Although ‘modern’ mental health care comprises a variety of theoretical approaches and practices, the supposed identification of ‘mental illness’ can be understood as being made on the basis of a specific conception of subjectivity that is characteristic of ‘modernity’. This is to say that any perceived ‘deviation’ from this characteristically ‘modern self’ is seen as a possible ‘sign’ of ‘mental illness’, given a ‘negative determination’, and conceptualized in terms of a ‘deficiency’ or a ‘lack’; accordingly, the ‘ideal’‘therapeutic’ aim of ‘modern’ (...) mental health care can be understood as the ‘rectification’ of that ‘deficiency’ through a ‘re-instatement’ of the ‘modern self’. Although contemporary mental health care is increasingly becoming influenced by the so-called ‘death’ of the ‘modern self’, this paper will suggest that it is the work of the 20th century French philosopher, Gilles Deleuze, that is able to provide mental health care with a coherent determination of a ‘post-modern self’. However, a Deleuzian account of subjectivity stands in stark contrast to ‘modernity’s’ conception of subjectivity and, as such, this paper will attempt to show how this ‘post-modern’ subjectivity challenges many of the assumptions of ‘modern’ mental health care. Moreover, acknowledging the complexity and the perceived difficulty of Deleuze’s work, this paper will provide an account of subjectivity that can be understood as ‘Deleuzian’ in its orientation, rather than ‘Deleuze’s theory of subjectivity’, and therefore, this paper also seeks to stimulate further research and discussion of Deleuze’s work on subjectivity, and how that work may be able to inform, and possibly even reform, the theoretical foundations and associated diagnostic and therapeutic practices of psychiatry, psychotherapy, and mental health nursing. (shrink)

To address the theological turn in phenomenology, this paper sets out critical arguments opposing the theist phenomenology of Michel Henry and Gilles Deleuze’s philosophy of the event. Henry’s phenomenology has been overlooked in recent commentaries compared with, for example, Jean-Luc Marion’s work. It will be shown here that Henry’s philosophy presents a detailed novel turn in phenomenology structured according to critical moves against positions developed from Husserl, Heidegger, and Merleau-Ponty. This demonstration is done through a strong contrast with Deleuze and (...) a short engagement with Quentin Meillassoux. The paper presents an argument against the theological turn on the grounds that it misunderstands the form of affectivity when compared to Deleuze’s work on affect and event. It will be argued that Henry’s search for a free-standing affect deduced as a condition for any appearance underplays the way any affect is included in many causal and transcendentally determined series such that any notion of the pure affect independent of other processes is a fiction. The loss of this pure affect entails the questioning of the theological turn in Henry. (shrink)

Through the philosophies of Bergson and Deleuze, my paper explores a different theory of time. I reconstitute Deleuze’s paradoxes of the past in Difference and Repetition and Bergsonism to reveal a theory of time in which the relation between past and present is one of coexistence rather than succession. The theory of memory implied here is a non-representational one. To elaborate this theory, I ask: what is the role of the “virtual image” in Bergson’s Matter and Memory? Far from representing (...) the simple afterimage of a present perception, the “virtual image” carries multiple senses. Contracting the immediate past for the present, or expanding virtually to hold the whole of memory (and even the whole of the universe), the virtual image can form a bridge between the present and the non-representational past. This non-representational account of memory sheds light not only on the structure of time for Bergson, but also on his concepts of pure memory and virtuality. The rereading of memory also opens the way for Bergsonian intuition to play an intersubjective role; intuition becomes a means for navigating the resonances and dissonances that can be felt between different rhythms of becoming or planes of memory, which constitute different subjects. (shrink)

