질 들뢰즈(Gilles Deleuze)의 감각론을 기반으로 한 융합형 공간 설치 디자인 연구 - 크리지스토프 우디츠코(Krzysztof Wodiczko)의 작품을 중심으로 -

원하연 한국전시산업융합연구원 2019 한국과학예술융합학회 Vol.37 No.5

Looking at the history of Western philosophy, it is hard to find the main definitions about the concept of sense as the result of modern epistemology based on logos-centered rationalism. However, convergence space installation adds new value to the sensation and also emphasizes the tactile perception of the five senses. Therefore, we need to the consider the sensation theory for new convergence design in the space design domain. Thus, this study is based on the Gilles Deleuze’s the logic of sense theory, and we proceed a critical analysis of the Krazystof Wodiczko’s converged space and the installation work based on the deleuze’s sensation theory, especially in the his logic of sensation book. The research method is mainly focused on literature research and case study. First, Gilles Deleuze's theory of the logic of sense and discussions of the sensation of modern design were investigated and discussed. Next, we discuss how to produce and installed Krzysztof Wodiczko's recent work, and we critically analyzes Wodiczko's three works with detailed concepts and design presentation by reflecting on the Deleuze's logic of sense theory. The result of the research concludes that the concept of “Abstract Machine”, “Body without Organs”, and “Diagram” appeared in Deleuze's the logic of sensation book, are presented in the work of Krzysztof Wodiczko, and the concrete formative form of the concept is presented. This study contributes to the foundational research by exploring the Formative implementation application direction of the convergence space installation design based on Gilles Deleuze’s sense of logic theory. 서양 철학사를 살펴보면 로고스 중심의 이성주의 및 감각의 하위 위계화에 따른 근대의 인식론에 의한 결과로 이성과 감성을 위계를 두고 바라보고, 감각의 개념에 대한 주요한 정의 및 고민은 찾기 어렵다. 하지만, 현대의 디자인과 예술 특히 융합형 공간예 술의 체험감각의 연출을 보면, 감각에 새로운 가치를 부여하고, 또한 오감의 체험의 촉지각적 경험을 주요 시한다. 본 연구는 이러한 배경으로부터 시작되었다. 따라서, 본 연구의 목적은 질 들뢰즈(Gilles Deleuze)의 감각론을 기반으로 하여 크리지스토프 우 디츠코(Krzysztof Wodiczko)의 작품을 중심으로 융합 형 공간 설치 디자인을 비평적으로 분석하는 것이다. 따라서 본 연구는 질 들뢰즈(Gilles Deleuze)의 감각 론 이론 및 현대의 예술의 감각에 대한 이론 및 논의 를 이행하였다. 다음으로는, 크리지스토프 우디츠코 (Krzysztof Wodiczko)의 최근의 작품의 제작 방법이 나 연출에 대하여 논의하였고, 질 들뢰즈의 저서 감각 의 논리에 등장하는 세부 개념으로 우디츠코 세 가지 의 작품을 비평적으로 분석하였다. 연구 방법은 문헌 연구 방법과 사례 연구 방법을 중심으로 진행하였다. 연구 결과 및 내용은 다음과 같다. 크리지스토프 우디츠코의 작품을 질 들뢰즈의 감각 의 논리에서 등장하는 추상기계, 기관 없는 신체 및 다이어그램의 개념이 적용되고, 개념의 구체적인 조형 적 형상을 제시함을 알 수 있었다. 따라서 본 연구는 이러한 연구 결과를 바탕으로 감 각론에 기반한, 융합형 공간 디자인의 향후의 적용 방향을 모색하는 데에 기반 연구가 됨을 기대한다.

