Mubeen Sadhika | University of Madras chennai (original) (raw)
Papers by Mubeen Sadhika
In the view of this chapter, contemporary communication culture in India has to be reviewed with ... more In the view of this chapter, contemporary communication culture in India has to be reviewed with the philosophies of Deleuze and Bergson. Deleuze says that the control mechanisms have no variations as they represent mostly a numerical language in the form of codes, which is used for reading information or dismissing it. In India, controls operate in such a way that the state forces the customs and culture of people in a particular mould and the communication systems follow suit. This chapter examines the contemporary political enactments in India and the influence of the same on the citizens. The news, events, reports, stories and all forms of exchanges through media are not the only communicative materials subjected to controls, but the personal interchanges are also codified and enclosed in the regulations of control society. This chapter tries to establish how intuition can be a reliable state of communication and how the correspondence occurs in this state. This chapter tries to...
• "The theory of thought is like painting," says Gilles Deleuze in the book "Difference and Repet... more • "The theory of thought is like painting," says Gilles Deleuze in the book "Difference and Repetition." 1 Gilles Deleuze and Felix Guattari proposed the aesthetic theory to approach creative works like paintings and sculptures. Deleuze considers aesthetics in two irreducible domains. One is the theory of sensibility as the form of possible experience. Another is the theory of beautiful as the reflection of real experience. Deleuze thinks that art is a primordial event of natural forms. The art structures don't represent the socio-political aesthetics as Deleuze has said, "representation fails to capture the affirmed world of difference" 2. Art is perceived as a sensation. The sensation has three planes, "percept, affect and concept". Brain transforms a work of art into a "virtually visible" state. The effect of it results in an actual chaos. As Deleuze has said, the work resembles nothing, mimics nothing. It must 'subsist by itself', on its own, without pointing or referring back to the world outside it, which it would reflect, or to a subject which it would express. The creative work is worth on its own, it is by the essence that which stands right, that which stands: it is a 'monument' 3. Whatever be the model of expression, art stands on its own without any justification. The sensation and the effect caused by the art are preserved in them. The material that the art speaks about, when passed completely in the sensation or percept or affect, it is realised. The art and the sensation start coexisting and the relationship becomes eternal. "This eternal existence becomes a being of sensation, an autonomous compound, an affect and a percept. Affect becomes coloured, metal or stony, it engages everything in a becoming-colour or a becoming-sound, in a becoming-affect." 4 In this paper, I am going to throw light on some South Indian Artists' works. I am concerned about Deleuze's aesthetic philosophy in the space of those works and the political identity that these works generate. The art-aesthetics-politics relationship in contemporary Indian art scene needs to be addressed in terms of Deleuze's philosophy. The geographical and historical situation has to be read through Deleuze and Guattari's framework of thought. Because the theory of thought is like painting.
In the view of this chapter, contemporary communication culture in India has to be reviewed with ... more In the view of this chapter, contemporary communication culture in India has to be reviewed with the philosophies of Deleuze and Bergson. Deleuze says that the control mechanisms have no variations as they represent mostly a numerical language in the form of codes, which is used for reading information or dismissing it. In India, controls operate in such a way that the state forces the customs and culture of people in a particular mould and the communication systems follow suit. This chapter examines the contemporary political enactments in India and the influence of the same on the citizens. The news, events, reports, stories and all forms of exchanges through media are not the only communicative materials subjected to controls, but the personal interchanges are also codified and enclosed in the regulations of control society. This chapter tries to establish how intuition can be a reliable state of communication and how the correspondence occurs in this state. This chapter tries to...
• "The theory of thought is like painting," says Gilles Deleuze in the book "Difference and Repet... more • "The theory of thought is like painting," says Gilles Deleuze in the book "Difference and Repetition." 1 Gilles Deleuze and Felix Guattari proposed the aesthetic theory to approach creative works like paintings and sculptures. Deleuze considers aesthetics in two irreducible domains. One is the theory of sensibility as the form of possible experience. Another is the theory of beautiful as the reflection of real experience. Deleuze thinks that art is a primordial event of natural forms. The art structures don't represent the socio-political aesthetics as Deleuze has said, "representation fails to capture the affirmed world of difference" 2. Art is perceived as a sensation. The sensation has three planes, "percept, affect and concept". Brain transforms a work of art into a "virtually visible" state. The effect of it results in an actual chaos. As Deleuze has said, the work resembles nothing, mimics nothing. It must 'subsist by itself', on its own, without pointing or referring back to the world outside it, which it would reflect, or to a subject which it would express. The creative work is worth on its own, it is by the essence that which stands right, that which stands: it is a 'monument' 3. Whatever be the model of expression, art stands on its own without any justification. The sensation and the effect caused by the art are preserved in them. The material that the art speaks about, when passed completely in the sensation or percept or affect, it is realised. The art and the sensation start coexisting and the relationship becomes eternal. "This eternal existence becomes a being of sensation, an autonomous compound, an affect and a percept. Affect becomes coloured, metal or stony, it engages everything in a becoming-colour or a becoming-sound, in a becoming-affect." 4 In this paper, I am going to throw light on some South Indian Artists' works. I am concerned about Deleuze's aesthetic philosophy in the space of those works and the political identity that these works generate. The art-aesthetics-politics relationship in contemporary Indian art scene needs to be addressed in terms of Deleuze's philosophy. The geographical and historical situation has to be read through Deleuze and Guattari's framework of thought. Because the theory of thought is like painting.