Showing posts with label intensity = 0. Show all posts
Showing posts with label intensity = 0. Show all posts

24 Aug 2015

Somers-Hall, (5.4), Deleuze’s Difference and Repetition, ‘5.4 The Three Characteristics of Intensity (232–40/291–300)’, summary


by Corry Shores
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[The following is summary. All boldface, underlining, and bracketed commentary are my own. Proofreading is incomplete, so please forgive my typos and other distracting mistakes. Somers-Hall is abbreviated SH and Difference and Repetition as DR.]



Summary of


Henry Somers-Hall


Deleuze’s Difference and Repetition:
An Edinburgh Philosophical Guide


Part 1
A Guide to the Text


Chapter 5. The Asymmetrical Synthesis of the Sensiblence

 

5.4 The Three Characteristics of Intensity (232–40/291–300)

 



 

Brief summary: 

Extensity, which is of the realm of the extensum, is fundamentally different from intensity, which is of the realm of the spatium. The most important difference is that intensity is more fundamental than extensity, since extensity takes on its features as a result of intensity explicating into certain extensive expressions. The main distinguishing feature is their divisibility: The extensum, as it is extensive, is a multiplicity that is homogeneously divisible, meaning that each division produces parts that are of the same nature. Two meters (of something) can be divided into two equal (and identical) parts. The spatium, as it is intensive, is a multiplicity that is heterogeneously divisible, meaning that each division produces parts that are of a different nature. Each moment, our consciousness synthesizes the past with the present into a whole mental state. But each successive moment of consciousness is qualitatively different from prior ones. For example, with each new note of a melody, the character of that melody as a whole changes. Were we to divide our consciousness between the way it once was when we heard a prior note with the way it is now, having heard more notes that have altered the melody’s character, we would have two parts of consciousness that differ qualitatively. Thus, they differ in nature. Deleuze emphasizes three important features of intensity: 1) because it is not metrically homogeneous like extensity, it does not divide into equal parts, and thus intensity includes the unequal in itself; 2) since an intensive difference does not involve one thing being the negation or denial of another, but rather is a matter of pure differential relations, intensity affirms differences; and 3) because it explicates into extensities, intensity is an implicated, enveloped, or embryonized quantity.

 




Summary



SH now asks, “what are the characteristics we find in intensity? We first note important differences between intensity and extensity. When you combine two extensive magnitudes, like two spatial distances, you get one whose value is the numerical total of the two. That is not how intensive magnitudes work, however. For example, if you combine fluids of different temperatures, the new temperature is not the addition but rather the average of the two. “intensity understood prior to its location in extensity will have different characteristics to extensity itself” (174). So for Deleuze, the “nature of | the extensum and the spatium as a whole are radically different,” but he also focuses on the differences between intensive and extensive elements and also the differences in the ways each kind of element relates to others of its own type (174-175). Deleuze’s account discusses cardinal and ordinal numbers, while all the while in the background is Bergson’s account of two multiplicities. [SH discusses Bergson’s multiplicities in his Hegel, Deleuze… book, Pt2.Ch3.Sb4]. For Deleuze, intensity has three characteristics: 1) it includes the unequal in itself, 2) it affirms differences, and 3) it is an implicated, enveloped, or embryonized quantity (SH 175).


1) Intensity includes the unequal in itself.
SH will follow Delanda’s analysis in his Intensive Science and Virtual Philosophy. Extensive quantities, we noted, maintain their nature when added, [and perhaps intensive quantities do not. If intensive quantities change their nature when added, I am not entirely sure how the prior example of combining fluids with different temperature applies, since I would think they keep the same nature even if they average. For, they would form a fluid with its own temperature that could be added to yet another, repeating the same process.] Extensive quantities “can be measured numerically, and […] these measurements are comparable (or commensurate) with one another” (175). [The next ideas are slightly complicated, but they are straightforward. It seems we need to establish different orders of ordinal numbers, since within each order certain values are suggested or desired, but that order cannot express them. Another order is then posited which can express those other values. So we begin with natural numbers, which do not have decimal values between them. So among the natural numbers, we have 2, 7, and 8, for example. We can divide 8 by 2 and get 4, which is also a natural number. But if we divide 7 by 2, we get something greater than 3 but less than 4. So we need to turn to another order of numbers, fractions, which would give us seven halves, in this example. But fractions do not allow all quantities to be expressed, since for example there is the value of pi, for which there is no exact ratio of integers that could express it. So we need another order of numbers, the real numbers (which will include both rational numbers, that is, those that can be expressed in fractional form, as well as irrational numbers, which cannot be expressed fractionally). So again, within each order, there is an incommensurability that cannot be expressed within that order and which thus calls for another order to express it.]

As Deleuze notes, this difference reflects one of the key features of extensive magnitudes: that they can be measured numerically, and that these measurements are comparable (or commensurate) with one another. Now, if we look just at the natural numbers (0, 1, 2, 3 . . .), we find that frequently we come across magnitudes that cannot be expressed in these terms. For instance, provided we remain with the natural numbers, we cannot divide 7 by 2, as the result is not itself a natural number. The obvious solution to this difficulty is to introduce another order of numbers that does allow us to relate these two quantities to each other, in this case, fractions. Similarly, we will discover that fractions do not allow all quantities to be related to one another, leading to the instigation of a new order of numbers: real numbers (such as √2 or π). In each case, we have an incommensurability between quantities that cannot be cancelled within the order of numbers themselves, but only by instigating a new order of numbers.
(SH 175)

[So we note that fractions proceeded from natural numbers, and reals from fractions.] Now we ask, from what order of numbers do natural numbers proceed ? (175). We turn now to the difference between ordinal and cardinal numbers. Cardinal numbers can have identities in the sense of forming equivalents and compositions. So the difference in value from one to three is the same as from two to four (175). Ordinal numbers, however, “just give us a sequence without requiring that the difference between the elements is the same in each case (thus, the difference between first and third does not have to be the same as the difference between second and fourth)” (SH 175). [Cardinal numbers can be said to have a metrical distance. For example, the “distance” between one and three is the same “distance” as between two and four. (That of course sounds right, but I wonder if numerical differences obtained through subtraction imply a geometrical sort of distance like on a number line. I guess the idea is that so long as the differences between units are standardized, that this creates a sort of metric.)] Ordinal numbers can also be thought of as having distances, but it is not metrically consistent or measurable like with cardinal numbers [so first is more distant from third as it is from second, but that does not mean we can say there is the same distance from first to second as there is from second to third.]