'A Differential Play of Forces' is a study of transcendental empiricism in musical contexts. It presents a reading of Gilles Deleuze and Félix Guattari’s philosophical apparatus and explores how music can be thought of as functioning in the operation Deleuze terms transcendental empiricism. Central to transcendental empiricism is the idea of an encounter with intensive difference and the consequent experience of intensive and virtual forces. The thesis sets out to explore this idea in three interwoven steps. First, it develops transcendental (...) empiricism as a philosophical framework, expounding central notions related to time and aesthetic experience. In the context of this philosophical apparatus, music is then discussed as an encounter with intensity and what this may entail for our understanding of musical experience and its potential. The third part of the thesis explores the idea of experiencing intensive forces through music in the thinking and poietic of three composers of the twentieth century: Arnold Schönberg, Olivier Messiaen and Giacinto Scelsi. The thesis develops three ‘images of thought’ corresponding, respectively, to the composers’ expressed theoretical ideas, identifying central concepts from Deleuze and Guattari’s philosophy. A mutual illumination of ideas about music and transcendental empiricism is thus presented, pointing towards a possible convergence between theory and practice, thinking and aesthetic experience as a differential play of intensive forces. (shrink)

This article examines the role of concepts in the so-called 'new' empiricism that is currently emerging from the writings of Gilles Deleuze. It asks what concepts are, and how they might be put to work to present the 'pure difference' of the empirical world. In addressing these questions, a number of parallels and contrasts are drawn between the writings of Deleuze and Max Weber. It is shown that many of Deleuze's key arguments about concepts- in particular, that they are pedagogical, (...) multiple, networked and problem-oriented in basis - are anticipated by Weber's sociological methodology of concept formation. This leads, finally, to a consideration of whether the creation of concepts as a practice belongs primarily within the domain of philosophy (as argued by Deleuze), or if it is a key part of social scientific work more generally. (shrink)

This article sketches a new image of musical works, situated beyond the «work concept», critically rethinking existing music ontologies, and grounded on Gilles Deleuze’s central ontological commitments. After situating the problem, the paper discusses current issues in music ontology, explores specific Deleuzian and Deleuzo-Guattarian ontological concepts, and argues for a new image of musical works, which are more aptly described as assemblages, as highly complex, historically constructed multiplicities defined by virtual structures, intensive processes, and actual things.

Deleuze's use of thermodynamics in the fifth chapter of his masterwork Difference and Repetition ushers in perhaps the most crucial notion for understanding this work: intensity. Given that the process of actualisation relies on the intensive necessarily means that any discussion of the relationship between the virtual and the actual must include a thorough explanation of the role of intensity, and where exactly this notion sits within the virtual–actual doublet. As such, we must return to the fifth chapter of Difference (...) and Repetition in order to assess the way in which Deleuze conceives of this complex and indispensable cog in his ontological and metaphysical philosophy. In this paper we turn, then, to Deleuze's engagement with the theories of the intensive as found in classical thermodynamic theory. Quite simply, Deleuze will highlight the way in which the productive force of differences in intensity remains under-appreciated in contrast to the extensive states they create in this classical framework. We can understand this engagement, then, as an example of the way in which the extensive is continually privileged over the intensive. In this paper we will outline the details of the engagement between Deleuze and thermodynamics, as this paves the way for his own philosophy of intensity. Furthermore, we will provide a theory of the relationship between intensity, the virtual and the actual as these notions appear in Difference and Repetition. (shrink)

This paper will explore the notions of intensity, the virtual/actual and different/ciation in Gilles Deleuze's work. It will focus in particular on excavating the Bergsonian dimension of these terms in Deleuze's philosophy and their relations to one another. While much has been written on the role of Bergson in shaping Deleuze's virtual/actual philosophy, far less attention has been paid to the way in which Deleuze's thoughts on intensity and the movements of different/ciation are also developed out of his reading of (...) Bergson. To address this I will explicate the ‘triple form of difference’ that Deleuze locates in Bergson, which includes renditions of intensity and the process of differentiation, after which I will map the movements from this early Bergsonian work to Deleuze's mature position on the matter, as it is found in the final chapter of Difference and Repetition. (shrink)

