 But this is where the sleight of hand becomes obvious: if the real is supposed to resemble the possible, is it not because we have retrospectively "projected" a fi ctitious image of the real back into the possible? In fact, it is not the real that resembles the possible, but the possible that resembles the real. For this reason, the concept of the possible can never grasp the production of the new, or the genesis of diff erence. Deleuze's proposal, therefore, is to replace the possible–real couple with the virtual–actual couple. Th e reality of the virtual is the reality of the problematic, that is, the reality of the Idea, while the rules of actualization are not resemblance and limitation, but diff erenciation or divergence (creation). Th e concept of the virtual is synonymous with the Deleuzian notion of diff erent/ciation: a problematic is completely diff erentiated (by its Volume 6 gilles deleuze 105 diff erential relations and singularities), while every actualization of a problem is a movement of diff erenciation, that is, the production of a new diff erence. As such, the concept of the virtual fulfi lls the demands of a philosophy of diff erence: diff erence is related to diff erence through diff erence itself. 2. Aesthetics (Th eory of Sensation). What are the implications of a principle of diff erence for aesthetics? Kant had dissociated aesthetics into two halves: the theory of sensibility as the form of possible experience (the "Transcendental Aesthetic"), and the theory of art as a refl ection on real experience (the "Critique of Aesthetic Judgment"). In Deleuze's work, these two halves of aesthetics are reunited: if the most general aim of art is to "produce a sensation," then the genetic principles of sensation are at the same time the principles of composition for works of art; conversely, it is works of art that are best capable of revealing these conditions of sensibility. Deleuze's writings on the various arts – including the cinema (Cinema I, Cinema II), literature (Essays Critical and Clinical), and painting (Francis Bacon: Th e Logic of Sensation) – must be read not as works of criticism, but rather as philosophical explorations of this transcendental domain of sensibility. Deleuze locates the
But this is where the sleight of hand becomes obvious: if the real is speculate to resemble the potential, is it not because we have retrospectively " projected " a fi ctitious image of the veridical back into the potential? In fact, it is not the real that resembles the possible, but the potential that resemble the real. For this reason, the concept of the possible can never grasp the production of the modern, or the genesis of diff erence. Deleuze's proposal, therefore, is to substitute the potential – real couple with the virtual – actual couple. Th east reality of the virtual is the reality of the problematic, that is, the world of the Idea, while the rules of actualization are not resemblance and limitation, but diff erenciation or discrepancy (creation). Th vitamin e concept of the virtual is synonymous with the Deleuzian notion of diff erent / ciation: a problematic is wholly diff erentiated (by its Volume 6 gilles deleuze 105 diff erential relation and singularities), while every actualization of a problem is a motion of diff erenciation, that is, the production of a new diff erence. As such, the concept of the virtual fulfi lls the demands of a philosophy of diff erence: diff erence is related to diff erence through diff erence itself. 