Since ordinal numbers do not operate on the basis of metrical units spanning between their values, “the kinds of operations we can perform with cardinal, natural numbers cannot be performed, meaning that we cannot produce equalities within this domain. Rather, it is only by the addition of a common measure between numbers (and thus the conversion of ordinal numbers to cardinal numbers) that we can begin to talk about equalising quantities” (176); [we then turn to a Deleuze quote. It seems we first need to understand the spatium as having distances enveloped in it, which might be like how the syntheses of space somehow explicate extensive space from an intensive spatium. What is happening here is a bit vague in my mind. The next thing is that when ordinals are converted to cardinals, it involves such an explication of the spatium.] “ ‘In fact, ordinal number becomes cardinal only by extension, to the extent that the distances enveloped in the spatium are explicated, or developed and equalised in an extensity established by natural number’ (DR 233/292)” (SH 176). SH continues:

We can note that, in these cases, we have a model that parallels the account of intensity we have seen so far. An uncancellable difference (intensity) gives rise to a new domain (extensity) within which that difference is cancelled. ‘Here, however, we rediscover only the duality between explication and the implicit, between extensity and the intensive: for if a type of number cancels its difference, it does so only by explicating it within the extension that it installs. Nevertheless, it maintains this difference in itself in the implicated order by which it is grounded’ (DR 232/292).
(SH 176)

We saw how heat was cancelled in its own domain of energy and temperature [but this is not a case of intensities in the intensive spatium, but rather of intensities explicated into the extensive physical world of energy transfers.] Yet, intensity is not equalized in its own domain of intensity. It can only be equalized after being explicated into the constituted realm of extensities. “Whereas in the thermodynamic model, difference is cancelled within its own domain, leading to the idea of the heat death of the universe, for Deleuze difference can only be equalised in a constituted realm, leaving it unequalised in its original domain” (176). Cardinal numbers, as we have gathered, presuppose extensive space. [I am not sure I get the next point about time and ordinal numbers. The Bergson quote seems to be saying that a succession of increasing numbers needs a spatial structure, since without it, each successive number would displace the prior and we would never have more than just one thing at a time. Then it seems SH is saying that Deleuze follows Bergson’s claim that a) cardinal number requires space, and also that b) there is a temporality to ordinal numbers, perhaps since they are understood only in terms of their succession, but I am not sure I follow correctly, and c) this temporal succession requires space. The final point that quotes from the Deleuze lecture, in the SH quotation below, I do not grasp so well. Time arises in an ordinal series. But it arises secondarily as a spatialized time. Perhaps the idea is that is that the pure form of time is somehow intensive, and in some way it is ordinal succession, and out of it somehow arises an extensive time of cardinal succession. I probably have that wrong, and even so, I do now grasp how that works. Let me quote:]

As cardinal numbers are constituted from elements that are absolutely identical with one another, they presuppose an extensive space. Bergson makes the point as follows [the following up to citation is Bergson quotation, and bracketed text within it and within the next Deleuze quotation is SH’s]:

And yet [numbers] must be somehow distinct from one another, since otherwise they would merge into a single unit. Let us assume that all the sheep in the flock are identical; they differ at least by the position which they occupy in space, otherwise they would not form a flock. But now let us even set aside the fifty sheep themselves and retain only the idea of them. Either we include them all in the same image, and it follows as a necessary consequence that we place them side by side in an ideal space, or else we repeat fifty times in succession the image of a single one, and in that case it does seem, indeed, that the series lies in duration rather than in space. But we shall soon find out that it cannot be so. For if we picture to ourselves each of the sheep in the flock in succession and separately, we shall never have to do with more than a single sheep. In order | that the number should go on increasing in proportion as we advance, we must retain the successive images and set them alongside each of the new units which we picture to ourselves: now, it is in space that such a juxtaposition takes place and not in pure duration. (Bergson 1910: 77)

Thus, Deleuze follows what he takes to be Bergson’s claim that ‘space [is] a condition of number, even if only an ideal space, the time that arises in the ordinal series arising only secondarily, and as spatialized time, that is to say as space of succession’ (L 00/00/70).
(SH 176-177)

[All this material was to explain how intensity includes the unequal in itself, but I am not sure how to sum up how that is so. I suppose that it contains the unequal within itself, because equalization is only possible when intensity is explicated and thus when it is not within itself. Therefore, it seems, within intensity is only unequality somehow. The ordinals for example do not have a standarized metric, so in a sense their differences are unequal, perhaps.]


2) Intensity affirms difference.
The first claim “aimed to show that intensity couldn’t be understood in terms of extensity” (177). The second claim is that intensity “also cannot be understood as a quality” (177). Deleuze supports this claim with another one: qualities are understood  in terms of negation, but intensity, when characterized by difference, is not understood in terms of negation. Recall how for Aristotle’s notion of definition, the difference between species involves a negation. [see again for example section 1.6, and before that section 1.2. As we noted, in Aristotle’s system of division, things are differentiated on the basis of clear defining limits that determine what is special and proper to each thing. These limits serve to define what makes one thing what it is and what makes something else not that thing but rather something different entirely, and thus Aristotle’s system makes use of negation.]

As we saw in Chapter 1, within the Aristotelian notion of definition, a difference presupposes negation. That is, when we wanted to talk about the essence of man, we did so by attributing a property to him called a difference. This difference allowed us to divide the genus into two opposed classes: the rational and the non-rational. Negation was thus fundamental to the process of definition, and to the specification of properties. We can sum up this characterisation of difference with the claim that if x differs from y, x is not y.
(177)

[For the next point, recall from section 1.4 how for Scotus, there is a difference in quantitative intensity between God’s infinite perfection and the finite perfection of our world. So also, our finite (im)perfection is not to be understood as a negation of God’s infinite perfection. Rather, we are different degrees on the same scale of the intensive variation of being. We also saw, again from section 1.6, how the negation-based models involve a notion of extensive space, since if one thing is not another, they cannot occupy the same place, whether that by physical space or a sort of “conceptual space” you might say. But intensive differences never involve one being a negation of another. I am not entirely sure I understand how to conceive intensities, unlike extensities, which I can picture in my mind more readily. I wonder if the idea is something like this: say you have two intensive magnitudes of heat, with one being greater than the other. What makes one have its own value is understood only by its relation to the other, or to some third value, perhaps zero (or becoming-zero or infinitesimally-away-from zero or something like that). Since each of the intensive values is such only in relation to the other, what defines each of them is not that one is the negation of the other, (that it is “not the other”), but instead that together they differentially relate, and it is that relation itself which defines them jointly. Perhaps one problem with this heat example I used is that differences in heat are not intensive in the way we mean it here, since they have been explicated in such a way that they may be assigned numerical values which themselves are extensive. At any rate, the next idea I think comes from a possible objection, which is that an intensity can diminish to zero, thus intensities can be negated. But Deleuze notes that when it comes to physical intensities, there is no zero value. I am not sure, but perhaps the idea is that intensities can get smaller and smaller to the infinitely small, but never to zero, and when we say ‘zero’ for some intensive value, we really mean infinitely little. I am not entirely sure why this is. Maybe it is because intensities are always the difference between values, but total zero has no value and thus it cannot enter into a differential relation with other intensities.]

