Affiliation:
1. School of Architecture, Design and Planning, University of Sydney , Sydney , Australia
Abstract
Abstract
Graham Harman describes the allure of art as the tension and fusion of a real object to sensual qualities so that it makes it seem that the inwardness of reality is opened to us. Yet real objects are withdrawn; how are we aware of their fusion? Since Harman’s ontology mandates that contact between real objects occurs only through sensual objects, this essay explores the idea that art’s allure must be a tension between sensual objects that draw the experiencer to believe, or alieve, they are in contact with the withdrawn real. By looking at the examples in representational painting and sleight of hand magic, we see that ontographic art objects use at least four, carefully separated sensual objects to produce their aesthetic effect. The conclusion summarises allure as a sensual object process, speculates on art’s dialetheic confusion of sensual and real objects giving an enduring allure to idealism, and notes potential motifs of an infra-realist resistance.
Reference39 articles.
1. Barr Jr., Alfred H. Picasso: Fifty Years of His Art. New York: The Museum of Modern Art, 1939.
2. Bogost, Ian. Alien Phenomenology: Or What It’s Like to Be a Thing. Minneapolis, USA and London, UK: University of Minnesota Press, 2012.
3. Clifford, Timothy. Raphael: Pursuit of Perfection. Edinburgh: National Galleries of Scotland, 1994.
4. Dalí, Salvador. La femme visible. Paris: Éditions Surréalistes, 1930.
5. Dalí, Salvador. Conquest of the Irrational. New York: Julien Levy, 1935.
Cited by
3 articles.
订阅此论文施引文献
订阅此论文施引文献，注册后可以免费订阅5篇论文的施引文献，订阅后可以查看论文全部施引文献