时间的“脱节”及其可见性:德勒兹与弗朗西斯·培根的影像共振

The “Disjoint” of Time and Its Visibility:Image Resonance between Deleuze and Francis Bacon

在德勒兹看来,弗朗西斯·培根艺术表达的原理是“脱节的时间”所引发的“力”对于运动的解构,绘画形象即是内在于“第三时间综合”过程中的“可见的”时间。培根的绘画作为力与感觉自身的建立而彻底不同于再现的模式。在“无器官身体”之中,时间的感性维度亦即颜料的流动性,德勒兹以培根作为中介,将“生成”与“可见性”共同建构为一个不断差异化的影像共振的无意识时间领域。

In the view of Gilles Deleuze,the principle of Francis Bacon's artistic expression is the deconstruction of movement by “force”triggered by “disjointed time”,and the painting image is the “visible” time in the process of “third time synthesis”.Bacon's painting,as the establishment of force and sensation itself,is completely different from the mode of representation.In the “Organs without Bodies”,the perceptual dimension of time is the fluidity of pigments,and Deleuze uses Bacon as an intermediary to construct “generation” and “visibility” together as an unconscious temporal domain of constantly differentiated image resonance.