술은 감각이 스스로를 분리하고 창작자와 수용자로부터 자율성을 얻을 수 있을 때, 그것이 그려지는 혼돈의 무언가가 숨을 쉬고 독자적인 생명을 가질 수 있을 때 비로소 진정한 예술이 탄생합니다. Art proper, in other words, emerges when sensation can detach itself and gain an autonomy from its creator and its perceiver, when something of the chaos from which it is drawn can breathe and have a life of its own. (7) “예술과 자연, 자연 속의 예술은 과도하고 쓸모없는 생산, 즉 그 자체를 위한 생산, 풍요로움과 차별화를 위한 생산이라는 공통된 구조를 공유합니다. Art and nature, art in nature, share a common structure: that of excessive and useless production—production for its own sake, production for the sake of profusion and differentiation.” (9) “들뢰즈는 예술의 형이상학적 조건이자 보편적 표현인 첫 번째 시도가 프레임의 구성 또는 제작이라는 점을 이해하고 있으며, 이 점에서 데리다와 놀랍고도 드물게 일치합니다. (특히 패러고니컬 개념 [[parergonality]] [[@derrida_truth_1987]]) Deleuze understands, and on this point is in remarkable and rare agreement with Derrida, that the first gesture of art, its metaphysical condition and universal expression, is the construction or fabrication of the frame.” (Grosz, 2008, p. 19) > "Art takes a bit of chaos in a frame in order to form a composed chaos that becomes sensory, or from which it extracts a chaoid sensation as variety" ([[@deleuze_what_1994]], 206). “예술은 자신의 신체와 어떤 본질적인 관계에 연결되어 있는 것이 아니라 정반대로, 신체로부터 감각을 추상화하는 거리두기와 구성의 평면을 만들어내는 과정과 연결되어 있습니다. Art is not linked to some intrinsic relation to one's own body but exactly the opposite: it is linked to those processes of distancing and the production of a plane of composition that abstracts sensation from the body.” (Grosz, 2008, p. 11) 건축 프레임 안에서, 소형화된 형태로, 프레임은 건축 내부의 건축, 건축의 건축인 가구를 통해 그 자체와 영역화 기능을 재연합니다 (15) > “And within the built frame, as a frame within a frame within a frame, our bodies and their bodily supports, furnishings, coexist to make of our bodies an abundance of sensations and actions.” (Grosz, 2008, p. 16) "프레이밍은 감각이 생성되고, 대사되고, 세상으로 방출되어 독자적인 삶을 살게 되고, 다른 감각을 감염시키고 변화시키는 원초적인 조건입니다." “Framing is the raw condition under which sensations are created, metabolized, released into the world, made to live a life of their own, to infect and transform other sensations.” (18()) > 음악은 신체를 통과해버리는, 그리고 그들의 견실성을 신체가 아닌 다른 곳에서 발견하는 소실선들 위에 세워진다. 반면에 회화는 상류에, 신체가 분출해 나오는 바로 그곳에 세워진다. In a sense, music begins where painting ends, and this is what is meant when one speaks of the superiority of music. It is lodged on lines of flight that pass through bodies, but which find their consistency elsewhere, whereas painting is lodged farther up, where the body escapes from itself. ([[@deleuze_francis_2003]], 54) 그것은 신체를 통과하지만 다른 곳에서 일관성을 찾는 비행 선에 머무르는 반면, 그림은 신체에서 벗어나는 더 먼 곳에 머물러 있습니다. 다양한 예술을 통해 신체는 습관, 진부함, 독사, 즉 미래를 예고하는 감각이 아닌 예측 가능하고 미리 만들어진 감각만을 만들어내는 억제된 움직임으로 자신을 조심스럽게 보호하는 혼돈의 힘에 잠시나마 직접적으로 닿게 됩니다. > “Art is the becoming-sensation of materiality, the transformation of matter into sensation, the becoming-more of the artistic subjects and objects that is bound up with the subject's crossfertilization with the art object” (Grosz, 2008, p. 75) 예술은 물질의 감각화, 물질이 감각으로 변모하는 것, 예술적 주체와 대상이 예술적 대상과 교차 수정되는 것, 예술적 주체와 대상의 더 많은 것이 되는 것입니다. > Painting raises a series of questions that are unique, specific to its own history and materials. [Grosz 2008:79](zotero://open-pdf/library/items/QV8GSHI5?page=79) > There is no common quality artworks must have, not even within any particular art form: but the capacity that all artworks have to be located within a [[milieu]] of other artworks— even as upheaval and innovation—means that they are constituted not through intentionality but through the work itself, through its capacity to be connected to, or severed from, other works. [Grosz 2008:80](zotero://open-pdf/library/items/QV8GSHI5?page=80) > Deleuze draws on and transforms the writings of Erwin Straus and Henri Maldiney regarding the role of sensation in the visual arts. [Grosz 2008:80](zotero://open-pdf/library/items/QV8GSHI5?page=80) > Straus illustrates the distinction between perception and sensation in terms of the opposition between geography and landscape. [Grosz 2008:81](zotero://open-pdf/library/items/QV8GSHI5?page=81) > Sensation impacts the body, not through the brain, not through representations, signs, images, or fantasies, but directly, on the body's own internal forces, on cells, organs, the nervous system. [Grosz 2008:82](zotero://open-pdf/library/items/QV8GSHI5?page=82) > member events where they are, in the past, that is, just as space and time are not in us, as Bergson reminds us, 15 so sensation is not in us either. [Grosz 2008:83](zotero://open-pdf/library/items/QV8GSHI5?page=83) > "Color is in the body, sensation is what is painted. What is painted on the canvas is the body, not insofar as it is represented as an object, but insofar as it is experienced as sustaining this sensation" (Deleuze 2003:32). [Grosz 2008:83](zotero://open-pdf/library/items/QV8GSHI5?page=83) > Sensations are not colored, shaped, formed in the artwork, but