Summary:
This article will explore the importance of Deleuze's theory of sensation in the field of aesthetics and its challenge to traditional notions of aesthetics. Traditional aesthetics often simplifies aesthetic experience to the relationship between rational cognition and object in the dualistic opposition of subject and object, ignoring the importance of sensation and body in aesthetic experience. However, Deleuze's theory of sensation breaks down this binary opposition, emphasizing the importance of the involvement of sensation and body for aesthetic experience.
I. Introduction
Aesthetics, as a discipline of studying and appreciating beauty, has encountered an epistemological dilemma in its development, which is mainly reflected in the limitations and constraints brought about by the epistemological framework of the dichotomy of subject and object. Traditionally, aesthetics has been defined as the "perfection of perceptual cognition", that is, the recognition and appreciation of beauty through the perception and experience of a work of art.
However, this epistemological framework often strictly separates the subject and the object, and regards the perception of beauty as the subject's subjective experience and evaluation of the object, while ignoring the interaction and co-construction between the subject and the object. This binary epistemological framework limits the understanding and exploration of beauty, and makes aesthetic research fall into a bottleneck.
II. Deleuze's Theory of Sensation Foundations
A. The difference between sensation and perception
Deleuze made a distinction between sensation and perception in his theory of sensation. Sensation refers to the body's direct response to external stimuli, and is a physiological, unconscious experience that largely transcends the intervention of subjective consciousness. In contrast, perception is the subjective interpretation and processing of sensations, and is a cognitive process guided by consciousness. Deleuze emphasizes that sensation is a direct, physical, unconscious experience that does not need to be filtered and interpreted by consciousness, but is projected directly onto the body, a life force experience that cannot be fully captured by words and concepts.
B. Sensation and Body: Body-Unconscious-Event Relationship
In Deleuze's view, the senses and the body are inextricably linked, and there is a close connection and interaction between them. The body is the carrier and basis of sensation, and responds directly to external stimuli through the body's sensory organs. The unconscious is one of the characteristics of sensation, and sensory experience often occurs at the level of the unconscious, which is not controlled and intervened by the conscious, but is a spontaneous and instinctive response. Events are the objects and mediums of sensation, and the occurrence of sensations is often accompanied by the occurrence of certain events, which is a phenomenon related to the external environment.
Deleuze emphasizes that sensation is not limited to the action of the perceptual organs, but is an experience of the body as a whole. Through the perception and experience of the body, people can directly feel the impact of external stimuli, and this perception does not need to be processed and interpreted by consciousness, it is a direct, physical, and unconscious experience.
C. Rheological principle of intensity
Deleuze proposed the rheological principle of intensity, arguing that the intensity of sensation is one of its most important characteristics. The intensity of the sensation is reflected not only in its direct impact and projection on the body, but also in the changes and rheology of the sensory experience. Sensation is not static, but constantly changing with the changes of time and space, and it has a dynamic, fluid characteristic. At different moments and situations, the same feeling may present different intensities and manifestations, and the rheology of this intensity gives the sensory experience a richer connotation and dimension.
The rheological principle of intensity challenges the traditional aesthetic understanding of the solidification and stability of beauty, and proposes a more dynamic and pluralistic way of understanding beauty. Through the exploration of the intensity and rheology of feelings, people can more deeply understand and appreciate the rich connotations and emotional experiences contained in artworks, so as to transcend the traditional aesthetic framework and expand the new horizons of aesthetic research.
III. Sensation theory transcends the epistemological framework of the subject-object dichotomy
A. Limitations of the epistemological framework of the subject-object dichotomy
Traditional aesthetics is often constrained by the epistemological framework of the dichotomy between subject and object, that is, the aesthetic experience is reduced to the relationship between the subject (the viewer) and the object (the artwork). This framework limits the understanding of beauty to the subject's cognition and evaluation of the object, ignoring the physical, dynamic and transcendent nature of feeling, so there are the following limitations:
Relativity of the subject: Under the dichotomy of subject and object, the judgment of beauty is often regarded as the subjective evaluation of the subject, which lacks objectivity and universality. This relativity makes the definition of beauty different from person to person, and it is difficult to establish universally applicable aesthetic standards.
Objectification: Traditional aesthetics tend to treat artworks as objectively existing objects, ignoring the interactive relationship between sensations and artworks. This concept of objectification makes the artwork seen as a static and fixed entity, ignoring its dynamic interaction and emotional exchange with the viewer.
