Teaching Contigencies: Deleuze, Creativity Discourses and Art

Teaching Contigencies: Deleuze, Creativity Discourses and Art

Soodabeh Salehi

Language: English

Pages: 333

ISBN: 2:00145588

Format: PDF / Kindle (mobi) / ePub

This dissertation, flying between aesthetics, visual arts, and political/cultural/historical
issues, traverses lines of stratification, and (de/re)territorialization to examine
uncertainties in making and teaching art. Inkeeping with a conviction that nothing is
unitary, that everything is always connected to countless others, Deleuze and Guattari’s
metaphor of rhizome is the central organizing element in my work. My research
questions what is meant by creativity, whether assumed to be a gift, talent, or innate
quality, and what is meant by teaching art inuniversity, which assumes creativity can be
organized and developed.
Differing discourses of creativity exhibit a general continuityof agreement that creation
takes place within chaos, and forms where chaos and order meet each other. I posit that
contemporary discourses of creativity hegemonically reinforce capitalism as a system of
nomadic power and of constant de/reterritorialization. All, in a capitalist system, is linked
to the construction of the urge to consume,and therefore the acceleration of capitalism
necessitates an increase in the rate at which we manufacture venues for consumption,
even in such innovative ways as by making creativity itself a consumable package. How
do we resist this?
From a Deleuzian point of view, creation is a becoming event, as destructive as
productive. Creativity, which is about freedom, occurs on a plane of immanence which
sifts chaos and multiplicity together to breaklines. Teaching, however, is on a “plane of
organization” where rigid and dichotomous segmentarities of personal and social life
operate. I suggest that artistic knowledge canbe theorized and taught, in the Schönian
sense, but creativity, a matter of “lines of flight,” is fundamentallyunrelated to artistic
knowledge. I argue that what canbe taught is technique, theory, and the material
language of media, and that these should be taught as explicit professional objectives, not
as “creativity.” We canteach the value of breaking away from the false seriousness of
creativity, with reference to Dada. We can teach the enjoyment of chaos and the
confrontation of it. We can teach resistance. We can teach a love of complexities. We can
teach play.

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The Love of Art: European Art Museums and Their Public

A Philosophical Enquiry into the Sublime and Beautiful (Penguin Classics)

Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment (Modern European Philosophy)

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theory, a person needs enough 38 knowledge of the field to create something new in the specific domain. Furthermore, a legislative style of thinking is significant for creativity (Sternberg and Lubart, 1996). The systems approach suggests that the manifestation of creativity is possible when it operates with the support of peers and within a system of cultural rules (Csikszentmihalyi, 1999).The systems approach emphasizes the interactions of people’s knowledge and thoughts with their actions

“diffuse influence and contradictory character” (1997, p. 117). Linda Hutcheon (1988) claims that “post-modernism goes beyond self-reflexivity to situate discourse in a broader context” (p. 41). Post-modernist approaches are so variable and diffuse that they bring the critics of post-modernism to say, in essence, since the term means everything, it means nothing. However, a more refined expression of such criticism of post-modernism is that it “means many things, [but] it does not mean

Guattari’s work, which I will discuss in another node. But it is useful to note here, that while some designate Deleuze and Guattari as post-structuralist, Deleuze and Guattari, themselves, rejected this designation; Guattari seriously attacks and describes post-modernism as a new wave of cynicism (Best and Kellner, 1991). Best and Kellner (1991) assert “Deleuze and Guattari do not explicitly adopt the discourse of the post-modern” (p. 31). Whether they are post-modern or not is not a matter for

inexorably onwards and upwards. Modernists emphasize reason and rationality as the source of progress (for those understood to possess it) in knowledge and society. Order created by rationality has superiority, in this point of view. According to modernists, efficiency is the result of greater order; disorder and chaos are antithetical to modernism. Modernism reckons everything not consonant with its definition of order as disorder and as “the other.” “Thus anything non-white, non-male,

(Descartes, 1987, pp. 30-31) In Descartes’ philosophy the relationship between subject and object is problematic. The object is something “out there” in the reality of the world, and the subject tries to know it. Hence, Descartes puts forward two separate worlds in his philosophy: the ideal inner world of the subject, and the outer world of the object. The problem for Descartes arises from this point: how can we connect the certainty of the inner mental world to the uncertainty of the knowledge

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