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This is where semiology necessarily implies an ethics: the sign, force, and image are developed into an affect, an ethology of power. The image, longitude, and latitude From this point on, everything is defined as an assemblage of movements and affective vibrations, which Deleuze calls an “image” in reference to Bergson. Defined as such, the image recalls Simondon’s haecceity and Spinoza’s ethology: a relationship of sensible forces emitted from an affect, the individuation of which is perfectly accomplished without being bound to substance.
35 This outcome is something that Deleuze always traces back to the genius of The Ethics, which completely changes the philosophy of art. ”36 That is why symptomatology, which is ethical and not moral, is indifferent to social judgments. Creative literature is strongly ethical because it is situated on the plane of force relations and disregards stabilized social forms. As such, the ethical, or the ethology of force relations, replaces the moral. In the essay, “To Have Done with Judgment,” from Essays Critical and Clinical, Deleuze offers a new look at the decisive role Spinoza plays with regard to Nietzsche, Lawrence, Kafka, and Artaud: one philosopher, three writers.
Cartographies of Art: From Literature to the Image 21 the aesthetic as a logic of the sensible. In this new and decisive sense, the image is not a representation or a double, but a composition of force relations, made by speeds and slownesses that also exhibit a difference in power, an affect. If the image is a reality and not a mental intention, then it is not a representation of consciousness (a psychological given), nor is it a representation of a thing (an object intention). Deleuze understands the image in a Bergsonian sense, as an apparition, a system of actions and reactions at the level of matter itself.