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<p/><br></br><p><b> About the Book </b></p></br></br>An investigation of the "occurrent arts" through the concepts of the "semblance" and "lived abstraction."<p/><br></br><p><b> Book Synopsis </b></p></br></br><b>An investigation of the "occurrent arts" through the concepts of the "semblance" and "lived abstraction."</b><p>Events are always passing; to experience an event is to experience the passing. But how do we perceive an experience that encompasses the just-was and the is-about-to-be as much as what is actually present? In <i>Semblance and Event</i>, Brian Massumi, drawing on the work of William James, Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of "semblance" as a way to approach this question. </p><p>It is, he argues, a question of abstraction, not as the opposite of the concrete but as a dimension of it: "lived abstraction." A semblance is a lived abstraction. Massumi uses the category of the semblance to investigate practices of art that are relational and event-oriented--variously known as interactive art, ephemeral art, performance art, art intervention--which he refers to collectively as the "occurrent arts." Each art practice invents its own kinds of relational events of lived abstraction, to produce a signature species of semblance. The artwork's relational engagement, Massumi continues, gives it a political valence just as necessary and immediate as the aesthetic dimension. </p><p/><br></br><p><b> About the Author </b></p></br></br><p>Brian Massumi is Professor in the Department of Communication Sciences at the University of Montreal. He is the author of <i>Parables for the Virtual: Movement, Affect, Sensation</i> and <i>A User's Guide to Capitalism and Schizophrenia: Deviations from Deleuze and Guattari </i>(MIT Press).</p>

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