Zafer Aracagök

Zafer Aracagök is an academic/musician/artist who teaches art theory and continental philosophy at Istanbul Bilgi University. He is the author of three books and a number of articles addressing the issues of image, resonance and noise in continental philosophy and in the philosophy of Deleuze and Guattari in academic journals such as Revue Chimères, Pli-The Warwick Journal of Philosophy, Parallax, Third Text, Rhizomes, Postmodern Culture and Symploke. His book, Desonance: Desonating (with) Deleuze was published by VDM Verlag, Germany (September 2009). His musical work is well received, released and performed both in Turkey and abroad such as, UK, France and Italy.

ZA organised Resonances: A Deleuze and Guattari Conference on Philosophy, Arts and Politics at Istanbul Bilgi University, July 2010; and he edited a special Deleuze and Guattari issue for Parallax (Routledge), published January 2012. His most recent works are I Want to be a Suicide Bomber (Little Black Cart Books, SF, 2013); Zeminsiz Üçleme, (Kült Nesriyat, 2014); and Atopological Trilogy: Deleuze and Guattari (Punctum Books, NY, 2015). The Turkish translation of his last book, Atopolojik Sapmalar: Deleuze ve Guattari is published by Kült Nesriyat in September 2015. His last exhibition, Taking from Behind (Alan Istanbul, 2015) has won critical acclaim due to watercolouresque multiplicities and the problematics of figural in representation.

Aracagök is one of the advisory editors of http://www.rhizomes.net and Kaos Queer+.

Abstract: “Desonance  and Arts”

If philosophy is supposed to deviate the thought from the rule of the specular, as once was attempted by the Situationists, concept of ‘resonance’ in Deleuze (and Guattari) is perhaps already offering a non-relational relationship between the audible and the inaudible, the formed and the unformed, thus  problematizing the maintenance of specular passages between these pairs. Conceptualising such non-passages under the name of ‘desonance’, I propose in this paper, a figural relationality to artworks where the supposed resonance between any two series is challenged by introducing a complementary relationship between ‘re-‘ and ‘de-‘ of ‘sonare’ so as to point to the undecidebality of such passages with an eye to a critical stance where any desire of hearing the inaudible will be transformed into a crisis of representation − i.e., representation itself is a crisis, isn’t it? − à la Artaud.