Rationalist tendency: Under the dichotomy of subject and object, aesthetic experience is often dominated by rationalist way of thinking, emphasizing the control and interpretation of perceptual experience by rational thinking, and ignoring the irrational and non-linguistic characteristics of feeling.
B. The transcendence of Deleuze's theory of sensation
Deleuze's theory of sensation challenges the limitations of the epistemological framework of the subject-object dichotomy, and proposes an aesthetic perspective that transcends the subject-object dichotomy, emphasizing the physicality, dynamism, and transcendence of the senses, with the following aspects of transcendence:
Physical Perspective: Deleuze associates sensation with the body, emphasizing that sensory experience is a direct response and experience of the body. Through the perception and experience of the body, people can directly feel the impact of external stimuli, which goes beyond the rational interpretation of perceptual experience in traditional aesthetics.
Dynamic view: Deleuze emphasizes the principle of intense rheology of sensation, arguing that sensation is a dynamic, fluid experience that is constantly changing with time and space. This dynamic perspective challenges the perception of solidification and stability in traditional aesthetics, and provides a more diverse and dynamic perspective for the understanding of beauty.
Transcendent Thinking: Deleuze emphasizes the transcendence of sensation, arguing that sensation is a non-verbal, non-conscious experience projected directly onto the body that does not need to be filtered and interpreted by consciousness. This kind of transcendent thinking makes aesthetic research no longer limited to the dichotomy of subject and object, but towards a more open and pluralistic theoretical exploration.
C. Fusion of Sensation and Idea
Deleuze's theory of sensation proposes an aesthetic concept of the fusion of sensation and idea, emphasizing the interpenetration and interaction between sensory experience and rational thinking. In Deleuze's view, sensation does not exclude reason, but complements it, and together they form the basis of human aesthetic experience. Sensory experience provides an intuitive, bodily basis for reason, while rational thinking provides a framework for interpretation and processing of sensory experience, and the two interact and complement each other to jointly construct a rich and colorful aesthetic world.
Through the fusion of sensation and concept, Deleuze attempts to transcend the opposition between sensibility and rationality in traditional aesthetics, and proposes a more comprehensive and pluralistic aesthetic theoretical framework. Under this framework, feelings and ideas are no longer seen as two opposing aspects, but as a unified whole that is intertwined and interpenetrated, which together constitute the rich connotation and multi-dimensional meaning of human aesthetic experience.
IV. The Application of Deleuze's Theory of Sensation to Aesthetics
A. Expression of Sensation in a Work of Art
Deleuze's theory of sensation offers a new perspective on the expression of sensation in a work of art. In traditional aesthetics, a work of art is often regarded as an objectively existing object, and the viewer evaluates its aesthetic value through rational cognition and subjective emotion. However, in Deleuze's conception, the work of art is not only an objectively existing entity, but also a combination of sensation and consciousness, a form that can directly touch the physical senses of the viewer. Through the keen capture and expression of feelings, artists can create works that can directly touch the viewer's body, so that the viewer can resonate with the work in feeling, transcend the limitations of rational cognition, and enter an immersive aesthetic experience.
B. Disintegration and reorganization of forms and materials
Deleuze's theory of sensation provides important insights into the disintegration and reorganization of art forms and materials. While traditional aesthetics tend to treat art forms and materials as fixed, definable and classifiable objects, Deleuze emphasizes the dynamism and fluidity of sensations and bodies.
From this perspective, artists can create more emotionally resonant and bodily perceived artworks by dismantling the limitations of traditional forms and materials, reassembling and reinventing sensory experiences. For example, artists can use different materials and mediums to express feelings and emotions, breaking the shackles of traditional art forms and creating more diverse and expressive works.
C. Aesthetics Beyond Aesthetics: Artistic Practice and Perceptual Cognition
Deleuze's theory of sensation proposes an aesthetic concept that transcends aesthetics, emphasizing the interconnectedness and interaction between artistic practice and perceptual cognition. Under this concept, art is not only an aesthetic experience, but also a process of perceptual cognition, a direct response and experience of sensation and body.
Through the keen capture and expression of feelings, artists can create works that can touch the physical senses of the viewer, so that the viewer can resonate with the work on the perceptual level, transcending the emphasis on rational cognition in traditional aesthetics, and entering a physical and sensual aesthetic realm. From this aesthetic perspective that transcends aesthetics, art is not only the pursuit of beauty, but also the exploration and development of human perceptual cognitive ability, and an aesthetic experience and practice that transcends rational cognition.
