The experience of the work of art contains two double-genitive dimensions rarely attended to in the philosophy of art.
The first double genitive concerns the experience of the work of art. Experience in is this sense is both something the work of art has—as its own material capacity for sensory receptivity—and something the work of art makes possible in the form of an experience for something or someone else.
In the first sense, works of art, as material processes, have an experience defined by their sensitivity to light, sound, temperature, and so on. Insofar as they are defined by a field of images, those images are, like the ship of Theseus, constantly breaking down and being disjoined while also being supported by new flows of matter. At the level of the activity of matter itself, we can and should therefore speak of a kind of agency, activity, or subjectivity of matter and the work of art itself. It is affected by matters.
In the second sense, the work of art is something experienced by another aesthetic field. Insofar as another field of images (no matter what that field is, whether rock, plant, animal, or human) is composed of ordered affects receptive to and capable of being changed by a work of art, then it also has an experience of the work. Taking together both senses of this first double genitive, it becomes clear that it is the kinetic process and flow of matter that is, in fact, primary in the work of art; it is simply circulated differently into different but entangled subjective and objective structures. On the one hand, the work of art and the sensorium that experience the work of art both have their own sensitive (subjective) experiences. On the other hand, insofar as both rely on the other as their material condition of experience, both act as the object for the other. The double genitive shows us that subject and object are simply two sides of the same material kinetic process of distributed images.
This leads to exposure of a second double genitive in the work of art itself. A work is the product of artistic creation. The work is the delimited region of affective composition—although to some degree it also recedes and exceeds these limits through degeneration and expansion. The work of art is a receptive object of creation insofar as it is capable of being contracted through destruction and expanded through further creation. The work of art is created.
In another sense, however, the work of art refers to the active agency of the work itself to affect others outside its limited field. A work of art is not a merely passive object; it affects the light, sound, texture, and smell of the world around it. The spectator is then affected and changed by this work. This is not a metaphor. The world around and the body of the spectator are literally and materially changed, no matter how slight, by the introduction of this new distribution of images into the world by the work of art. New flows of matter (light waves, sound waves, scent waves, and so on) are introduced. The work of art creates.
In these two double genitives—“experience of” and “work of”—we can see two dimensions of the same material kinetic process. The subject and object are two dimensions of the same distribution of images. It is strange to say, but insofar as the work of art becomes both subjective and objective, so too does the experience of the work of art. The division between subject and object and the theory of representation is exposed for what it is: an arbitrary historical creation desperately in need of a new theoretical framework that takes seriously the primacy and activity of the image itself.
The kinesthetic theory of art proposed here is substantially more expansive than most, but it is not absolute or ontological. It is both historically situated in the present (since it is focused on the primacy of motion in the image) and excludes a number of things from being art. For example, relatively insensible flows of matter are not art. Fragmented affects are not art. Works of art require an aesthetic field.
The kinesthetic theory of the experience of the work of art proposed here is based on the idea that the image is nothing other than matter in motion. When one field becomes materially entangled with another, both undergo a change that must be taken seriously in any philosophy of art.
From Theory of the Image (Oxford University Press, 2019), pages 86-87.