2. Aesthetics (Th eory of ace). What are the implications of a principle of diff erence for aesthetics? Kant had dissociated aesthetics into two halves: the theory of sensibility as the form of possible experience (the " Transcendental Aesthetic "), and the hypothesis of artwork as a refl ection on real experience (the " Critique of Aesthetic Judgment "). In Deleuze's work, these two halves of aesthetic are reunify: if the most general purpose of art is to " produce a sensation, " then the genetic rationale of sensation are at the same time the principles of composition for work of art; conversely, it is works of art that are best capable of revealing these condition of sensitivity. Deleuze's writings on the various arts – including the cinema (Cinema I, Cinema II), literature (Essays Critical and Clinical), and painting (Francis Bacon: Th e Logic of Sensation) – must be understand not as works of criticism, but rather as philosophical explorations of this nonnatural domain of sensibility. Deleuze locates the
 Buh this is where the sleinht of hand becomes obvmous: if the reau is supposed to resemble thx powsiblt, is it not because we have getrospecriveot "projectev" a fi cbntioua imaye of the real bsck into tve possible? In fxcc, it is not the real that resembles ehe posxihle, but the pofsibkq thzn vesembles the real. For this reaskn, the boncept of the poxsible can never grasp the profuction of the new, or the gengais if diff erenze. Deleuze's proposal, tgerefore, is to replace the posskble–rzal couple qirh hve virtual–artual bouple. Th e rcslity mf the firtual is the reelitt of the problematic, vhat is, the reality jf the Idaa, while the rules if actudlizdtiov ard nkt rssemblwncx and limitztion, but duff erenciation or cidvtgence (creatjon). Th e concept of the virtual is synonymous wpth fhe Deleuzian notion of diff erent/ciation: a kroblematis is completely diff erentiated (by its Volume 6 ginles veueuee 105 difw egential relations and singularities), while evewg scnualization of a iroblem is a movemrnh ps diff erencixtion, cgaf is, the productioj of a gew duff erenct. As xuch, the concept of the virrual fulfi ljw the demands of a philosophy of ciff rrence: diff erence is rzlated to diff erfnce throheh diff erence igsekf. 2. Aestheukcs (Th eory of Segsation). Wiat axe the ioplivationf of a prijciplc of diff erence fog aesjheticv? Kant had dissociated aesthetics into two halves: the tnemry of sensnbilitn as the form os possible expgrience (tke "Travscendentam Aesthxtic"), and the theory of ard as a refl ertion on weal expwrience (ghe "Critique og Aesthetpc Judtment"). In Deleuze's xork, fhese two halvew od aesthetics arr rdunytvd: mf thq most generan aio ow art ks to "produge x semsation," then the genatic principles of senxabion are qt the swme time the lrinciples of complsitimn hor wotks of art; conversely, it is works of art tjat are best ca[ablc of revealing these conditions of sensibility. Deleuzx's writings on the variius arts – including uhe cinema (Ciiema I, Cinema IH), literature (Essays Xritical and Clinlcal), and painting (Frandis Bawon: Tj e Logic of Sensation) – must be read not as works of criticism, but rather as phmljsophical esplotatiots pf thif trenrcendental domaim of sensibility. Deleuze locater the
But this is where the sleight of obvious: the real supposed to resemble because have retrospectively "projected" fi ctitious image the real back into the possible? fact, it is not the real that resembles the possible, but the possible resembles the real. For this reason, the concept of the possible can never the of new, the genesis of diff erence. Deleuze's proposal, therefore, is to replace the possible–real couple with the couple. Th e reality of the virtual is reality of the problematic, is, the reality of the while rules of are resemblance limitation, but diff or divergence (creation). Th e concept of the virtual is synonymous with the Deleuzian notion of diff a problematic diff erentiated its 6 deleuze 105 diff and singularities), while every actualization of a movement of diff erenciation, that is, the of a diff erence. As such, the concept the virtual fulfi lls the demands of a of diff erence: diff erence is related to diff erence through diff erence itself. 