: gilles deleuze

The term "rhizome," which was first introduced into philosophical discourse by the influential French philosopher Gilles Deleuze, literally describes the horizontal, branching stems of certain types of plants that grow underground. However, Deleuze imbued this term with a much deeper significance, positing that it encapsulates one of the defining characteristics of the postmodern condition. This multifaceted concept of rhizome can be intriguingly paralleled with the realm of interactive art, which has gained prominence in recent years as a transformative mode of expression. Interactive art refers to a distinctive mode of presenting a work where audience members are invited to assume an active role as creators rather than passive observers. In an interactive performance setting, for instance, while the director establishes initial conditions that set the stage for engagement—much like planting seeds in fertile ground—they do not impose a rigid map dictating how the performance will unfold. This fluidity mirrors the nature of a rhizome itself: decentralized and non-hierarchical. Similarly, audience behavior within such interactive pieces is inherently rhizomatic; each participant brings their own unique interpretations and insights to their engagement with the artwork. As individuals share their perspectives with one another—like branches sprouting from a common root—they generate a rich tapestry of meanings and interpretations that proliferate throughout the duration of the work. The potential for transformation in interactive art aligns beautifully with Deleuze's notion of becoming. This ongoing process not only enriches the experience of the artwork but also highlights the interconnectedness of individuals within a shared creative endeavor. In this way, interactive art becomes a living entity, constantly in flux, challenging traditional notions of authorship and inviting a more collaborative approach to art-making. The rhizomatic structure of these works emphasizes the importance of each participant's role, suggesting that the collective experience can yield new understandings and insights that go beyond the original intentions of the artist.

For Gilles Deleuze, time in cinema has two main moments; on one hand, it can appear only as a platform for the action of subject, and on the other hand, it can overcome the limitations of recognition by freeing itself from the subordination of the action and give a deeper view of the reality of the object. By proposing the concept of time-image, Deleuze shows that the virtual forces of time remove thought from the sensory-motor schema of cognition and bring it to a state of the unthinkable so that the new image of thought can be recovered in its becoming. This descriptive-analytical article with a qualitative nature examines the time-images in four films of Mohammad Reza Aslani using the library method and image study according to Deleuze’s approach. Considering the hypothesis of the non-chronological presence of time in the narration of these works, the question is how time-images expand the different aspects of the original form of the image and invoke its multiple possibilities. The results show that in the mentioned works, time reproduces the different by passing the image from its apparent function. What happens is the resurrection of an image that, not as a repetition of the identical, but as an image of the possibility of what was in its novelty, returns the new in the structure of cinema and thought to re-establish our links with the world, according to Deleuze.

This paper offers an interdisciplinary analysis of Tony Kushner’s play, A Bright Room Called Day, through the lens of Gilles Deleuze’s interpretation of Immanuel Kant’s philosophy. This study investigates how postmodern poetics are shaped by Kant’s first principle –“the time is out of joint”– and his fourth principle – “the disorder of all senses” –. Together, these concepts generate what can be termed The Drama of Disordered Relationships, a framework that reveals the complexities of human interactions in the context of political turmoil. The analysis focuses on two primary dimensions within Kushner’s work. First, it examines the characters’ attempt to establish a common ground or “Cardo” that is subjugated to the ideals of communism. However, this endeavor is ultimately portrayed as doomed to failure due to the unhinged nature of time, which disrupts any possibility of a cohesive narrative or shared understanding among the characters. Second, the paper explores how this disjointed temporal framework and the resulting disorder of the senses disturb the artistic and literary relationships among events in the play. This disruption challenges the organic unity typically found in classical drama, emphasizing a departure from traditional narrative structures and highlighting the fragmented experience of reality. As a result, the interplay between unhinged time and chaotic relationships complicates or in other words, makes representation of art impossible within Kushner’s work. The findings suggest that the principles derived from Kantian philosophy not only illuminate the thematic concerns of A Bright Room Called Day but also reflect broader anxieties regarding meaning, coherence, and artistic representation in contemporary literature. This study contributes to understanding how philosophical frameworks can inform literary analysis, particularly in works that grapple with complex socio-political themes and the challenges posed by modernity.

