In this paper I present an interpretation of Deleuze's concept of the virtual. I argue that this concept is best understood in relation to the problematic of individuation or differentiation, which Deleuze inherits from Duns Scotus. After analysing Scotus' critique of Aristotelian or hylomorphic approaches to the problem of individuation, I turn to Deleuze's account of differentiation and his interpretation of the calculus in chapter 4 of Difference and Repetition. The paper seeks thereby to explicate Deleuze's dialectics or theory of (...) Ideas, his approach to the principle of sufficient reason, and the concept of the virtual itself. (shrink)

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review (...) modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology. (shrink)