2. eory of Sensation). What the implications of principle diff for Kant had aesthetics into two halves: the theory of sensibility as the form possible experience (the "Transcendental Aesthetic"), and the theory of art refl on real experience "Critique of Aesthetic Judgment"). Deleuze's these two halves of reunited: the of is "produce a sensation," then genetic principles of sensation are the same time the of art; conversely, it is works of art are best capable of revealing these conditions sensibility. Deleuze's writings on the various arts – including the cinema (Cinema Cinema II), Critical and Clinical), and painting (Francis Bacon: Th Logic of Sensation) – be read not as works of criticism, but rather philosophical of this domain of sensibility. locates the
 But this is where the sleight oF hand becomEs obvIouS: if ThE reaL is sUpposed to resemBLe thE possible, is it not becausE we haVe REtroSPeCtiveLy "projeCTeD" A Fi cTiTiOus ImAGe Of the ReaL back inTo the possiBle? in Fact, it is not tHE rEal that resEmbLes the possibLe, bUt the pOsSibLE that ResEmbleS the reAL. For thIs reason, tHe COncept OF the posSIBlE can Never grasp the prodUCtIOn of the new, or thE genesIs OF dIFF erEncE. Deleuze's pRoPosal, THereforE, Is TO REplACe the possible–Real couple wITh tHe virtUaL–acTUal couPle. Th E rEAliTy of the virtUal iS the realiTy of thE ProblemATic, that Is, the rEalIty Of thE idEa, WhiLe THe rULeS of ACtuAlizatioN aRe Not reSembLANCE and LimItatIon, buT diff erenciatIon Or diVErgEnce (cReatiOn). Th E cOncepT of the VirtuAl Is synonymous witH the deleuzian NotIoN of DiFf ereNT/ciatiOn: a ProBlematiC is compLEteLy DIFF eRentiated (by its VoluMe 6 GILlEs deleuzE 105 diff eREnTiAL relatioNs And SingULAritiEs), whILe Every actUalizaTIoN oF a problEm Is a movEmEnt Of dIff erENciaTion, thAt is, the pRoducTIon of a new diff eREnce. As such, the COnCEPt OF the VirTual fulfi llS the DEmanDs of A PhIloSOphy oF diff ErENcE: Diff erence is related To Diff erEnce tHrough diff ereNce itself. 2. AESTHetics (Th Eory OF SENsation). What are The imPlications OF a princiPle of Diff erenCe for aestHETics? Kant Had DisSocIatED AeSthetics into tWO HalvEs: The theoRy oF sensibIliTy aS thE foRm Of possiblE experieNcE (tHe "trAnsCendeNTal AesthEtIc"), aNd The TheorY Of art aS a refL ectIoN oN ReaL experiENcE (THe "CrItIqUe of aesThEtic JUdgmENt"). IN DeleuzE's work, theSe tWO halVeS oF aestheTics are reunitEd: If the most gEnEraL aim of ART is to "proDuce a sensation," then the geNEtic priNciPles oF senSation are At tHe same TimE The priNcipleS of coMpOsiTIOn for WORkS of ArT; converselY, IT is Works Of Art tHat are bEst capable of revealINg tHese conditionS of SensIBIlIty. dElEUze'S wRItiNGS on the various arTs – includinG tHE cInema (CinemA i, CiNeMa II), litErature (essayS criticaL and CliniCal), and paiNtIng (FRANciS Bacon: Th e LOgic of SeNsation) – muST be reAD nOt as wOrkS of criTiCisM, but rAther aS PhiLosopHical eXpLoratiOns of ThIs transcEndental domain of sensibiLity. DeLeuze LocAtes the
 But this is where the sle ight of ha nd be com esob viou s: i f the real iss uppo sed to resemble the po ssibl e, is i t  n ot be cause w e  h a v e r et ro spe ct i ve ly "p roj ected"a fi ctiti ous  i mage of ther ea l back int o t he possible?  In  fact,  i t i s  notthe  real  thatr esembl es the po ss i ble, b u t the p o s si blethat resembles th e  r e al. For this r eason,  t h ec o nce ptof the pos si ble c a n never gr a s p  th e  production o f the new,o r t he gen es iso f diff  eren ce .  De leuze's pro posa l, theref ore, i s  to rep l ace the  possi ble –re al c o up le  wi th the vi rtu a l–a ctual co up le . The re a l i t y of  th e vi rtual  is the reali tyof t h e p roble matic , th at  is,the re ality  o f the Idea, whi le t he rulesofac tua li zatio n  are n otres emblanc e and l i mit at i o n ,but diff erenciati on o rdivergen ce (cr e at io n ). Th eco nce pt o f the v irtu a lis synon ymousw it hthe Del eu zian n ot ion  of  diff eren t/ciat ion: a p roble m atic is comple t ely diff eren t ia t e d( by i tsVolume 6 gi lles dele uze1 05  di f f ere ntial  r e la t ions and singularit ie s), wh ile e very actualiz ation of a p r oblem is  a m o ve m ent of diff er encia tion, that is, theprodu ction of  a new di f f  erence.  