“The inhuman nature of the artistic object consists of a combination of non-functionalism and ludic seductiveness. This is precisely what the surrealists meant by the ‘bachelor machines’ – an idea that Deleuze and Guattari adopted and transformed in the theory of ‘bodies without organs’ or a-functional and un-organic frames of becoming. Art, not unlike critical philosophy, is for Deleuze an intensive practice that aims at creating new ways of thinking, perceiving and sensing Life’s infinite possibilities (Deleuze and Guattari, 1994). By transposing us beyond the confines of bound identities, art becomes necessarily inhuman in the sense of nonhuman in that it connects to the animal, the vegetable, earthy and planetary forces that surround us. Art is also, moreover, cosmic in its resonance and hence posthuman by structure, as it carries us to the limits of what our embodied selves can do or endure. In so far as art stretches the boundaries of representation to the utmost, it reaches the limits of life itself and thus confronts the horizon of death. To this effect, art is linked to death as the experience of limits (Blanchot, 2000).”
