Chapter 6 charts Didi-Huberman’s final update in his ongoing critique of representation that commenced in his earliest writings. This chapter contends that Didi-Huberman advances a slippage in the subject–object relationship, with the image being understood as capable of engineering its own forms of knowledge. This chapter demonstrates that Didi-Huberman’s work must be situated in a long philosophical arc from Descartes through Foucault and Deleuze that seeks to decouple the subject from thought. Didi-Huberman extends Deleuze’s critique of the philosophical assumptions of what thinking is, the so-called ‘image of thought’ outlined in Difference and Repetition. This completes Didi-Huberman’s critique of mimetic representation as his commitment to immanence becomes explicit. Didi-Huberman reactivates some of the great avant-garde montage projects of the early twentieth century to explore a mode of representation capable of generating its own theoretical and intellectual undertaking.
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