DELEUZE on seeing things differently

 pure metaphysician.” In his magnum opus Difference and Repetition, he tries to develop a metaphysics adequate to contemporary mathematics and science—a metaphysics in which the concept of multiplicity replaces that of substance, event replaces essence and virtuality replaces possibilit

1. the doctrine that physical objects result from the combination of matter and form.

 that in an art encounter we are forced to experience the “being of the sensible.” We get something that we cannot re-cognize, something that is “imperceptible”—it doesn’t fit the hylomorphic production model of perception in which sense data, the “matter” or hyle of sensation, is ordered by submission to conceptual form.

 to make matters even more complex, these terminological innovations shift from one work to the other. While claims of intentional obscurantism are not warranTED

For Deleuze, the task of art is to produce “signs” that will push us out of our habits of perception into the conditions of creation. When we perceive via the re-cognition of the properties of substances, we see with a stale eye pre-loaded with clichés; we order the world in what Deleuze calls “representation.” In this regard, Deleuze cites Francis Bacon: we’re after an artwork that produces an effect on the nervous system, not on the braiN