Abbas Kiarostami and Gilles Deleuze were unconventional figures, Kiarostami with his films and Deleuze in Film Studies. But both of them have one thing in common, and that is to return to the question of the essence of cinema. Kiarostami, especially in his three works, Birth of Light, Five, and 24 Frames, with techniques such as de-dramatization of random encounters and completely accidental disturbances, questions the common realism and the perception of the immediate recording of reality by the camera, and on the other hand, Deleuze with his ideas follows establishing a new ontology of film trying to find a new answer to the question of what is cinema. By putting forward the concepts, the movement- image and the time-image in relation to other concepts such as perception, action, affect and crystal, Deleuze draws a theoretical structure to show how a film works. According to Deleuze, the work of film analysis and film-thinking is to develop concepts that are related to cinema. According to him, every film has goals, and cinematic techniques such as framing, plan, and montage make sense in relation to these goals, but these techniques assume those goals and do not explain them. It is the goals that make the specific concepts that Deleuze is talking about. In the present research, an attempt has been made to examine some of these concepts in the face of three works by Abbas Kiarostami. At first glance, it may seem that the three mentioned films do nothing but reproduce the visible world; It means reality, and here nature is captured in a de-dramatized and de-personalized state without the intervention of humans or subject. But in Deleuze's approach to these films, it is made clear that they are not only not representing the visible, but are in the process of making visible. Because of the three films, The Birth of the Light, Five and 24 Frames, have been pushed to the limits of the essence of cinema, they reveal a perception of life.

Gilles Deleuze, the contemporary French philosopher, ranks among the most important thinkers of the twentieth century. Deleuze views painting as making visible the invisible forces. In fact, the foundation of his aesthetics can be considered an aesthetics of forces - making forces visible through their effects on material. In his perspective, what fundamentally matters in art is not the creation or reproduction of forms, but the capture of forces. Deleuze seeks to direct forces toward their maximum potential, not through the brain but by acting directly on the nervous system, rather than evaluating them directly.For this research, given its interdisciplinary nature between art and philosophy examining Deleuze's views on painting, and aiming to identify connections between Deleuzian philosophical definitions and painting, the researcher has adopted a qualitative approach with descriptive-analytical methodology. Data collection is based on library research. Ultimately, by exploring Deleuze's thought on philosophy and art, examining methods for expressing the reality of colors, tactile-visual and purely visual spaces, and analyzing color relationships whose combinations create painting's powerful actions, the research leads the audience to grasp the pure status of a pictorial reality.Research Objectives: Identifying the connection between Deleuzian philosophical definitions and painting.Reading painting through latent forces in color based on Gilles Deleuze's philosophy.Research Questions:What is the relationship between Deleuzian philosophical definitions and painting?How can painting be analyzed through latent forces in color based on Gilles Deleuze's philosophy?

Enclosure serves as a fundamental principle in shaping spatial identities, defining the unique character of a place. In Iranian architecture, mass is not just a physical element but also a concept that molds and encapsulates space, embodying the notion of enclosure. The term “rhizome” is a biological term, as a metaphor, contains concepts such as labyrinth, multiplicity, connection, difference and intermediate position. In this way, the elements that create confinement, as well as the elements of multiple space and rhizomic labyrinth, are identified in the literature review, and then, in order to obtain the different qualities of the classification of the enclosed space in a quasi-rhizomatic structure, the aspects of the relationship between these two categories have been deduced. The purpose of this article is to investigate the methods of achieving a variety of enclosed areas in the spatial organization of Kashan historical houses and to reinterpret the degrees of their enclosure. Key questions include how elements of rhizomatic epistemology can inform the reinterpretation of enclosure levels within Kashan’s historical houses and which physical and spatial approaches have contributed to classifying their enclosure structures.”?

“The research employed a descriptive, analytical, and logical reasoning approach. Data collection involved both library research and fieldwork, with Depthmap and Agraph software utilized for data analysis. First, the definitions of spatial enclosure in the field of architecture and rhizome theory in the field of philosophy were studied. In this way, the factors of creating enclosure and characteristics of thinking and rhizomic space were extracted. Then, multiple rhizomic spatial indices were categorized in four sections and similar and overlapping indices were placed in one category. These four categories were analyzed through space analysis software (Depthmap-Agraph) in architectural configuration. As the largest historical house of Kashan with many introverted areas, Ameriha House was chosen as a case study and in the way of reinterpreting the enclosure according to the labyrinth structure of this house, compatible components in rhizomatic epistemological foundations have been used , aligning with its unique architectural style.

In order to analyze and interpret the enclosure based on the aforementioned theory and considering the spatial nature of the rhizomial logic and also the existence of categories such as connection, connection, difference and continuity, the indicators of the space syntax theory were used to analyze the study sample of the historical houses of Kashan. In this order, it is argued that the indicators of space difference, space traffic and isovist, connection and number of space and interlinking in the theory of space syntax in connection with the indicators mentioned in the rhizome theory can be used in the reinterpretation of the degrees of enclosure of the labyrinth structure of the historical houses of Kashan. To be more precise, the sub-categories of space dissimilarity/heterogeneity/difference with the help of space difference index, the sub-categories of spatial diversity/unsimilar continuity with the help of spatial traffic index and isovist, the sub-category of abundance of areas/connections with the help of two syntactic indicators of connection and the number of spaces and the sub-category of the set of coherent links and Multicore can be analyzed and measured with the help of integration index. The simulation of the movement in the spatial arrangement of Ameri House shows that the character of fluidity, continuous changes and new orientations has been expressed by creating frequent thresholds and establishing intermediate and in-between areas. The crucial principle of rhizomatic space lies in its establishment amidst and between elements. The physical manifestation of these characteristics becomes evident through the simulation of movement and vision within the layout of the Ameri House. Also, dissimilarity in the level, shape, number of connections, type of spaces and flexibility of configuration leads to the logic of difference in rhizome theory. The physical/spatial approaches mentioned in the rhizomatic and integrated relationship with each other enrich the levels of enclosure in the spatial structure of the Ameri House in Kashan.

