The conditions of creation and the haecceity of music material
This article is an attempt to bring together, to produce an encounter between two thinkers who generated thoughts in an unnoticed neighbourhood – to realize an unconnected connection between Helmut Lachenmann and Gilles Deleuze. To do this, the origins and characteristics of Lachenmann's ‘aesth...
Gorde:
| Argitaratua izan da: | URI:https://journals.openedition.org/filigrane, |
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| Egile nagusia: | |
| Formatua: | Article ou chapitre numérique |
| Hizkuntza: | Anglais |
| Argitaratua: |
Filigrane
2024
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| Sarrera elektronikoa: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Gaia: | This article is an attempt to bring together, to produce an encounter between two thinkers who generated thoughts in an unnoticed neighbourhood – to realize an unconnected connection between Helmut Lachenmann and Gilles Deleuze. To do this, the origins and characteristics of Lachenmann's ‘aesthetic methodology’ are emphasized, entering then a dialogue between specific elements of such methodology and specific concepts of Gilles Deleuze – particularly those of ‘Haecceity’, ‘Erewhon’, ‘diagnostic function of art’, ‘capture of forces’, ‘body without organs’, ‘opinion’, ‘corporeity’, ‘fold’ and ‘latitude’. Through the discussion of philosophical and aesthetic convergences between a philosopher who wrote extensively on art, and a composer with strong philosophical interests, this article aims to contribute new understandings of art as philosophical practice. Moreover, it also claims that the radical ‘thingness’ of the philosophy of Gilles Deleuze and of the music of Helmut Lachenmann allow for new modes of perception, sensation and thought. |
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