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Deleuze’s and Guattari’s philosophy in the field of artistic research Gilles Deleuze’s intriguing concept of the dark precursor refers to intensive processes of energetic flows passing between fields of different potentials. Fleetingly used in Difference and Repetition, it remained underexplored in Deleuze’s subsequent work. In this collection of essays numerous contributors offer perspectives on Deleuze’s concept of the dark precursor as it affects artistic research, providing a wide-ranging panorama on the intersection between music, art, philosophy, and scholarship. The forty-eight chapters in this publication present a kaleidoscopic view of different fields of knowledge and artistic practices, exposing for the first time the diversity and richness of a world situated between artistic research and the philosophy of Gilles Deleuze and Félix Guattari. Within different understandings of artistic research, the authors—composers, architects, performers, philosophers, sculptors, film-makers, painters, writers, and activists—map practices and invent concepts, contributing to a creative expansion of horizons, materials, and methodologies. Contributors VOLUME 1: Paulo de Assis, Arno Böhler, Edward Campbell, Diego Castro-Magas, Pascale Criton, Zornitsa Dimitrova, Lois Fitch, Mike Fletcher, Paolo Galli, Lindsay Gianoukas, Keir GoGwilt, Oleg Lebedev, Jimmie LeBlanc, Nicolas Marty, Frédéric Mathevet, Vincent Meelberg, Catarina Pombo Nabais, Tero Nauha, Gabriel Paiuk, Martin Scherzinger, Einar Torfi Einarsson, Steve Tromans, Toshiya Ueno, Susanne Valerie, Audronė Žukauskaitė VOLUME 2: Éric Alliez, Manola Antonioli, Jūratė Baranova, Zsuzsa Baross, Anna Barseghian, Ian Buchanan, Elena del Río, Luis de Miranda, Lucia D’Errico, Lilija Duoblienė, Adreis Echzehn, Jae Emerling, Verina Gfader, Ronny Hardliz, Rahma Khazam, Stefan Kristensen, Erin Manning, John Miers, Elfie Miklautz, Marc Ngui, Andreia Oliveira, Federica Pallaver, Andrej Radman, Felix Rebolledo, Anne Sauvagnargues, Janae Sholtz, Mhairi Vari, Mick Wilson, Elisabet Yanagisawa
This book is an introduction to techniques and results in diagrammatic algebra. It starts with abstract tensors and their categorifications, presents diagrammatic methods for studying Frobenius and Hopf algebras, and discusses their relations with topological quantum field theory and knot theory. The text is replete with figures, diagrams, and suggestive typography that allows the reader a glimpse into many higher dimensional processes. The penultimate chapter summarizes the previous material by demonstrating how to braid 3- and 4- dimensional manifolds into 5- and 6-dimensional spaces. The book is accessible to post-qualifier graduate students, and will also be of interest to algebraists, topologists and algebraic topologists who would like to incorporate diagrammatic techniques into their research.
This book examines transmissibility to remind us why the vitality and epistemic significance of an artwork is anachronistic and futural. Transmissibility: Writing Aesthetic History performs a transdisciplinary philosophy of aesthetic history via the work of Gilles Deleuze and Félix Guattari, Cy Twombly, Marina Abramović, Paul Celan, Cecil Taylor, Italo Calvino, Candida Höfer, and others by focusing on theartistic and historiographic labor that differentiates artworks from other modes of creation.
Artistic Research: Charting a Field in Expansion provides a multidisciplinary overview of different discourses and practices, exploring cutting-edge questions from the burgeoning field of artistic research. Intended as a primer on artistic research, it presents diverse perspectives, strategies, methodologies, and concrete examples of research projects situated at the crossroads of art and academia, exposing international work of significant projects from Europe, Asia, Australia, South and North America. The book includes chapters on diverse fields of thought and practice, addressing a common thread of questions and problematics. The comprehensive editors’ introduction offers a much-needed extensive overview of practice-based artistic research in general. This book is ideal for graduate students across philosophy, cultural studies, art, music, performance studies and more.
From the 1990s onwards the 'ethnographic turn in contemporary art' has generated intense dialogues between anthropologists, artists and curators. While ethnography has been both generously and problematically re-appropriated by the art world, curation has seldom caught the conceptual attention of anthropologists. Based on two years of participant-observation in Mexico City, Tarek Elhaik addresses this lacuna by examining the concept-work of curatorial platforms and media artists. Taking his cue from ongoing critiques of Mexicanist aesthetics, and what Roger Bartra calls 'the post-Mexican condition', Elhaik conceptualises curation less as an exhibition-oriented practice within a national culture, than as a figure of care and an image of thought animating a complex assemblage of inter-medial practices, from experimental cinema and installations to curatorial collaborations. Drawing on Gilles Deleuze and Paul Rabinow, the book introduces the concept of the 'Incurable-Image,' an antidote to our curatorial malaise and the ethical substance for a post-social anthropology of images.
