Deleuze’s Aesthetics Contra Object Oriented Philosophy

Daniel Fineman

Studies that discuss Deleuze’s aesthetics rely upon Kant. Such reliance by brilliant and insightful scholars such as Smith, O’Sullivan, and Shiviro are nervously self-conscious because they necessarily recognise Deleuze’s explicit repudiation of Kant (his “enemy”). They take exculpatory solace in Deleuze’s obvious admiration for Kant’s skill and scope.They see incipient harmony in so...

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conference: DARE 2017: aberrant nuptials
date: November 22, 2017
venue: Orpheus Institute, Penthouse
format: in absence
practice: philosophy
keywords: aesthetics, Alain Badiou, de/re-territorialisation, Franz Kafka, haecceity, Jacques Rancière, material/ism

In the Aberrant Event of Musical-Philosophical Thought

Steve Tromans

The event considered as non-actualised (indefinite) is lacking in nothing. It suffices to put it in relation to its concomitants …
— Gilles Deleuze, “Immanence: A Life” …improvisation has little or nothing to do with communication and more to do with ensuring that the channels of communication are kept open and alive.
— Gary Peters,...

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conference: DARE 2017: aberrant nuptials
date: November 20, 2017
venue: Orpheus Institute, Concert Hall
format: in absence
keywords: improvisation

‘Beautiful Like a Burning Bank’: Justice, Art, and the Poetics of the Street

George Sotiropoulos

The potentials of Deleuze’s thought for artistic theory and practice have been recognised from early on. This owes much to the fact that Deleuze himself wrote extensively on various artistic fields as well as making artistic creation an organic part of his philosophy, including the works that he co-authored with Felix Guattari. On the other hand, Deleuze’s attitude towards justice was much mor...

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conference: DARE 2017: aberrant nuptials
date: November 21, 2017
venue: Orpheus Institute, Concert Hall
format: in absence
keywords: aesthetics

The Munich Biennale for Music Theatre as a Form of Artistic Research

Brandon Farnsworth

The Munich Biennale for Music Theatre, founded in 1988, has long served as an incubator for music theatre productions, gradually building a contemporary repertoire. In 2014, composers Manos Tsangaris and Daniel Ott together took over artistic directorship of the Biennale. As became evident in their first iteration in 2016, they are producing a shift away from the linear mode of musical production...

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conference: DARE 2017: aberrant nuptials
date: November 20, 2017
venue: Orpheus Institute, Penthouse
format: in absence
keywords: artistic research, de/re-territorialisation
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