Three Speculative Dispositions After William James: Towards a Concept of Pre-cursive Faith

Iriarte, Carlota de La Herrán

doi:10.1007/978-981-19-0691-6_6

Cited by 1 publication

(2 citation statements)

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“…This is because it is linked to those in‐between, intensive moments in which the ‘bursting streams of yellow, red, purple, green and orange splattered across’ the exhibition hall precursively implicate our outflowing corporeal and psychical capacities within the inflowing non‐human materiality of the world, beyond any pre‐established parameters of religious identification (Grosz, 2008). After being exposed to such precursive force of colour's sensation (De La Herrán, 2022), our geographical engagements with art should not be taken as a mere intentional encounter with a finalised artistic product. On the contrary, they should be taken as an opportunity to venture into an artistically induced, micro‐subjective journey of becoming and transformation that in this space we can cast as being spiritual (Deleuze, 2003, p. xiv).…”

Section: Conclusion: Towards An Ethos Of Sensationmentioning

confidence: 99%

“…The use of the word precursive, which alludes to that which comes before our subjective expectations have been laid on the world, is pivotal here. This is because it gestures towards the in‐betweenness through which sensation enables us to come closer to the spiritual yet without enforcing a specific dogmatic pathway for us to follow (De La Herrán, 2022).…”

Section: Introduction: Embarking On a Journeymentioning

confidence: 99%

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Sensation, spirituality, and Deleuze: Becoming‐colour through Katharina Grosse's explosive artworks

Iriarte

2022

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Amidst a pandemic‐ridden world, in which esoteric practices, conspiracy theories, and alternative spiritual movements are gathering growing popularity, turning the spotlight on spirituality can be seen as a problematic move that some might feel tempted to reject outright. However, rather than reifying the belief‐driven pretensions traditionally upheld by religion, in this paper, I wish to propose a different outlook on spirituality, one which is linked to those inexplicable, visceral sensations engendered by German artist Katharina Grosse's explosive use of colour. To do this, I turn to the philosophy of Gilles Deleuze, who when affirming the non‐representational, spiritual potencies inherent to art provides the conceptual means through which to address such relationship. Specifically, Deleuze places the emphasis on his concept of sensation, which speaks neither of subject nor object. Indeed, by apprehending those in‐between, intensive moments in which a visual work of art stimulates our eyes, mind, and body, sensation foregrounds an immanent, and not transcendent, understanding of spirituality. This immanent understanding of spirituality refers to the pre‐individual forces and processes from the outside through which sensation enables us to precursively experience what the spiritual looks and feels like, yet without enforcing a dogmatic pathway to follow. Thus, by combining my reflections on Deleuze's thinking on sensation with creative vignettes based on an online ethnographic study of Grosse's artworks, the paper presents three methodological pointers: (1) Confronting the in‐betweenness of sensation, (2) Experimenting with the precursive force of language, and (3) Unleashing the literary power of becoming. Through them, I show how geographers might rethink their engagements with art as having more to do with an aesthetically induced, micro‐subjective journey into their spiritual becoming than with an intentional encounter. I conclude the paper by discussing the ethico‐political implications that endorsing an ethos of sensation might have for geography and beyond.

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Section: Conclusion: Towards An Ethos Of Sensationmentioning

confidence: 99%

Section: Introduction: Embarking On a Journeymentioning

confidence: 99%