Gilles Deleuze | EPFL Graph Search

Gilles Deleuze est un philosophe français né à Paris dans le 17e arrondissement, le et mort par suicide dans cette même ville, dans le même arrondissement, le . Des années 1960 jusqu'à sa mort, Deleuze a écrit une œuvre philosophique influente et complexe, à propos de la philosophie elle-même, de la littérature, de la politique, de la psychanalyse, du cinéma et de la peinture. Jusqu'à sa retraite en 1988, il fut également un professeur de philosophie renommé. D'abord perçu comme un historien de la philosophie, car il a écrit des ouvrages sur des philosophes aussi divers que David Hume, Friedrich Nietzsche, Emmanuel Kant, Baruch Spinoza, Henri Bergson, Deleuze évolue vers une nouvelle définition du philosophe comme dans la Cité, soit un créateur en philosophie de mots nouveaux, de sens différents. Il revient néanmoins à l'histoire de la philosophie à la fin de sa carrière universitaire, en consacrant des ouvrages à Michel Foucault, François Châtelet et Gottfried Wilhelm Leibniz. Sa

The Value of Concepts in the Shared Design Practice

Dario Rodighiero

Gilles Deleuze was used to say that philosophers are creators of concepts, extracted by a continuous flux of thinking (Deleuze 1980). These concepts, during a period of intense exchange between disciplines in the 20th century, have not been limited to philosophy as they were employed in Computer Science and Design differently. On one hand, Computer Science uses concepts to stabilize technology language and design architectures (Ciborra 2004); on the other hand, Design makes use of concepts as a creative method in the design process (MoMA 1972). This presentation aims to bring together a common ground in order to establish a shared view that might be useful for the creation of design objects (visualizations, books, and web sites) within the project. Biography - Ciborra, Claudio. 2004. The Labyrinths of Information: Challenging the Wisdom of Systems. Oxford University Press. - Deleuze, Gilles. 1980. “Dernière Année, Vincennes.” Les Courses De Gilles Deleuze. https://www.webdeleuze.com/textes/48. - Museum of Modern Art (MoMA). 1972. Italy: the New Domestic Landscape Achievements and Problems of Italian Design. Edited by Emilio Ambasz. Greenwich, CT: New York Graphic Society. www.moma.org/calendar/exhibitions/1783.

2018

Creativity without critique: An inquiry into the aesthetization of alternative culture

Letícia Cabeçadas Do Carmo, Luca Giovanni Pattaroni, Yves Pedrazzini, Mischa-Sébastien Piraud

Based on a research in Lisbon, Geneva and Ljubljana, this paper aim to analyse the uses of the term “alternative” (along its formal and aesthetic registers) in order to tackle the question of the aesthetization of creativity, away from its critical dimension. The categories of “street art” and “urban creativity” are far from neutral. Indeed, they can be linked to very contrasted – and even opposed – - practices and urban worlds. In order to grasp those differences, we need to take a closer look at what is entailed in the concepts of “creativity” and “art”, analysing in particular their political dimension. We believe that it is the ambiguous polysemy of the notion of creativity – especially under the influence of the work of Florida (2002, 2012) – - that is the cause of many problems in the contemporary analysis of urban dynamics. Among other, contemporary conceptions of creativity tend to underestimate its vital (Bergson) and potentially subversive dimension – - as suggested by Theodor W. Adorno or Gilles Deleuze and Felix Guattari – - in order to accentuate its compatibility with economic imperatives. The tensions inhabiting creativity processes were central in the classic distinction by Williams between « dominant » and « alternative culture », On the other hand, we noted, in our recent researches in Lisbon, Geneva and Lisbon and Ljubljana, that the term « alternative » started to loose its critical dimension in the 90’s to become a marker of a certain range of capitalist compatible activities. More precisely, we defend the idea that the aesthetic register of the « alternative culture » – characterized by recycling practices, urban wastelands – tends to become devoid of its political implication and be used nowadays as a commercial niche (a process we can call « aesthetization »). To illustrate this question, we analyse various examples found in cultural places in Lisbon, Geneva and Ljubljana using visual and semiotic methods. This analysis will allow us to consider the aesthetic and discursive transformation of the “alternative” culture in those two politically and economically contrasted cities in relation with the broader influence of the ideology of the “creative city”.

2014

Creativity without critique: An inquiry into the aesthetization of alternative culture

Letícia Cabeçadas Do Carmo, Luca Giovanni Pattaroni, Yves Pedrazzini, Mischa-Sébastien Piraud

2014