As we saw in Chapter 1, this constraint on the concept of difference was not inherent to difference itself, but only difference thought in terms of extensity. Scotus’ intensive conception of difference avoided the need to define it in terms of negation. We can, in effect, note that the introduction of negation into difference rests on the need to see contrary properties as not inhering in the same object, or occupying the same ‘space’. Since intensity is prior to the emergence of both objects and (extensive) space, these restrictions do not apply to it. As Deleuze points out, even if we do look at intensity as it occurs within extensive space, we do not find the strict absence of intensity: ‘It is said that in general there are no reports of null frequencies, no effectively null potentials, no absolutely null pressure, as though on a line with logarithmic graduations where zero lies at the end of an infinite series of smaller and smaller fractions’ (DR 234/294).
(SH 177)

[The next idea is that negation can be applied to properties, but not to intensities. From the Plato example, one instance of a property seems to be ‘equal to’ or at least just physical size. But I am not sure what would be other properties. They would not for example I guess be the ones mentioned above, like frequency and pressure. They would be extensive sorts of things I suppose like spatial dimensions, and perhaps physical distributions of component parts (or maybe not, if density is an intensity). But I wonder if these properties includes color, which can be understood quantitatively (and perhaps intensively) in terms of light wave frequency or qualitatively, with each basic color being different in kind from the others (blue is not more or less of something than red is, in how it appears). At any rate, for the next idea, recall how for Plato, contrary properties, like objects that under certain conditions appear equal, and under others appear unequal, shock us to think more about the Ideas we use. Deleuze also thinks that contrary qualities have this power. Yet, Plato thinks that the shock turns our mind toward timeless Ideas. Deleuze, however, thinks that the contrary properties arise because their source is (somehow) intensive difference. Thus, these shocking moments are an invitation to think more directly about the intensive basis of thought.]

Thus, whereas negation can be applied to properties, we never actually discover the negation of an intensity, but only its difference from other intensities. Deleuze here supports Plato’s insight that the fact that objects | can possess contrary properties presents a shock capable of leading to thinking. Rather than seeing these contrary properties as leading us to contemplation of a timeless realm of Ideas, Deleuze argues that they refer us to a field of intensive difference responsible for the change in qualities we find in the world around us. What makes the qualities in becoming contradictory is that they actualise an underlying intensive difference, and it is this difference that provides the real opening to thought.
(177-178)


3) Intensity is an implicated, enveloped, or embryonized quantity.
SH explains that this third characteristic of intensity is derived from the first two. [We now make a distinction between cardinal numbers and qualities. Cardinal numbers are divisible, but qualities are not. The reason we can divide cardinal numbers is because both their unity and their division are matters of mental actions. They are unified insofar as we mentally treat the value as a whole unit, but they are divided insofar as we regard them as a collection of smaller values. There is also discussion in the quote about continuity and discontinuity. I do not follow it readily, so I will just quote it and return to it if it factors in later. The next idea is that intensity can be divided, but not like extensities can be, since intensity is not metrically homogenous.  But I do not understand how it can be divided. What we know is that if you divide an intensity, it changes the nature of what was divided, with the example being Bergson’s notion of consciousness or duration. I am not exactly sure how you divide consciousness in the first place, and then how the result of the divisions would be different in kind. Perhaps we might check section Pt2.Ch3.Sb4 from his Hegel, Deleuze book. But it gets a bit clearer when we look at the Bergson example (I am just not sure how it works for intensive things other than consciousness). He notes how if we listen to a melody, each new note or moment changes the character of the melody as a whole, just as each new moment of consciousness more generally changes the whole of consciousness on the whole. It seems Bergson gives one way in this melody example how we might divide our consciousness. He says that we can dwell on one note, while the melody continues developing in the moving present, and when we do so, we notice a difference between how the melody sounded back when that note was playing with how it sounds now, after more development has taken place. It seems then we can “divide” consciousness temporally by considering different moments making up present consciousness. What we notice is that each is different qualitatively. (One moment of the melody is not more or less than another. They instead have different characters). I am not sure Bergson would consider consciousness an intensity, but perhaps it is meant to illustrate more the idea of a type of multiplicity, of which Deleuze includes intensities, which change in nature when divided. For, SH’s next point is that the two types of multiplicity (ones that when divided produce parts that are the same in nature and ones that when divided produce parts that are different in nature) “can be mapped onto the extensive and intensive in a relatively straightforward manner” (179)]

Finally, as a third characteristic, ‘intensity is an implicated, enveloped, “embryonised” quantity’ (DR 237/297). This third characteristic is derived from the previous two. We have seen that cardinal numbers are divisible. Deleuze makes the claim in a lecture on Bergson that this is because, since they are a collection of equal units, dividing them is simply an intellectual operation [the following up to citation is Deleuze quotation]:

The divisibility of the unit; for a number is a unity only by virtue of the cardinal colligation, that is to say the simple act of the intelligence that considers the collection as a whole; but not only does the colligation bear on a plurality of units, each of these units is one only by virtue of the simple act that grasps it, and on the contrary is multiple in itself by virtue of its subdivisions upon which the colligation bears. It’s in this sense that every number is a distinct multiplicity. And two essential consequences arise from this: at once that the one and the multiple belong to numerical multiplicities, and also the discontinuous and the continuous. The one or discontinuous qualifies the indivisible act by which one conceives one number, then another, the multiple or continuous qualifying on the contrary the (infinitely divisible) matter colligated by this act. (L 00/00/70)

Qualities, on the other hand, are not divisible. It makes no sense to talk of dividing rationality, or animality, for instance. Now, intensity is not like quality, in that it can be divided. It is not composed of equal elements, however, but is rather a sequence of asymmetrical relations, such as we find with the ordinal numbers (it is asymmetrical in that second is defined by being ‘in between’ first and third, but first and third are not ‘in between’ second). Thus, ‘a temperature is not composed of other temperatures, or a speed of other speeds’ (DR 237/297). If an intensive multiplicity is not simply constituted from pre-existing elements, then division is true division, leading to a change in the nature of what is divided. Here we can turn to Bergson’s alternative form of multiplicity. For Bergson (at least at this stage of his philosophical development), this alternative form of organisation is that which we find in our conscious | states, although for Deleuze this mode of organisation is not simply a feature of our perception of the world, but rather of the world itself. As we can see, Bergson’s account of the perception of a melody presents clearly the way in which dividing non-extensive multiplicities leads to a change in their nature [the following up to citation is Bergson quotation]:

Pure duration is the form which the succession of our conscious states assumes when our ego lets itself live, when it refrains from separating its present state from its former states. For this purpose it need not be entirely absorbed in the passing sensation or idea; for then, on the contrary, it would no longer endure. Nor need it forget its former states: it is enough that, in recalling these states, it does not set them alongside its actual state as one point alongside another, but forms both the past and the present states into an organic whole, as happens when we recall the notes of a tune, melting, so to speak, into one another. Might it not be said that, even if these notes succeed one another, yet we perceive them in one another, and that their totality may be compared to a living being whose parts, although distinct, permeate one another just because they are so closely connected? The proof is that, if we interrupt the rhythm by dwelling longer than is right on one note of the tune, it is not its exaggerated length, as length, which will warn us of our mistake, but the qualitative change thereby caused in the whole of the musical phrase. We can thus conceive of succession without distinction, and think of it as a mutual penetration, an interconnexion and organization of elements, each one of which represents the whole, and cannot be distinguished or isolated from it except by abstract thought. (Bergson 1910: 100–1)

