FROM THE SENSATION TO THE CONCEPT AND BACK: PHILO-AESTHETIC ENCOUNTERS BETWEEN PIERRE BOULEZ AND GILLES DELEUZE

According to Campbell, in Boulez, difference appears in a number of ways - from heterophony as a virtual line, through an accumulative development to athematism as a virtual form. [...]Deleuze translates Boulez's concepts of temps pulsée and temps non pulsée into the concepts of Chronos and Aion, where Aion designates the qualitative time of becoming, while Chronos the quantitative time of representative thought. The goal of this paper is to research these complex philosophical-aesthetic encounters between Boulez and Deleuze in order to shed light on the ways in which philosophical concepts are created based on art practices, and art practices on the basis of philosophy. If philosophy exists, it is because it has its own content.1 In this way, Deleuze clearly takes a stand against earlier (systemic) philosophers who, while creating their philosophies, were prescribing rules in regard to what art is and is not, and what artists should do in order to create art, as well as what observers and listeners should look and listen to for the purpose of proper reception.2 However, as with every philosophy and theory things are not that simple. In the book What Is Philosophy? which Deleuze co-wrote with Félix Guattari,3 these two philosophers gather together their decades long reflections by separating the whole of human activity into three domains - science, philosophy, and art. Science through its apparatus produces functions, philosophy creates concepts, while art as a differentia specifica in relation to these two activities possesses sensation.4 Even though each of them retains...