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Boring Sensations: Deleuze on Meat a...

Macagba, Jonathan.

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Boring Sensations: Deleuze on Meat and Vegetables.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Boring Sensations: Deleuze on Meat and Vegetables./
Author:	Macagba, Jonathan.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	27 p.
Notes:	Source: Masters Abstracts International, Volume: 56-06.
Contained By:	Masters Abstracts International56-06(E).
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10277335
ISBN:	9780355203271

Boring Sensations: Deleuze on Meat and Vegetables.
Macagba, Jonathan.

Boring Sensations: Deleuze on Meat and Vegetables. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 27 p.

Source: Masters Abstracts International, Volume: 56-06.

Thesis (M.A.)--State University of New York at Stony Brook, 2017.

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.

ISBN: 9780355203271Subjects--Topical Terms:

2122701
Art history.

Boring Sensations: Deleuze on Meat and Vegetables.
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245 1 0 $a Boring Sensations: Deleuze on Meat and Vegetables.
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300 $a 27 p.
500 $a Source: Masters Abstracts International, Volume: 56-06.
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502 $a Thesis (M.A.)--State University of New York at Stony Brook, 2017.
520 $a 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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