분열분석 비평의 수사학적 탐구 - 들뢰즈․가타리 이론의 문학비평적 재구성

국어국문학회 2009 국어국문학 Vol.151 No.-

<P>This writing tries to attain critical theorization, investigating ‘schizoanalysis’ on the viewpoint of ‘synthetic rhetoric’ to establish its footing that can progress literature study and criticism deeply. For this, we try to propose the standard of literature criticism by investigating schizoanalysis laying stress on Gilles Deleuze․Fe"lis Guattari"s theory on viewpoint of rhetoric. This writing is progressed laying stress on language philosophy, special quality of art, special quality of literary language, minority literature, schizoanalytic criticism.</P><P> Gilles Deleuze․Fe"lis Guattari sees base unit of speech act as ‘enuniciation’, and enuniciation"s base unit as ‘imperative’. They understands correlating sign with ‘assemblage’, introduce concept of ‘remainder’ that have called ‘frequency’ and ‘resonance’ for this. Gilles Deleuze․Fe"lis Guattari call ‘mechanical assemblage’ and ‘collective assemblage of enuniciation’ that these are detected within literary field ‘content’ and ‘expression’. They regards that problem of language is involved internally with politic problem, and system of signifiance and subjectivation are decided ‘system of signs’.</P><P> Gilles Deleuze․Fe"lis Guattari explains special quality of ‘plateau’ regarding ‘rhizome’. They sees special quality of art that create ‘affects" and ‘percepts’, and sees special quality of signs ‘intensive’. Gilles Deleuze seeks plan that philosophy solves problems that was absorbed with ‘affects’ and ‘percepts’ through ‘Proust"s semiogy’ and ‘Kafka"s expression theory’. They wishes to think language in side of ‘peculiarity’ ‘continuous variation’. ‘Collective assemblage of enuniciation’ wears form of ‘free-indirect narration’. ‘Vision’ and ‘audition’ compose suitable picture and music in writing like effect of color and sound that forms external surface of language. The minority litreature is one of the language deterritorialization. It progresses through collective assemblage of enuniciation something to use minority of language, and functions by political behavior pattern. They think a subject of language or literary as ‘impersonal self’.</P><P> Gilles Deleuze․Fe"lis Guattari handles interpretation by form of ‘symptomology’ or semiogy. When symptom discoverer or writer designates achieve activity that is semiotics. Gilles Deleuze refers to about ‘line of flight’ under proposition that literature seeks possibility of new life. Line of flight is line of creation and experiment of life. ‘Hallucination’ counts as symptoms of schizophrenia that schizoanalysis makes by main object. Gilles Deleuze․Fe"lis Guattari explain hallucination regarding ‘simulacre’. Immanent unfolding of hallucination is expressed in play of grammatical modifications. This is a hint that schizoanalysis is gone by grammatical reductions of expressed language also.</P>

분열분석 비평의 수사학적 탐구

오형엽(Oh Hyung-Yup) 국어국문학회 2009 국어국문학 Vol.- No.151

This writing tries to attain critical theorization, investigating ‘schizoanalysis’ on the viewpoint of ‘synthetic rhetoric’ to establish its footing that can progress literature study and criticism deeply. For this, we try to propose the standard of literature criticism by investigating schizoanalysis laying stress on Gilles Deleuze?Fe'lis Guattari's theory on viewpoint of rhetoric. This writing is progressed laying stress on language philosophy, special quality of art, special quality of literary language, minority literature, schizoanalytic criticism. Gilles Deleuze?Fe'lis Guattari sees base unit of speech act as ‘enuniciation’, and enuniciation's base unit as ‘imperative’. They understands correlating sign with ‘assemblage’, introduce concept of ‘remainder’ that have called ‘frequency’ and ‘resonance’ for this. Gilles Deleuze?Fe'lis Guattari call ‘mechanical assemblage’ and ‘collective assemblage of enuniciation’ that these are detected within literary field ‘content’ and ‘expression’. They regards that problem of language is involved internally with politic problem, and system of signifiance and subjectivation are decided ‘system of signs’. Gilles Deleuze?Fe'lis Guattari explains special quality of ‘plateau’ regarding ‘rhizome’. They sees special quality of art that create ‘affects' and ‘percepts’, and sees special quality of signs ‘intensive’. Gilles Deleuze seeks plan that philosophy solves problems that was absorbed with ‘affects’ and ‘percepts’ through ‘Proust's semiogy’ and ‘Kafka's expression theory’. They wishes to think language in side of ‘peculiarity’ ‘continuous variation’. ‘Collective assemblage of enuniciation’ wears form of ‘free-indirect narration’. ‘Vision’ and ‘audition’ compose suitable picture and music in writing like effect of color and sound that forms external surface of language. The minority litreature is one of the language deterritorialization. It progresses through collective assemblage of enuniciation something to use minority of language, and functions by political behavior pattern. They think a subject of language or literary as ‘impersonal self’. Gilles Deleuze?Fe'lis Guattari handles interpretation by form of ‘symptomology’ or semiogy. When symptom discoverer or writer designates achieve activity that is semiotics. Gilles Deleuze refers to about ‘line of flight’ under proposition that literature seeks possibility of new life. Line of flight is line of creation and experiment of life. ‘Hallucination’ counts as symptoms of schizophrenia that schizoanalysis makes by main object. Gilles Deleuze?Fe'lis Guattari explain hallucination regarding ‘simulacre’. Immanent unfolding of hallucination is expressed in play of grammatical modifications. This is a hint that schizoanalysis is gone by grammatical reductions of expressed language also.

