All 2 entries tagged Sensus Communis
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February 01, 2005
The figure, as a site of habitual sensation, simultaneously dissipates into a chaosmic and unknowable field, whilst defining itself through its engineering agency from that field, which in this return movement stands as a material structure, habitat or frame. The field, being dense with connections, is that space in which the slightest of movements has a massive and irreversible effect. Habit or the organ has no definite sense in the field, has no role in reproduction, hence the necessity to become a 'body without organs' when passing into the field – zero intensity, zero effect, zero feedback, guaranteeing that a return from the field to the figure in repetition, but renewed from the outside.
But how does one reach zero intensity? – how to pass through chaos and back, surviving in some recognisable form? – how do you make yourself such a body without organs? On fleeing from the habitat, from the aparatus of capture, they say that it is necessary to pick-up in an itinerent fashion "weapons" with which to encounter chaos. The weapon is, in fact, that which draws the diagram: some other thing deterritorializing at the same time against which marks can be cut: the painters brush and colours. As they say, 'you never deterritorialize alone'. The friend of the painter is the canvas, brush, colour, texture. And the attendant figure? As Deleuze says of Bacon, not an observer, a counter-point, but a figurative companion standing as a diagram in the deterritorialization through chaos and back. A sensus communis even.
August 18, 2004
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.