Jean-Clet Martin offers an insightful reading of Deleuze, from the point of view of a student, a reader and a fellow philosopher with whom Deleuze himself corresponded about his work. The letter-preface that Deleuze provided for the original French publication of Variations testifies to the confidence that Deleuze had placed in him.Equally at home in Kant's critical philosophy, baroque art, the mathematics of the virtual and the Anglo-American novel, Martin delivers a philosophically rigorous and seductive literary-style reading of Deleuze's work which will serve the student and the Deleuze scholar equally well. This is the first translation of Martin's work in English and as such is essential reading for anyone dedicated to the study of Deleuze. Martin has provided a new postscript for the translation, which brings his text into the present and anticipates his new work that will rekindle the discussion on Deleuze's relationship to Hegel.

A detailed and inventive study of the thinking at work in modern painting, drawing on a formidable body of scholarly evidence to challenge modernist and phenomenological readings of art history, The Brain-Eye presents a series of interlinked 'case studies' in which philosophical thought encounters the hallucinatory sensations unleashed by 'painter-researchers.' Rather than outlining a new 'philosophy of art,' The Brain-Eye details the singular problems pursued by each of its protagonists. Striking readings of the oeuvres of Delacroix, Seurat, Manet, Gauguin, and Cezanne recount the plural histories of artists who worked to free the differential forces of colour, discovered by Goethe in his Colour Theory, in the name of a "true hallucination" and of a logic proper to the Visual. A rigorous renewal of the philosophical thinking of visual art, The Brain-Eye explores the complex relations between concept and sensation, theory and practice, the discursive and the visual, and draws out the political and philosophical stakes of the aesthetic revolution in modern painting.

A detailed and inventive study of the thinking at work in modern painting, drawing on a formidable body of scholarly evidence to challenge modernist and phenomenological readings of art history, The Brain-Eye presents a series of interlinked 'case studies' in which philosophical thought encounters the hallucinatory sensations unleashed by 'painter-researchers.' Rather than outlining a new 'philosophy of art,' The Brain-Eye details the singular problems pursued by each of its protagonists. Striking readings of the oeuvres of Delacroix, Seurat, Manet, Gauguin, and Cezanne recount the plural histories of artists who worked to free the differential forces of colour, discovered by Goethe in his Colour Theory, in the name of a "true hallucination" and of a logic proper to the Visual. A rigorous renewal of the philosophical thinking of visual art, The Brain-Eye explores the complex relations between concept and sensation, theory and practice, the discursive and the visual, and draws out the political and philosophical stakes of the aesthetic revolution in modern painting.