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University of Southampton Research Repository Eprints Soton University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF BUSINESS AND LAW Winchester School of Art ‘Distance, however near it may be’: Revisiting ‘Aura’ on the Axis between Painting and Digital Technology within a Deleuzian Framework of ‘Becoming’ by Marius von Brasch Thesis for the degree of Doctor of Philosophy October 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF BUSINESS AND LAW WINCHESTER SCHOOL OF ART Doctor of Philosophy ‘DISTANCE, HOWEVER NEAR IT MAY BE’: REVISITING ‘AURA’ ON THE AXIS BETWEEN PAINTING AND DIGITAL TECHNOLOGY WITHIN A DELEUZIAN FRAMEWORK OF ‘BECOMING’ by Marius von Brasch This practice-based research sets out to explore new ways of visualizing and conceptualizing the notion of aura in art. It departs from Walter Benjamin’s widely known critique of aura, the thesis of which is that aura as ‘uniqueness’ of an artwork decays with the rise of technological reproducibility. Benjamin affirms with the decay of aura also the loss of the transposition of religious projections of distance onto fascist politics. His thesis had a major influence on contemporary critical theory where aura is still approached with great reservations. These concern a relapse into religious structures, which mirror, so the thesis argues, the fact that aura has been, also in Benjamin’s ambivalent conceptualization, left ‘territorialized’ in a regime of transcendence in art. The main research question has been: What could aura mean for painting in the expanded field, especially in relation to digital imaging? The outcomes of this research are paintings, works on paper (both involving the input of digital sources), digital films and writings. The thesis develops a reading and visual ‘mapping’ of aura in the framework of Gilles Deleuze’s (and Félix Guattari’s) ontology of immanence where difference and its repetition as differentiation replaces the static metaphysics of ‘origin’ or ‘essence’. Splendor Solis, a series of book illuminations from the Northern Renaissance proved to become a major visual source for experimentation. Aura is introduced in this alchemical work as the ‘splendour’ of Becoming, the deframing power of the differential processes that accompany individuation. As a sensation experienced in intuitive art practice, aura affects and is affected by a field of interacting multiplicities and the potentiality of temporal differentiations, which reach beyond any ascertained subjectivity into virtual collective questions and problems. Aura suggests as an ‘echo’ of Becoming an involvement with affects, and the research follows strands between qualitative intense moments that activate a ‘wound’ and extend to what Deleuze calls a ‘wound i that existed before me’, an experience related to the synthesis of future, which confronts an individual with its emerging double. Constructing, or ‘mapping’ aura as visuals on an axis that involves media of ‘uniqueness’ and digital technology gives those outcomes an ontological status of ‘simulacra’ or assemblages, far from the traditional associations aura would evoke. Touching both experience and experiment, so the thesis argues, aura in immanence can provide an access to the virtualities of the ‘new’ in art practice. The research introduces a visual scenario or ‘conceptual persona’ for intuition, which as method of this research folds both practice and writing. Friedrich Hölderlin’s unfinished play Empedocles at Etna, provides a metaphor or metamorphosis encompassing aura’s and intuition’s involvement with immediacy and duration. The practice documentation of the thesis reflects the strands of the research as plurality of its differentiations, allowing the dynamics of its method in action to reflect the dynamics of aura. ii Contents Contents...............................................................................................................................iii List of figures ...................................................................................................................... v List of accompanying materials...................................................................................ix DECLARATION OF AUTHORSHIP .................................................................................xi Acknowledgements ...................................................................................................... xiii Introduction........................................................................................................................ 1 Methodology .....................................................................................................................10 1. Departure Points.........................................................................................................15 1.1 Aspects of Walter Benjamin’s Critique of Aura........................................................15 1.2 The Practice Element of this Research .......................................................................29 1.3 The Captive/Fugitive Aura in Splendor Solis ............................................................34 1.3.1 Splendor Solis’ Frames ...............................................................................................................34 1.3.2 Jungian Alchemical ‘Individuation’ ......................................................................................53 1.4 Becoming and Aura............................................................................................................57 1.4.1 Deleuzian Becoming....................................................................................................................57 1.4.2 Potential of Deleuze’s Becoming for the Notion of Aura.............................................74 2. Practice: ‘Mapping/Tracing’ Aura .........................................................................79 2.1. ‘Mapping/Tracing’ on the Axis between Painting and Digital Technology...79 2.2 Language and Haptic Visuality......................................................................................86 2.3 Working with a ‘Cult-Object’ ....................................................................................... 101 2.4 Flux and Fragment.......................................................................................................... 113 2.4.1 Splendor Solis’ Frames, Continued..................................................................................... 113 2.4.2 The Work of the ‘Hermaphrodite’ ..................................................................................... 120 2.4.3 Aura and the Affirmation of the Simulacrum ............................................................... 144 2.4.4 Aura as Shadow ......................................................................................................................... 152 2.4.5 Aura and Profanation.............................................................................................................. 155 2.5 A Passage of Intensities ................................................................................................ 158 2.5.1 Aura: Feelings and Intensities in Research.................................................................... 158 iii 2.5.2 A ‘Wound’..................................................................................................................................... 166 2.5.3 Kairos/Chiron/Aion and ‘Event’ ........................................................................................ 170 2.5.4 Affect and ‘Exhibition-Value’ ............................................................................................... 183 3. Art Practice/Research as Suspension...............................................................189 3. 1 Aura and Intuition: Hölderlin’s Empedocles at Etna as Conceptual Persona ...................................................................................................................................................... 189 3.1.1 Why Hölderlin’s Empedocles?.............................................................................................. 189 3.1.2 Empedocles’ Suspended Sacrifice....................................................................................... 193 3.1.3 ‘The immediate […] is impossible for mortals’ ............................................................ 195 3.1.4 TwomblY, Ferragosta III (1961)......................................................................................... 203 3.1.5 ‘Intuition’ Folding Practice Element and Writing....................................................... 208 3.2. Hölderlin’s Empedocles at Etna (Visuals) ............................................................. 209 3.2.1 Empedocles Assemblage
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