The results of the research show that multiple physical/spatial approaches in accordance with the body of the rhizome space include de-territorialization and re-territorialization, fluidity, flexibility, difference and heterogeneity, multiplicity of spaces and paths and being in the middle and in-between have been effective in creating enclosure as well as diversity and multiple degrees of enclosure. The rhizome approach of multitude and multiplicity of spaces and paths in the three domains of border, threshold and territory has led to the difference and diversity of the extent and manner of spatial enclosure. In such a way that the inside/outside boundaries (entrances), the spaces between the yards (thresholds) and the area, the shape and various openings of the 9 yards (realms) have provided very different states of visual and physical access limits. Spatialization and arenaization of the house in Kashan has formed a set of coherent and multi-core links through reterritorialization and decentralization of arenas. In the sense that many courtyards with different numbers of connections to the peripheral areas of the territories have led to decentralization and formation of multiple cores, and the expansion of these areas in many directions has led to fold logic, divergent and horizontal thinking.

In painting, Post-impressionism consists of a collection of works which appeared in the two last decades of 19th century in Europe. Although these artists never formed an official group, the purpose of their work was to amend impressionism's shortcomings. The most important quality that is observed in post-impressionist paintings which this research notes, is the abundance of variety of color spectrums gathered into a single painting. Multiplicity in this research, is an idea loaned from French philosopher Gilles Deleuze and is a method to describe the plurality of all beings and to demonstrate the new ways of an ever-evolving nature. This research tries to describe how the multiplicity of color appears in post-impressionism and answers the question of how multiplicity of color has influenced different domains of expression in the art of painting and what the results are. The multiplicity of color is an unitarianist answer to the historical dualities of Europe painting such as "art & nature" or "objectivity & mentality", and post-impressionism through that makes these contrasts to unity. The multiplicity of color makes "expression" the main purpose of painting and sets it in contrast of pure "representation". For this we analysed paintings of artists from the last two decades of 19th century who mainly worked in France, specifically George Surat, Vincent Van Gogh, Paul Gauguin and Paul Cezanne. This research concludes that form and color in paintings of Cezanne and Von Gogh, surface and perspective in Surat's works, and aesthetics and personal impression of nature in Gauguin's works reach unity. Therefore one of the other reasons of using multiplicity of color in post-impressionism was filling the historical gap between artist and the universe in impressionism and the requirement of creating balance and unity between historical dualities of European's painting and the domains of its effects include the orders of form, color, aesthetics and surface and perspective. This research also concluded that extracting of figure from figurative order and rediscovery of portrait in paintings of Von Gogh and Gauguin and extraction of nature's figure in Cezanne's works are the results of multiplicity of color in the field of expression in post-impressionism. Finally we concluded that multiplicity of color in post-impressionism paintings is the result of utilizing the expression machines, such as dot-color machine in Surat's paintings, line-color in Von Gogh's paintings, stain-color in Cezanne's paintings and surface-color in Gauguin's paintings .These machines take the nature as the entrance and convert it to dot, line, stain and surface and the factor of their connections is the color modulation plan which the expression machine works on it and merge its functions with each other. The modulation plan is a non-transcendental field which based on it the machines can connect to each other by the multiple directions and create bigger machines and wider surfaces. The relations on modulation plan that lead to connecting machines together are the familiarity relationships, contradiction and complementary. The method of research is descriptive-analytical, the method of analysis is qualitative and method of data gathering is library research.