through the artwork are coloring, shaping, and forming forces (of both subject and object) [Grosz 2008:83](zotero://open-pdf/library/items/QV8GSHI5?page=83) - Pure absolute space > Sensations are always composite, which is also to say that they are composed. [Grosz 2008:84](zotero://open-pdf/library/items/QV8GSHI5?page=84) > Sensation has two dimensions, two types of energy: it is com- posed of affects and percepts [Grosz 2008:85](zotero://open-pdf/library/items/QV8GSHI5?page=85) > force shared by all the arts and the living bodies that generate sensations out of material forms that derives from the universe itself. This is a precisely vibratory force—perhaps the vibratory structure of subatomic particles themselves?—that constructs sensations as neural reactions to inhuman forces. [Grosz 2008:92](zotero://open-pdf/library/items/QV8GSHI5?page=92) > As "more profound" than vision or hearing, rhythm (which we must understand, along with vibration, as another name for difference) is what runs from objects to organs, from organs to the objects that captivate them, and from their relations to the art objects that carry sensations. [Grosz 2008:92](zotero://open-pdf/library/items/QV8GSHI5?page=92) > For Maldiney, form is always in the process of [[becoming]] and never given or finalized. [Grosz 2008:93](zotero://open-pdf/library/items/QV8GSHI5?page=93) > It is generated or generates itself through a three-fold movement [Grosz 2008:93](zotero://open-pdf/library/items/QV8GSHI5?page=93) > First, there is the existential disclosure, an animal-disclosure, of the chaos of being for the living entity, the perpetual becoming of a world life does not control but that it must occupy and live through without being able to adequately position itself, the whirling chaos of sensations that are as yet unstructured and unformed, life resources and what life finds potentially excessive, overwhelming, breathtaking. [Grosz 2008:93](zotero://open-pdf/library/items/QV8GSHI5?page=93) > Cezanne refers to this as an "iridescent chaos," an "abyss" or "catastrophe," an opening up to as well as a kind of merger with the landscape he contemplates as he prepares to paint (Maldiney 150; Deleuze 2003:83). [Grosz 2008:93](zotero://open-pdf/library/items/QV8GSHI5?page=93) > The second movement is a systolic compression or dilation of chaotic forces now condensed into forms, shapes, patterns, the extraction of rhythm from buzzing vibration, and a growingly discernible subject and object. [Grosz 2008:93](zotero://open-pdf/library/items/QV8GSHI5?page=93) > Cezanne, this is when "an aerial, colored logic suddenly replaces the stubborn geometry. [Grosz 2008:93](zotero://open-pdf/library/items/QV8GSHI5?page=93) > Rhythm is the force of differentiation of the different calibers of vibration that constitute chaos, the body and sensation, and their interlinkage. [Grosz 2008:93](zotero://open-pdf/library/items/QV8GSHI5?page=93) > For Deleuze, Bacon's greatness lies in his ability to capture, as no one else has, three sorts of forces: the systolic forces of isolation (those forces Bacon makes visible in his washed-out fields of color, in the ways in which thesefieldsor platforms, geometrical figures isolate and bound afigure);the diastolic forces of deformation (those forces that press the body to earth, to crumple or slide over itself, where the body is in the process of [[becoming]] something else, a bird-umbrella, a piece of meat); and the forces of dissipation (those forces in which the figure fades to leave only the smile, only the scream), all of them invisible forces that separate, press down on, and fade back into the abyss or chaos from which they were extracted. Art here is the production of meat-sensations as the ex- pression of forces of isolation, deformation, and dissipation. [Grosz 2008:94](zotero://open-pdf/library/items/QV8GSHI5?page=94) > In the third movement there is a diastolic expansion that transforms and dissolves these forms and entities, [Grosz 2008:93](zotero://open-pdf/library/items/QV8GSHI5?page=93) > Deleuze suggests, it may be that what all the arts share is the aim of capturing the force of time, of opening up sensation to the force of the future, of making time able to be sensed not in order to control or understand duration (which cannot be controlled and is that which ensures that the self-identical is always transitional, always other, never actual) but to live it as one can, even if that means [[becoming]]-different: "To render Time sensible is itself the task common to the painter, the musician, and sometimes the writer. It is a task beyond all measure or cadence" (2003:54). [Grosz 2008:96](zotero://open-pdf/library/items/QV8GSHI5?page=96) ### Extracted Annotations: 06/04/2021, 21:17:23 06/04/2021, 21:17:23 This small book is directed to questions about the ontology, that is, the material and