In order to pose the question of how we have to imagine a Deleuzian aesthetics adequately, we need to do more than assemble the writers, painters, film-makers, composers, and musicians his texts frequently refer to and to whose works many of Deleuze's concepts are intimately linked—if we think, for example, of Kafka's minor peoples, Kleist's war-machine, or Bacon's sensations. We can also not contend ourselves with pointing out Deleuze's preferences for certain periods or styles, such as the baroque or Modern art. We will find that, in order to pose the question adequately, we will have to begin to reconsider what is usually referred to as aesthetics and its allegedly inherent relation to art. Approaching this question in his essay "Existe-t-il une esthétique deleuzienne?" (1998), Jacques Rancière begins with such a move. He reconsiders our understanding of aesthetics by dismissing the widely held view of it, according to which aesthetics—baptized as a discipline by Alexander G. Baumgarten in the mid-eighteenth century, and formed throughout the nineteenth century in the wake of such major influences as Kant's First and Third Critiques, Schelling's idealist philosophy of art and Hegel's history of aesthetics—is generally understood and undertaken as a philosophizing on art and on the subjective experiences of the pleasure and displeasure art evokes.