Deleuze's On Painting: Session 5 - Analogy, Signal-Spaces, and Modulation (Also Egypt)

In Session 5 of On Painting, Deleuze continues to examine the Analog in its own terms, distinguishing Mode-Module-Modulation as three forms of analogy. To the extent that painting is a kind of analog carrier, "The signal is space." So the question is how do we understand this modulation of space itself? For this Deleuze turns to Aloïs Riegl's analysis of Egyptian space: via bas-relief, the folds of clothing, the halo, pyramids, houses, and motifs.

Deleuze's On Painting: Seminar 4(b) - The Analog

The second half of Deleuze's Session 4 of On Painting, in which he attempts an answer to the twin questions: "Is painting a language?" and "Is painting THE analog language par excellence?" Via Batson's dolphins and Rousseau's "northern man."

Deleuze's On Painting: Seminar 4(a) - The Manual and the Digital

In Session 4 Deleuze continues his exploration of painting, through three positions or configurations of the diagram. And in particular he will continue to explore the question of a position or placement of elements in terms of the eye and hand. Once he articulates three potential configurations of the hand/eye, he begins to distinguish the function of code in Abstract art.

Deleuze's On Painting: Seminar 3(b) - The Risks of Painting

In the second half of Seminar 3, "Characteristics and Dangers of the Diagram," Deleuze addresses the question "Why paint today?" by way of three possible relationships to the diagram: abstraction, the figural, and expressionism, each with its own dangers.

Deleuze's On Painting: Seminar 3(a) - Characteristics of the Diagram

In Seminar 3 of Deleuze's lectures on painting, he returns to the scene of the catastrophe, and extracts five characteristics of the "diagram."

Deleuze's On Painting, Seminar 2: "Painting Force"

In Seminar 2 of Deleuze's On Painting, he continues to introduce and rework the same three-part synthesis of time of the catastrophy of painting, this time adding two interesting details.