V. New Horizons of Aesthetics: Beyond the Possibility of Binary Oppositions
A. Implications of Sensation Theory for the Study of Aesthetics
Deleuze's theory of sensation has brought profound enlightenment to aesthetic research, breaking through the limitations of the duality of subject and object in traditional aesthetics, and emphasizing the importance of sensation and body in aesthetic experience. Traditional aesthetics often regards aesthetic experience as a rational cognition and aesthetic evaluation between subject and object, ignoring the participation of sensation and body.
Deleuze's theory of sensation, on the other hand, regards sensation as the core of aesthetic experience, emphasizes the diversity and dynamics of sensation, breaks the duality of subject-object, and proposes an aesthetic perspective that transcends duality. From this perspective, aesthetics is no longer a rational cognition and evaluation, but a perceptual experience and practice, a direct response and experience of the sensation and body.
Feeling has become the core of aesthetic experience, and the work of art is no longer an objective entity, but a form that can directly touch the viewer's physical senses.
B. The Transformation of Artistic Creation and Appreciation
Deleuze's theory of sensation has brought about an important shift in the creation and appreciation of art. In traditional aesthetics, artistic creation is often regarded as the creative behavior of individual artists, and viewing is regarded as the viewer's rational evaluation and interpretation of the work. However, in Deleuze's conception, art creation and viewing are no longer one-way behaviors, but a kind of perceptual communication and interaction.
Through the keen capture and expression of feelings, the artist creates works that can touch the physical senses of the viewer, and the viewer resonates with the works through the participation and experience of feelings, transcending the limitations of rational cognition and entering a physical and emotional aesthetic realm. In this kind of perceptual aesthetic experience, artistic creation and appreciation are no longer one-way behaviors, but a common perceptual exchange and experience, in which the artist and the viewer participate together to create aesthetic meaning and value.
C. The Liberation of the Senses and the Future of Aesthetics
Deleuze's theory of sensation points a new path for the future of aesthetics, emphasizing the liberation and diversity of the senses. In traditional aesthetics, sensation is often regarded as a secondary object dominated by rational cognition, while Deleuze emphasizes the diversity and dynamism of sensation, believing that sensation is the core and foundation of aesthetic experience. From this perspective, feeling is no longer bound by rational cognition, but is liberated and exerted, becoming the main content and mode of aesthetic experience.
The liberation of the senses not only brings a broader space and possibilities for artistic creation and appreciation, but also provides new theoretical resources and ideas for aesthetic research. In the future, aesthetics will pay more attention to the feeling and body, seek the meaning and value of beauty in the perceptual aesthetic experience, break the emphasis on rational cognition in traditional aesthetics, and enter a sensualized and physical aesthetic realm.
VI. Conclusion
Deleuze's theory of sensation has brought a revolutionary shift to aesthetic research, breaking through the shackles of the duality of subject and object in traditional aesthetics, and emphasizing the centrality of sensation and body in aesthetic experience. Its importance is reflected in the following aspects:
Aesthetic Perspectives Beyond Binary Opposition: Traditional aesthetics often regards aesthetic experience as a rational cognition and aesthetic evaluation between subject and object, ignoring the involvement of sensation and body. Deleuze's theory of sensation breaks this binary opposition, regards sensation as the core of aesthetic experience, emphasizes the diversity and dynamism of sensation, and opens up a new perspective for aesthetic research that transcends binary opposition.
The Importance of Perceptual Cognition: Sensation is not only central to aesthetic experience, but also an important source of cognition. According to Deleuze, sensation is a subjective, direct experience that is not bound by rational cognition, and therefore has unique cognitive characteristics and values. Through sensory participation and experience, people can transcend the limitations of rational cognition and enter a physical and perceptual aesthetic realm, thus expanding the scope and depth of cognition.
Transformation of Aesthetic Practice: Deleuze's theory of sensation has not only influenced the development of aesthetic theory, but also changed the way aesthetic practice is conducted. Art creation and appreciation are no longer one-way behaviors, but a common perceptual exchange and experience. Through the keen capture and expression of feelings, the artist creates works that can touch the physical senses of the viewer, and the viewer resonates with the work through the participation and experience of the senses, and jointly creates the meaning and value of aesthetics.
Author: Lu Xilin
Bibliography:
Gregg, Melissa, and Gregory J. Seigworth (eds.). The Affect Theory Reader. Duke University Press Books, 2010.
Protevi, John. A Dictionary of Continental Philosophy. Yale University Press, 2006.
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