Discourse about Deleuzian Affects and Percepts in Art and Concepts in Philosophy.

It's a discussion on the affects and precepts of art and concepts in the Philosophy of Deleuze

I happened to be reading a Deleuzian reader. At the outset, the text mentioned the conceptualities of the Philosopher Deleuze with reference to Art and Philosophy.  The function of art is to create Affects and Precepts where as the function of Philosophy is to create Concepts.  But the text was silent about the modus operandi about these processes. I started thinking deeply about these processes and I would like to explain how these processes works.  First of all I would like to methodologize what is meant by a percept and its relationship to art. The lexicographic definition of a Precept means a rule or tenet. A Precept in art would be an intellectualization of idea inherent in an experience of an artistic process. It would mean how the Form of the Idea has manifested itself as a deviant from an established mode of reality. In literature it would be unraveling of the metaphorization and metanomyzation of an artistic process. In art it would mean reality manifested in divergent cognitions. In music it would mean the transcendence of sensibilities into an

 Aesthescence  of experience. A precept working in Art would be a multifarious amalgamation of cognition, intuition, reason and passion into the conglomerate of experience. What would mean the Affect as a process working in Art? In layman’s language, it would be the incorporation emotional experience. But here, putting emotional experience into an analytic mode would not be an easy to task as it effects are many and divergent in experience. An Affect would make its presence in the Ontology starting from the perception of raw sensation. From here it would be transferred and interiorized into the mind an acceptance of an effect and from there it would reach the pinnacle which I would like to define as Aesthonance. Aesthonance has been etymologically conflated from the Aesthetics of the Sublime and the Profane and merged with consonance and dissonance. It would mean in its extension, an association of the mind with Affect. Yes, an Affect would work in the phenomenology of the mind as the Aesthetics of the Sublime or Profane merged with assonance or dissonance. The effect of the Affect in Art would be divergent acceptance of realities. Next I would like to analyze how the conceptualities work in Philosophy. A concept as an idea or principle once created in Philosophy will be overruled and recreated again. For example, Nietzsche’s famous aphorism ‘Death of God’ spelled a disaster for theology and liberated the signifier from its nest. Concepts in Philosophy are always undergoing a process of Being to a Becoming. Let’s discuss the conceptuality of Sexuality as undergoing an ocean of change. Sexuality seen from straight and queer angles is diverging again to trans-sexuality and multiple orientations. An example of trans-sexuality would be a visually or audibly simulated one. For example, there are couples who engaging in long distance sexuality by using Skype or telephone.  An example of multiple orientations would be being straight in one dimension, being gay in another dimension and being voyeuristically inclined to Lesbianism.  So Concepts as Philosophic modes are like the landforms of the earth being subject to the mental processes of dislocation and erosion and in turn being sculpted into new earths.