The two different notions of multiplicity can be mapped onto the extensive and intensive in a relatively straightforward manner [the following up to citation is Deleuze quotation:]

Therefore there are two types of multiplicity: one is called multiplicity of juxtaposition, numerical multiplicity, distinct multiplicity, actual multiplicity, material multiplicity, and for predicates it has, we will see, the following: the one and the multiple at once. The other: multiplicity of penetration, qualitative multiplicity, confused multiplicity, virtual multiplicity, organized multiplicity, and it rejects the predicate of the one as well as that of the same. (L 00/00/70)

These two forms of multiplicity can be related to the extensum (extensity in general), and the spatium (the field of intensive difference as a whole).
(178-179)

[Recall the three spatial syntheses from section 5.3. Quoting from our brief summary: “1) Intensive differences are localized by being distributed into various spatial locations, and they move from place to place according to how they interrelate and interact (in thermodynamics, for example, heat moves from its location to where cold is located, normally). 2) The extensive space into which these intensities are distributed and the qualities belonging to those things in extensive space come about somehow by means of intensive depth. 3) These distributions of intensities and their explications into extensive properties and other qualities continues to remain fresh and in a perpetual state of renewal.”] “The three spatial syntheses show how these two multiplicities are related” (SH 179). [It seems the idea is that they are related by the process of explication. I think I grasp what the results of explication are (namely, explicated intensities in the extensive realm, perhaps in the form of numericalized intensive properties, extensive properties, and qualities) but as a process or activity, I still do not quite understand how explication works. I have questions like, where are the deeper intensive differences that become explicated? Are they in the same location as the explicated ones? How does the transition from one realm to the other transpire? Or is it that there are extensive givens, but acting on them somehow are forces of variability, and explication is the effects of the variation?] SH concludes this section by turning us to the next one: “The final question to be addressed is how the intensive multiplicity is | related to the Idea. In answering this question, we will also have to deal with the problem of individuation, or the emergence of the subject from an a-subjective field of intensity” (SH 179-180).

 

 

 


Citations from:

Somers-Hall, Henry. Deleuze’s Difference and Repetition. An Edinburgh Philosophical Guide. Edinburgh: Edinburgh University, 2013.



Or if otherwise noted:


DR:
Deleuze, Gilles. Difference and Repetition, trans. Paul Patton, New York: Columbia University Press, 1994/London: Continuum, 2004.


L:

Deleuze, Gilles, lecture of date 00/00/70.
French:
http://www.webdeleuze.com/php/texte.php?cle=107&groupe=Conf%E9rences&langue=1
English: 
http://www.webdeleuze.com/php/texte.php?cle=111&groupe=Conf%E9rences&langue=2



Bergson, Henri (1910), Time and Free Will, trans. F. L. Pogson, London: Allen and Unwin.


DeLanda, Manuel (2002), Intensive Science and Virtual Philosophy, London: Continuum.

 



 


 


 

 




 

29 Jan 2010

Modulation of Sensation: Deleuze, Bacon, Cézanne, Wagner, and Richard Pinhas


by Corry Shores
[Search Blog Here. Index-tags are found on the bottom of the left column.]

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[Other entries in this Rhythm of Sensation series]



The following is a selection (pp.117-136) from my M.Phil Thesis: The Rhythm of Sensation on the Surface of Sense: Communication in Deleuze as NonSensed and Intense. Defended and archived at the Katholieke Universiteit Leuven, 2008. It may refer back to previous sections, which are indexed here. [I am deeply grateful to the sources of the images. I am still locating some of them, thanks for your patience.]



Modulation of Sensation:
Deleuze, Bacon, Cézanne, Wagner, and Richard Pinhas


Deleuze speaks of modulations in two general senses: 1) as alterations of modalities that 2) sometimes proceeds through modules which affect those modalities. Deleuze’s references to Paul Cézanne and Richard Pinhas direct us to the examples of color modulation in Cézanne’s painting, to musical modulation in Wagner’s compositions, and to electronic sound synthesizers.

Deleuze notes that Cézanne’s modulation of color, his “principle operation,” suppresses contrasts of light and darkness.[1] It creates relief through changes of hue, and not of tone. (Colors, such as red and green, are hues, and their tonal values are the degrees of lightness or darkness, shifting chromatically from white to black). Through these changes, modulation serves as a “variable and continuous mold” that alters color, doing so by the law of Analogy:[2] this law for Cézanne is his logic of organized sensation, which we will explain first before addressing his use of color modulation.

Cézanne distinguishes representation from reproduction: a painter may only represent the sun’s intensity, he cannot make the paint shine so brightly.[3] However, the artist can surround the depiction of the sun with an arrangement of other colors organized in such a way that they invoke in us the sensation of seeing the sun. The painter, then, is not to copy the object, but to realize the sensations we have when viewing such an object, which requires that the painter break from a visually accurate rendition, and paint instead according to a “logic of organized sensations:” when Cézanne views his scene, his eyes move slowly from place-to-place. With each subtle movement, he does not so much intend to reproduce exactly what he sees; instead, he selects a color which would invoke in his viewers the same internal states that he has while viewing that part of the scenery. However, any single selected color alone does not by itself produce that internal state. Rather, it is only in its relation to its immediate surrounding colors that it can have its unique effect. Hence in this way, Cézanne modulates the color, because he makes subtle and intentional variations on the local level, so that his viewers undergo sequences of modulated internal states resembling the ones he experienced while painting.

Thus, the colors he selects serve as a sort of coding of sensation that the viewer ‘interprets,’ but not as though they were symbols.[4] However, the interpretive process is just as much cerebral as sensual, hence its “logic.”[5] Painting, for Cézanne, involves more than mere sense impressions and instant associations: it also requires his conscious effort to select the right combinations of color alterations. Cézanne often used broad, ‘blocky’ paint strokes, carefully placing one patch at a time, progressing from one part of the painted object to the next, following color sequences that would be interpreted by the viewer so as to reproduce the experience of the painted scene or object. Hence his “vision was much more in his brain than in his eye.”[6]

[Note below the 'blocky' strokes in his Mont-Sainte Victoire. See also the close-up]

(Thanks dbeveridge.web.wesleyan.edu)


Deleuze explains that Cézanne creates depth by replacing the traditional use of value differences with his particular brand of color modulations.[7] Normally, depth is portrayed through modeling: the painter uses differences in value (lightness and darkness) to express the physical relief of the model being depicted.[8] Adding white or black to a color diminishes its intensity, which as a painting term means the degree of saturation or purity of color tone. When there are no contaminating inclusions of black or white to a color, it is in its purest hue, which means it is at its highest saturation and its greatest intensity (in this restricted painting sense of the term). In modeling, one would use variations in value to show relief: changing the amounts of shading indicates the positions of objects in reference to a light source, and creates the visual dimension of depth. Cézanne, however, uses the oppositions of warm and cool tones, in some cases, to represent light and shadow or varying distances of objects.[9] Blue has no greater tone value than yellow when both are equally saturated, yet in certain contexts, when blue is painted next to yellow, it might suggest depth or volume.[10] To modulate the color would be for Cézanne to place a patch of one saturated color beside another, with their relation bringing about an effect determined not by some pre-set system but by the circumstances of their contextualization with the other color patches. (We can see in this Cézanne landscape below how the intense green on the horizon’s center recedes into the background. What is notable about this is that normally darkened colors seem like shadows and appear as though at a distance. Here we see that the intense green has not been darkened, and yet it colors the most distant place on the horizon).

