ABSTRACT
Out of Gilles Deleuze's books, Logique de la sensation has been virtually passed over in silence. But for a review essay by Patrick Vauday at the time of its appearance and a very short appreciation by Christine Buci-Glucksmann, Logique is a book that few writers seem to have felt is important. In the case of Logique de la sensation, what might have been initially a practical decision to present the analysis in two easily manageable parts seems to stage the tension between verbal and visual. In Logique de la sensation, an art history argument emerges. Each art resembles the others in the way it seeks to use the materials specific to it to render something beyond it: for example, as Deleuze notes, modern music often employs the aural as a way to capture the chromatic, and painting often uses the visual to grab at the invisible.
