德勒茲的「流變－動物」與藝術

Deleuze's ＂Becoming-Animal＂ and the Art

德勒茲重視哲學對於現代藝術「從再現到抽象」的回應。「流變－－動物」讓他取得特殊論證的運用，使藝術自身擁有掌握事件的自主。它並非某一特定形式的知識，而是關於最初形成的條件。它涉及變形帶來的解轄域，其本身就是欲望的所在。它並非是隱喻或是寓言，而是改變既定的結構和處境，藉以尋找逃逸路線。它不再是擬人化，是介於人與動物之間的狀態，它是為求找出逃亡缺口的努力。藉由這個字詞，德勒茲詮釋了心智與自然之間的交叉。它位於反回憶、解轄域、機器化、質料化、無視覺力量、抽象機器、觸覺空間與圖式的核心，從而讓藝術有機會轉化成為一幕幕思想之力的劇中景。

Deleuze valued the philosophy in response to ＂from representation to abstraction＂ in modern art. ＂Becoming - Animal＂ let him get a special demonstration of the use, and then art itself has the ownership of the event. It is not a particular form of knowledge, but the conditions for the initially formed. It involves the deterritorialization from the deformation which itself is a desire. It is not a metaphor or allegory, but to change the established structure and situation, and in order to look for escape routes. It is no longer personified, between people and animals, and it is for the sake of the efforts to find a fugitive gap. Deleuze interpreted the cross between mind and nature by this term. It was located in the core of anti-memory, deterritorialization, machining, material, nonvisual force, abstract machine, haptic space and diagram, so that it is an opportunity for art to be transformed into theatre scenes of thought forces.