From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media Theory

The paper compares how two theorists of media arts, Mark B. N. Hansen and Laura U. Marks, interpret the relation of Deleuze’s time-image to corporeality. Both argue that some novel types of images - in film and media art - engage the body in new and also more intensive ways than traditional cinema d...

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Main Author: Bak Árpád
Format: Article
Language:English
Published: Sciendo 2013-08-01
Series:Acta Universitatis Sapientiae: Film and Media Studies
Subjects:
Online Access:https://doi.org/10.2478/ausfm-2014-0002
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spelling doaj-fd24ecc2131848629ed93450edcd85862021-09-06T19:41:24ZengSciendoActa Universitatis Sapientiae: Film and Media Studies2066-77792013-08-0161193310.2478/ausfm-2014-0002From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media TheoryBak Árpád0Eötvös Loránd University (Budapest, Hungary) PhD Program in Film, Media and Contemporary CultureThe paper compares how two theorists of media arts, Mark B. N. Hansen and Laura U. Marks, interpret the relation of Deleuze’s time-image to corporeality. Both argue that some novel types of images - in film and media art - engage the body in new and also more intensive ways than traditional cinema did. While they remain committed to Bergson’s theory of perception, their works offer different readings of how the Bergsonian concepts of Deleuze’s film philosophy can be applied to new media: on the one hand, to the non-signifying, affective properties of Hansen’s digital image in contemporary media arts, and on the other, to Marks’s - in the last instance, memory-signifying - haptic image, which she discussed initially in connection with video art and experimental film. In New Philosophy for New Media (2004), Hansen asserts that “Deleuze’s neo-Bergsonist account of the cinema carries out the progressive disembodying of the [body]”, which “reaches its culmination in […] what he calls the ‘time-image,’” and calls for “a rehabilitation of Bergson’s embodied concept of affection.” While Marks also offers some criticism on Deleuze, she suggests that his “theory of timeimage cinema permits a discussion of the multisensory quality of cinema,” and undertakes to examine “how the body may be involved in the inauguration of time-image cinema.” Besides arguing that both tendencies are present in Deleuze to varying degrees, I attempt to contextualize the divergences in their lines of thought by looking at the types of media and selection of works they examine, as well as the possible theoretical commitments that might guide these selective strategieshttps://doi.org/10.2478/ausfm-2014-0002deleuze’s time-imagedigitalhaptic imageaffectbodynew media
collection DOAJ
language English
format Article
sources DOAJ
author Bak Árpád
spellingShingle Bak Árpád
From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media Theory
Acta Universitatis Sapientiae: Film and Media Studies
deleuze’s time-image
digital
haptic image
affect
body
new media
author_facet Bak Árpád
author_sort Bak Árpád
title From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media Theory
title_short From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media Theory
title_full From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media Theory
title_fullStr From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media Theory
title_full_unstemmed From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media Theory
title_sort from a tactile epistemology to the ontology of affect: two readings of deleuze’s time-image in film and new media theory
publisher Sciendo
series Acta Universitatis Sapientiae: Film and Media Studies
issn 2066-7779
publishDate 2013-08-01
description The paper compares how two theorists of media arts, Mark B. N. Hansen and Laura U. Marks, interpret the relation of Deleuze’s time-image to corporeality. Both argue that some novel types of images - in film and media art - engage the body in new and also more intensive ways than traditional cinema did. While they remain committed to Bergson’s theory of perception, their works offer different readings of how the Bergsonian concepts of Deleuze’s film philosophy can be applied to new media: on the one hand, to the non-signifying, affective properties of Hansen’s digital image in contemporary media arts, and on the other, to Marks’s - in the last instance, memory-signifying - haptic image, which she discussed initially in connection with video art and experimental film. In New Philosophy for New Media (2004), Hansen asserts that “Deleuze’s neo-Bergsonist account of the cinema carries out the progressive disembodying of the [body]”, which “reaches its culmination in […] what he calls the ‘time-image,’” and calls for “a rehabilitation of Bergson’s embodied concept of affection.” While Marks also offers some criticism on Deleuze, she suggests that his “theory of timeimage cinema permits a discussion of the multisensory quality of cinema,” and undertakes to examine “how the body may be involved in the inauguration of time-image cinema.” Besides arguing that both tendencies are present in Deleuze to varying degrees, I attempt to contextualize the divergences in their lines of thought by looking at the types of media and selection of works they examine, as well as the possible theoretical commitments that might guide these selective strategies
topic deleuze’s time-image
digital
haptic image
affect
body
new media
url https://doi.org/10.2478/ausfm-2014-0002
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