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A Non-Representational Idea in Colou...

De La Herran Iriarte, Eugenia Carlota,

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A Non-Representational Idea in Colour: Experimenting With Sensation After Gilles Deleuze /

Record Type:	Electronic resources : Monograph/item
Title/Author:	A Non-Representational Idea in Colour: Experimenting With Sensation After Gilles Deleuze // Eugenia Carlota De La Herran Iriarte.
Author:	De La Herran Iriarte, Eugenia Carlota,
Description:	1 electronic resource (267 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-08, Section: A.
Contained By:	Dissertations Abstracts International86-08A.
Subject:	Geography. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31863247
ISBN:	9798302894724

A Non-Representational Idea in Colour: Experimenting With Sensation After Gilles Deleuze /
De La Herran Iriarte, Eugenia Carlota,

A Non-Representational Idea in Colour: Experimenting With Sensation After Gilles Deleuze /Eugenia Carlota De La Herran Iriarte. - 1 electronic resource (267 pages)

Source: Dissertations Abstracts International, Volume: 86-08, Section: A.

This thesis seeks to explore what a non-representational idea in colour (as apprehended via the contemporary visual arts) might look like. Taking the thought of Gilles Deleuze as its starting point, who in Francis Bacon: The Logic of Sensation puts forward a conception of colour that sees it less according to its pre-assigned meaning or intention and more according to the intensive materiality of its sensation, which is both subject and object, the thesis advances a non-representational geographical perspective. Despite witnessing, within recent years, a proliferation of conceptual and methodological approaches (many of which are post-phenomenological) through which geographers have attempted to creatively rethink their relationship with the visual arts, my contention is that these approaches fall short. Specifically, as per post-phenomenological ones, this is because when focusing on the visual art object, they merely reinstate those very same subject-led, phenomenological coordinates that they wish to escape from. Instead, by attending to those pre-individual and impersonal, forces and processes that implicate us in the world, a Deleuzian-inspired, non-representational alternative asserts the primacy of the visceral, artistic experience that sensation-in-itself engenders, beyond any prior subjectivising and representational prescriptions. Thus, in pushing for such alternative, the thesis enacts a non-representational experiment. On the one hand, anchoring its argument conceptually within Deleuze's writings on art, and on the other, situating itself methodologically within experimental forms of thinking method, the thesis examines three different problematics of colour's sensation, including: 1) colour's relationship to the production of thought, 2) the unconscious dimensions of our experience of colour, 3) the processual model of the self that it speaks to. In doing so, the thesis stages a conversation between Deleuze and three other thinkers relevant to the problematic in question, namely: Michel Foucault, Jacques Lacan and Jacques Ranciere, which it compliments with an analysis of my empirical engagement with contemporary visual artists Katharina Grosse, Jan Albers and Zinnia Clavo. It is by attending to these problematics of sensation that I argue colour can bring forth radical transformations in our ways of thinking, feeling and becoming-with, whose implications though yet-unknown, are far-reaching for geography and beyond.

English

ISBN: 9798302894724Subjects--Topical Terms:

524010
Geography.
Subjects--Index Terms:

Visual arts

A Non-Representational Idea in Colour: Experimenting With Sensation After Gilles Deleuze /
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520 $a This thesis seeks to explore what a non-representational idea in colour (as apprehended via the contemporary visual arts) might look like. Taking the thought of Gilles Deleuze as its starting point, who in Francis Bacon: The Logic of Sensation puts forward a conception of colour that sees it less according to its pre-assigned meaning or intention and more according to the intensive materiality of its sensation, which is both subject and object, the thesis advances a non-representational geographical perspective. Despite witnessing, within recent years, a proliferation of conceptual and methodological approaches (many of which are post-phenomenological) through which geographers have attempted to creatively rethink their relationship with the visual arts, my contention is that these approaches fall short. Specifically, as per post-phenomenological ones, this is because when focusing on the visual art object, they merely reinstate those very same subject-led, phenomenological coordinates that they wish to escape from. Instead, by attending to those pre-individual and impersonal, forces and processes that implicate us in the world, a Deleuzian-inspired, non-representational alternative asserts the primacy of the visceral, artistic experience that sensation-in-itself engenders, beyond any prior subjectivising and representational prescriptions. Thus, in pushing for such alternative, the thesis enacts a non-representational experiment. On the one hand, anchoring its argument conceptually within Deleuze's writings on art, and on the other, situating itself methodologically within experimental forms of thinking method, the thesis examines three different problematics of colour's sensation, including: 1) colour's relationship to the production of thought, 2) the unconscious dimensions of our experience of colour, 3) the processual model of the self that it speaks to. In doing so, the thesis stages a conversation between Deleuze and three other thinkers relevant to the problematic in question, namely: Michel Foucault, Jacques Lacan and Jacques Ranciere, which it compliments with an analysis of my empirical engagement with contemporary visual artists Katharina Grosse, Jan Albers and Zinnia Clavo. It is by attending to these problematics of sensation that I argue colour can bring forth radical transformations in our ways of thinking, feeling and becoming-with, whose implications though yet-unknown, are far-reaching for geography and beyond.
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