conceptual structures, of art [Link](zotero://open-pdf/library/items/QV8GSHI5?page=10 ) I want to discuss the "origins" of architecture, music, paint- ing—indeed, the arts in general—but not the historical, evolution- ary, or material origins of art, conformable by some kind of material evidence or empirical research such as would interest an archaeolo- gist, anthropologist, or historian [Link](zotero://open-pdf/library/items/QV8GSHI5?page=10 ) what concepts art entails, assumes, and elaborates [Link](zotero://open-pdf/library/items/QV8GSHI5?page=10 ) These, of course, are linked to evolutionary and material forces, that is to say, to the historical elaboration of life, but are nevertheless metaphysically or ontologi- cally separable from them. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=10 ) Why it is seperated? [Link](zotero://open-pdf/library/items/QV8GSHI5?page=10 ) My goal is to develop a nonaesthetic philosophy for art, a philosophy appropriate to the arts that neither replaces art history and criticism nor claims to provide an assessment of the value, quality, or meaning of art, but instead addresses the common forces and powers of art, the regions of overlap between the various arts and philosophy. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=11 ) Art is the art of affect more than representation, a system of dynamized and im- pacting forces rather than a system of unique images that function under the regime of signs [Link](zotero://open-pdf/library/items/QV8GSHI5?page=12 ) . The production of commodities, even "artistic commodities," directs itself to the generation of pre- experienced sensations, sensations known in advance, guaranteed to affect in particular sad or joyful ways. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=13 ) What can philosophy contribute to an understanding of art other than an aesthetics, that is, a theory of art, a reflection on art? [Link](zotero://open-pdf/library/items/QV8GSHI5?page=13 ) Important [Link](zotero://open-pdf/library/items/QV8GSHI5?page=13 ) "In the beginning" is chaos, the whirling, unpredictable move- ment of forces, vibratory oscillations that constitute the universe. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=14 ) Chaos here may be understood not as absolute disorder but rather as a plethora of orders, forms, wills—forces that cannot be dis- tinguished or differentiated from each other, both matter and its conditions for being otherwise, both the actual and the virtual in- distinguishably [Link](zotero://open-pdf/library/items/QV8GSHI5?page=14 ) That is, life, even the simplest organic cell, carries its past with its present as no material object does. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=15 ) The evolution of life can be seen not only in the increasing specializa- tion and bifurcation or differentiation of life forms from each other, the elaboration and development of profoundly variable morpholo- gies and bodily forms, but, above all, in their becoming-artistic, in their self-transformations, which exceed the bare requirements of existence. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=15 ) Painting raises a series of questions that are unique, specific to its own history and materials. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=79 ) . There is no common quality artworks must have, not even within any particular art form: but the capacity that all artworks have to be located within a milieu of other artworks— even as upheaval and innovation—means that they are constituted not through intentionality but through the work itself, through its capacity to be connected to, or severed from, other works. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=80 ) Deleuze draws on and transforms the writings of Erwin Straus and Henri Maldiney regarding the role of sensation in the visual arts. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=80 ) Straus illustrates the distinction between perception and sensation in terms of the opposition between geography and landscape. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=81 ) Sensation impacts the body, not through the brain, not through representations, signs, images, or fantasies, but directly, on the body's own internal forces, on cells, organs, the nervous system. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=82 ) member events where they are, in the past, that is, just as space and time are not in us, as Bergson reminds us, 15 so sensation is not in us either. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=83 ) : "Color is in the body, sensation is what is painted. What is painted on the canvas is the body, not insofar as it is represented as an object, but insofar as it is experienced as sustaining this sensation" (Deleuze 2003:32). [Link](zotero://open-pdf/library/items/QV8GSHI5?page=83 ) Sensations are not colored, shaped, formed in the artwork, but through the artwork are coloring, shap- ing, and forming forces (of both subject and object) [Link](zotero://open-pdf/library/items/QV8GSHI5?page=83 ) Pure absolute space [Link](zotero://open-pdf/library/items/QV8GSHI5?page=83 ) Sensations are always composite, which is also to say that they are composed. