By Helen Palmer
This e-book is an unique exploration of Deleuze's dynamic philosophies of house, time and language, bringing Deleuze and futurism jointly for the 1st time. Helen Palmer investigates either the opportunity of inventive novelty and the pitfalls of formalism inside of either futurist and Deleuzian linguistic practices. via inventive and rigorous analyses of Russian and Italian futurist manifestos, the 'futurist' facets of Deleuze's language and suggestion are drawn out.
The style of the futurist manifesto is a literary and linguistic version that are utilized to Deleuze's paintings, not just every now and then while he writes explicitly within the variety of a manifesto but in addition in his previous writings comparable to distinction and Repetition (1968) and The good judgment of experience (1969). the best way avant-garde manifestos usually try to practice and insist their goals concurrently, and the issues which come up because of this, is an operation which might be perceived in Deleuze's writing. With a specific concentrate on Russian zaum, the ebook negotiates the philosophy at the back of futurist 'nonsense' language and the way Deleuze propounds analogous pursuits within the common sense of experience. This ebook significantly engages with Deleuze's poetics, finally suggesting that a number of linguistic types function synecdochically inside his philosophy.
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Additional resources for Deleuze and Futurism: A Manifesto for Nonsense
It shifts the perspective to the ‘in-between’, just as with the phonological opposition. In all three examples – phonology, synchrony/diachrony and the poetic function – Jakobson’s aim appears to be to operate in between two seemingly opposing temporal modes, thereby conflating them. Both ‘static’ and ‘dynamic’ systems operate statically and dynamically. As can be seen in the quote above, he presents synchrony as permanently dynamic while diachrony contains static invariants. This eliminates the difference between these through the acceptance that dynamism and stasis can coexist simultaneously.
Here are some examples from Khlebnikov’s list, with Kern’s additional explanations in parentheses. Goum – high as those trinkets of the sky, the stars, which are invisible during the day. From fallen lords (gosudari) goum takes the dropped staff Go. ) Laum – broad, flowing over the broadest area, knowing no confining shores, like a flooding river. ) Oum – abstract, surveying everything around itself, from the height of one thought. ) Izum – a leaping out of the borders of the everyday mind. )23 As these examples demonstrate, Khlebnikov uses affiliated sounds from the language to construct a network of associated and speculative meanings.
17 Co-authored by Khlebnikov and Kruchenykh, Worldbackwards is one of the most materially experimental of the zaum publications. Here anarchy resides within the form perhaps more than anywhere else, with letters of varying shapes, sizes and directions, deliberate mistakes, a variety of printing methods as well as handwriting, stencils, collage, rubber stamps and potato cuts. The emphasis is on irregularity and subversion, and in parts the reader has to physically turn the book around or upside down to read the words.