This is an exciting new collection of essays exploring the relevance of Deleuze and Guattari's work in contemporary aesthetics and political theory.Gilles Deleuze and Felix Guattari have arguably gone further than anyone in contemporary philosophy in affirming a philosophy of creation, one that both establishes and encourages a clear ethical imperative: to create the new.In this remarkable undertaking, these two thinkers have created a fresh engagement of thought with the world. This important collection of essays attempts to explore and extend the creative rupture that Deleuze and Guattari produce in the "Capitalism and Schizophrenia" project.The essays in this volume, all by leading thinkers and theorists, extend Deleuze and Guattari's project by offering creative experiments in constructing new communities - of ideas and objects, experiences and collectives - that cohere around the interaction of philosophy, the arts and the political realm. "Deleuze, Guattari and the Production of the New" produces new perspectives on Deleuze and Guattari's work by emphasising its relevance to the contemporary intersection of aesthetics and political theory, thereby exploring a pressing contemporary problem: the production of the new.

This book explores the historical and contemporary connections between art and politics in Colombia. These relations are unique because of the ways in which they are saturated by violence, as the country has passed through conquest, struggles for Independence, fighting between political factions, civil war, paramilitaries, narco-traffickers and state violence. This seemingly unending stream of violence gives art in Colombia one of its main themes. The lavishly illustrated essays, written by Colombian authors, examine Colombian visual arts, music, theatre, literature, cinema, indigenous arts, popular culture, militant publications and recent protest movements, analysing them with tools drawn from contemporary philosophy and theory. Approaches include decolonisation theory, cosmopolitics, anthropology after the ontological turn, Colombian philosophy, feminism, and French theory. The essays all offer powerful understandings of how art has not only been complicit in perpetuating political violence in Colombia, but also how it has been a vital form of analysis and resistance.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

The aim of this book is to understand what Deleuze and Guattari mean by "art." Stephen Zepke argues that art, in their account, is an ontological term and an ontological practice that results in a new understanding of aesthetics. For Deleuze and Guattari understanding what art "is" means understanding how it works, what it does, how it "becomes," and finally, how it lives. This book illuminates these philosophers' discussion of ontology from the viewpoint of art-and vice versa-in a thorough questioning of aesthetic criteria as they are normally understood.

Michel Foucault once suggested that the twentieth-century would be known as 'Deleuzian'; certainly, in the field of contemporary art, this prediction appears to have been accurate. But what, we might ask, is at stake in this take up of Deleuze and Guattari's thought? What are its limits and its possibilities? Deleuze and Contemporary Art addresses these questions in presenting a series of experimental and explorative inflections on the 'and' of the book's title. From those who explicitly address the political and the expanded 'aesthetic paradigm' of art practice today, to those more concerned with specific scenes and encounters or who rethink the question of technology in relation to art, this collection contains work at the cutting edge of this new area of enquiry. Containing essays by philosophers and artists, as well as writers from outside the Anglo-American world, this collection is an exercise in transversality - an intervention into the field of Deleuze and Guattari Studies and contemporary art. Contributors include Gustavo Chirolla Ospina, Suely Rolnik, Gerald Raunig, Stephen Zepke, Eric Alliez, Maurizio Lazzarato, Jussi Parikka, Johnny Golding, David Burrows, Robert Garnett, Simon O'Sullivan, Edgar Schmitz, Claudia Mongini, Elisabeth von Samsonow, Barbara Bolt, Neil Chapman and Ola Stahl. Stephen Zepke is an independent researcher. Simon O'Sullivan is a Senior Lecturer in Visual Cultures at Goldsmiths, University of London. They co-edited Deleuze, Guattari and the Production of the New (2008).

Stephen Zepke shows how the idea of sublime art waxes and wanes in the work of Jean-Francois Lyotard, Gilles Deleuze and Felix Guattari, Jacques Derrida, Jacques Ranciere and the recent Speculative Realism movement.

Stephen Zepke shows how the idea of sublime art waxes and wanes in the work of Jean-Francois Lyotard, Gilles Deleuze and Felix Guattari, Jacques Derrida, Jacques Ranciere and the recent Speculative Realism movement.

Gilles Deleuze and Felix Guattari have arguably gone further than anyone in contemporary philosophy in affirming a philosophy of creation, one that both establishes and encourages a clear ethical imperative: to create the new. In this remarkable undertaking, these two thinkers have created a fresh engagement of thought with the world. This important collection of essays attempts to explore and extend the creative rupture that Deleuze and Guattari produce in the Capitalism and Schizophrenia project. The essays in this volume, all by leading thinkers and theorists, extend Deleuze and Guattari's project by offering creative experiments in constructing new communities - of ideas and objects, experiences and collectives - that cohere around the interaction of philosophy, the arts and the political realm. Deleuze, Guattari and the Production of the New produces new perspectives on Deleuze and Guattari's work by emphasising its relevance to the contemporary intersection of aesthetics and political theory, thereby exploring a pressing contemporary problem: the production of the new.

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A close examination of the relationship between media, art, and the "Electra complex" The feminist counterpart to Deleuze and Guattari's Anti-Oedipus, Anti-Electra is a philosophy of "the girl" as a model of contemporary transgressive subjectivity. Elisabeth von Samsonow asserts that focusing on the girl's escape from the Oedipus complex leads to a fundamental shift in our most common views on media and art. Presenting an interpretation of contemporary technics, Anti-Electra argues that technology today encompasses Electra's gadgets and toys. According to von Samsonow, satellite drive technologies such as wireless telephones, WLAN, and GPS echo the "preoedipal constellation" that the girl specializes in. And with the help of the girl, the cartography of overlapping zones between humankind and animals, as well as between humankind and apparatuses, is redesigned through what the book holds as a "radical totemism." Anti-Electra ultimately offers a new view on gender, the contemporary world dyed by symbolic girlism, and the (universal) girl in critical dialogue with media, ecology, and society.