ORCID Profile
0000-0002-7024-9771
Current Organisation
RMIT University
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Publisher: Edinburgh University Press
Date: 11-2018
DOI: 10.3366/EDINBURGH/9781474429344.001.0001
Abstract: Practising with Deleuze offers the first systematic reading of Gilles Deleuze’s mature philosophy from the perspective of contemporary creative practitioners, including fine artists, a dancer, a creative writer, designer and philosopher. It offers a way of rethinking notions of aesthetics, art, and creativity within the field of practice. Unconventional in presentation, this book is reflective of the engagement of contemporary creative practices with the generative philosophy of Deleuze. Each chapter focuses on a key aspect of production - practising, forming, framing, experiencing, and encountering - and is accompanied by short summary texts outlining the context of Deleuze’s contributions to each of these aspects. These discussions contextualise Deleuzian thought within a range of practices. In so doing, they enable the reader to approach these philosophical concepts within the milieu of creative practice.
Publisher: Edinburgh University Press
Date: 24-05-2018
DOI: 10.3366/EDINBURGH/9781474429344.003.0006
Abstract: Encounters are immanent to the event of art, whereby an artwork may be understood by way of the singularities, the differences in intensity, it generates. As an event, art expresses encounters between bodies, surfaces, affects, concepts and percepts. Thinking about artworks in these terms opens up the materiality of art, exposing more of its extensive and intensive properties. It also calls attention to the co-constitution of events of art in erse spatial, temporal and affective encounters. This argument is developed throughout this chapter by way of a description of the author’s painting practice and intensive encounters with the work of Agnes Martin. Art as an event draws attention to the activity of surfaces and the ways encounters between surfaces, immanent to the work, co-constitute the work of art in space and time.
Publisher: Ubiquity Press, Ltd.
Date: 2019
DOI: 10.5334/MJFAR.43
Publisher: Bloomsbury Academic
Date: 2014
Publisher: SAGE Publications
Date: 17-11-2020
Abstract: This article explores the links between habit, fashion and subjectification to extend analysis of the clothed body beyond the semiotic frames that have tended to dominate discussions of fashion across the social sciences and humanities. Our goal is to explain how fashion’s erse materialities participate in the modulations of subjectivity, affecting bodies in erse encounters between matter, signs and practices. We develop our analysis by way of Gilles Deleuze’s discussion of encounters, habit and memory. Our principal contention is that fashion may usefully be theorised in terms of specific habits of coordination by which affects, memories, sensations and desires are transmitted between bodies in varied spatial, temporal, material and affective encounters. Following the work of John Protevi, we argue that such coordination expresses a distinctive mode of subjectification according to the specific encounters immanent to it. We ground this discussion in detailed analysis of the work of Melbourne artist Fiona Abicare. Abicare’s installation and performance-based practice invokes the affective and habitual aspects of fashion as each is instantiated in encounters between bodies. Abicare’s attention to the habits and memories of the clothed body alludes to the varied practices of subjectification by which erse subjects of fashion emerge.
No related grants have been discovered for Andrea Eckersley.