Throughout human history, clothing has always been influenced by social and cultural aspects in addition to individual aspects and has had different functions. In such a way that we should "forget the usefulness of goods for eating and drinking and think about those clothes are suitable for thinking and consider them as non-verbal media for human creativity." In the last decades of the twentieth century, profound changes in the concept of art and the aesthetic structure emerge, which are accompanied by the formation of artistic movements. After the 1960s, the form and content of the work of art and its relationship to man and nature were challenged. In fact, the most important feature of the art of this century was its experimental aspect, which originated from a strong and growing desire for innovation and a great fascination with new phenomena. Contrary to the expectations and habits of the audience, the artist seeks to create works that surprise and immerse the viewer, and this is where the creation of the work is completed with the participation of the viewer's mind. In the meantime, there are artists who have seen the ability of the human body and its postures more than any other tool to communicate with the audience of appropriate works of art. Non-functional clothing design is emerging as one of the effective ways of artistic expression in this period. The artist manifests his desired concepts by combining clothes with the characteristics of visual arts, human states and traits, body movements and sometimes acting abilities. The main purpose of these clothes is not to cover the body, but to show traits, feelings and thoughts. Among the few costume designers working in this field of meaning, special attention can be paid to Rei Kawakubo's creations. A postmodern artist who blurs all the boundaries. As much as she used architecture and conceptual art to create her works, she has also benefited from the effects of the "Body Without Organs". Alexander McQueen once said of her work:" When you look at her collections, at first it seems strange and unusual, not only for the public but also for the professionals. But, when you see someone challenging themselves like this and presenting new things every season, then you realize that it is the presence of such people that keeps the fashion world alive and does not allow it to lose its freshness and newness ". Leading European designers Victor and Rolf have also spoken about her:" We were 12 and 13 years old when we first met Cam Garsons in the 1980s, and this brand had a profound effect on us. The creativity that Kawakubo presents in her work was something that attracted us to fashion and we owe her a lot". Jill Deleuze, who invites man to creativity in all fields and forbids any representation in return, believes: “The realization of art is not presented and received by the state of the perceiving subject, rather, art must present a set of emotions or the pure existence of emotions”. From Deleuze's point of view, the body is trapped under the body. Unstable organs are trapped under the organization of fixed organs. Postmodern works of art in the contemporary world have true characteristics and meanings. Moreover, theoretical studies and the use of the perspective of modern philosophers can answer many ambiguities and hypotheses related to these works and why they were created. Among them, paying attention to the views of the French post-structuralist philosopher Gilles Deleuze as one of the prominent postmodern philosophers can lead to a correct interpretation and judgment of the works of these artists. The present study emphasizes Deleuze's views to examine some of the creations of Rei Kawakubo, the well-known postmodern costume designer concentrating on the concept of the "Body without Organs" and using a descriptive method to describe the characteristics of clothing. (It must be mentioned that the method of data collection is done using documentary and library studies and clothing images are optionally selected). Regarding the background of this research, it should be noted that although some studies have been conducted in the field of studying Kawakobo’s designs based on Deleuze's idea, they are not completely independent and focused on this concept. In general, the findings of these studies include these topics. The first part tries to rely on Deleuze's views, in particular, the concept of the "Body Without Organs", which is the intersection of libido forces on the one hand and external and social forces on the other and the interaction of these forces that create the shape of the body and its specific qualities and its use in a different context such as clothing design. It has realized the existential philosophy of art, which is the transmission of the feeling of the object as it is felt, not as it is known, and has increased the ability to understand the complexities and difficulties that enhance our perception. Among the pioneering designers, Rei Kawakubo has been selected since in her collections one can clearly see the obvious desire of deviation from meaning, harsh and contradictory details, deconstruction, and the creation of a new language of expression. Furthermore, a few of her designs in accordance with Deleuze's philosophical reading from the author's point of view are examined. She tries to present a concept of a human being or a human body that is asexual, a body without organs and gender, without an inner, internal structure, there is no fundamental underlying coherence or concept that is not in conflict with the organs but in the organization of the organs, and it is the ratio of forces that creates the body that is not dead. In all her works, the clothes somehow meet our state between potential and reality and evoke a state of vitality and dynamism in the mind of the spectator. In her designs, we can understand the concept of a body with an indeterminate organ that is constantly in the process of being influenced by forces, the pressure of the surrounding space and their constant experience.

Wong Kar-Wai is a filmmaker who has always been known for his unique visual style and his attention to fragmented narratives and non-linear editing that has attracted film audiences and critics, and even the academic community. While critics have noted his style for using unusual camera angles, saturated colors, and non-linear editing, what is apparent in most of his films is his obsession with time and memory themes. In addition, contemplation is a subject that can be described as a kind of melancholy, depression, or nostalgia that is not unrelated to the category of time. Henry Bergson and Gilles Deleuze have been thinkers who have always been concerned with time and memory. Although Bergson did not favor cinema, his concern for understanding how time was perceived led him to create concepts that were the basis of Deleuze’s work. Deleuze’s two key concepts in his theory were: movement-image and time-image. We are led to distinguish between classical linear time and the concept of time in modern times. As stated above, the main purpose of this study is to provide a comprehensive study of the entire workbook of Wong Kar-Wai in order to show how his films are interconnected and intertwined with the aforementioned concepts and also to show the many differences and unique identity of the works. In our view, what provides this unity is how Kar-Wai deals with the issues of movement and time that are present in all of his films. In fact, we want to explore what technical, narrative, and time-consuming features of filmmaking allow to integrate them all. To this end, our hypothesis is that his cinema is capable of being examined by Gilles Deleuze’s comprehensive categorization of cinematic cues, namely movement-image and time-image. Deleuze’s theory seems to resonate at every level of Wong Kar-wai’s films: from the dual nature of representation to the understanding of time and memory. Although many haveMosayeb Sharafi**1, Ali Rouhani21 Graduate Master in Cinema, Faculty of Cinema and Theater, Tehran University of Art, Tehran, Iran.2Associate Professor, Faculty of Cinema and Theater, Tehran University of Art, Tehran, Iran.(Received 7 July 2020, Accepted 5 Mar 2021)referred to the Deleuze-Kar-Wai relationship, no attempt has been made to systematically describe the relationship. Of course, we’re not just adding Deleuze categories to Wong Kar-Wai’s films, but we want to use its classification of cinematic symbols and images to explore his cinema. Simultaneously, we focus more on the category of time-image and the related concept of what Deleuze calls the crystal-time. In relation to time-image duality, we examine ways of creating pure visual and acoustic states that, according to Deleuze, are the preliminary and primary features for the emergence of time-pure images or time crystals. When Deleuze conveys the concept of the crystal-time, it is neither a psychological time unique to an individual mentality, nor even a humanistic time associated with existentialist attitudes, but rather a kind of ontological time related to Bergson’s category of duration. The general method of this research is descriptive and with some qualitative research using case studies and taking into consideration Gilles Deleuze’s theoretical framework of cinema thinking and using library resources and case studies of films and study the works. During the review we also use Henry Bergson’s theories related to the subject.