Hence, in Cézanne's paintings we often encounter seemingly out-of-place color strokes, or unrepresentative combinations of color. In his portrait below of Hortense Fiquet, for example, we see odd color-blocks used for her skin, (painting is cropped for focus).

(Thanks www.dl.ket.org)


However, if we attended more to the sensuous and conceptual affects that these colors have on us, we might better detect the logic of organized sensation at work in his paintings. Lawrence Gowing explains how Cézanne’s “mutations of color” were as theoretical as they were perceptual:

When one of his visitors was puzzled to find him painting a gray wall green, he explained that a sense of color was developed not only by work but by reasoning. In fact the need was both emotional and intellectual. The mutations of color with which he modulated surfaces that would have seemed to a less logical mind to require no modeling whatever were a necessity to him. [11]

We may illustrate with the example of Cézanne's The Green Pitcher.

According to Lawrence Gowing, Cézanne began with a blank center-point of the pitcher, the point culminant, which is the part of the object which is closest to our eyes.[12] He then surrounds the culminating point with blue color-patches, and proceeds by running through the color spectrum to green (indicating the actual color of the pot) then to yellow, according to a pre-conceived ‘logic,’ in order to evoke the sensations of seeing the pitcher.[13] Norman Turner disagrees with Gowing’s claim that the color order was fixed in advance, a point which will prove relevant when describing Bacon’s continuously variative modulation. Turner argues that Cézanne does not select his colors according to an overarching and pre-determined organization, but rather he continues to each neighboring color-patch on the basis of how its immediate predecessor conditions that color change; for, each subtle transition alters the possibilities and limitations for how he may proceed. In other words, Cézanne was not so much concerned with how one color-patch associates with another one far away on the canvass, but rather more with the relation between any one patch and its immediate neighbor, in terms of the sensations unlocked in a transition from one to the other.[14] This influences the subtle sequence of quick impressions we have when our eyes move from one part of the painting to the next.

Also, to better grasp Deleuze's notion of continuous modulation, we might follow Turner and Richard Pinhas, Deleuze's student, by comparing Cézanne's color modulation to Wagner’s key modulation. Each time Cézanne modulates to the next color, he creates a general feeling, and opens possibilities for the next transition, which might not have been available for a different color. In this way, Cézanne's modulation is thought to be like musical key modulation.[15]

[We can explain the musical technique of modulation by drawing from the work of ancient Greek philosophers. Pythagoras demonstrated harmony relations between sound frequencies, by using single-stringed instruments called monochords.

(Thanks alchemywebsite.com)

(Thanks www.britannica.com)


For example, he demonstrated that when one string is played simultaneously with another one that is half its length, the strongest harmony is produced: this is the octave harmony. Pythagoras divided the octave into 12 smaller units, because this particular division establishes pitches with the greatest possibilities for harmonic combinations.[16] If one were to compose a song using not all twelve pitches, but instead a smaller pre-determined set, then certain harmonic relations would be excluded, and others emphasized. Different such limited sets, then, have their own feel or color to them, their own mood. Some such early Greek note patterns are called moods or modes; and both Plato and Aristotle make reference to the different sorts of emotions that these modes evoke. Both philosophers, for example, criticize the mixed Lydian (mixolydian) mode for darkening people’s moods.[17] However, one can also change from one mood to another, that is, to modulate between modes.

Yet, there is a more subtle sort of modulation which we refer-to here, key modulation: of the many Greek modes, two became especially prevalent, but each of these may itself slightly vary its feeling; the note patterns may change their initial “root” note, which makes more subtle changes of mood. These different patterns are the keys, which can be modulated by using notes at the end of one melody (cadences) which are found in both keys, so to make a smoother transition.] Such modulating changes the key-feeling, but in a way which couples different moods at once during the transition. Likewise in painting, the artist may select certain dominating hues, which together have their own key-feeling, if you will, and modulate between them (the use of music terminology in describing painting is common, for example, rhythm, tone, harmony, dissonance; and vice versa: texture, color). The effect of Cézanne's color patches has little to do with the representation of their objects; rather, “it is the relationships between them – relationships of affinity and contrast, the progression of it tone to tone in a color scale, and the modulations of it scale to scale – that parallel the apprehension of the world.”[18] This is Deleuze’s philosophical interest in this sort of modulation, because he would like to explain how Bacon’s diagramming couples Figures’ movements by modulating the colors between them.

A description of Wagner’s modulation techniques is important for this discussion, because he advanced modulation from a more rigid sort to a smoother one, to a modulation synthétique continue, as Pinhas calls it; and, it is this latter sort that concerns Deleuze. [In key modulation before Wagner, a sense for the original tonal point of departure is maintained, so that the modulations may return to it for resolution. Usually in these cases, the composer uses a convenient bridging chord whose notes are found in both the prior and the latter keys, along with ambiguous notes, to serve to smoothly transition from one key to another. We might illustrate with an example in which the words in a verse serve to make this bridging transition. Wagner compares two possible lines: 1) Liebe gibt Lust zum Leben, (love gives joy to living) and, 2) die Liebe bringt Lust und Leid, (love brings joy and sorrow). In both cases, the phonetic compatibility of the substantives groups them together, superposing them through rhyme, despite their distinct occurrences. In the first case, the feelings evoked by the terms Liebe (love), Lust (joy), and Leben (living) are all compatible, just as are the phonetics of their terms. However, in the second case, the final term Leid (sorrow) ends the phrase with a sadder tone, but is still phonetically superposed to the happier feelings preceding it and overlapping it through phonetic harmony. Hence in the second line, a musician composing the music to such words would have cause and means to move to a new key feeling, perhaps a more somber minor key, and the transition can be made because the phonetics serve to bridge the two different key feelings. In the case of his Tristan und Isolde, his composition technique gives the feeling of moving continually towards other key feelings, although without ever arriving to one, and he leaves many of the chords ambiguous as to their key. His purpose is to induce the feeling of unsatisfied desire, and does so by creating expectations for resolution by modulation into another key, but yet disappoints that expectation by leaving the keys in limbo.][19] Hence in this way, Wagner advanced the technique of modulation, so that instead of limiting developmental options by striving to give the listener a sense of orientation and resolution, Wagner’s modulations progress more freely by lacking a determinate ground and finality.

