Narrating the Catastrophe: An Artist’s Dialogue with Deleuze by Jac Saorsa

By Jac Saorsa

A unprecedented collaboration among modern paintings and important discourse, Narrating the Catastrophe courses readers via unusual textual landscapes the place “being” is outlined as an act instead of a kind. Drawing on Paul Ricoeur’s proposal of intersubjective narrative identification in addition to the disaster concept of Gilles Deleuze, Jac Saorsa establishes another standpoint from which to interpret and have interaction with the realm round us. A hugely original—and visually appealing—take on a high-profile factor in modern severe debate, this publication will entice all these attracted to visible arts and philosophy.

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Extra resources for Narrating the Catastrophe: An Artist’s Dialogue with Deleuze and Ricoeur

Example text

He had penetrated the surface of reflection and the unexplored landscapes of the rhizosphere beckoned him. He saw his way out, his line of flight, and he understood that one step through the door was the same as two through the mirror. He left quietly. He never saw himself go. Part 2 Now, many years on, Challenger still felt the old wounds. Too deep to recover entirely, they continued to gnaw at his soul and haunt his memory. They had opened a fearful chasm that offered oblivion and he had been sorely tempted, but scars eventually covered over the abyss and Challenger discovered he was not alone.

As Challenger addressed them, the audience realised with horror that in the expressionist mess that his face had become, it was increasingly difficult to distinguish it from his head, and moreover, his actual head from the head in the painting. Challenger himself was in fact deterritorialising on the spot, his head becoming the head on the canvas. For those still prepared to look into that terrible mouth their horrified gaze began to overwhelm their embodied consciousness. They were being drawn inexorably into the mouth, which itself became no longer recognisable as a particular organ, but simply a hole through which they entered into Challenger’s own experience, into the chaos of becoming a man-beast accident.

Challenger only smiled magnanimously, terrifyingly, at his interlocutors and asked for their patience. Then, speaking even faster than before, cut his spreading rhizome of dialogue back to a nodal offshoot that grew in rough proximity to it’s origin, and put to ransom the entire history of Western painting. ’ He bellowed. The audience were once again startled into attention. Part 8 Challenger explained that beyond the flat surface of Egyptian creation, Christianity was the breeding ground of Western art.

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