藝術的創造思維與超越：德勒茲的「差異」理論之啟示

Abstract

The theory of "difference and repetition" from Deleuze's book Difference and Repetition serves as the foundation of his views on artistic expression and observation. This essay especially focuses on his theory of "difference" and seeks to understand the points of his theory in regards to the thought process and transcendent revelations of artistic creativity, and further hopes to explore how these revelations inform the creative direction and pursuits of the avant-garde as they make art. Deleuze emphasizes that from the viewpoint of the univocity of Being, attention should be paid to details of individual difference and expressed through direct analogies and without reference to conceptual categories. He proposed that discovery can come through manipulation of the site, that experimentation can be a means of expression, and that these should be the goals of the avant-garde as they pursue freedom and transcendental values. If it is a mistake to assume that univocity regards all objects as being the same and stubbornly adheres to the principle of recurring similarities - this is not the true meaning of Deleuze's theory of univocity and difference. Through these ideas, this essay hopes to offer useful reflection on the theoretical concerns underlying the past and present creation of art in Taiwan.

The power of artistic creativity does not originate in aesthetics as defined by models of psychoanalysis and semiology, but rather arises from the intuition of death and univocity. This essay proposes three crucial directions for exploration by the avant-garde: firstly, the univocal liberation of free will; secondly, the unmediated expression of analogy and difference; and thirdly, the perception and experimentation at the site of manipulation. Even in this new technological era, Deleuze's theory of "difference and repetition" continues to exhibit an unmatched intensity.