A student of Deleuze, Richard Pinhas, a progressive musician and philosophy scholar, further elaborates the importance of Wagner’s innovation of the modulation synthétique continue, which led to 20th century developments in modulation, including the electronic modulation of synthesizers. [Pinhas explains that Wagner’s key-modulation technique allows for the continuous translation of melodies into other modulated forms, thus serving as an opérateur d’hétérogènes: something that couples a series of heterogeneous elements one-after-another.[20] Because Wagner’s modulations in some works never obtain a feeling of resolution, none of the modulated keys took a dominant role, and they all smeared into one continuous modulation. Younger contemporary of Wagner, Debussy, pushes modulation even further in this direction. In Wagner, we can follow the tonal progressions and tensions, even though they never resolve. Debussy, however, does not have this tonal tension, and his modulation is not even the tension of wandering unresolved key feelings; but rather, it remains within the sensuousness of one chord (one small group of pitches), which are gradually built up with more instruments playing the notes of that chord. This produces the aquatic effect: it modulates not between keys, but instead is a fluid modulation with very smooth transitions between different parts, which blurs the boundaries between them. Using this technique, Debussy continuously modulates other features of the sound, like timbre, in a modulation synthétique continue.[21] Yet this watery blurring does more to deform the sounds, to smear one into another blurry one. This function has been recently taken-over by electronic synthesizers, both digital and analog. They alter sounds, but always by degradation, taking away their fidelity from their parent sound, making them low-fi(delity), deforming the sound in a sort of perpétuelle transition.[22]] This modulatory technique of Wagner, Debussy, and electronic synthesizers operates as a diagramme modulaire, bringing about la modulation comme différence pure;[23] Deleuze is interested of course in these differences that are forced together through modulation, which likewise disorganize our faculties.

Wagner’s innovations, then, resemble the color modulation in Cézanne’s logic of organized sensations. Cézanne moves locally from one color patch to the next, without necessarily maintaining an orienting color base, moving rather through a continuous modulation from one patch to the next. Deleuze elaborates this notion of a continuous and aimless modulation, by differentiating the operations of analog and digital synthesizers, basing his distinction on an unpublished text by Pinhas.

[Deleuze notes that analogical synthesizers operate by sending the sound signal through different modules, which are discrete self-contained circuits. Each one alters the sound in its own unique way; and they may be linked and re-linked by “patch” cables, which allows for countless ways to route the sound signal through the different modules or patches.[24] (We can see Deleuze’s example in the image below of a modular analog synthesizer: features of the sound signal are modulated when sending it through different modules by means of the patch wires, with uncountable possible outcomes).

Digital synthesizers, Deleuze explains, are integral, that is to say, rather than the signal moving through a sequence of modules, it is instead processed by electrical circuitry whose different parts are already integrated with each other, and do not require manual connection with wires.

We see in the image above that the parts of a digital synthesizer’s integrated circuit are already wired together; the signal’s processing happens on a more “abstract” level through the manipulation of code.] The analog modules parallel Cézanne's use of “color patches” to modulate color: he begins with one broad stroke of uniform color, then moves to the place beside it, changing the color somewhat, thereby modulating its hue; and, he decides which change to make according the logic of organized sensations. Thus Cézanne, Wagner, and electric synthesizers are modulatory in two ways: by modulating the features of the sound or color, and doing so through a series of modules (color-patches, keys, synthesizer-patches).

Because each patch of an analog synthesizer has circuitry components that reduce properties of the sound signal itself (according to Deleuze), analog synthesizers modulate by means of subtraction, and in this way some of the fidelity to the original sound is lost. In contrast, digital synthesizers are additive, and Deleuze makes this distinction clearer by comparing the operations of pass filters; and, although this may be one of his most technical examples, it serves to explain how we are to give a positive connotation to deformation. [We might imagine a musician playing on a drum kit, using both deep drums and cymbals. The drums produce low frequencies, and the cymbals high ones. A low-pass filter, whether analog or digital, will let the sound of the drums through, and strip away the sound of the cymbals, because a low-pass filter only lets the low frequencies pass through it. In the specific case of low-pass digital filters, the sound waves produced by the drums and cymbals are converted electronically into a code; and, in order to modify it, the digital filter must perform operations on the code. This process makes the original code more complex by adding new coded information to it, even though this new larger and more complex code will then decode into a diminished sound: when we play the output of the digital low-pass filter, we hear the drums perfectly, but the cymbals not at all. For analog low-pass filters, the sound waves of the drums and cymbals are converted into an electrical signal. Both the original sound waves and the converted electrical current oscillate in concord (they together move back-and-forth at the same frequencies): this is analogical mimicry. The analog low-pass filter, then, only lets the electrical signal through when it is moving at low frequencies, and blocks its passage when moving at higher frequencies. This results in a diminished signal, that when re-played, reproduces the sound waves for the drums, but not for the cymbals.][25] What Deleuze concludes from this distinction is that an analogical process of sound modification (modulation) enhances a sound by subtracting something from it. Whether or not that is an accurate depiction, is beside the philosophical point that this example illustrates. Deleuze calls analogical modulation an intensive subtraction, because he considers intensity at its greatest magnitude to equal a value of 0; and hence, its increases in intensity are actually falls to 0.[26] (Of course, Deleuze's statement that there is no absolute 0, which we cited previously, refers to the intensities studied in physics – for example, temperature – and perhaps has no bearing on facultative intensities). Yet, to better grasp this notion of intensity equaling zero, we will need to explore his concepts implication and explication.

Deleuze's account of implication and explication in Difference & Repetition will seem abstract unless we apply these terms to his revised doctrine of the faculties. In those cases when our faculties are disordered, we would be wrong to think that the differences between them can be measured, as if there were a homogeneous scale of values that could be used to gauge their distance from one another. However, we might still say that to greater intensities corresponds more depth: as our faculties become more disorganized, it is as though we loose stable ground and feel ourselves in freefall. However, if our faculties were to come more into accord, stability would return, and objects would become more recognizable, as we become more able to determine their spatiotemporal features. In this way, the heterogeneous intensive rhythm of sensation is made more homogeneous and extensive, and thereby, more qualitative features may be attributed to the sensed object. Yet by doing so, the original intensity diminishes, as it comes to take the form of extensity and quality.

Thus, Deleuze speaks of intensity as being implicated and inexplicable.[27] From what we have said regarding the discord of the faculties, it might seem that intensity resides implicitly in facultative disorder, and is only transcendentally sensed as the differences between faculties. We might illustrate this by considering Bacon’s 1946 Painting.

After a period of initial confusion regarding the meaning and coherence of the images, we might imagine instead that we eventually somehow become able to determine the “story” that it tells. We could then view the painting in its full extent, and explicate its meaning, its qualitative & extensive features, and its identity. When we were initially confused by the painting, we experienced the coupling of contraries that make up its matters of fact; yet, by explicating these phenomenal paradoxes into coherent descriptions, we cease to experience the painting as an event, and walk-away retaining a dull representation of it.

