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Extra info for What Is Art Education?: After Deleuze and Guattari

Example text

There is no ­imposition on sensation from the outside as in cinema. Re-collector does not impose its framing on the spectator; rather, the microtemporal frames that are assembled into images address the microtemporal frames of human sensation, and their coincidence (as direct material contact) makes possible the altering of habit. Brushing the potential paranoia of such an installation aside (the feeling of always being observed), Hansen’s point is such asubjective (machinic) vision belongs as much to the human as it does to the machine.

Percepts address this Outside as well, a ­non-­human landscape in which we are already immersed in, ‘the impression of a fictive, foreign world, seen by other creatures, but also the presentment that this world is already ours, and those creatures, ourselves’ (Deleuze 2001 PI, 35). Percepts are closer to grasping the invisible forces that populate the universe and are hence cosmological, forcing forms of thought that enable us to think the Planet (a world-without-us) more so than the Earth as a world-in-itself (as does science).

Yet, in WP, Deleuze|Guattari place this ‘force work’ of deterritorialization in order that the generic ideas of ‘the human’ are imperceptibly transformed. Such artists are ‘anomalous’ as they create a Being of sensation that has not been released into the world-­ for-­us. But here incompossible worlds are made possible, as opposed to the usual ability of art that allows us to understand the perspective of others: the emic view of anthropology via novels and the like. 78 She carefully articulates as to why Fluxus experimentation answers to Deleuze|Guattari’s call for an art A CRITICAL INTRODUCTION TO WHAT IS ART EDUCATION?

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