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Use of Deleuze’s process ontology

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Use of Deleuze’s process ontology. / Maeng, Hyeyoung.

In: Journal of Visual Art Practice, Vol. 19, No. 2, 02.04.2020, p. 160-178.

Research output: Contribution to Journal/MagazineJournal articlepeer-review

Harvard

Maeng, H 2020, 'Use of Deleuze’s process ontology', Journal of Visual Art Practice, vol. 19, no. 2, pp. 160-178. https://doi.org/10.1080/14702029.2020.1742001

APA

Maeng, H. (2020). Use of Deleuze’s process ontology. Journal of Visual Art Practice, 19(2), 160-178. https://doi.org/10.1080/14702029.2020.1742001

Vancouver

Maeng H. Use of Deleuze’s process ontology. Journal of Visual Art Practice. 2020 Apr 2;19(2):160-178. Epub 2020 Apr 1. doi: 10.1080/14702029.2020.1742001

Author

Maeng, Hyeyoung. / Use of Deleuze’s process ontology. In: Journal of Visual Art Practice. 2020 ; Vol. 19, No. 2. pp. 160-178.

Bibtex

@article{a2c2108b2d314da4ad8c80c824fa14ed,
title = "Use of Deleuze{\textquoteright}s process ontology",
abstract = "This paper aims to explore the clinical use of Gilles Deleuze{\textquoteright}s philosophical concepts such as repetition, virtuality, multiplicity, and difference of intensity, which together comprise his process ontology. I argue that Deleuze{\textquoteright}s process ontology forms the basis of his transcendental aesthetics of sensation, specifically by focusing on his earlier work prior to his collaboration with F{\'e}lix Guattari. This investigation uses the concepts of Agencement machinic as a method to study Deleuze{\textquoteright}s aesthetics which is based on his establishment of nondiscursive art and nonverbal semiotics. This paper also argues that the displacement of Plato{\textquoteright}s Idea by Deleuze{\textquoteright}s intensive multiplicity endows a work of art with the highest ontological status in Deleuze{\textquoteright}s transcendental empiricism. Throughout this paper, Deleuze{\textquoteright}s process ontology is understood, used, and reinvented through the Documentation Art project, which creates experimental video art pieces from the digital documentation of the processes of Korean Bunche paintings, while not reducing a work of art to an expression of certain concepts. As a result, this paper shows how Documentation Art rejects the notion of representation stemming from Kant{\textquoteright}s transcendental aesthetic, by making the invisible painting process visible, and explores unseen experimental capacities in Korean painting practices through the artistic singularization processes.",
keywords = "Visual Arts and Performing Arts",
author = "Hyeyoung Maeng",
year = "2020",
month = apr,
day = "2",
doi = "10.1080/14702029.2020.1742001",
language = "English",
volume = "19",
pages = "160--178",
journal = "Journal of Visual Art Practice",
issn = "1470-2029",
publisher = "Intellect Publishers",
number = "2",

}

RIS

TY - JOUR

T1 - Use of Deleuze’s process ontology

AU - Maeng, Hyeyoung

PY - 2020/4/2

Y1 - 2020/4/2

N2 - This paper aims to explore the clinical use of Gilles Deleuze’s philosophical concepts such as repetition, virtuality, multiplicity, and difference of intensity, which together comprise his process ontology. I argue that Deleuze’s process ontology forms the basis of his transcendental aesthetics of sensation, specifically by focusing on his earlier work prior to his collaboration with Félix Guattari. This investigation uses the concepts of Agencement machinic as a method to study Deleuze’s aesthetics which is based on his establishment of nondiscursive art and nonverbal semiotics. This paper also argues that the displacement of Plato’s Idea by Deleuze’s intensive multiplicity endows a work of art with the highest ontological status in Deleuze’s transcendental empiricism. Throughout this paper, Deleuze’s process ontology is understood, used, and reinvented through the Documentation Art project, which creates experimental video art pieces from the digital documentation of the processes of Korean Bunche paintings, while not reducing a work of art to an expression of certain concepts. As a result, this paper shows how Documentation Art rejects the notion of representation stemming from Kant’s transcendental aesthetic, by making the invisible painting process visible, and explores unseen experimental capacities in Korean painting practices through the artistic singularization processes.

AB - This paper aims to explore the clinical use of Gilles Deleuze’s philosophical concepts such as repetition, virtuality, multiplicity, and difference of intensity, which together comprise his process ontology. I argue that Deleuze’s process ontology forms the basis of his transcendental aesthetics of sensation, specifically by focusing on his earlier work prior to his collaboration with Félix Guattari. This investigation uses the concepts of Agencement machinic as a method to study Deleuze’s aesthetics which is based on his establishment of nondiscursive art and nonverbal semiotics. This paper also argues that the displacement of Plato’s Idea by Deleuze’s intensive multiplicity endows a work of art with the highest ontological status in Deleuze’s transcendental empiricism. Throughout this paper, Deleuze’s process ontology is understood, used, and reinvented through the Documentation Art project, which creates experimental video art pieces from the digital documentation of the processes of Korean Bunche paintings, while not reducing a work of art to an expression of certain concepts. As a result, this paper shows how Documentation Art rejects the notion of representation stemming from Kant’s transcendental aesthetic, by making the invisible painting process visible, and explores unseen experimental capacities in Korean painting practices through the artistic singularization processes.

KW - Visual Arts and Performing Arts

U2 - 10.1080/14702029.2020.1742001

DO - 10.1080/14702029.2020.1742001

M3 - Journal article

VL - 19

SP - 160

EP - 178

JO - Journal of Visual Art Practice

JF - Journal of Visual Art Practice

SN - 1470-2029

IS - 2

ER -