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What Philosophy Wants from Images$
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D. N. Rodowick

Print publication date: 2018

Print ISBN-13: 9780226513058

Published to Chicago Scholarship Online: September 2018

DOI: 10.7208/chicago/9780226513225.001.0001

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The Force of Small Gestures

The Force of Small Gestures

Chapter:
(p.103) 5 The Force of Small Gestures
Source:
What Philosophy Wants from Images
Author(s):

D. N. Rodowick

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226513225.003.0005

In the Logic of Sensation, Gilles Deleuze describes sensation as a domain that lies beneath, over, or inside quotidian vision as if in another dimension of intensive qualitative experience masked by habitual perception. Sensation is also a way of grasping the immanence of philosophy to works of art. The logic of sensation is part and parcel of our world as lived; one might say that sensation is immanent to perceptual experience as force is immanent to matter. In Deleuze’s account of sensation, the plastic arts are less concerned with matter and figuration than they are with force and becoming. Perhaps the problem for both painting and cinema is how to see time and force differently, and to release the figural force of sensation in the image. The chapter continues by investigating the logic of sensation in recent experimental video, primarily Ernie Gehr’s Glider, but also two of the author’s own recent artworks, Waterloo and Plato’s Phaedrus. The chapter concludes with an account of Henri Bergson’s lecture on philosophical intuition to argue that there is a continuous dynamic line that runs between intuition and philosophy, Image and Concept.

Keywords:   Gilles Deleuze, Francis Bacon, manual diagram, sensation, experimental film, Henri Bergson, Ernie Gehr, aesthetic analogy, philosophical intuition, philosophical intuition

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