Having a specific view towards the subject of the human body is a characteristic of Gilles Deleuze's philosophy, one of the most influential experimentalist philosophers of the 20th century. This French philosopher built his postmodern philosophy based on human being and body structure. He had one of the most materialistic points of view towards the life and human body. Body without Organs is one of the most important concepts of his approach that demonstrates the framework of Deleuze’s philosophy about human. The body without organs is the result of putting the dualistic view - soul and body - away. With pursuing body without subject or a fixed center which was brought up by Phenomenologists like Husserl and Merleau-Ponty in the past, Deleuze took one step forward and brought up the new term: body without organs. The human, resulting from this view is forming constantly in his life beyond gender, identity, or any kind of fixed structure; and these uninterrupted happenings cause his existence; in other words, an evolving body that does not stop moving and changing until death. Since this subject was one of the important issues for Deleuze, he had some writings and interviews about it. One of the most famous samples of Deleuze’s philosophy in art is the interpretation of Bacon’s paintings in the book “Francis Bacon: The Logic of Sensation”. Here we want to go further and interpret one of the other modern artist’s artworks via this approach. Picasso could be one of these artists because when reviewing his artworks, we found some clues that make his works readable by Deleuze's philosophy. In some of Picasso’s paintings, the human bodies are so different from classical stereotypes and we confront with features of the formless body that is very similar to the body without organs of Deleuze e.g. in Picasso’s self-portraits that he continued to paint during his life, we face multi-pieces yet coherent bodies that are broken in time, re-arranged, and made again. At the end of this series, we can find a character who could be rebuilt many times despite its constant identity. Another clue in Picasso’s painting is related to the gender of the subjects. We can see, especially in the painter’s later paintings, the issue of gender is considered as a fluid factor, and it can be seen that Picasso sometimes did not emphasize the sexual identity of his figures either. Ultimately, some of Picasso’s paintings demonstrate that the feelings of the subject, who is appointed in a special situation, is the main issue of a scene. It means the artist wants to show a particular situation that is shaped by the role and interaction of the subjects with the painting space. So from this point of view, the identity of the subjects or their genders couldn’t be the main factor for paintings, while the artist focuses on atmosphere and feelings in each picture. This view is beyond merely following the form and style in painting and shows the artist’s point of view about the subject of human. Assuming that Picasso intended to offer a new definition of the body, this article claims that his works can be considered as a version of Deleuze’s body without organs philosophy. So we asked this question: Is it possible to compare some of Picasso’s artworks, especially the late works of the artist, with the body without organs of Deleuze's philosophy? The importance of this article is to find the logical connection between postmodern philosophy and art, which could be a suitable way to compare visual modern arts with philosophy. The method of research in this article is descriptive-analytical. By using reliable library resources, at first, the fundamentals of postmodernism are reviewed, then Deleuze’s view regarding body is defined, and following that the concept of the body without organs and gender is fully explained; and finally, in the analytical part, body in Picasso’s paintings is discussed and interpreted considering the theoretical framework of the research. Also, the data in a comparative table answered the hypothesis of the paper which means some of Picasso’s paintings are comparable with the philosophy of Deleuze’s. It should be noted that in the research literature, the documents and sources that are somewhat close to the present subject have been completely mentioned.

