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rouwverwerking --- eros --- schizofrenie --- dood --- Deleuze, Gilles --- Freud, Sigmund --- Psychology

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This book draws on the theatrical thinking of Samuel Beckett and the philosophy of Gilles Deleuze to propose a method for research undertaken at the borders of performance and philosophy. Exploring how Beckett fabricates encounters with the impossible and the unthinkable in performance, it asks how philosophy can approach what cannot be thought while honouring and preserving its alterity. Employing its method, it creates a series of encounters between aspects of Beckett’s theatrical practice and a range of concepts drawn from Deleuze’s philosophy. Through the force of these encounters, a new range of concepts is invented. These provide novel ways of thinking affect and the body in performance; the possibility of theatrical automation; and the importance of failure and invention in our attempts to respond to performance encounters. Further, this book includes new approaches to Beckett’s later theatrical work and provides an overview of Deleuze’s conception of philosophical practice as an ongoing struggle to think with immanence.

Aesthetics --- Theatrical science --- performances [creative events] --- performances (kunst) --- theater --- esthetica --- Engelse literatuur --- Deleuze, Gilles --- Beckett, Samuel --- Great Britain --- Ireland

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Artiste canadien qui combine les techniques cinématographiques traditionnelles avec les nouvelles technologies pour produire de superbes images, suggérant souvent des histoires oubliées. Son travail va du portrait video dramatique au paysage serein ou encore aux larges installations.

Art --- art [fine art] --- multi-channel video installations --- Douglas, Stan --- Video art. --- Art vidéo --- videokunst --- Douglas Stan --- Canada --- video-installaties --- film --- Deleuze Gilles --- kunst --- twintigste eeuw --- 7.071 DOUGLAS --- 791.45 DOUGLAS --- Video art --- Electronic art --- Experimental television --- Art, Modern --- Performance art --- Television --- Experimental films --- Douglas, Stan, --- Criticism and interpretation. --- videokunstenaars --- video artists --- #breakthecanon --- Time-based art

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Francis Bacon, logica van de gewaarwording verscheen in 1981, toen Gilles Deleuze en Francis Bacon wereldwijd bekendheid genoten. Voor de filosoof Deleuze is Bacon een kunstenaar die ‘prepicturale’ krachten tot uitdrukking wil brengen, een schilder van gewaarwordingen. In zeventien hoofdstukken gaat hij de confrontatie aan met het werk van Bacon door telkens een techniek of stijlelement gedetailleerd in kaart te brengen. Deze afzonderlijke analyses grijpen steeds meer in elkaar en komen uiteindelijk samen in een reflectie op Bacons werk als geheel. De concepten die Deleuze gaandeweg introduceert, geven niet alleen inzicht in de schilderkunst van Francis Bacon, maar vormen ook een onmisbare schakel in Deleuzes filosofische ontwikkeling.

kunst --- 75.071 BACON --- 7.01 --- esthetica --- kunst en filosofie --- filosofie --- waarneming --- perceptie --- kunsttheorie --- Bacon Francis --- twintigste eeuw --- Groot-Brittannië --- schilderkunst --- kunstfilosofie --- Painting --- Logic --- figurative art --- Aesthetics --- logic --- painting [image-making] --- aesthetics --- Bacon, Francis --- Cézanne, Paul --- Gogh, Vincent van --- Gauguin, Paul --- Psychology. --- Bacon, Francis, --- MAD-faculty 15 --- 75.07 --- Deleuze, Gilles 1925-1995 (°Parijs, Frankrijk) --- Bacon, Francis 1909-1992 (°Dublin, Ierland) --- Schilderkunst ; 20ste eeuw ; Francis Bacon --- Filosofie ; kunstfilosofie ; 20ste eeuw ; Gilles Deleuze --- Schilderkunst ; schilders A-Z --- 1.07 --- Filosofie ; filosofen (A - Z) --- kunstfilosofie. --- Bacon, Francis. --- Cézanne, Paul. --- Van Gogh, Vincent. --- Gauguin, Paul. --- Van Gogh, Vincent

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Key writings by artists and theorists chart the shifting relationship between film and photography and how the rise of cinema forced photography to make a virtue of its stillness. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism. Still photography—cinema's ghostly parent—was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on—including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David—documenting the photography-film dialogue that has enriched both media.

Whitechapel Art Gallery. --- Cinematography --- Photography, Artistic --- Whitechapel Art Gallery --- kunst --- twintigste eeuw --- eenentwintigste eeuw --- kunst en fotografie --- kunst en film --- fotografie --- film --- video --- Akerman Chantal --- Antonioni Michelangelo --- Coleman James --- Crewdson Gregory --- Dean Tacita --- Doherty Willie --- Douglas Stan --- Gordon Douglas --- Marker Chris --- McQueen Steve --- Muybridge Eadweard --- Ristelhueber Sophie --- Trockel Rosemarie --- Sherman Cindy --- Snow Michael --- Viola Bill --- Wall Jeff --- Warhol Andy --- Wenders Wim --- Barthes Roland --- Figgis Mike --- Baudrillard Jean --- Bellour Raymond --- Bragaglia Anton Giulio --- Burgin Victor --- Cartier-Bresson Henri --- David Catherine --- Deleuze Gilles --- Durand Régis --- de Duve Thierry --- Eisenstein Sergei --- Gaensheimer Susan --- Goldin Nan --- Gunning Tom --- Metz Christian --- Mulvey Laura --- Moholy-Nagy Laszlo --- Newhall Beaumont --- Orlow Uriel --- Pasolini Pier Paolo --- Penley Constance --- Prince Richard --- Reich Steve --- Rim Carlo --- Sontag Susan --- Stimson Blake --- Tarantino Michael --- Varda Agnès --- Wollen Peter --- 7.01 --- 7.038 --- 77.01 --- 791.41 --- Cinematography. --- Photography, Artistic. --- Fotografie ; theorie, filosofie, esthetica --- 791.43.01 --- Kunsttheorie ; relatie film en fotografie ; bewegend versus stilstaand beeld --- Cinematografie --- Het filmische in de fotografie --- Het fotografische in de film --- Kunst ; theorie, filosofie, esthetica --- Filmkunst ; theorie, filosofie, esthetica --- film [performing arts] --- hedendaagse kunst --- Film --- photography [process] --- Contemporary [style of art] --- Photography --- Goldin, Nan --- Eisenstein, Sergei M. --- Pasolini, Pier Paolo --- Muybridge, Eadweard --- Sontag, Susan --- Cartier-Bresson, Henri --- Wall, Jeff --- Kracauer, Siegfried --- Wenders, Wim --- Moholy-Nagy, László --- Akerman, Chantal --- Artistic photography --- Photography, Pictorial --- Pictorial photography --- Art --- Chronophotography --- Aesthetics --- Animated pictures --- Motion pictures --- Whitechapel Gallery --- Whitechapel Art Gallery, London --- Iconographie --- Art contemporain --- Processus de création --- Création artistique --- Cinéma --- Photographie --- Fotografie --- film [uitvoerende kunsten] --- film [discipline]