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Boring Sensations : = Deleuze on Mea...
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ProQuest Information and Learning Co.
Boring Sensations : = Deleuze on Meat and Vegetables.
紀錄類型:
書目-語言資料,手稿 : Monograph/item
正題名/作者:
Boring Sensations :/
其他題名:
Deleuze on Meat and Vegetables.
作者:
Macagba, Jonathan.
面頁冊數:
1 online resource (27 pages)
附註:
Source: Masters Abstracts International, Volume: 56-06.
標題:
Art history. -
電子資源:
click for full text (PQDT)
ISBN:
9780355203271
Boring Sensations : = Deleuze on Meat and Vegetables.
Macagba, Jonathan.
Boring Sensations :
Deleuze on Meat and Vegetables. - 1 online resource (27 pages)
Source: Masters Abstracts International, Volume: 56-06.
Thesis (M.A.)--State University of New York at Stony Brook, 2017.
Includes bibliographical references
In his book, Francis Bacon: The Logic of Sensation, Gilles Deleuze betrays a preference for largely dramatic and "sensational" (even if not "sensationalistic") artworks that privilege the "scream" over the yawn, and ignores the type of understated works that Jacques Ranciere would characterize as "pensive" images, or even the intentionally "boring" works of postmodern art. This paper critically examines Deleuzian concepts on the reception of art---i.e. sensation, affection, and affect---and explores their applicability to subtle and seemingly neutral/boring/deadpan works. Philosophers including Barthes and Ranciere addressed the challenge of engaging with images in postmodernity by asking what happens when we encounter a yawn rather than a scream, or, in the case of Barthes, what happens when a scream makes us yawn? With the existence of already shocking photographs in mass culture, and with the end of the "shock of the new," Barthes sought aesthetic redemption in the punctum rather than the studium. Heidegger, in The Fundamental Concepts of Metaphysics, looks at boredom itself as a "fundamental attunement" that needed to be absorbed and engaged with directly, rather than escaped from. Using Deleuze's example of "Pierre and Paul" in his lectures on Spinoza's concept of "affectio" (affection) and "affectus" (affect), this paper seeks to draw out some of the conceptual limitations in Deleuzian notions of sensation, affection, and affect in dealing with understated or purposely boring works, and proposes an understanding of these concepts in a less fixed and instantiated manner, and more as slower unravellings that grow, fade, or linger.
Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018
Mode of access: World Wide Web
ISBN: 9780355203271Subjects--Topical Terms:
1180038
Art history.
Index Terms--Genre/Form:
554714
Electronic books.
Boring Sensations : = Deleuze on Meat and Vegetables.
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In his book, Francis Bacon: The Logic of Sensation, Gilles Deleuze betrays a preference for largely dramatic and "sensational" (even if not "sensationalistic") artworks that privilege the "scream" over the yawn, and ignores the type of understated works that Jacques Ranciere would characterize as "pensive" images, or even the intentionally "boring" works of postmodern art. This paper critically examines Deleuzian concepts on the reception of art---i.e. sensation, affection, and affect---and explores their applicability to subtle and seemingly neutral/boring/deadpan works. Philosophers including Barthes and Ranciere addressed the challenge of engaging with images in postmodernity by asking what happens when we encounter a yawn rather than a scream, or, in the case of Barthes, what happens when a scream makes us yawn? With the existence of already shocking photographs in mass culture, and with the end of the "shock of the new," Barthes sought aesthetic redemption in the punctum rather than the studium. Heidegger, in The Fundamental Concepts of Metaphysics, looks at boredom itself as a "fundamental attunement" that needed to be absorbed and engaged with directly, rather than escaped from. Using Deleuze's example of "Pierre and Paul" in his lectures on Spinoza's concept of "affectio" (affection) and "affectus" (affect), this paper seeks to draw out some of the conceptual limitations in Deleuzian notions of sensation, affection, and affect in dealing with understated or purposely boring works, and proposes an understanding of these concepts in a less fixed and instantiated manner, and more as slower unravellings that grow, fade, or linger.
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