The aim of this paper is to provide a close reading of Deleuze's complex account of Freud's Beyond the Pleasure Principle in Difference and Repetition. The first part provides a reading of Beyond the Pleasure Principle itself, showing why Freud feels the need to develop a transcendental account of repetition. In the second, I show the limitations of Freud's account, drawing on the work of Weismann to argue that Freud's transcendental model mischaracterises repetition. In the third part, I show how (...) Freud's account of the death drive is shadowed by Deleuze's own non-representational transcendental account. (shrink)

According to a widespread view, one of the most important roles of education is the nurturing of common sense. In this article I turn to Gilles Deleuze’s concept of sense to develop a contrary view of education—one that views education as a radical challenge to common sense. The discussion will centre on the relation of sense and common sense to thinking. Although adherents of common sense refer to it as the basis of all thought and appeal to critical thinking as (...) instrumental in eliminating its occasional errors, I shall argue, following Deleuze, that common sense education in fact thwarts thinking, while only education which revolves around making sense may provoke thinking that goes beyond the self-evident. I demonstrate how making sense can become an educational encounter that breaks hierarchies and generates thinking independently of the thinker’s knowledge and place in the sociopolitical order. The present article attempts, therefore, to put some sense into Deleuzian education for thinking, and thereby shed new light on its radical-political, counter-commonsensical power. (shrink)

This paper introduces Deleuze’s philosophy of becoming in a system theoretic framework and proposes an alternative ontological foundation to the study of systems and complex systems in particular. A brief critique of systems theory and the difficulties apparent in it is proposed as an introduction to the discussion. Following is an overview aimed at providing access to the ‘big picture’ of Deleuze’s revolutionary philosophical system with emphasis on a system theoretic approach and terminology. The major concepts of Deleuze’s ontology—difference, virtuality, (...) multiplicity, assemblages, quasi-causation, becoming, intensity and progressive determination are introduced and discussed. Deleuze’s work is a radical departure from the dogma of western philosophy that guides the foundations of science and systems theory. It replaces identity with difference and being with becoming; in other words, it provides systems theory with an ontological ground based on change, heterogeneity and the inexhaustible novelty-producing process that underlies all phenomena. The conceptual tools made available by this philosophy seem to capture the fundamental aspects of complexity and complex systems much better than the current conceptual system that is based on static transcendent ontological entities. (shrink)

OVERVIEW. The concept of emergence – which I define as the (diachronic) construction of functional structures in complex systems that achieve a (synchronic) focus of systematic behaviour as they constrain the behaviour of individual components – plays a crucial role in debates in philosophical reflection on science as a whole (the question of reductionism) as well as in the fields of biology (the status of the organism), social science (the practical subject), and cognitive science (the cognitive subject).1 In this essay (...) I examine how the philosophy of Deleuze and that of Deleuze and Guattari2 can help us see some of the most important implications of the debate on the status of the organism, as well as prepare the ground for a discussion of the practical and cognitive subject. (shrink)

This article proposes that Deleuze’s psychoanalytically inspired theory of humour and irony provides an underappreciated way to theorize acts of resistance that adopt a structurally perverse position towards a law or authority. In his books Coldness and Cruelty and Difference and Repetition, Deleuze explains that the law is susceptible to two kinds of subversive procedure. The first, which he calls irony and which he aligns with sadism, reveals a gap between the law and its principles. The second, which he calls (...) humour and which he aligns with masochism, exposes a gap between the law’s interdictions and their consequences. For Deleuze, humour and irony harbour the potential to overturn or overthrow the law. Drawing on Lacanian psychoanalytic theory and contemporary examples – alt-right ‘free speech’ demonstrations in the United States and protests surrounding Russia’ s 2012 parliamentary elections – the article argues that Deleuze overstates the transformative potential of perversion. Nevertheless, his account remains useful for showing the circuitous routes that some subjects take to enjoy their position within the law. Given the global rise in right-wing authoritarianism in recent years, this may prove to be an important insight. (shrink)