Body is one of the essential components of works in performance art. Since the beginning of performance art history, artists have had a critical approach to social matters and even the artists' reaction to using art works as commercial products has been one of the causes that made them create a kind of live art. The main question of this research is: What is artists' approach to body in performance art for expressing social matters? Body in Deleuze's ideas is more than just a concept of physical body and contains different bodies such as urban body and social body. This paper explains the concept of performance art and investigates the role of body in making performance art's works. Then, by using Gilles Deleuze's ideas about body without organs, we analyze some of the most important works of performance art in order to clear artists' approach to body and it's relationship with social matters. Performance art is a branch of art that mixes other branches and uses body in relation with time and space in order to makes an art work. Most of the works in this branch of art engages audiences actively. Deleuze uses the concept of body without organ in relation of a special kind of thinking about life and world. He recognizes world as a plate of immanence in which life is becoming and not being. He denies all kinds of transcendentality. In his ideas, art should try to make us recognize life as an open whole through feelings. From this point of view, body without organs refers to all kinds of refusing transcendentality in physical or social bodies. Body without organs is not a body in lack of organs, but it is a body against organization. Deleuze warns that just making a body without organs is not enough because it could be an empty or a cancerous body without organs. An empty body without organs is a kind of body that lacks organization, but it is not successful and transverse of intensities being interrupted in it. So, it could not be a plate of immanence that forces flow in it. A cancerous body without organs not only is not a successful body without organs, but is a dangerous body that is dependent on organization and  confirms transcendentality. This qualitative research uses descriptive-analytical method and theoretical sampling. The method of data acquisition is desk study. By analyzing performance artists' approach to body, we found: 1. The goal of performance art is to invite audiences for rethinking about physical and social body and as a result of that rethinking themselves and social matters in order to make a body without organs. 2. Sometimes, artists put their body in maximum or minimum threshold, and sometimes they try to make a body without organs of urban or social body in order to reach their goal. 3. What makes a performance art's work successful is to make a full body without organs and not an empty or a cancerous body without organs.

Gilles Deleuze's philosophy is an inherently spatial that focuses on the ways in which human and non-human elements are arranged into heterogeneous and multiple agencements. The main concern of this philosophy is becomings belong to geography; becomings which are more than a simply assemblage and have the ability to bringing-into-existence of its own agency that called an “agencement”. What makes an assemblage into an agencement is the relations between the entities or elements. Therefore, what is important are the relations between the elements, rather than the elements themselves. This paper seeks to explain how such a philosophy can be used as an analytical and critical framework that help us understand the way realities in urbanity and urban planning comes into being and changes over time. One of the most important lessons that urbanists have learned from Deleuze's philosophy was that they should focus on constructive becomings and the processes by which urban realities are bringing-into-existence, whilst the concern of urban planners should also be to help produce multiple, empowering, open, creative, democratic and inclusive urban spaces.

This studychr('39')s primary purpose is the influence of Gilles Deleuzechr('39')s poststructuralist thinking on improving the quality of educational space. Therefore, this study seeks to answer two main questions; first, the difference between rhizomatic education and the tree model of education. Second, how can rhizomatic thinking be effective in improving the educational environmentchr('39')s quality and fostering creative thought. The conceptual analysis method used to answer the first question, and the inferential method used to answer the second question.  Findings showed that rhizomatic space with features such as mapping, new orientations, frequent inputs and outputs, fluidity and flexibility, emphasizes the production of new ideas and meanings. Creative thinking also emphasizes fluidity, flexibility, originality, innovation and divergent thinking, etc. Thus, Gilles Deleuzechr('39')s rhizomatic thought and the components of creative thinking, including fluidity and fragility, flexibility, becoming, expansion and pluralism, folding, divergent and horizontal thinking, are commonalities, and so on. Accordingly, Gilles Deleuzechr('39')s rhizomatic thinking can have significant implications for the development of creative thinking. This includes the way of thinking and the multidimensionality of problems, divergent thinking, decentralization, non-linear (prohibition of imposing a certain pattern), becoming (constant change and movement in thinking), expansion (ability to pay attention to detail during activities) and initiative (inventing, innovating and providing unusual and clever answers to problems) originality (providing unique solutions).

