Kant, painting unlocking sensation in senus communis
To reiterate Kant, sensation is thought without purposiveness. It is thought that is not taken up by a concept into some telos, some definite finality beyond itself. Just a present, not a future or a plan. It is an impression, but not that of the Impressionists. An impression expressed, but not that of Expressionism. Always outwards facing to the world, but with an entirely internal character of its own. Already a complex assemblage of interactions across the many planes of the mind, planes that anticipate perception, but singular as these complex registers resonate at the sime time. This singularity frames the sensation, but not in any discursive context, only as a repetition of affects.
In his rejection of narrative in favour of the triptych, the attendant figure and repetition, Bacon is the most Kantian of painters yet. His approach is always to address the sensation with a diagram (as Deleuze calls a painterly technique applied to thought). The diagram imediately diverts the path of the sensation onto the canvas and back out into sensation. Diverts it away from assimilation to concepts and narrative. It establishes, frames, a second register like that of the anticipations of perception, this time on the canvas. The painting becomes a focus for the repetition of the sensation, to the painter and others. It is as Kant says, a sensus communis.