Deleuze and Guattari’s concept of art has been interpreted in the context of the opposition between modernism and contemporary art, and then it is either attributed only to modernism, which gives priority to the aesthetic dimension of art, or it is argued that we must see its potential to create “new connections.” These opposing views are expressed by Stephen Zepke and Simon O’Sullivan. However, Deleuze and Guattari’s artistic sensation is not a sensory perception, it is the main concept of their (...) logic of sensation, encompassing both the sensory and the conceptual-virtual dimensions. In the article, I seek to demonstrate that Deleuze and Guattari’s artistic sensation, encompassing both of these dimensions, relates to the general context of Deleuze and Guattari’s philosophy and resonates with the aesthetic and semantic dimensions of contemporary art projects. Discussing Thomas Feuerstein’s installation Prometheus Delivered I demonstrate in what ways the notion of the logic of sensation expands the field of the interpretation of this work of art. (shrink)

In this paper, I offer an account of the conceptual shift that occurs between the work completed by Gilles Deleuze prior to 1969 and his later work with Félix Guattari, beginning in 1972 with Anti-Oedipus. Against previous interpretations, which have concentrated on the developments initiated by Deleuze, I argue for the primary importance of Guattari's influence, especially his insistence on a theory of “machinic processes.” The importance of these processes is made manifest in Deleuze and Guattari's move away from theories (...) of structuralism. In order to carry out this task, I offer a close reading of Guattari's essay “Machine and Structure.” This essay was first written as a review of Deleuze's acclaimed work in Difference and Repetition and Logic of Sense and formed the basis for Deleuze and Guattari's first meeting. In the concluding sections of the paper, I show how the integration of the concept of the machine allows Deleuze and Guattari to develop a theory of the unconscious that operates outside of the boundaries traditionally set by structuralist analysis. (shrink)

This paper both welcomes and explores the recent article in Nursing Philosophy by Dave Holmes and Denize Gastaldo. Holmes and Gastaldo's paper introduced us to Deleuze and Guattari's philosophical concepts of ‘arborescent thought’ and ‘rhizomatic thought’, respectively. These concepts were used to illuminate and critique certain aspects of contemporary nursing theory and educational practice. Arborescent thought is held to stifle and constrain the development of the discipline of nursing, while rhizomatic thought is presented as a more fitting way forward across (...) a diversity of knowledges and methods of inquiry. We are thus urged to engage in a metamorphosis from an arborescent way of thinking to a rhizomatic one. The paper below, while applauding the introduction of these concepts into nursing thought, raises some questions as to their proposed utility and relationship as given in the paper by Holmes and Gastaldo. This is done in a spirit of collaboration, motivated by a desire to further explore the philosophy of Gilles Deleuze (and Felix Guattari). (shrink)

The French philosopher, Gilles Deleuze, is emerging as one of the most important and influential philosophers of the 20th century, having published widely on philosophy, literature, language, psychoanalysis, art, politics, and cinema. However, because of the ‘experimental’ nature of certain works, combined with the manner in which he draws upon a variety of sources from various disciplines, his work can seem difficult, obscure, and even ‘willfully obstructive’. In an attempt to resist such impressions, this paper will seek to provide an (...) accessible introduction to Deleuze's work, and to begin to discuss how it can be employed to provide a significant critique and reconceptualization of the theoretical foundations and therapeutic practices of psychiatry, psychotherapy, and mental health nursing. In order to do this, the paper will focus upon Deleuze's masterwork, and the cornerstone to his philosophy as a whole, Difference and Repetition; in particular, it will discuss how his innovative and challenging account of time can be employed to provide a conception of human life as a ‘continuity’, rather than as a series of distinct ‘moments’ or ‘events’. As well as discussing the manner in which his work can provide us with an understanding of how life is different and significant for each human being, this paper will also highlight the potential importance of Deleuze's work for logotherapy, for the recent ‘turn’ to ‘narrative’ as a psychotherapeutic approach and for contemporary mental health care's growing interest in ‘social constructionism’. As such, this paper also seeks to stimulate further discussion and research into the importance and the relevance of Deleuze's work for the theory and practice of psychiatry, psychotherapy, and mental health nursing. (shrink)

