From Painting to Sound: Musical Reflections on Deleuze’s Francis Bacon: The Logic of Sensation

Miguelángel Clerc Parada

In Francis Bacon: The Logic of Sensation, Deleuze becomes the philosophical voice of Bacon’s paintings. The book’s main arguments are developed in relation to Bacon’s thoughts and from Deleuze’s sensations and visual reflections on the paintings. Bacon resonates through Deleuze’s words; both the painter and the philosopher intermingle in the perception of the paintings and on th...

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conference: DARE 2015: the dark precursor
date: November 9, 2015
venue: De Bijloke Music Center, Kraakhuis
format: in words
practice: music and sound
keywords: de/re-territorialisation, figure, Francis Bacon: The Logic of Sensation, Jean-Luc Nancy

The Pleats of Matter / The Matter of Pleats

Aaron Cassidy, Diego Castro Magas

This presentation comprises two intertwined components—“The Pleats of Matter” and “The Matter of Pleats”—as the perspectives from both composer and performer, respectively, on the Deleuzian concept of the fold as exemplified through the case study of Aaron Cassidy’s The Pleats of Matter for solo electric guitar and electronics. The composition The Pleats of Matter...

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conference: DARE 2015: the dark precursor
date: November 10, 2015
venue: De Bijloke Music Center, Auditorium
format: performed
practice: music and sound
keywords: guitar, stratum, The Fold

Tonality in Music as a Key Concept to Explain Life

Can Batukan

What do I mean by tonality? Is there a closeness between tonality and affection? Why did Deleuze use so many musical terms such as “rhythm,” “vibration,” “resonance,” “tone,” and “ritornello”? (Deleuze and Guattari 1980; Deleuze 2002). Each musical piece is a totality of sound waves. Produced by single or multiple sources, they interact between thems...

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conference: DARE 2015: the dark precursor
date: November 11, 2015
venue: Orpheus Institute, Auditorium
format: in words
practice: music and sound
keywords: affect, becoming-animal, François Zourabichvili, refrain, rhythm, tonality

Memory as Difference, Material as Repetition: A Performative Presentation of Compositional Strategies and Multi-Source Interpretative Methods

Patricia Alessandrini

We present an experimental compositional and interpretative practice in relation to notions of memory, repetition, and duration employed by Deleuze in Différence et répétition and Le bergsonisme, while secondarily employing concepts from Le pli. A performance for flute and electronics by myself and Richard Craig using a multiple-source interpretative method...

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conference: DARE 2015: the dark precursor
date: November 11, 2015
venue: Orpheus Institute, Concert Hall
format: performed
practice: music and sound
keywords: difference, Difference and Repetition, monad, objectile, repetition, The Fold