Aesthetics

Epistemology

Materiality (auditing)

Architecture

Philosophy

Sociology

Visual arts

Archaeology

Framing (construction)

Metaphysics

Ontology

Object (grammar)

Linguistics

Art history

Performance art

The arts

Art methodology

Contemporary art

History

IDEA JOURNAL

&#x0D; &#x0D; &#x0D; This paper is about the ontology, the materiality and logical structure of art. While I am not trained in the visual arts or architecture, nonetheless I see there are many points of overlap, regions of co-occupation, that concern art and philosophy, and it is these shared concerns that I want to explore. I want to discuss the ‘origins’ of art and architecture, but not the historical, evolutionary or material origins of art – an origin confirmable by some kind of material evidence or research – but rather, the conceptual origins of art, what concepts art entails, assumes and elaborates. These of course are linked to historical, evolutionary and material forces, but are nevertheless conceptually, that is to say, metaphysically or ontologically separable from them. Art, according to Deleuze, does not produce concepts, though it does address problems and provocations. It produces sensations, affects, intensities, as its mode of addressing problems, which sometimes align with and link to concepts, the object of philosophical production, the way philosophy deals with problems. Thus philosophy may have a place, not in assessing art, but in addressing the same provocations or incitements to production as art faces, through different means and with different effects and consequences.&#x0D; &#x0D; &#x0D;

Chaos, Territory, Art. Deleuze and the Framing of the Earth