In this article I will suggest ways in which adding the French philosopher Gilles Deleuze to the mix can complement and extend the 4EA approach to cognitive science. In the first part of the paper, I will show how the Deleuzean tripartite ontological difference (virtual/intensive/actual) can provide an explicit ontology for dynamical systems theory. The second part will take these ontological notions and apply them to three areas of concern to the 4EA approaches: (a) the Deleuzean concept of the virtual (...) will clarify the ontological status of perceptual capacity as sensorimotor skill; (b) the Deleuzean concept of “intensive individuation” will clarify the ontological status of the genesis of perceptually guided behavior; (c) the Deleuzean critique of confusing the actual and the virtual will enable us to intervene in the realism/idealism debate. These aspects will not be addressed sequentially but will be interwoven into an unfolding argument. (shrink)

The aim of this article is to give an account of a methodological link between drama and political theory. This account is drawn primarily from the early philosophical work of Deleuze. Following Deleuze, we will refer to it as ‘the method of dramatization’. We will argue that dramatization is a method aimed at determining the quality of political concepts by ‘bringing them to life’, in the way that dramatic performances bring to life the characters and themes of a play-script. We (...) demonstrate that this can be specified in relation to the development of this method in Deleuze's early philosophical work as a practical, critical and artistic method and, in relation to the ontological assumptions he articulated and defended in Difference and Repetition, as a process of intensification of the Idea of the political. By way of example, we discuss how the dramatization of the concept of ideology functions in Deleuze and Guattari's Anti-Oedipus and A Thousand Plateaus. We conclude with some lines of inquiry that could be pursued by political theorists looking to investigate further the dramatic nature of method in political theory. (shrink)

In Difference and Repetition, Deleuze claims that it is in virtue of a relation of expression which holds between intensive processes of individuation and virtual Ideas that the former determines the latter to be actualised in concrete entities. He is, however, less than forthcoming in this book about exactly how we should understand the relation of expression. This article addresses itself to this lacuna. It clarifies five characteristic features of the expressive relation, partly by drawing on Deleuze's discussion of the (...) relation of expression in Expressionism in Philosophy, party by examining familiar examples of expressive relations. It then maps these characteristic features of expression onto Deleuze's discussion of the relation between Ideas and intensity in Difference and Repetition, showing that virtual Ideas are ontologically inseparable from the intensive processes that both constitute and actualise them in the production of actual entities. By way of conclusion, this expressive account of the relation between the virtual, the actual and the intensive will be compared and contrasted with several leading accounts to be found in the secondary literature. (shrink)

Uncontainable Life: A Biophilosophy of Bioart investigates the ways in which thinking through the contemporary hybrid artistico-scientific practices of bioart is a biophilosophical practice, one that contributes to a more nuanced understanding of life than we encounter in mainstream academic discourse. When examined from a Deleuzian feminist perspective and in dialogue with contemporary bioscience, bioartistic projects reveal the inadequacy of asking about life’s essence. They expose the enmeshment between the living and non-living, organic and inorganic, and, ultimately, life and death. (...) Instead of examining the defining criteria of life, bioartistic practices explore and enact life as processual, differential, and always already uncontainable, thus transcending preconceived material and conceptual boundaries. In this way, this doctoral thesis concentrates on the ontology of life as it emerges through the selected bioartworks: “semi-living” sculptures created by The Tissue Culture and Art Project and the performance May the Horse Live in Me by L’Art Orienté Objet. The hope is that such an ontology can enable future conceptualisations of an ethico-politics that avoids the anthropocentric logic dominant in the humanities and social sciences. (shrink)

Read 'What can Economists Learn from Deleuze?'...

