Deleuzede sanat ve fark: Kendı̇lı̇ğı̇ aksatmak

The main concern of this thesis is to investigate the critique of representational thinking in Deleuze and to comprehend the notion of Body without Organs (BwO) in relation to aesthetic experience as an alternative to such thought. In order to do that this thesis problematises thought which ontologically priorities the principle of identity. Following that, it looks at subjecthoods and bodies constructed upon the same notion, and researches Deleuze's criticisms of them. Finally, it researches the effects of art on these constructions in connection to the former's power of affecting the latter in terms of turning it into a body without organs. Here the notion of glitch is introduced as an experiment that describes the violence of art to the organised bodies. This thesis holds the Deleuzian argument that new concepts help create new ways of thinking. Thus, it holds that using terms technology introduces brings forth the possibility of thought that previously was not possible. Accordingly, experimental music is offered as a possible event of glitch because it presents new sounds which previously have not entered into a representational relationship with the listener. In the final analysis, the event of glitch is equated with a method of becoming a BwO. In other words, art is discussed as a method that can shake representational and conceptual thought; thus, it is taken as that which enables a direct relationship with the given. Keywords: Deleuze, representational thinking body without organs, glitch, art