Thus, explication cancels intensive difference insofar as it becomes explicated. Such differences in extensive features as “the high and the low, the right and the left, the figure and the ground” flow from something deeper, in fact, from the intensive depth itself. In other words, before we are able to discern the extensive relations in our perceptions, our faculties must first be confused by the irregular ways that things are given to our senses (this is the rhythm of sensation). As our faculties establish artificial regularities – by finding a common measure to determine the extensive features of the things we perceive – what was once intensive depth then becomes extensive visual distances. It is by this means that we come to discern the ground from the figure it surrounds.[28] This will be important in contrasting Bacon’s modulation with Cézanne's; for, by merging figure and ground onto a common plane, Bacon better keeps depth from explicating into extensity.

Depth, then, is the magnitude of the faculties’ disorder.[29] Moreover, Deleuze does not consider the distances in depth to be a negative relation, but rather a positive affirmation of the difference making-up the distant faculties. He offers a mathematical example of how distance can be used to positively affirm the value of a number. He first considers a formulation that defines equal mathematical values negatively; for, it claims that, if two values cannot be different, then they must be the same. (More accurately, ‘if a b is impossible, then a = b’). Thus, the sameness of value between a and b can be established by denying the possibility of their difference. Contrariwise, his second formulation positively establishes the sameness of two unknown values by affirming that they both share the same distances to other values. (‘If a is distant from every number c which is distant from b, then a equals b’). Although, in Deleuze's case, he is not speaking of an extensive quantitative distance value, but an intensive one which cannot be given an explicit value-measure.[30] For him, the notion of equality is a matter of extensity, and quality is an issue of resemblance. However, “extensity and quality ... cover or explicate intensity. It is underneath quality and within extensity that Intensity appears upside down,” (C’est sous la qualité, c’est dans l’étendue que l’intensité apparaît la tête en bas).[31] Hence in its depth, intensive difference is not negative, but only appears to be so when explicated.

The intensive differences between disorganized faculties precede all sensations of extension and quality, but yet none of our given empirical faculties can sense this intensity. The role of the faculties is to explicate the objects they commonly detect; thus, they cannot sense intensity; for, in order to do so, they would need to raise it from the depths, elevating it to the “surface” of extensions, thereby canceling it before they can sense it. When extensities explicate intensities, the intensities become concealed. Thus, intensity can only be detected by a “transcendental exercise of sensibility,”[32] in which our faculties allow themselves to be pushed to their limits so to let the intensities flow through our bodies’ various zones and levels. Hence, the purpose of taking drugs for sensory distortion is to transcendentally sense intensity without any extensities or qualities that might explicate it, so to feel the irregular rhythm of sensational chaos. (Although it is not quite clear what Deleuze means by sensing something transcendentally, it seems that we may reference his descriptions of the way the BwO experiences its internal disorders).

Before we are able to explicate an object, we must first presume it is possible to do so. Kant explains this in terms of the object = x, which is a concept that Deleuze modifies. Kant explains that cognition is only possible by means of a concept, which enables us to unify our successive manifold of intuitions in just one act of consciousness.[33] Even in sublime experiences when these successive apprehensions could not be unified, still we presuppose the possibility for any object whatever to be unified into a concept. In other words, there is the a priori necessity that there be a sort of empty category or generic object to which any representation or concept could correspond; otherwise, the series of apprehensions would have no cause to unify. This generic object is the something in general = x, or object = x, which serves as the transcendental ground for “the unity of the consciousness in the synthesis of the manifold of all our intuitions, hence also of the concepts of objects in general.”[34] And, this original and transcendental condition is transcendental apperception, which is the “pure, original, unchanging consciousness;” whereas empirical apperceptions are the sequences of sense intuitions. Because the object = x is not empirically intuited, Kant considers it as the “transcendental object.”[35] Deleuze characterizes this something = x as a something = nothing, because it is an empty apperception. However, it becomes a lion = x when we synthesize all the particular empirical apperceptions that can turn the undetermined x into a lion: its “long hair in the wind, a roar in the air, a heavy step, a run of antelopes, well, I say it's a lion.” In this way, the diversity of empirical apperceptions becomesspecified and qualified when the faculties enter into accord regarding the series of apprehensions; and, when that synthesized image in the imagination is matched with the concept for lion, the perceived lion becomes recognized.[36]

As the a priori condition for the comprehension of empirical intuitions, the object = x is a matter of transcendental apperception; and, as non-empirical, it exemplifies Kant’s transcendental idealism. Deleuze adopts this notion of the transcendentality of the inexplicable something = x; yet, because for him it is not transcendentally “apperceived” in the mind – but rather is the underlying violent motivational force driving each empirical faculty to its limits in their effort to synchronize – the object = x exemplifies Deleuze’s transcendental empiricism.

Thus, we see that as intensity decreases, objects come more to be determined according to their extensive spatiotemporal and qualitative features, and in that way they become more explicated into extensity. Deleuze summarizes this inverse relationship with a modification of Kant’s formula, intensity = 0, which for Deleuze means that intensity is at its greatest magnitude when its numerical value is zero. However, Kant’s scale is the inverse of Deleuze's; for Kant, thenegation of intensity has the value of zero. Uncovering the difference between their formulations will explain how intensity is a fall for Deleuze, and thus why modulation produces this intensive drop.

For Kant, sensations have an intensive magnitude, which is the degree of influence on our senses, and it may diminish to 0.[37] As it rises-up from 0, its degree of intensity matches the extensive magnitudes of those objects causing its increase, so that an illuminated surface of some extensive measure causes as great a sensation as would the combination of a certain number of smaller such surfaces, themselves each of equal luminosity.[38] In other words, greater intensities correspond to greater extensities, which for Kant, provides a way to quantify them.

However, for Deleuze there is an inverse relationship between intensity’s magnitude and its measure: when its numerical measure is high, its actual magnitude (of facultative disorder) is low, and vice versa. Deleuze does not want us to take this formulation too literally, because we really have no way to quantify our intensities, not even inversely by assigning them higher numerical values. Rather, what he wants to emphasize is that the more our faculties disorganize, the more we are able to experience intensity without it being cancelled by extensive explication. This is his way to counter the Kantian notion of perception, because for Kant, when there is no phenomenal reality, intensity equals zero;[39] but for Deleuze, phenomena “appear” (flash) when intensity is at its greatest, which occurs when its numerical value equals 0; for, that happens when extensive numerical values are least a factor in sensation. Thus, we experience an increase of intensity as a fall to zero, and as a fall from stable ground.[40]

Hence, we may return finally to the falling intensive subtractions of modulation, which Deleuze exemplified with the analog synthesizer. We might also recall that, for Pinhas, electronic-synthesizer modulation causes sounds to become low-fi: by decreasing fidelity, we experience a sort of confusion as we come less to recognize the sound. Bacon’s diagramming acts as a modulator, then, in the ‘synthesizer’ sense of the term, because it is a scrambled distortion that bends an image into alternate dimensions and formations. Deleuze differentiates Bacon from Cézanne in terms of Bacon’s deformation of bodies, but also in terms of the depth these painters create. Cézanne's modulations – which use color alterations to create visual depth relations – cause in the viewer’s perception the sense that objects in the background are moving away, and those in the foreground are moving forward. (Below, in Cézanne's The Bathers, we see both a slight deformation of bodies; and, we may also notice how the modulation from the skin colors to the green causes the plants to recede into the background as the bodies seem to lift forward).