According to a triadic divisions in different periods of Cy Tombly`s career with a concentration on Writing & space, We analyze the role of synesthesia in aesthetic action of the artist. Tombly`s interest in classic poems, Mythology and history will turn to express in contemporary language.Formation of synesthesia that means changes in the function of senses derived from multitask organs with multi capacity depends on sensation. Synesthesia will happen as the sensation will affect on the surfaces and threshold of body without organ. So the sensation as a pure intensity will intervene in the flow of the artist`s mind. Sensation changes the order and function of senses of body without organ.To facilitate the study of the role of Synesthesia in Tombly's aesthetic action, we categorized and grouped three works in his work and art. An analysis of the first group's paintings, Tombly's Blackboard Works, shows the use of letter or text in the form of intertwined letters, and the lines indicate a touch of aesthetic action. The artist has mastered what is temporal, audible in a visual and tactile way. So we come across works that sometimes do not need to be read but need to be seen and make our sense of reading and listening become tactile. Reflecting on Deleuze's views on the works of Trombly's first group,he merely considered the artist's aesthetic action, and for him at this stage was not merely a matter of looking of eye, but the eye falls out of hand, and the hand does not follow the eye, so blackboard paintings show, The artist is in the stage of Deleuze's chaos, and he has yet to find a way through the chaos of possibilities. We claimed that the first group of artist`s works means blackboard ones are the manual works. we consider in the second group the duality of text /image they are like poems that confront with the intervention of sensation. synesthesia of sensation will change the words or title to the special index or mark that is presented image, in which is in opposition to our associated mind & cliched image or familiar pictures in the history of art. In the third works, He instead of representation, with relying on body without organ records the intensity of sensation. the marks, the traces, the codes, titles, palindromic words, clapping of lines, Cartesian coordinates play the role of outlines in front of the invasion of chaotic background. And then they help the artist to find a ground for escaping from the chaos of background which is not void. it is full of possibilities. The first splashes, patches or touches according to that basis make a ground for distancing from the chaos of the world or it`s Necessities in spite of proximity. The sensitive and aesthetic relations in and out of artwork in dominance of sensation, will shape the space. Because of shallow depth and way of colorizing the third type of Tombly`s works, synesthesia and sensation make our eye to sense haptic.

Questioning the concept of space and location has turned into a fundamental issue in education theory due to the effect of “Spatial turn” and considering the importance of “Space” in regard to producing knowledge and the concept of truth. Gilles Deleuze, French post-structuralist philosopher, along with Felix Guattari in their book, "A Thousand Plateaus", employs the rhizome to introduce a new paradigm in the relationship between space and knowledge. Present study aims to prove this hypothesis that using rhizomatic spatial space in art classes can create an environment for creation and innovation, presenting many opportunities and capacities in regard to art education. The importance of diversity and multiplicity of rhizome model converts the classroom to a space with shifting and fluid perspectives, which stands completely in contrast to traditional pedagogical environment with a homogeneous single perspective. It might be argued that one of the major achievements of employing rhizomatic space in the art theory classes is the juxtaposition and combination of disparate perspectives and heterogeneous viewpoints in relation to an artwork and can overcome the logic of single meaning in an art work. Present paper is a theoretical study, using descriptive – analytical method and gathering data by library resources and documentation.

In this research, at the first step the concept of memory and time are explained from Bergson and Deleuze’s perspective. Then the influences and changes caused by these ideas are explained as well. After that, it comes the analysis of some of contemporary Iranian films which have a modern narrative structure in order to formulate a single pattern for reading this kind of films.
Time as an experience of human life never has a steady sense for mankind. All the great thinkers and scientists have tried to find an answer for the big question time. In recent years, time and memory are favored topics among theoreticians and filmmakers. By having some of the most important ideas about these subjects in their minds, they focused on works which emphasis on the concept of time as an original experience in the process of observation. This point of view also can be traced in the serious works of Iranian cinema. In modern times, all the ideas about perception of time are influenced by Bergson and his followers’ ideas. Bergson did not believe in time as only a series of changes and alterations within the framework of an identity. He did not believe of moving in space as the best way of explaining time either. After Bergson, Gilles Deleuze continued the discussion about duration from his own stand point of view. He believes if the concept of durations be examined precisely, the result would be the fact that each part of time has its own moment and regarding its special way of happening has a unique quality, which makes it different from other moments. In the films influenced by Bergson and Deleuze ideas, narrative is based on the inner, subjective and qualified perception of time by the characters. As a result, narrative and all its elements alter in this kind of cinema. Film has an inevitable time cast and this time order imposes on the audience during the experience of watching film and the audiences cannot do anything to change the order and repetition of events. Most of the narrative process in film shaped by ordering and organizing the element of time. Many films have been made from a subjective point of view in Iranian cinema but only a few of them have memory of the past as their dominant theme. But in recent years, the production of these kind of films has increased and it shows the popularity of this perspective among Iranian filmmakers in recent years. In order to explain the result of research, four films have been selected because of their emphasis on concept of memory: The Pear Tree (Darush Mehjouie, 1996), Father’s farm (Rasoul Mollagholipor, 2002), Last Step (Ali Mosaffa, 2011) and The Yellow, Shallow Sky (Bahram Tavvakoli, 2012). In this research, after the analysis of contemporary philosophical ideas about memory-time and its influence on narrative in film, Iranian contemporary cinema has been analyzed from this stand point of view. This research aims at finding out how these kinds of films were successful to deliver these ideas.

