Dimensions of Gilles Deleuze\u91s nomadology

This article is intended for the consideration of the originality of the aesthetic ideas of Deleuze. On the grounds of the analysis of principal teachings, it is shown that the originality of Deleuze\u92s thinking primarily became apparent in the entry of aesthetic problems into new fields of knowledge perceptible in his aesthetics of nomadology and schizoanalysis. Deleuze distanced himself from the \u93unifying and totalising paranoia\u93 peculiar to the tradition of the former rationalist aesthetics, and started speaking about the necessity of creative and revolutionary thinking inseparable from the invention of new non-classical concepts. He related that thinking to the authentic way of existence, to the personal position of the thinker, to his ability to react sensitively to the challenges of the present and to resist the infection of social conformism. The authentic nomadic thinking appears as the antipode of a sedentary stagnant life, dogmatic thinking and the comprehension of being. It defies any centralised authority and control. Therefore, it is free, creative, and independent of traditional theories and dogmas, dissociated from various obligations, servility, conformism, dogmas, and conventions which oppress sedentary thinking. This understanding is directed against the worn-out Western metaphysical and modern aesthetic dogmatism, totalitarianism, and rigid regulations which restrain personal creativity and the spontaneity of the thinker and the artist. In the article, special attention is given to the writings of Deleuze concerning the aesthetics of cinematography and visualisation. These writings present not only the peculiar system of aesthetic concepts but also changes in the 20th-century aesthetic problematic related to the expansion of the aesthetics of the mass media