지각에 대한 발생론적 이해와 그 미학적 귀결들 - 질 들뢰즈의 초월론적 감성론을 중심으로

성기현 ( Seong Gihyeon ) 한국미학회 2016 美學 Vol.82 No.4

들뢰즈는 자신의 초월론적 감성론과 더불어 지각에 대한 새로운 이해를 제시한다. 이러한 이해는 지각의 발생적 요소인 미세 지각, 지각의 발생조건인 강도, 이 양자를 경유하는 발생과정의 결과물인 의식적 지각, 이렇게 세 가지 구성요소를 갖는다. 첫째, 들뢰즈는 살로몬 마이몬의 라이프니츠적 칸트 해석을 활용해서 미분적인 것 혹은 이념을 지각의 발생적 요소로 삼는다. 둘째, 들뢰즈는 칸트에게서 실재적 감각에 상응하는 요소인 강도를 찾아내어 그것을 질과 양 모두를 산출하는 포텐셜 에너지의 담지자로 변형시킨다. 셋째, 들뢰즈는 앞의 두 개념을 잠재성-현실성의 논리 속에 배치함으로써 지각을 잠재적 미세 지각의 현실화로 제시한다. 지각에 대한 이러한 이해는 두 가지 학문적 귀결을 갖는데, 그중 하나는 아이스테시스의 재정립이고 다른 하나는 감성론과 예술론의 통일이다. 전자와 관련해서, 근대 미학이 감각을 지각 표상으로 환원했던 것에 반해 들뢰즈는 표상 이하의 발생적 요소들에서 출발하여 지각 표상의 발생을 설명한다. 일찍이 바움가르텐이 아이스테시스의 대상으로 표방했던 `감성적인 것 전체`를 보다 근본적인 차원에서 이해한다는 점에서, 이는 아이스테시스를 재정립하려는 시도로 간주될 수 있다. 후자와 관련해서, 칸트가 객관적 감각과 주관적 감각의 구별에 근거하여 감성론과 예술론을 분리시켰던 것에 반해 들뢰즈는 양자의 동시적 발생을 설명한다. 이런 관점에서 그는 단 하나의 논리, 즉 발생의 논리 속에서 감성론과 예술론을 통일시키기에 이른다. Deleuze presents a new understanding of perception with his transcendental aesthetics. This understanding has three components: minute perceptions as the genetic elements of perception, intensity as the genetic condition of perception, and conscious perception as the result of the genetic process of perception. First, Deleuze suggests differentials or Ideas as the ultimate composing elements of things and as the genetic elements of perception by using Salomon Maimon`s Leibnizian interpretation of Kant. Borrowing Leibniz`s minute perceptions to designate these genetic elements, Deleuze excludes his metaphysical premise of pre-established harmony of God. Second, Deleuze finds out another component corresponding to real sensation in Kant`s text, which is intensity. Kant considered it as the a priori element behind empirical quality in general, but Deleuze makes it the potential energy which yields not only quality but also quantity. Arranging these two concepts in his logic of virtuality-actuality, lastly, Deleuze presents conscious perception as the result of this process of actualization. Deleuze`s genetic investigation of perception has two aesthetic consequences: the renewal of Aisthesis, which was founded by Baumgarten but has never been achieved, and the union of two divided realms of aesthetics since Kant. Baumgarten planned Aisthesis as the study of all the sensible, but what he actually studied was just represented perception. But Deleuze`s genetic investigation starts with the genetic elements under the level of representation and explains the formation of representation. In the same manner, it also starts with the genetic elements under the level of emotion and explains the formation of emotion. Hence, for Deleuzian Aisthesis, `all the sensible` comes to designate the genetic process of representation and emotion. On the other hand, Kant divided aesthetics into the theory of sensibility and that of art. For him, the former is the study of a priori conditions of objective sensation, the latter the study of purposefulness without purpose guaranteed by subjective sensation. But with genetic investigation, Deleuze explains the simultaneous formation of the two sensation. In this point of view, the theory of sensibility and that of art are united in one single logic: the logic of genesis.