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. Accused by his contemporaries of both arid overtheorisation and a hedonistic abandon to the pleasures of color, decried for a preoccupation with the merely decorative, retrospectively consigned to a subsidiary role in an official History of Art that sees the liberation of color from iconic conventions and symbolic associations as the inevitable precursor to the purified color of modernist formalis, Matisse, with his untimely singularity, his break with the History of Art, and the part he played in undoing the image is ripe for the reevaluation undertaken here with great panache by Éric Alliez and Jean-Claude Bonne, who with this volume restore Matisse to his place within the prehistory of contemporary art, while continuing to transform our understanding of the latter. It was Matisse who, with his understanding of the construction of colours as a means of vital expression, continued to exacerbate the fauves' decisive break with Form; in doing so, he also opened up painting to its outside, by cutting out color, and releasing it onto the walls and into architecture by way of a decorativity virtually generalized to the whole environment. With a series of detailed and compelling extended analyses of Matisse's works, we learn how “Matisse-thought” arrived at the magic formula expression=construction=decoration. This volume, the second “case study” in Alliez and Bonne's Undoing the Image, gives us a new Matisse extracted from clichés and stereotypes both popular and learned, revealing 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.
Insistent Images presents a number of new departures dealing with iconicity on the conceptual and the structural levels. On the level of structure, the interface between different aspects of iconicity, lexical meaning and grammar is discussed in reference to both spoken and signed languages. Novel approaches to aural iconicity investigate a wide range of phenomena from phonological iconicity to the role of iconic features in discourse, in the nineteenth century practice of reading aloud, in the almost magic incantations of fin de siècle poetry and in Tolkien’s invented languages. Several papers examine the function of iconicity in visual and avant-garde poetry, where iconic features allow a reduction of means, which, paradoxically, generates textual diversification and complexity. A discussion of iconic text strategies shows how texts are comprehended through iconic holistic transfer from complex natural and action patterns. ‘Liberature’, which integrates text, image and physical space, is another novel area of study, as are the investigations into the iconic properties of film and of multimedia performance. Film is intrinsically iconic, while at the same time being, like photography, indexical; in multimedia performance, on the other hand, iconicity functions intermedially by both integrating and reflecting processes of perception and conceptualization. These last two new fields of inquiry further enhance this truly interdisciplinary volume’s explorations of icons as ‘insistent images’.
A cookbook of algorithms for common image processing applications Thanks to advances in computer hardware and software, algorithms have been developed that support sophisticated image processing without requiring an extensive background in mathematics. This bestselling book has been fully updated with the newest of these, including 2D vision methods in content-based searches and the use of graphics cards as image processing computational aids. It’s an ideal reference for software engineers and developers, advanced programmers, graphics programmers, scientists, and other specialists who require highly specialized image processing. Algorithms now exist for a wide variety of sophisticated image processing applications required by software engineers and developers, advanced programmers, graphics programmers, scientists, and related specialists This bestselling book has been completely updated to include the latest algorithms, including 2D vision methods in content-based searches, details on modern classifier methods, and graphics cards used as image processing computational aids Saves hours of mathematical calculating by using distributed processing and GPU programming, and gives non-mathematicians the shortcuts needed to program relatively sophisticated applications. Algorithms for Image Processing and Computer Vision, 2nd Edition provides the tools to speed development of image processing applications.
New scientific paradigms typically consist of an expansion of the conceptual language with which we describe the world. Over the past decade, theoretical physics and quantum information theory have turned to category theory to model and reason about quantum protocols. This new use of categorical and algebraic tools allows a more conceptual and insightful expression of elementary events such as measurements, teleportation and entanglement operations, that were obscured in previous formalisms. Recent work in natural language semantics has begun to use these categorical methods to relate grammatical analysis and semantic representations in a unified framework for analysing language meaning, and learning meaning from a corpus. A growing body of literature on the use of categorical methods in quantum information theory and computational linguistics shows both the need and opportunity for new research on the relation between these categorical methods and the abstract notion of information flow. This book supplies an overview of how categorical methods are used to model information flow in both physics and linguistics. It serves as an introduction to this interdisciplinary research, and provides a basis for future research and collaboration between the different communities interested in applying category theoretic methods to their domain's open problems.