In this research, the political relationality in-between life and expression is viewed on through Deleuze and Guattari’s rhizomatic anti-methodology. In the first part, the methodological context is elaborated and brought into relation with Arendt and Agamben's work. After Part I Dispositioning a Milieu in which I dispose the conceptual and paradigmatic frameworks of thinking within politics of flight; in Part II Exposition of Milieus the diversity of practices within the politics of flight are mapped out. This provides a politico-philosophical diagnosis (...) in which the relationships between bodies and expression are always carried out in the same way in each chapter: from form of content to form of expression to matter of expression to matter of content. Form of content is the territorial setting in which bodies are assembled in a certain way; these assemblies are strengthened by form of expression. Yet, forms break and degrade, they never fully touch the unthinkable reality. They do not always give room to the voices, gestures and images that defy the absoluteness of these forms. Yet, I end each chapter with the matter of content; which simply indicates life itself in all its varieties and in all its possible connections to a discourse. Each chapter ‘concludes’ with matter of content, due to the fact that, as I argue, life is the most neglected phenomenon in politics. The ending is however not for the sake of finality; but for the sake of a process. As a feedback loop this ‘recapitulation’ bends back toward the start; toward enforced forms of content and forms of expression, in order to create another form of politics. How do we express endlessness? How do we approach a limbo as a topos of in-between that escapes our discursive vocabulary of here versus there? (shrink)

What and how should individuals resist in political situations? While this question, or versions of it, recurs regularly within Western political philosophy, answers to it have often relied on dyads founded upon dogmatically held ideals. In particular, there is a strain of idealist political philosophy, inaugurated by Plato and finding contemporary expression in the work of Alain Badiou, that employs dyads (such as the distinction between truth and doxa or the privilege of thought over sense) that tend to reduce the (...) complexities of practices of resistance to concepts of commitment. Although these dyads have been challenged by, amongst others, poststructuralist theorists, this has often been at the cost of losing their structuralist heritage. This thesis develops an ontology proper to structuralism that engenders non-idealist and non-dogmatic, yet ethical, practices of resistance against commitment orientated accounts of resistance and the return of classical ontological dyads. The thesis begins with an examination of the extent to which a dogmatic use of idealism grounds the work of a prominent contemporary theorist, Alain Badiou. In developing his neo-Maoist metapolitics, Badiou follows both Platonic ontology and the Marxist tradition of dialectics by claiming that political practice can only be carried out in truth by paying fidelity to an event that ruptures the presented order of things. Chapter one opens with an exploration of Badiou's mathematic meta-ontology to draw out its three foundational dyads (truth/doxa; sense/intelligibility; is/is not). It is argued that although Badiou makes important criticisms of the preponderant trends of political philosophy, he is unable to support his own account of politics due to his dogmatic reliance on idealist principles. Chapter two begins by developing two accounts: first, of the relations between Badiou's work and that of his former teacher Louis Althusser and, secondly, the relations between Althusser's thought and that of Gilles Deleuze, in particular his reading of David Hume. Discussion centres around the importance of the role that time plays within the works of all three authors, particularly in regard to the idea of the void. The chapter concludes with the argument that Hume's temporal idea of human nature is the key to a symptomatic reading of Althusser that accounts for the persistence of ideas in the latter's social theory. In chapter three, Deleuze's reading of Hume's idea of relations is developed to take into account Bergson's theory of time. Read in contrast to Quentin Meillassoux's speculative realism, the chapter argues that Deleuze's account of temporal relations informs Althusser's social theory to create the ontological grounds for non-dogmatic and non-idealist practices of resistance. These practices are developed in chapter four with an unlikely turn to John Stuart Mill's idea of genius, the metaphysical property of the individual that signifies the discovery of new truth. The chapter begins with an argument that there is an under-developed account of ethics in Deleuze's work. Distinguishing the idea of genius from both Mill's moral philosophy, as well as from utilitarian thought more generally, the idea of genius is sutured onto Deleuze's ontological account of individuation. Read alongside Althusser's social theory, which accounts for the non-idealist conceptualisation of situations, this suture creates an ethically oriented structuralist ontology. The thesis concludes with the argument that the idea of genius is the ethical imperative that motivates practices of resistance. When individuals are understood as embodied within situations, practices of resistance are conceptualised not against other components of a situation, but contra them, taking them into account in order to amplify, multiply and transform the individual's potential within a situation. (shrink)