질 들뢰즈의 철학에서 영화와 사유의 관계

유윤영 영남대학교 인문과학연구소 2013 人文硏究 Vol.- No.68

This paper studies a relation of cinema and thought presented in Deleuze's Philosophy. Deleuze argues art reveals sense, expresses it, and thinks it. Deleuze relates the sense with an appearance of somethings new, a decentered state. While the conceptual cognition is the form of recognition, sense indicates something beyond the limit of thought. The thought in the classical philosophy supposes a natural ability of the thinker, a natural faculty and a good nature of thinking. For Deleuze this is the false premise, a dogmatic image of thought. On the contrary thinking is a fundamental encounter, like violence forced us. Deleuze argues we don't think actively. Instead we think passively. This means thought is automatic and autonomic. Deleuze finds automatic movement of thought in the cinematographic images. Cinema is automatic movement of thought itself. For Deleuze the automatic movement is capable of producing a shock to thought, makes us think the Whole[Tout]. But the whole is neither given nor giveable. The whole is something outside thought and can be only regarded as an Idea. In this respect, Deleuze argues it is the whole and the idea of cinema. Thus it presents a new image of thought. 이 논문은 사유의 이미지에 대한 들뢰즈의 비판을 검토하고 두 권의 『시네마』에서 제시하고 있는 영화와 사유의 관계를 통해 사유의 새로운 의미를 밝히는 것이다. 들뢰즈에 따르면 예술은 감각을 드러내고 감각을 그리는 것이며 나아가 감각을 사유하는 것이다. 들뢰즈는 감각을 이질적이며 언제나 새로운 어떤 것들의 출현이자 탈중심화된 상태와 연결시킨다. 개념이 재인의 형식인 반면 감각은 중심화 될 수 없는 이질적인 것, 개념적 사유의 한계 너머를 가리킨다. 전통적인 철학에서 사유는 자연적 능력, 즉 타고난 인식능력이며 사유의 선한 본성을 가정하고 있다. 들뢰즈에게 이것은 잘못된 전제이며 “사유의 독단적 이미지”이다. 들뢰즈에게 사유는 이러한 전제를 제거할 때 가능하다. 사유는 비자발적이고 어떤 주어진 전제를 가정할 수 없는 우연적인 마주침의 대상이다. 사유는 나의 의지와 무관하게 나에게 주어지는 폭력이고 외부의 침입처럼 강제적이다. 들뢰즈가 사유와 관련하여 문제 삼는 것은 우리가 ‘능동적으로’ 사유하지 않는다는 것이다. 사유는 어떤 의도된 행위나 자연적인 능력에 기인하는 것이 아니라 주체의 의부로부터 발생하는 어떤 것이다. 사유란 곧 사유의 자동성을 의미한다. 영화 이미지가 그 자체로 운동이라는 점에서 영화는 자동적인 운동을 생산한다. 영화의 이미지와 사유가 모두 자기운동성을 본질로 가지고 있다는 점에서 영화는 사유의 자동적 운동 그 자체를 보여준다. 영화의 운동-이미지는 사유에 충격을 가하고 전체를 사유하도록 만든다. 전체는 주어지지도 않고 주어질 수도 없다. 그러므로 전체는 사유의 대상이 아니며 오히려 사유 불가능성을 드러내는 지표이다. 전체는 사유 바깥의 이질적인 어떤 것이며 오직 이념으로서만 지향될 수 있을 뿐이다.

