In “Semblance and Event,” Brian Massumi, drawing on the work of William James , Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of. Following ideas, images, sensations and intense affects charted by William James, Alfred North Whitehead and Gilles Deleuze, Brian Massumi. Events are always passing; to experience an event is to experience the passing. But how do we perceive an experience that encompasses the just-was and the.
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Stefan rated it really liked it Nov 26, Here is Massumi’s description of one such in the work of Irwin: Felicity Colman – – Berg.
It came as something of a surprise when I realized that Semblance and Event: Massumi manages to bond the two through a distinction between syntactical style and vocabulary.
The paradox of content — Fourth movement. Events are always passing; to experience an event is to experience the passing. In lieu of an abstract, here is semblacne brief excerpt of the content: Request removal from index.
We’d be very wrong to conclude that his art cannot be event-like in the same way as contemporary dance by Cunningham, as championed by Massumi.
In “Semblance and Event,” Brian Massumi, drawing on the work of William James, Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of “semblance” as a way to approach this question.
You feel something niggling, like a stirring on the periphery of vision itching for you to turn your attention to it. Mark rated it really liked it Jun 03, Very few philosophers have done this as thoroughly and with such tenacious commitment to the ubiquity of becoming and event. It is an always-in-germ. This action is a participative meditation across art, science and philosophy.
Semblance and Event: Activist Philosophy and the Occurrent Arts by Brian Massumi
It nags at you. Indeed, the greater the order perhaps the greater the effect, when it finally comes. They work in relative ways between different states of order, jumping between them thanks — it is true — to disruptive sensory effects.
Pierre Bourdieu and the Visual Arts. I will attempt some commentary in what follows and gesture to possible sources of inspiration. On Deleuze’s Reversal of Time and Movement.
Semblance and Event: Arts of Experience, Politics of Expression
To ask other readers questions about Semblance and Eventplease sign up. The Dialectics Of Semblancr. Not every event is ‘Bam! Alan rated it it was ok Mar 20, Want to Read Currently Reading Read. If you are seeking a carefully argued, seamlessly logical, analytically constructed aesthetics or philosophy of art here, then forget it, this is not the book for you.
You think you feel a little disoriented, a tad dizzy perhaps. Find it on Scholar. It is, he argues, a question of abstraction, not as the opposite of the concrete but as a dimension of it: Monthly downloads Sorry, there semlbance not enough data points to plot this chart. Yet this syntax carries fearsome words, difficult neologisms, out-of-place technical terms, didactic distinctions between distant terms and complex propositions presented as fact.
Renee rated it really liked it May 26, History of Western Philosophy. Its motivations and portents are signs of a much wider problem with many positive and negative directions. If you are looking for an introduction or critique of James’s or Whitehead’s philosophies, this is again not for your eyes.
Arts of Experience, Politics of Expression. Experiences as Complex Events. Sign in to use this feature.
This is hard to justify, though, because his account of mutual transformation, of conjoined events, depends on an extreme account of the non-sensual as break and irruption of the pure. Jeremy Griffith rated it it was amazing Jun 08, However, even if correct, these qualms about direction and absolutes take nothing away from the deep value of Massumi’s book, which does not lie in any final conclusions, claims or position.
It is a beautifully written piece with complex rhythms interweaving philosophy, aesthetics, science and art-practice. Yes, it probably does, but the place for any assessment of the conflicting demands of logical abstraction and of the rigour of disciplines and carefully distinguished values is not in the reception of any single work.