This collection of 16 essays brings 20th-century French philosopher Henri Bergson's work on immanence together with the latest ideas in art theory and the practice of immanent art as found in painting, photography, film and performance. It places Bergson's work and influence in a wide historical context and applies a rigorous conceptual framework to concepts of rhythmic duration, perception, affectivity, the body, memory and intuition - all of which were first formulated as immanent objects through the work of Bergson. The international, interdisciplinary contributors include Iris van der Tuin, Eric Alliez, Simon O'Sullivan and Howard Caygill.…mehr
This collection of 16 essays brings 20th-century French philosopher Henri Bergson's work on immanence together with the latest ideas in art theory and the practice of immanent art as found in painting, photography, film and performance. It places Bergson's work and influence in a wide historical context and applies a rigorous conceptual framework to concepts of rhythmic duration, perception, affectivity, the body, memory and intuition - all of which were first formulated as immanent objects through the work of Bergson. The international, interdisciplinary contributors include Iris van der Tuin, Eric Alliez, Simon O'Sullivan and Howard Caygill.
John Mullarkey is Professor of Film and Television at Kingston University. He previously taught at the University of Dundee (2004-2010) and the University of Sunderland (1994-2004). He is the author of Bergson and Philosophy (1999), Post-Continental Philosophy: An Outline (2006), and Philosophy and the Moving Image: Refractions of Reality (2010), and is an editor of Film-Philosophy and co-editor of The Continuum Companion to Continental Philosophy (2009) as well as Laruelle and Non-Philosophy (2012). John Ó Maoilearca is Professor of Film and TV at Kingston University, London. In 2014, his name reverted from the English 'Mullarkey' to the original Irish, 'Ó Maoilearca', which ultimately translates as 'follower of the animal'. Charlotte de Mille is freelance at the Courtauld Gallery. Her work studies the intersection of painting, music and philosophy in Europe c. 1848-1950. She is editor of Music and Modernism (2011), and Chair of the Royal Musical Association Music and Visual Arts Group.
Inhaltsangabe
List of Illustrations Notes on Contributors Introduction Art's Philosophy: Bergson and Immanence, Charlotte de Mille and John Mullarkey I: Bergson, Art, History 1. Bergson, History and Ontology, Craig Lundy 2. Art History, Immanently, Charlotte De Mille 3. Art-history with Less Conditions of Possibility: Following Bergson's 'Le Possible et le réel', Adi Efal 4. Matisse, Bergson, Oiticica, etc., Eric Alliez 5. Bergson Before Deleuze: How to Read informel Painting, Sarah Wilson 6. Creative Revolution: Bergson, Max Stirner and Art for Insurrection's Sake, Mark Antliff II: Unconditional Practice 7. The Matter of the Image: Notes on Practice-Philosophy, Felicity Colman 8. Pasearse: Duration and the Act of Photographing, Stella Baraklianou 9. Duration and Rhetorical Movement, James Day 10. A Diagram of the Finite-Infinite Relation: Towards a Bergsonian Production of Subjectivity, Simon O'Sullivan III: Immanence of the Visible 11. Painting the Invisible: Time, Matter and the Image in Bergson and Michel Henry, Brendan Prendeville 12. 'For We Will Have Shown it Nothing': Bergson as Non-Philosopher (of) Art, John Mullarkey 13. The Untimeliness of Bergson's Metaphysics: Reading Diffractively, Iris van der Tuin 14. Hyperaesthesia and the Virtual, Howard Caygill Afterword An Art Historical Return to Bergson, Jae Emerling Index.
List of Illustrations Notes on Contributors Introduction Art's Philosophy: Bergson and Immanence, Charlotte de Mille and John Mullarkey I: Bergson, Art, History 1. Bergson, History and Ontology, Craig Lundy 2. Art History, Immanently, Charlotte De Mille 3. Art-history with Less Conditions of Possibility: Following Bergson's 'Le Possible et le réel', Adi Efal 4. Matisse, Bergson, Oiticica, etc., Eric Alliez 5. Bergson Before Deleuze: How to Read informel Painting, Sarah Wilson 6. Creative Revolution: Bergson, Max Stirner and Art for Insurrection's Sake, Mark Antliff II: Unconditional Practice 7. The Matter of the Image: Notes on Practice-Philosophy, Felicity Colman 8. Pasearse: Duration and the Act of Photographing, Stella Baraklianou 9. Duration and Rhetorical Movement, James Day 10. A Diagram of the Finite-Infinite Relation: Towards a Bergsonian Production of Subjectivity, Simon O'Sullivan III: Immanence of the Visible 11. Painting the Invisible: Time, Matter and the Image in Bergson and Michel Henry, Brendan Prendeville 12. 'For We Will Have Shown it Nothing': Bergson as Non-Philosopher (of) Art, John Mullarkey 13. The Untimeliness of Bergson's Metaphysics: Reading Diffractively, Iris van der Tuin 14. Hyperaesthesia and the Virtual, Howard Caygill Afterword An Art Historical Return to Bergson, Jae Emerling Index.
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