들뢰즈의 선험적 실재주의와 체도(體道)의 예술론

맹혜영 한국국제미술교육학회 2019 미술과 교육 Vol.20 No.3

본 글은 들뢰즈가 어떠한 과정을 통해 칸트의 선험적 감성론을 수용하고 비판하며, 그의 선험적 경험론에 이르렀는지를 살펴봄으로써 재현과 비재현적인 닳음의 차이를 프란시스 베이컨의 회화와 정선의 진경산수화를 통해서 설명하고자 하는 글이다. 들뢰즈와 과타리가 도(Tao)를 어떠한 초월적인 기준과도 무관한 “내재성의 장(field of immanence)”으로 언급한 것에 근거하여, 선험적 내재면과 노장의 최고의 예술개념인 체도를 연결함으로써 들뢰즈의 철학이 선험적 경험론이라면 그의 예술론은 선험적 실재주의 미학이라는 논리를 펼친다. 선험적 실재주의 미학에서 회화는 재현의 영역을 떠나서 선험적 내재면에 위치하며, 강도적인 감각의 블록으로서 마주침의 대상이 된다. 이 글에서 들뢰즈의 철학 개념인 배치 기계가 서로 이질적인 동서양의 예술과 철학을 묶고 비교분석하기 위한 비교철학 연구의 방법론으로 사용되어 졌다. 이러한 연구를 통해, 전통적인 한국화가 비재현적인 무기교의 기교와 사의성(寫意性)으로 특징지어지는 반면에, 서구의 모더니즘에 파생된 재현의 논리를 적용하여 근대 한국화를 구상과 추상의 형식으로 나누어 논의하는 데에 근본적인 이의를 제기한다. 결과적으로 들뢰즈의 선험적 실재주의 미학을 통해서 한국미의 특질인 사의성과 진경산수화가 회화의 형식적 구분 이전의 순수잠재성인 도를 닳은 창조적 사유인 “비재현적 닳음”으로 재인식되는 과정을 살펴본다. This paper aims to explore the clinical difference between “representation” and “non-representational resemblance” in Korean True-view Landscapes and Francis Bacon's paintings. This difference is elucidated through the transforming process of the transcendental, from Kant’s transcendental aesthetic to Deleuze’s transcendental empiricism. Deleuze's transcendental empiricism was reinvented as the aesthetics of transcendental realism which integrates a plane of immanence with the aesthetics of following Tao. This is based on Deleuze and Guattari's comments on Tao as “a field of immanence” which cannot be linked to any transcendent criterion. In transcendental realism, art leaves the domain of representation and becomes a truly transcendental encounter with intensity as a bloc of sensation in the plane of immanence. Deleuze's concept of “Agencement machine” is used as a method of a comparative analysis on Deleuze's transcendental empiricism and the aesthetics of Tao. Through this investigation, this paper challenges the Western modernist approaches to painting, dividing painting forms into abstract and figurative paintings stemming from the notion of representation. This formal division has created unnecessary boundaries and restrictions since it was adapted in modern Korean painting. This division is opposite to the characteristics of traditional Korean painting as an “artless art” and expression of “the aesthetics of View from Tao”. As a result, I attempt to reinvent Literati painting spirit and Korean true-view realism as an experimental artistic spirit of non-representational resemblance, which resembles pure virtuality of “Tao” prior to formal distinctions of art through Deleuze’s transcendental realism.

잠재성의 예술론 - 들뢰즈를 중심으로 -

오길영 충남대학교 인문과학연구소 2017 인문학연구 Vol.56 No.4

This paper examines the issues of mimesis and post-mimesis, focusing on Gilles Deleuze’s elaboration on art. Deleuze explores the possibility of post-mimesis aesthetics to transcend modern aesthetics of mimesis, especially delving into the relationship of the reality and its dimension of potentiality. Deleuze’s reflection on art is connected to his aesthetic perception and his thinking about the existence of objects. For Deleuze, art has a unique position linked both with the ontological layer and the epistemological layer. For Deleuze, the world is not merely reduced to a perceived world that is visible. The perceived reality is only a visible part of the whole world, and it is constituted by accident and by specific occasions and arrangements. Only power forms the world. The world is a constituent of forces. The Deleuzean concept of the plane of consistency is unique in that it indicates how the contingent presence of the world is made possible as a constituent of these forces. The forces constitute the world, but their forces do not exist in depth apart from the world they comprise. The forces exist only in the surface of the world. In this respect, Deleuze is a philosopher of the surface, but the surface at this time is the surface as the field in which the force is actualized. 이 논문은 근대 재현미학을 넘어서려는 탈재현 미학의 가능성을 탐색하는 들뢰즈 예술론의 문제의식을 검토한다. 들뢰즈 예술론은 미적 인식과 대상의 존재를 다시 묻는 그의 사유와 연결된다. 들뢰즈에게 예술은 존재론적 층위와 인식론적 층위에서 독특한 위상을 갖는다. 들뢰즈가 파악하는 세계는 눈앞에 보이는, 지각되는 세계로 환원되지 않는다. 지각되는 현실은 세계의 전부가 아니라 특정한 계기와 배치에 의해 우연적으로 구성된 것이다. 힘만이 세계를 구성한다. 세계는 힘들의 구성체다. 그러므로 일원론적 존재론자인 들뢰즈에게 심층-표면의 이분법은 가능하지 않다. 힘들이 세계를 구성하지만 그 힘들은 그것이 구성하는 세계와 별도로, 심층에 존재하지 않는다. 힘들은 세계 속에서만 존재한다. 이런 면에서 들뢰즈는 표면의 철학자이지만, 이때의 표면은 힘이 구현되는 장으로서의 표면이다. 들뢰즈는 근대미학에서 최상의 동일성을 지닌 것으로 간주되는 재현과 원형의 모델을 해체한다.