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=84 ) Sensation has two dimensions, two types of energy: it is com- posed of affects and percepts [Link](zotero://open-pdf/library/items/QV8GSHI5?page=85 ) force shared by all the arts and the living bodies that generate sen- sations out of material forms that derives from the universe itself. This is a precisely vibratory force—perhaps the vibratory structure of subatomic particles themselves?—that constructs sensations as neural reactions to inhuman forces. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=92 ) As "more profound" than vision or hearing, rhythm (which we must understand, along with vibration, as another name for differ- ence) is what runs from objects to organs, from organs to the ob- jects that captivate them, and from their relations to the art objects that carry sensations. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=92 ) For Maldiney, form is always in the process of becoming and never given or finalized. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=93 ) It is generated or generates itself through a three-fold movement [Link](zotero://open-pdf/library/items/QV8GSHI5?page=93 ) First, there is the existential disclosure, an animal-disclosure, of the chaos of being for the living entity, the perpetual becoming of a world life does not control but that it must occupy and live through without being able to adequately position itself, the whirling chaos of sensations that are as yet unstructured and unformed, life resources and what life finds potentially excessive, overwhelming, breathtaking. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=93 ) Cezanne refers to this as an "iridescent chaos," an "abyss" or "catastrophe," an opening up to as well as a kind of merger with the landscape he contemplates as he prepares to paint (Maldiney 150; Deleuze 2003:83). [Link](zotero://open-pdf/library/items/QV8GSHI5?page=93 ) The second movement is a systolic compression or dilation of chaotic forces now condensed into forms, shapes, patterns, the extraction of rhythm from buzz- ing vibration, and a growingly discernible subject and object. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=93 ) Cezanne, this is when "an aerial, colored logic suddenly replaces the stubborn geometry. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=93 ) Rhythm is the force of differentiation of the different calibers of vibration that constitute chaos, the body and sensation, and their interlinkage. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=93 ) For Deleuze, Bacon's greatness lies in his ability to cap- ture, as no one else has, three sorts of forces: the systolic forces of [Link](zotero://open-pdf/library/items/QV8GSHI5?page=93 ) In the third movement there is a diastolic expansion that transforms and dissolves these forms and entities, [Link](zotero://open-pdf/library/items/QV8GSHI5?page=93 ) isolation (those forces Bacon makes visible in his washed-out fields of color, in the ways in which thesefieldsor platforms, geometrical figures isolate and bound afigure);the diastolic forces of deforma- tion (those forces that press the body to earth, to crumple or slide over itself, where the body is in the process of becoming something else, a bird-umbrella, a piece of meat); and the forces of dissipation (those forces in which thefigurefades to leave only the smile, only the scream), all of them invisible forces that separate, press down on, and fade back into the abyss or chaos from which they were extracted. Art here is the production of meat-sensations as the ex- pression of forces of isolation, deformation, and dissipation. [Link](zotero://open-pdf/library/items/QV8GSHI5?page=94 ) Deleuze suggests, it may be that what all the arts share is the aim of capturing the force of time, of opening up sensation to the force of [Link](zotero://open-pdf/library/items/QV8GSHI5?page=95 ) the future, of making time able to be sensed not in order to control or understand duration (which cannot be controlled and is that which ensures that the self-identical is always transitional, always other, never actual) but to live it as one can, even if that means becoming-different: "To render Time sensible is itself the task com- mon to the painter, the musician, and sometimes the writer. It is a task beyond all measure or cadence" (2003:54). [Link](zotero://open-pdf/library/items/QV8GSHI5?page=96) ### Related ```dataview LIST FROM [[@grosz_chaos_2008]] and -"Plans" and -"resources" ```