Date: Wed, 23 Jun 1999 03:42:25 +0100 Subject: Art and expression From: "John Appleby" <pyrew-AT-csv.warwick.ac.uk> From: Daniel Haines <daniel-AT-tw2.com> wrote; >John Appleby wrote: >> > I think that expression may be the only way to think >> about art as non-representational, but am not certain of this. > >could you expand on this point? I'll have a quick go, but it might be a bit muddy: I take it as non-controversial that a representational view of art is tied to interpretation of the artwork, i.e. one apprehends the work and thinks about what it might mean. The standard notion of expression would also be representational because it is intentional, in that the artist communicates something (e.g. an emotion) to the perceiver. I very much doubt that you can have non-representational intentionality. In contradistinction, D&G appear to argue that this expression takes place purely on the level of the work. In other words what is expressed is a pre-represenational set of affects which may then become overcoded by representation when interpretation is added to the initial reaction: 'By means of the material, the aim of art is to wrest the percept from perceptions of objects and the states of a perceiving subject, to wrest the affect from affections as the transition from one state to another: to extract a bloc of sensations, a pure being of sensations' (_What is Philosophy?_, p. 167). This is obviously a movement of becoming rather than one of communication. The best example of this that I can think of comes from Bataille when describing his reaction to the photographs of the Chinese man being tortured given to him by Borel: 'I discerned, in the violence of this image, an infinite capacity for reversal. Through this violence - even today I cannot imagine a more insane, more shocking form - I was so stunned that I reached the point of ecstasy' (_The Tears of Eros_, p. 206). There are two points to notice here. Firstly Bataille's reaction to this image is, at least initially, more visceral than intellectual thereby circumventing his powers of representation. Secondly, it is very hard to believe that this reaction was the result of the photographer intentionally trying to communicate ecstasy to the spectator. It might be objected that this example does not deal with a work of art (whatever that is), however I think that the same affects take place with more 'normal' artworks, particularly music. Regards John Thought for the day: =8CNietzsche thus situates the philosopher and the =8Cabyss=B9 on the same plane: knowledge is an unacknowledged power of monstrosity. The philosopher would be a mere histrionic if he did not have this power, if he refused monstrosity=B9 (Klossowski, Nietzsche and the Vicious Circle, p. 205).
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