Twentieth-century thought appears as a collective project aimed at dismantling metaphysical hierarchies in all their relays across the fields of human culture. Central to this project has been the...

Past and future coalesce in discussions of LGBTI rights, often embedded in narratives of progress, civilisation, colonisation and emancipation. An understanding of these dynamics can help to illuminate the complex power relations that currently striate international LGBTI rights discourses. This paper analyses how temporality operates in the context of international LGBTI rights through an examination of the World Bank’s withdrawal of a $90 million loan to Uganda after the passage of the Anti-Homosexuality Act 2014. To do this, the paper juxtaposes (...) postcolonial critiques of the ongoing international legal reproduction of the colonial encounter, with a Deleuzian conception of law’s ‘virtual memory’. These two theoretical lenses are used to show how attempts to advance LGBTI rights can reproduce problematic civilisational binaries, through which the Global North seeks to manage the unruly or ‘uncivilized’ Global South. These civilisational and spatial dichotomies are often obscured by un-interrogated ‘grand narratives’ of progress and by the codification of specific, narrow forms of rights protections. As such, the paper argues that in order to better advance current and future frameworks for sexual orientation and gender identity justice, we must undertake a more attentive encounter with the past. (shrink)

This thesis attempts to describe and interpret the design practice of an American architect, Frank O. Gehry through concepts developed by French philosopher Gilles Deleuze and his collaborator, French psychotherapist, philosopher and activist, Félix Guattari. At the same time, prototyping a website-based interactive project called PLATEAU GEHRY_CONNECTIVES, it explores an alternative form for the Doctoral thesis. In addition to connections with visual arts, such as painting and cinema, the experimental project PLATEAU GEHRY_CONNECTIVES includes references to concepts and phenomena from various (...) areas of knowledge revealing distinctive, unusual qualities of Gehry’s creative approach in the production of design artefacts. The thesis documents and discusses means of representation in architectural design fused into the specific creative culture of Frank O. Gehry. It notices that the discourse in architectural theory and practice, often neglects what occurs on a particular molecular level of the architectural design process. It shows that elements of micro-level of design procedures render Gehry’s idiosyncratic design phenomena intelligible and perceptible in a new way. It claims that it has been possible because Deleuze and Guattari’s concepts become perceptibly operational in the interpretation of such phenomena, at the level of elementary units of Gehry’s design procedures. Moreover, through this close-up perspective, the thesis’ investigations identify certain similarities in the operational modes of the architect and the painter. It demonstrates how Gehry, who has anchored his interest in painting, and specifically in what he defined as ‘immediacy in painting,’ was able to transform the practice of architectural drawing from projective to a cognitive one. It also shows, how the architect re-defines the commonly applied projective geometries from passive, arbitrary role to an active agent, and how the architect links drawing practice with the construction process on a new, almost palpable level. While stressing its the manual character, the thesis demonstrates that Gehry’s explorative culture of challenging means of representation employed in architectural design production facilitates the re-disciplining of architecture culminating in the integration of the CATIA system in the design procedures. This study of Gehry’s design actions and strategies can help the reader to understand the significance of experimental and intuitive design practices. The thesis proposes the Deleuzian interpretation of Gehry’s experiments in the aesthetics of design thinking and acting. It renders perceptions of patterns, according to which, other design practices can operate. (shrink)