جستجوی مقالات مرتبط با کلیدواژه "body without organs" در نشریات گروه "فلسفه و کلام"

In the later theory of desire, two important economies of desire can be identified according to Lacan and Deleuze; Different formulations of the expansion of desire, each of which creates special relationships with the subject and society. Deleuze, with the plan of schizoanalysis against psychoanalysis, is completely separated from the Freudian tradition and establishes a new form of the economy of desire. Against the Oedipal formulation of desire in Lacan, with continuous reference to a missing ultimate object, desire circulates in a vortex movement around an oedipal core, in Deleuze's anti-Oedipal scheme, the body becomes a desire machine. It is possible to produce and move desire in schizo and rhizomatic ways. In general, two types of economy of desire can be recognized here: interal-expansion of desire in Lacan and external- expansion of desire in Deleuze. Also, in Lacan, the concepts of lack and fantasy that organize the economy of desire, and in Deleuze, the concept of the body without organs by producing desire as force, formulate special forms of the relationship between desire and society.

Interactive art, with a new attitude, changes the classical approach to the status of the audience as ineffective observation and then, transforms he/she, into one of the main pillars of creating the work based on interaction and portability that it is considered a contemplative view of human from the view of postmodern philosophy. The philosophical view of Gilles Deleuze as one of the most sophisticated approaches to human life can be used to analyze the questions of this writing, which relates to the audience and its role in shaping the work of art. Also some terms such as Becoming, Rhizome and Body without organs which is proposed by Deleuze can be used in the analysis of audience behaviors. The questions are; Interactive art can be the equivalent the concept of Becoming And choices the audience facing with, how can related to the definition of the organs without body and the rhizome. For answering to the questions, the basic information was extracted from library and digital resources, then by using these documents, the position of the audience was described in an analytical-descriptive way with Deleuze's approach. As a result, it became clear that the audience of interactive art faces a set of potentials that, according to the definition of an organs without body, it is unique for each individual audience. Each person's choices guide the process of creating an art work in a random and irregular route, similar to rhizome`s concept; A structure that is built along the path and at the moment. Always being at the moment, between the potential and the actual thing that the audience's choices leading it, is the philosophical definition of Becoming. The importance of the present study is in finding the connection between postmodern philosophy and postmodern Art.

Deleuze’s theory of desire is based on the concepts of positivity and creativity; in fact this theory opposes the common Freudian psychoanalytical theory of desire in which desiring functions on the basis of an initial and primordial Lost, i.e. the experience of castration and losing the Mother because of Father’s prohibiting intervention in the infant’s relation with her. Deleuze, collaborated by Felix Guattari, try to give an explanation of desire in which, satisfying the Spinozist condition of immanence, there is no external and metaphysical force such as Freudian Oedipus complex which could universalize the structure of the desire and make its realization something merely repetitive. For this purpose, they introduce the formulation of desiring-machine. The creative and contingent aspect of the function of Deleuze’s desiring-machine, contradict to the fundamental subjection of Freudian desire to some kind of universal law and coercion. Furthermore, while the main normal Subject in Freudian theory of desire is the Hysteric, in Deleuzian formulation the default structure of subjectivity is schizophrenia; in other words, while Freud thinks of schizophrenia as a disorder and a deviation from the normal state, Deleuze sees it in most accordance with the creative nature of the Being; in his thought the centrality of the Hysteric in the Freudian theory of desire is a result of applying the Oedipus model coercively. Against, for Deleuze the subject is not an already being entity; it is merely the result and residue of desiring itself.