“Command unto us an habitation that we may dwell secure and eat of food.” (Aitareya Upanishad)
“Interlocking these frames or joining up all these planes wall section, window section, floor section, slope section – is a composite system rich in points and counterpoints. The frames and their joins hold the compounds of sensations, hold up figures, and intermingle with their upholding, with their own appearance. These are the faces of a dice of sensation. Frames or sections are not coordinates; they belong to compounds of sensations whose faces, whose interfaces, they constitute. But however extendable this system may be, it still needs a vast plane of composition that carries out a kind of deframing following lines of flight that pass through the territory only in order to open it onto the universe, that go from house-territory to town-cosmos, and that now dissolve the identity of the place through variation of the earth, a town having not so much a place as vectors folding the abstract line of relief. On this plane of composition, as on „an abstract vectorial space,“ geometrical figures are laid out cone, prism, dihe-dron, simple plane-which are no more than cosmic forces capable of merging, being transformed, confronting each other, and alternating; world before man yet produced by man. The planes must now be taken apart in order to relate them to their intervals rather than to one another and in order to create new affects. We have seen that painting pursued the same movement.” (Deleuze: What is Philosophy? p.187)
The role of the house, in Deleuze and Guattari’s philosophical work, is to provide a structure for the “plane of immanence” on which philosophy operates. The plane of immanence is the conceptual space where all thought takes place. It’s a pre-philosophical field that is not yet stratified into disciplines and categories. The house, or the concept, is a way of organizing this space, of giving it form and making it habitable for thought.
In this sense, the house is a stabilizing structure that allows for the mobility of thinking. It’s a place where one can dwell in thought, explore philosophical landscapes, and create new concepts. The house’s role is to shelter the act of philosophy, providing a space where concepts can be articulated and connected to form a coherent philosophical vision.
Mantras build a house – a territory – but only so that this territory can be deterritorialized; a line of flight out into the cosmos/Universe. (O’Sullivan, 2001, p. 117)
https://readingdeleuzeinindia.org/diagramme-philosophisch/
So no ‘apparatus of capture’, no colonization, but a shared project of deterritor- ialization. Art, and the writing on art, as a line of ight away from rigid strati cation. These escape routes/roots will take diVerent forms. Writing on conceptual art might involve itself in the co-project of active concept creation (problem solving).4 Writing on painting, on the other hand, might involve itself in a kind of co-project of becoming; an aYrmation of the non-human becomings which painting has always been about (the production of aÚ ects).5 Such writing might involve the unravelling of the knot that art is; a mapping of the ‘past’ (art history) and ‘future’ (virtual) potentialities of the object. Meaning, if this is still a useful term, would be a diagram of these movements. (O’Sullivan, 2001, p. 116)
