Bergson and the Art of Immanence: Painting, Photography, Film, Performance

Bergson and the Art of Immanence

Painting, Photography, Film, Performance

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Edited by John Mullarkey, Kingston University, UK, Charlotte de Mille, University of Sussex, UK

Publisher:: Edinburgh University Press
Online publication date:: December 2017
Print publication year:: 2013
Online ISBN:: 9780748670239

Subjects:: Twentieth-Century Philosophy, Philosophy: General Interest, Philosophy

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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 and film. It places Bergson’s work and influence in a wide historical context and applies a rigorous conceptual framework to contemporary art theory and practice.Key Features16 essays from world-renowned art theorists, philosophers and Bergson scholarsContributors include Iris van der Tuin, Eric Alliez, Simon O'Sullivan and Howard CaygillOffers a variety of perspectives and methodological approaches that will appeal to both art theorists and practitionersExplores 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.ContributorsEric Alliez Mark Antliff Stella Baraklianou Howard Caygill Felicity Colman James Day Charlotte De Mille Adi Efal Jae Emerling Craig Lundy John Mullarkey Simon O’Sullivan Brendan Prendeville Iris van der Tuin Sarah Wilson

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Contents

Frontmatter
pp i-iv
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Contents
pp v-vi
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List of Illustrations
pp vii-viii
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Notes on Contributors
pp ix-xii
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Introduction: Art's Philosophy – Bergson and Immanence
pp 1-14
- By Charlotte de Mille, research concerns the intersections of painting, music, and philosophy., John Mullarkey, Professor of Film and Television at Kingston University
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Part I - Bergson, Art, History
pp 15-16
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1 - Bergson, History and Ontology
pp 17-31
- By Craig Lundy, Research Fellow at the Institute for Social Transformation Research
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2 - Art History, Immanently
pp 32-46
- By Charlotte de Mille, research concerns the intersections of painting, music, and philosophy.
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3 - Art History, Less Its Conditions of Possibility: Following Bergson's ‘Le Possible et le réel’
pp 47-62
- By Adi Efal, currently a Gerda Henkel post-doctoral researcher at the Thomas institute of the University of Cologne
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4 - Matisse, Bergson, Oiticica, etc.
pp 63-79
- By Eric Alliez, Professor at University of Paris
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5 - Bergson Before Deleuze: How to Read Informel Painting
pp 80-93
- By Sarah Wilson, historian and curator whose interests extend from postwar and Cold War Europe and the USSR to contemporary global art.
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6 - Revolutionary Immanence: Bergson Among the Anarchists
pp 94-112
- By Mark Antliff, Professor of Art History and Visual Studies at Duke University
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Part II - Unconditional Practice
pp 113-114
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7 - The Matter of the Image: Notes on Practice-Philosophy
pp 115-130
- By Felicity Colman, Director of Studies in the Media Department, Manchester School of Art
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8 - Pasearse: Duration and the Act of Photographing
pp 131-147
- By Stella Baraklianou, hotographic artist and lecturer in photography at the School of Art
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9 - Duration and Rhetorical Movement
pp 148-164
- By James Day, PhD student at The Courtauld Institute of Art
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10 - A Diagram of the Finite-Infinite Relation: Towards a Bergsonian Production of Subjectivity
pp 165-186
- By Simon O'sullivan, Senior Lecturer in Art History/Visual Culture in the Department of Visual Cultures at Goldsmiths College
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Part III - Immanence of the Visible
pp 187-188
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11 - Painting the Invisible: Time, Matter and the Image in Bergson and Michel Henry
pp 189-205
- By Brendan Prendeville, historian, whose published research concerns painting and phenomenology
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12 - ‘For We Will Have Shown it Nothing’: Bergson as Non-Philosopher (of) Art
pp 206-231
- By John Mullarkey, Professor of Film and Television at Kingston University
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13 - The Untimeliness of Bergson's Metaphysics: Reading Diffractively
pp 232-246
- By Iris van der Tuin, Assistant Professor of Gender Studies and Philosophy of Science at Utrecht University
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14 - Hyperaesthesia and the Virtual
pp 247-259
- By Howard Caygill, Professor at the Centre for Research in Modern European Philosophy
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Afterword: An Art Historical Return to Bergson
pp 260-271
- By Jae Emerling, associate professor of modern and contemporary art in the College of Arts and Architecture at the University of North Carolina, Charlotte.
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Index
pp 272-276
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Bergson and the Art of Immanence

Painting, Photography, Film, Performance

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Contents

Frontmatter
pp i-iv

Contents
pp v-vi

List of Illustrations
pp vii-viii

Notes on Contributors
pp ix-xii

Introduction: Art's Philosophy – Bergson and Immanence
pp 1-14

Part I - Bergson, Art, History
pp 15-16

1 - Bergson, History and Ontology
pp 17-31

2 - Art History, Immanently
pp 32-46

3 - Art History, Less Its Conditions of Possibility: Following Bergson's ‘Le Possible et le réel’
pp 47-62

4 - Matisse, Bergson, Oiticica, etc.
pp 63-79

5 - Bergson Before Deleuze: How to Read Informel Painting
pp 80-93

6 - Revolutionary Immanence: Bergson Among the Anarchists
pp 94-112

Part II - Unconditional Practice
pp 113-114

7 - The Matter of the Image: Notes on Practice-Philosophy
pp 115-130

8 - Pasearse: Duration and the Act of Photographing
pp 131-147

9 - Duration and Rhetorical Movement
pp 148-164

10 - A Diagram of the Finite-Infinite Relation: Towards a Bergsonian Production of Subjectivity
pp 165-186

Part III - Immanence of the Visible
pp 187-188

11 - Painting the Invisible: Time, Matter and the Image in Bergson and Michel Henry
pp 189-205

12 - ‘For We Will Have Shown it Nothing’: Bergson as Non-Philosopher (of) Art
pp 206-231

13 - The Untimeliness of Bergson's Metaphysics: Reading Diffractively
pp 232-246

14 - Hyperaesthesia and the Virtual
pp 247-259

Afterword: An Art Historical Return to Bergson
pp 260-271

Index
pp 272-276

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Bergson and the Art of Immanence

Painting, Photography, Film, Performance

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