회화와 건축에서 나타나는 비재현적 접근방법에 관한 연구

박소라(Park, So-La),이영수(Lee, Young-Su) 한국실내디자인학회 2012 한국실내디자인학회논문집 Vol.21 No.5

Gilles Deleuze is a philosopher who replaces the world of representation defined as supremacy of identity with the contemporary reason of non-representation in the history of western philosophy that wants to transcend Plato. Deleuze developed his own philosophical concept through philosophical reason and encounter with arts, for which reason he exerted a great influence on artists and architects in diverse fields. Particularly, "Logic of Sensation" published in 1981 considers the non-representation painting approach through Francis Bacon"s painting theory defined as "invisible force"s visibility". And it is considered that SANAA"s architecture among many contemporary architects accepted the essence of Deleuze"s philosophy and continuously reflects it on projects. Hence, objective of the present study is to consider how the non-representation constituting a root for Deleuze"s reason has been indicated in paintings and architecture through examining the works by Bacon and SANAA. First, a theoretical consideration will be directed to non-representation, followed by an analysis of Bacon"s painting works and SANAA"s architecture projects from the viewpoints of the force of isolation, the force of transformation, the force of dissipation and the force of time dealt with by Deleuze in "Logic of Sensation". Finally, through such analysis, the characteristics of Deleuze"s non-representation indicated in architecture and paintings will be derived.

다큐멘터리 <개의 역사>에 나타난 결정체-이미지: 견자의 영화와 듣기의 영화

명소희,김형래 문학과영상학회 2022 문학과영상 Vol.23 No.1

This paper intends to analyze the documentary film <Baek-gu>, directed by KIM Bo-ram, as a ‘cystal-image’ that appears in Gilles Deleuze’s ‘Cinema II: The Time-image’. <Baek-gu> is documentary, showing ‘existence’, ‘memory’, and ‘space/place’ through the live of stray dogs and women. This film begins with the death of Baek-gu, who wandered the neighborhood. Baek-gu’s past times are connected with the lives of countless beings. And the end of the film, Baek-gu and the director’s life are connected. The audience has an opportunity to think about their past while looking at the lives of the main characters in the film <Baek-gu>. So this filme is a cinema of the seer. Furthermore, it is a ‘cinema of the listen’ that allows people to listen not only to their own lives but also the live of others. This paper analyzes the images of clairvoyant and listening in <Baek-cu> as Gilles Deleuze’s crystal-image. Gilles Deleuze called the image that appears when the actual image and the virtual image coalesce and crystallize as a ‘crystal-image’. The crystal-image is the first image of the time-image, and consists of three types : mirror-image, transparent and opaque, and seed and environment. In particular, this paper analyzes the actual image as the image to be seen and the virtual image as the image to be heard, and tries to interpret the crystal-image as the clairvoyant cinema and the listen cinema. Through this, ultimately, we intend to explore the possibility of alternative representation in which the crystal-image gives the audience the experience of ’I am the other’.

질 들뢰즈의 철학적 기획

박만준(Park Man Joon) 한국프랑스문화학회 2006 프랑스문화연구 Vol.12 No.-

The aim of this paper is to analyze the developmental process of Gilles Deleuze's philosophical project. Therefore, this writing is naturally not a plane delineation that simply arranges Deleuze's philosophy centering around his life. And also, it does not take the form of a chronicle that writes down item by item historical facts related to him along the tracks of his life. It is because we cannot seize a full hold of the vital force of his philosophical thoughts only with the connected data and materials as facts. What is the fundamental project of Deleuze's philosophy? Here, after we look first into his quest, we will carry out our search for the road to the developmental process of his philosophical project as follow. 1) Deleuze's first philosophical project : ontological project 2) Deleuze's second philosophical project : epistemological project 3) Deleuze's third philosophical project : ethical project