(Thanks www.dl.ket.org)

Bacon’s diagramming, on the other hand, superposes incompatible spatial dimensions so to confuse extensions of visual depth; and, the vast expanses surrounding the deformed figures are often a monochromatic flat background rather than a three-dimensional space fading-off into the horizon. Bacon’s visual depth, then, is more shallow and superficial in the sense of extensity, and thus deeper in the sense of intensive facultative depth.[41] (Below, in Bacon’s 1982 Studies of the Human Body, we see the flat expanse which places the background at the same level of depth as the figure).

(Thanks www.centrepompidou.fr)

Deleuze, then, differentiates Bacon’s and Cézanne's modulation techniques. When Cézanne modulates from one color patch to the next, he chooses each variation according to which color will replicate the experience of seeing the actual scene being painted, that is to say, according to alogic of organized sensation. Bacon’s technique, however, instead involves a logic of disorganized sensation: his diagrammed modulations are not determined rationally, but come-about through the irrational influence of chance. Also, Cézanne’s modulation would seem more like Wagner’s, where there is somewhat of a sense of key feeling for each color patch, even if they never resolve. Bacon, however, modulates color in a similar manner, yet for him, there is more deformation of bodies, which in terms of the colors in the diagrammed areas would mean something like the fidelity-lowering effect of continuous modular synthesis that Pinhas describes. Bacon’s diagram, then, deforms bodies through continuous modulation, as though it were a carnival mirror that not only altered the proportions of the figures, but their entire appearancesas well. So, by means of diagramming’s modulation, Bacon creates aesthetic analogies that force our faculties to try to organize while at the same time barring them from doing so. To witness Bacon’s paintings, it seems, would be to have an unresolving sublime experience.

Hence, we see that the importance of Bacon’s diagramming technique in Deleuze's thinking is that it exemplifies concretely the way that chaos and order interact so to produce fuller sensations, by means of the internal dissonance of our faculties and our disharmony with the world around us. It is in this way that Deleuze's theory of sensation runs counter to the phenomenological account of the organicism and harmony of perception.





[1] Gilles Deleuze, Francis Bacon: Logic of Sensation, Transl. Daniel W. Smith, (London: Continuum Books, 2003), Francis Bacon : Logique du la sensation (Paris : Les Éditions du Seuil, 2002), p.111.

[2] Logic of Sensation, p.83. Logique de la Sensation, p.111.

[3] Lawrence Gowing, “Cézanne: The Logic of Organized Sensations,” in Conversations with Cézanne, Ed. Michael Doran, (Berkeley: University of California Press, 2001), p.197.

[4] Gowing, p.197.

[5] Gowing, p.212.

[6] Norman Turner, “Cézanne, Wagner, Modulation,” The Journal of Aesthetics and Art Criticism, (Vol. 56, No. 4, Autumn, 1998), pp. 359. Quote from: Gowing, p.189.

[7] Deleuze, Logic of Sensation, p.83. Logique de la Sensation, p.111.

[8] “‘Look well at your model’ Couture advises, ‘and ask yourself where the light is greatest. ... Establish the point at which the shadow is deepest, the black most intense. It serves as a guide, as a standard for finding the different values, of your shadows and your tints,’” Turner, p.358.

[9] “One should not say model, one should say modulate” Cézanne, qtd. in Turner, p.360. “On ne devait pas dire modeler, on devrait dire moduler,” Turner, footnote 34, p.363.

[10] Gowing, p.191.

[11] Gowing, p.186.

[12] Joachim Gasquet, “What he told me...” in Conversations with Cézanne, p.121.

[13] Gowing, p.187.

[14] Turner, footnote 27, p.363.

[15] “Where it gives place to the juxtaposition of yellow and red and the alignment of the form appears to change, it may be that Cézanne thought of himself as passing to the next scale,” Gowing, p.204.

[16] Crotch, “On the Derivation of the Scale, Tuning, Temperament, the Monochord, &c,” The Musical Times and Singing Class Circular, Vol. 10, No. 224, (Oct. 1, 1861), p115.

[17] Plato, Republic, Book III, 398e. Aristotle, Politics, 1340a.

[18] Gowing, p.204.

[19] Turner, “Cézanne, Wagner, Modulation,” p.354.

[20] Richard Pinhas, “Le rythme et la modulation synthétique: Simultanéité et compossibilité des motive chez Richard Wagner,” in Les Larmes de Nietzsche: Deleuze et la musique, (Paris: Flammarion, 2001), p.165.

[21] Pinhas, p.171.

[22] Pinhas, p.176.

[23] Pinhas, p.180.

[24] Deleuze, Logic of Sensation, p.81. Logique de la Sensation, p.109.

[25] Logic of Sensation, p.81-82. Logique de la sensation, p.109-110.

[26] Logic of Sensation, p.82. Logique de la sensation, p.109-110.

[27] Difference & Repetition, p.228. Différence et répétition, p.293.

[28] Difference & Repetition, p.229-230. Différence et répétition, p.296.

[29] “The strangest alliance is formed between intensity and depth, which carries each faculty to its own limit and allows it to communicate only at the peak of its particular solitude,” Difference & Repetition, p.231. Différence et répétition, p.297-298.

[30] Deleuze, Gilles. Difference & Repetition. Transl. Paul Patton. New York:Columbia University Press, 1994, p.234. Deleuze, Gilles. Différence et répétition. Paris: Presses Universitaires de France,1968, p.301-302.

[31] Difference & Repetition, p.235. Différence et répétition, p.303.

[32] Difference & Repetition, p.236-237. Différence et répétition, p.304-305.

[33] Immanuel Kant, Critique of Pure Reason, Transls. & Eds. Paul Guyer & Allen W. Wood, (Cambridge: Cambridge University Press, 1998), p.231, A103.

[34] Critique of Pure Reason, p.232 A106.

[35] Critique of Pure Reason, p.232, A107; p.233, A108-110.

[36] Gilles Deleuze, “Cours Vincennes: synthesis and time. 28/03/1978”

[37] Critique of Pure Reason¸ p.291, B209, A168.

[38] Critique of Pure Reason¸ p.295, A176, B217.

[39] Critique of Pure Reason¸ p.291, B209, A168.

[40] Gilles Deleuze, Logic of Sensation, p.58. Logique de la sensation, p.78-79.

[41] Deleuze, Logic of Sensation, p.83. Logique de la sensation, p.112.


Additional Image Credits:





Monochord images:
Guthrie, Kenneth Sylvan. The Pythagorean sourcebook and library : an anthology of ancient writings which relate to Pythagoras and Pythagorean philosophy. Grand Rapids (Mich.): Phanes, 1987. ISBN: 0-933999-51-8