What is the importance of deconstruction, and the writing of Jacques Derrida in particular, for literary criticism today? Derek Attridge argues that the challenge of Derrida's work for our understanding of literature and its value has still not been fully met, and in this book, which traces a close engagement with Derrida's writing over two decades and reflects an interest in that work going back a further two decades, shows how that work can illuminate a variety of topics. Chapters include an overview of deconstruction as a critical practice today, discussions of the secret, postcolonialism, ethics, literary criticism, jargon, fiction, and photography, and responses to the theoretical writing of Emmanuel Levinas, Roland Barthes, and J. Hillis Miller. Also included is a discussion of the recent reading of Derrida's philosophy as 'radical atheism', and the book ends with a conversation on deconstruction and place with the theorist and critic Jean-Michel Rabate. Running throughout is a concern with the question of responsibility, as exemplified in Derrida's own readings of literary and philosophical texts: responsibility to the work being read, responsibility to the protocols of rational argument, and responsibility to the reader.

The map, as it appears in Gilles Deleuze's writings, is a concept guiding the exploration of new territories, no matter how abstract. With the advent of new media and digital technologies, contemporary artists have imagined a panoply of new spaces that put Deleuze's concept to the test. Deleuze's concept of the map bridges the gap between the analog and the digital, information and representation, virtual and actual, canvas and screen and is therefore best suited for the contemporary artistic landscape. Deleuze and the Map-Image explores cartography from philosophical and aesthetic perspectives and argues that the concept of the map is a critical touchstone for contemporary multidisciplinary art. This book is an overview of Deleuze's cartographic thought read through the theories of Sloterdijk, Heidegger, and Virilio and the art criticism of Laura U. Marks, Carolyn L. Kane, and Alexander Galloway, shaping it into a critical tool through which to view the works of cutting edge artists such as Janice Kerbel and Hajra Waheed, who work with digital and analog art. After all, Deleuze did write that a map can be conceived as a work of art, and so herein art is critiqued through cartographic strategies.

The first sustained phenomenological approach to modern art, taking a new approach and drawing upon an unsual selection of thinkers.

In a series of philosophical discussions and artistic case studies, this volume develops a materialist and immanent approach to modern and contemporary art. The argument is made for a return to aesthetics - an aesthetics of affect - and for the theorization of art as an expanded and complex practice. Staging a series of encounters between specific Deleuzian concepts - the virtual, the minor, the fold, etc. - and the work of artists that position their work outside of the gallery or 'outside' of representation - Simon O'Sullivan takes Deleuze's thought into other milieus, allowing these 'possible worlds' to work back on philosophy.

The concept of schizoanalysis is Deleuze and Guattari's fusion of psychoanalytic-inspired theories of the self, the libido and desire with Marx-inspired theories of the economy, history and society. Schizoanalysis holds that art's function is both political and aesthetic – it changes perception. If one cannot change perception, then, one cannot change anything politically. This is why Deleuze and Guattari always insist that artists operate at the level of the real (not the imaginary or the symbolic). Ultimately, they argue, there is no necessary distinction to be made between aesthetics and politics. They are simply two sides of the same coin, both concerned with the formation and transformation of social and cultural norms. Deleuze and the Schizoanalysis of Visual Art explores how every artist, good or bad, contributes to the structure and nature of society because their work either reinforces social norms, or challenges them. From this point of view we are all artists, we all have the potential to exercise what might be called a 'aesthetico-political function' and change the world around us; or, conversely, we can not only let the status quo endure, but fight to preserve it as though it were freedom itself. Edited by one of the world's leading scholars in Deleuze Studies and an accomplished artist, curator and critic, this impressive collection of writings by both academics and practicing artists is an exciting imaginative tool for a upper level students and academics researching and studying visual arts, critical theory, continental philosophy, and media.

Gilles Deleuze: Image and Text focuses on the intersection between Deleuzian philosophy and the arts. Deleuze combined exceptionally rigorous insight into important Western philosophers with an extraordinary sensitivity to literature, music, painting and film. He was intensely interested in the medium of thought, which is by no means limited to philosophy alone: it also takes place in science, mathematics, literature, painting and cinema, to name just some of the genres of thought to which Deleuze most often refers. His own thinking emerged almost as often in conversation with artists and literary writers as in engagement with other philosophers, and his philosophy cannot be fully grasped without an understanding of his engagement with the arts. This significant and timely collection of essays from an international team of leading Deleuze scholars brings together interpretations and commentaries from Deleuzian perspectives on subjects such as literature, painting, music and film. The book represents diverse modes of engagement with Deleuze's philosophical concepts and problems and demonstrates the central role the arts play in any understanding of his philosophical ideas.

Encounters Beyond the Gallery challenges the terms of their exclusion, looking to relational art, Deleuze-Guattarean aesthetics and notions of perception, as well as anthropological theory for ways to create connections between seemingly disparate worlds. Embracing a unique and experimental format, the book imagines encounters between the art works and art worlds of Rirkrit Tiravanija, Tamil women, the Shipibo-Conibo of Eastern Peru and a fictional female contemporary artist named Rikki T, in order to rethink normative aesthetic and cultural categories. Its method reflects the message of the book, and embraces a plurality of voices and perspectives to steer critical attention towards the complexity of artistic life beyond the gallery.

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 edited book gathers seven established art educators-educator artists who address art education from the philosophical position of Deleuze and Guattari. This book raises questions as to where the future of art and its education might be heading if the focus on art was to be repositioned along Deleuze and Guattari’s philosophy of immanence. The chapters are speculative as they query what is ‘thinking’ in the art process. There is an attempt to project other forms of what art can ‘do,’ and the curriculum that can emerge when a student-centered problematic is explored along such lines.

Winner of the 2014 Annual Book Prize of the Association for the Study of the Arts of the Present (USA). Contemporary art is the object of inflated and widely divergent claims. But what kind of discourse can open it up effectively to critical analysis? Anywhere or Not at All is a major philosophical intervention in art theory that challenges the terms of established positions through a new approach at once philosophical, historical, social and art-critical. Developing the position that "contemporary art is postconceptual art," the book progresses through a dual series of conceptual constructions and interpretations of particular works to assess the art from a number of perspectives: contemporaneity and its global context; art against aesthetic; the Romantic pre-history of conceptual art; the multiplicity of modernisms; transcategoriality; conceptual abstraction; photographic ontology; digitalization; and the institutional and existential complexities of art-space and art-time. Anywhere or Not at All maps out the conceptual space for an art that is both critical and contemporary in the era of global capitalism.