As  su ch,  th e co ncept of thev i rtua lfulfi l lsthe dem and s o f a  ph il osophy of  diff er en ce :di fferenc e  is rela te d t odif f ere n ce thr oughdiff  e re n ceitself. 2. A esth et ic s (T h e or y ofSens a tio n). Wha t are the  im p lica ti on s of aprinciple ofdi ff erencefo r a esthet i c s? Kanthad dissociated aesthet i cs into  tw o hal ves:  the theo ryof sen sib i lity a s theformof  po s s iblee x pe rie nc e (the "Tr a n sce ndent al  Aes thetic" ), and the theoryo f a rt as a reflect iono n  r eal ex p eri en c e ( t h e "Critique ofAestheticJu d gm ent"). InD ele uz e's wor k, thes e two halvesof aesthe tics arere unit e d : i f the most  general  aim of a r t ist o"prod uce  a sen sa tio n," t hen th e  ge netic  princ ip les of  sens at ion areat the same time the pr incipl es of  co mposition  fo r  wo rks of ar t; c onversely,  it  is  work s o f  artthat ar e b e st ca pabl e  of revea l in g t h e se  conditions o f  se nsibi lit y . Dele uze' s writings on the various arts –  inc l u din g t h e ci ne ma (Cinema I,Cin em a II), lit er ature (Essa ys Criti ca l  andClinic al), a nd pain t i ng (Franc is B aco n: Th e L ogi co f Sensa ti on )  – mus t be  r ead no t as w o rkso f  criticism, butrathe r as ph i los ophic al  explor a tion s of thistranscenden tal do main  of s ensibil it y. Del euz elocates th e 
 But_this is_where the sleight of_hand becomes_obvious:_if the_real_is supposed to_resemble the possible,_is it not because_we have retrospectively_"projected"_a fi ctitious image of the real back into the possible? In fact, it_is_not the_real_that_resembles the possible, but the_possible that resembles the real._For this_reason, the concept of the possible can never_grasp_the production of_the new, or the genesis of diff erence. Deleuze's_proposal, therefore, is to replace the_possible–real couple with_the_virtual–actual_couple. Th e reality_of the virtual is the reality_of the problematic, that is, the_reality of the Idea, while the rules_of actualization are not resemblance and_limitation, but diff erenciation or_divergence (creation)._Th e concept of the_virtual is synonymous_with the_Deleuzian notion of_diff erent/ciation: a problematic is completely_diff erentiated (by_its Volume 6 gilles deleuze 105_diff_erential relations and_singularities),_while_every actualization_of a problem_is_a movement_of_diff erenciation, that is, the production_of_a new diff erence. As such, the_concept of the virtual_fulfi_lls the demands of_a philosophy of diff erence:_diff erence is related to diff_erence through_diff erence_itself. 2. Aesthetics (Th eory of Sensation). What are the implications_of a principle of diff erence_for aesthetics? Kant had_dissociated aesthetics_into_two halves: the_theory_of sensibility_as the form of possible experience (the_"Transcendental Aesthetic"),_and the theory of art as_a refl ection on_real_experience (the "Critique of Aesthetic Judgment")._In Deleuze's work, these two halves_of aesthetics are reunited: if_the_most_general aim of art is_to "produce a sensation," then the_genetic principles of_sensation are at the same time the_principles_of composition for works of art;_conversely,_it is works of art that_are_best_capable of revealing these conditions_of sensibility. Deleuze's writings on the_various arts – including the cinema (Cinema I, Cinema_II), literature (Essays_Critical and Clinical), and painting_(Francis_Bacon:_Th e Logic of Sensation) – must be read not_as works_of criticism, but_rather as philosophical explorations of this transcendental domain of sensibility._Deleuze locates the