By Claire Colebrook
Drawing on fresh theories of electronic media and at the materiality of phrases and photographs, this interesting research makes 3 unique claims in regards to the paintings of William Blake.
First, Blake bargains a critique of electronic media. His poetry and approach to illuminated printing is directed in the direction of uncovering an analogical language. moment, Blake's paintings could be learn as a performative. eventually, Blake's paintings is at one and an analogous time immanent and transcendent, aiming to come all varieties of divinity and the sacred to the human mind's eye, stressing that 'all deities live within the human breast,' however it additionally stresses that the human has powers or potentials that go beyond event and judgement: deities live within the human breast.
These 3 claims are explored in the course of the suggestion of incarnation: the incarnation of principles in phrases and photographs, the incarnation of phrases in fabric books and their copies, the incarnation of human activities and occasions in our bodies, and the incarnation of spirit in subject.
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Additional info for Blake, Deleuzian Aesthetics, and the Digital (Continuum Literary Studies)
They also disclose something like ‘time in its pure state’: not merely the passage from one point in time to another, and not merely a series of events where time is the mapping of a sequence, but time as the creation or genesis of difference as such. Time can be thought of extensively – as clock time or series of ‘nows’ – or, as Blake describes it – a prophetic or messianic time. The present flow or series is arrested or halted, opening not to a past or future, but to eternity. If there were no single point of view or system, or if the world had not yet been mapped or distributed into a certain space or chronology, then all we would have would be the infinite and eternal order Media, Mediation, and Materiality 9 of events.
That such a question remains unanswerable is not an accident of Blake’s work. Deleuze and Guattari also present the same problem when they argue that ‘becoming-woman’ is the key to all becomings (Deleuze and Guattari 204B, 306). In doing so they (like Blake) at once repeat tired notions of woman as pathway to ‘man’s’ redemption, and yet also mark the ways in which the problem of sexual difference is not one problem among others but tends to organize the ways in which we think about difference as such.
Or, should one think of becoming as other than man – as possible only with the destruction of organicist thinking? Here is perhaps the problem of immanent modes of ethics and aesthetics. Immanence, as Deleuze and Guattari argue, is usually regarded as immanent to some transcendent ground: if we aim to return all forces and events back to the ground of experience, then the experiencing subject or ‘man’ becomes one more foundation (Deleuze and Guattari 1994, 46). The critique of alien systems, along with the immanent drive to return all logics to their point of genesis, always risks falling back into one more foundationalism.