rhythm is an important element in deleuze`s ontology and aesthetics. This advanced concept stem from heidegger`s Grund (gr) .his french friend and colleague, Henri Maldiney was so inspirational for Deleuze in different concepts like rhythm. We consider different types of rhythms in paintings, Vibration & Resonance, sensation & intensity and rhythmic characters like passive,active and attendant have rudimentary role in bacon`s painting. Logic of senses is related to pure sensation and pure intensity, and it bring rhythm to disparates.
The main reason of proposing this concept in principle is rooted from an onthological problem. the univocity of Being has been expressed as difference degree of puissance in beings. rhythm is a relationa which happen in two moment : systolic and diastolic movement from chaos form the order or figure. The tension of this mutal movement is entangled in outline. Pure Difference or intensity is a Fact which happen in conecting two beings that are incommensurable. This fact or event is Grund or ground which survey all possible universes. Event is not a simple one, also is a special which make artist Unheimlische. Artist after this earthquake will lost all of reference to ordinary World and takes aside lived experinces and uses block sensations or intesities in it`s touches. As a result a Universe has been born with this Event. universe which is open to other incompassible universes and then poly-rhythm should be resulted from relation between them. Generally, rhythm is vibration, and resonance of beings in relation to other being and intensity in relation to Being. artistic works for elucidating an ontological problem, is a kind of applying non-philosophy along with philosophy.
- هایدگر، مارتین، سرآغاز اثر هنری، ترجمه: پرویز ضیاء شهابی، تهران، هرمس، چ چهارم، 1390.
-Bogue, Ronald, Deleuze on Music, Paintings and Atrs, Routledge, New York and London, 2003.
-Deleuze, Gilles, Logique Du Sens, Paris, Les Editions DE Minuit, 1969.
--------------------, "spinoza: la dernier seminaire de Anti Oedipe et Mille Plateaux", , www.webdeleuze.com.(cours vincennes, 1974/01/14),Utilise en: 2014/05/26[en ligne]
-------------------, Cours Du Peinture, Transcription : Cecile Lathuillère et Szarzynski Eva, www.webdeleuze.com. ( 1981/03/31), Utilise en: 2014/03/25[en ligne].
-Deleuze , Gilles and Felix Guattari, What is Philosophy?, trans: Graham Bruchel and Hugh Tomlinson , London and NewYork, verso, 1994.
-Deleuze, Gilles, Difference and Repetition, trans: Paul Patton, Continuum, London &New York, 1994.
-Deleuze , Gilles, Francis Bacon:the logic of sensation, Trans:Daniel W. Smith, continuum, London & New York, 2003.
-Escoubas, eliane, , "Henri Maldiney" in Handbook of Phenomenological Aesthetics, springer, ed: Hans Rainer Sepp, Florida Atlantic University, FL, USA, pp 193-196, 2010.
-Goddard , Jean-Christophe, ''Henri Maldiney et Gilles Deleuze. La station rythmique de l'œuvre d'art'', Rhuthmos http://rhuthmos.eu. Utilise en (17 mai 2013 , utilise en 2014/01/12 [en ligne].
-Heidegger, Martin, "The Origin Of The Work Of Art" in The Continental Aesthetics Reader, ed: Clive Cazeaux, London anf NewYork, Routledge, pp 80-101, 2005.
----------------------, On the Way to Language, Trans: Peter .D.Hertz, Harper & Row pub, US, pp: 139-156, 1982.
-Heidegger, Martin, Being and Time, Trans: John Macquarrie & Edward Robinson, Basil Blackwell, UK, 1962.
-Klee, Paul, notebooks, , Trans: Ralph Manheim Ed: Yurg Spiler, Vol 1, New York. Wittenborn Art Books, 1961.
', './data/kj/coversheet/cover_en.jpg'))