Considering the great attention contemporary film theories devote to the corporeal dimensions and tactile aspects of watching movies, the potential of baroque art to construct the cinematic space cannot be ignored. Based on the baroque art, cinema rather than ensuring a superior position and an optical domination of subject/observer over images creates a territory in which the audiences are invited to immerse themselves in the film’s space and are allowed to coexist with filmic bodies. In this kind of viewing, the observers cannot look at characters and spaces separately, and the spatial folds would draw them into corporeal/sensual labyrinths of the film. Due to the fold relationship between the spectator’s inner space and filmic space, a sort of intertwining link is emerged. Therefore, any action from one side is followed by a reaction from the other side. The physical movements of the characters and the dynamic relationship between space and body in the baroque cinema, interacting with the audience’s sensory responses, can arouse an internal emotion in the viewer. Merleau-Ponty’s phenomenological perspective and the concept of “intertwining”, along with Deleuze’s philosophy and the notion of “Fold”, can help us analyze the experiences of watching baroque cinema. We argue that cinematic experience might be considered as the process of the dynamic interaction between these “intertwining folds”. In the interactive process of these folds, the bipartite act of internalizing and exteriorizing takes place. In the internalizing process, the filmic spatial territories )merged with sensual/corporeal territories of the characters( penetrate through the observer’s inner space. In the exteriorizing process, the viewer projects his own spatial perceptions )affected by memories, desires, and dreams( onto the world of the film. Through this exchange, the audiences give their emotions to the characters and accordingly the film finds its emotional space through the spectator’s body. In contrast to the voyeuristic and panoptic control of optical pattern, baroque cinematic experience could be considered as a state of “assimilation into the cinematic collective sensuality” while submerging “oneself” in the sensuality of cinematic geography in a state of Dionysian ecstasy. The members of the audience that are engaged with the chaos of cinematic sensual-spatial energies, experience a kind of sensory-corporeal expansion in connection with the bodies and spaces which are extended through gestalt geography. Being attracted and absorbed, a viewer who has been immersed in chaotic energies of bodily movements and sensual flux, experiences a manner of spatial displacement, a sense of inability to coordinate navigation, the spatial exploration beyond the boundaries of “selfness” and “subjectivity”. The centralized space of subjectivity is shattered and the subject thus is dispersed throughout the sensuality of cinema’s fluid geography. Experience of baroque cinema seems like freedom from the limits of individualists “self” that is disjointed from others in order to experience a sense of connection with “others”, and to form a continuum of togetherness. Chaotic and intensive sensual cinematic geography, dissolves territories of “individual subjectivity” in the space of “collective sensuality”, and creates a sense of inter-subjective coherence.

In addition to his revolutionary philosophy and his fundamental criticism on psychoanalysis to which he owes his fame, Gilles Deleuze, the great philosopher, devotes an important part of his thought to formulating the ontology of cinematic image and hence turned out to be known as the only philosopher of cinema. Thanks to the multiple classifications of images and creating philosophical concepts for cinema, Deleuze in his two cinematic books namely Cinema 1: movement-image and Cinema 2: time-image reshapes the relation between the world and cinematic eye and therefore turns his works to something more than mere cinematic books through focusing on the category of time and movement. The first book deals with the issue of movement and explores the works that provides an understanding of movement-image. The second book speaks about the issue of time and shows that modern cinema can provide an understanding of time-image. In addition, in these works, he deals with diverse conceptions such as montage, decoupage, shot and … and argues that we should understand these concepts in terms of philosophy, and then he compares them with mechanisms of the world and human perception. It can be said that Deleuze tries to eliminate the gap between cinema and thought, on the one hand, and cinematic world and real world on the other hand. This brings his cinematic approach to the extent that recognizes cinema and image as immanent in the world and being. At the end of the second book, he states the question of “what is cinema?”can be replaced by the question of “what is philosophy?”, because cinema is a function of images and symbols which it's theory of philosophy should be developed as conceptual practice and action and that no areas including semiotics or psychoanalysis has adequate competence to create concepts that are specific to cinema. For Deleuze, cinema as a pure form of thought is different from other arts. In fact, cinema possesses autonomy and special features that give to it a privileged position. The singular idea of cinema obtains through creating images and hence, does not need something else. In the matter of time, Deleuze follows Henri Bergson who believes that time is not quantitative phenomenon but a qualitative one that during its contractions and expansions, encompasses the whole world. This makes Deleuze's approach as meditations about essence of life and world. Therefore, although Deleuze is indebted an important part of his philosophy to the thinkers such as Nietzsche and Spinoza, in argument about cinema, Bergson is the only influential and lasting thinker on his work. Using Bergson's concepts like duree, elan vital and … Deleuze considers cinema as a field of immediate manifestation of movement and time which exceeds or go beyond a mere aesthetic art. In this study, by explaining Deleuze's interpretation of Bergson's concepts attempt is made to reveal the profound impact of Bergson on Deleuze's cinematic ontology despite his outspoken opposition with cinema. Explaining Deleuze's interpretations of Bergson, we finally demonstrate how Deleuze through Bergson, regards cinematic perception as the only perception of the world