1 has both a booklet (uploaded separately as Vol 1.5) and a volume of writing (this uploaded version here). By moving away from the mainstream understanding of originality as creation ex nihilo and rethinking artistic agency in terms of a coincidence of care and risk-taking not belonging to the artist exclusively, the thesis offers a significant and unique contribution to methods for practice-led research and rethinks art as a non-hierarchical environment for sensuous experimentation. ‘beauty’ as adequate degree of differentiation and ‘homage art’ as a methodology of art reception that is intrinsically one of art production. Further contributions encompass diffractive reconceptualisations, e.g. By focusing on a discursive method along the methodological lines of Barad, Golding, Lyotard and Stengers, the research contributes to the current debate among continental philosophy, ‘wild sciences’ and fine art by introducing conceptualisations such as ‘slowing up’, ‘artwork-in-potency’, and ‘sense of self’ (intended as the contingent pattern that implicitly embodies normality, thus making a non-directly detectable, yet grounding difference). In this respect, the thesis structure aims at rendering the way in which artworks and arguments have cohered in an entangled singularity as research in which sense has performatively informed questions. That is, in the discontinuous/intense state from which such categories have first emerged. Rather, they are intended as a means for setting the images of painting and art out of equilibrium. Within the consistently sensuous, non-ontological frame of ‘mattering’, such conceptual propositions are not prescriptive or totalizing. They radically reposition the artwork as an event rather than a medium and define ways in which different paintings function in terms of ‘intra-action’ and ‘diffraction’ instead of identity and reflexion. This and other original categorisations (such as ‘work-of-violence’, ‘painting-as-a-body’, ‘painting-for-screens’ among others) emerge from analyses of artworks that were produced either during the PhD or personally encountered. This practice-led PhD thesis proposes a radical reconceptualisation of painting independent of its traditional means of production: painting is the singular multiplicity of material-discursive practices cohering around ‘facing’, which names the intra-active event of ‘seeing all at once’.
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