simon o Sullivan The Aesthetics of affect

art can be understood in many ways using different models to explain the phenomena .

it can be understood as a manifestation of the culture from whence it originates or is appropriated by …

art is material in the world . the world that we are embedded within is a material one . As ” Being ”  we move , navigate through materiality .Art may transcend  its material nature,  it may be Part of the World and and stand APART simultaneously -Lyotard .

art can ” transcend”  its context , it has transcendent qualities that bring it forth as perceived by  systems of understanding . it “stands out” from ones everyday experiences may be present and point back to a specific reference point in history …when it was produced ,when , why and by whom

it has many manifolds of meaning ..Political Historical Cultural Religious Philosophical Social meaning ,association and understanding

art will transcend as our thinking and   understanding evolves , it mirrors our concerns and preoccupations , it keeps pace with us on our Kinetic flight toward our demise

art …which may change as innovative conceptual models or theories are developed

an EXCESS of RAPTURE immanent and with the quality of AFFECT

understanding art as history of production Marxism/  Deconstruction , post modern ….a crisis of representation DERRIDA deconstructing the cultural narratives of art theory itself .

Deconstruction is not…. Destruction  , it examines the narrative structure of  language systems  which we use to explain the world in which we” dwell” and in  which we converse and think . our inner dialogue is… language , words pictures or “wordpictures “.

intensity on /in the body …duration… time. Meaning as the sum total of Affects …a primary affective

Arts intensive quality lies beneath.. beyond… and parallel to  forms of understanding  IT is a bundle of affects ..a block of sensations. which are activated when the viewer is present …you cannot READ affects you experience them …..We are the embodiment of our past experiences on  which we reflect and where we  are present to  ongoing situations overflowing with intentions  toward an unfolding potential future.    The ECHO of the representations of affect ?

Is this a language game in a system of specialist  meaning ? …Wittgenstein (1889 -1951)  where words reach the very limits of there ability to explain ,describe or  narrate  the experience of consciousness itself

art as a space or zone an event site …it bursts forth …a rupture in our understanding of reality ….a body without organs ? perhaps  a Buddhist detached stand toward … a letting go of association, preconceptions  where the art of painting is a “summoning ” making visible . We are fluid observers .Subjective Subjects wherein  events ,affects  experience SLIDES pure phenomenal experience

ADORNO Frankfurt School , Marxist sociologists ,exiled german  jews who reflected on the failure of the Marxist workers revolution in Europe because of a FALSE CONSCIOUSNESS  .they went to America and conducted research not into the economy (marx) but into CULTURE … for it was the consumer narratives and fantasies produced, spun  ,and absorbed by the  citizens that kept them enslaved and colluding in the systems of power . ART should not make one feel comfortable re  MATISSE art must be a weapon PICASSO if it is to awaken us to our false consciousness …it is there to remind us that it doesn’t have to be like this …

Art as virtual as apposed to real or possible , being virtual it acts as a portal toward a self overcoming a reconfiguration of Being

ART as a function which  transforms Being , the emergence of a new art history which parallels art, and  not  to fix it in a conceptual location

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