Öz
Whether classic or modern, the great philosophers are often inventive stylists. It takes
only a slight direction of attention to recognize suddenly that Plato or Wittgenstein are poets
of philosophy, no less than Emerson, Nietzsche, Cavell, Deleuze and indeed many others. How
is it possible to separate their art of thinking from the writerly composition of concepts in a
space and time whose weaving of voice, rhythm, polyphony, and counterpoint seem so close
to musical creation? In fact, one cannot. Thinking and the expressive line are inextricably
intertwined in the great philosophical stylists.
Deleuze himself beautifully voiced this perspective in a lecture entitled, “What is the
Creative Act?,” presented at la FEMIS in 1991, which opens with the question, “What does it
mean to have an idea in cinema?” Deleuze notes an experience all too familiar to every creative
mind—having an idea is an event worth celebrating because its occurrence is rare and
unpredictable. To think, one must prepare a terrain and a context where an idea can germinate
and unfold because, as Deleuze says, “No one has an idea in general. An idea─like the one
who has the idea—is already dedicated to a particular field.... Ideas have to be treated like
potentials already engaged in one mode of expression or another and inseparable from the
mode of expression, such that I cannot say that I have an idea in general. Depending on the
techniques I am familiar with, I can have an idea in a certain domain, an idea in cinema or an
idea in philosophy.”i
Kaynakça
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Öz
Whether classic or modern, the great philosophers are often inventive stylists. It takes
only a slight direction of attention to recognize suddenly that Plato or Wittgenstein are poets
of philosophy, no less than Emerson, Nietzsche, Cavell, Deleuze and indeed many others. How
is it possible to separate their art of thinking from the writerly composition of concepts in a
space and time whose weaving of voice, rhythm, polyphony, and counterpoint seem so close
to musical creation? In fact, one cannot. Thinking and the expressive line are inextricably
intertwined in the great philosophical stylists.
Deleuze himself beautifully voiced this perspective in a lecture entitled, “What is the
Creative Act?,” presented at la FEMIS in 1991, which opens with the question, “What does it
mean to have an idea in cinema?” Deleuze notes an experience all too familiar to every creative
mind—having an idea is an event worth celebrating because its occurrence is rare and
unpredictable. To think, one must prepare a terrain and a context where an idea can germinate
and unfold because, as Deleuze says, “No one has an idea in general. An idea─like the one
who has the idea—is already dedicated to a particular field.... Ideas have to be treated like
potentials already engaged in one mode of expression or another and inseparable from the
mode of expression, such that I cannot say that I have an idea in general. Depending on the
techniques I am familiar with, I can have an idea in a certain domain, an idea in cinema or an
idea in philosophy.”i
Kaynakça
- ..... ..... ,.....
Ayrıntılar
| Birincil Dil | İngilizce |
|---|---|
| Konular | Sinema Kuramları |
| Bölüm | Değini |
| Yazarlar | |
| Erken Görünüm Tarihi | 27 Haziran 2023 |
| Yayımlanma Tarihi | 27 Haziran 2023 |
| Yayımlandığı Sayı | Yıl 2023 Cilt: 8 Sayı: 15 |
