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Aesthetics Beyond the Phenomenal
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The sixth chapter considers Tony Conrad’s The Flicker, arguing that it leads the way to an aesthetics beyond the phenomenal, that is, an aesthetics—and a phenomenology—without experience as its organizing category. It shows the fundamental technicity of such inherence, how our presence in and presentness to the world are at once technically enabled and also technically transformed. In The Flicker aesthetics is not the experience or property of a spectator but rather distributed across both the organic body of the viewer and the inorganic technics of the cinema. It belongs to the coupling between them.
Title: Aesthetics Beyond the Phenomenal
Description:
The sixth chapter considers Tony Conrad’s The Flicker, arguing that it leads the way to an aesthetics beyond the phenomenal, that is, an aesthetics—and a phenomenology—without experience as its organizing category.
It shows the fundamental technicity of such inherence, how our presence in and presentness to the world are at once technically enabled and also technically transformed.
In The Flicker aesthetics is not the experience or property of a spectator but rather distributed across both the organic body of the viewer and the inorganic technics of the cinema.
It belongs to the coupling between them.
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