Theory of the Image (OUP, 2019) OUT NOW!

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The book is now available from Amazon and shortly with OUP (30% off code: AAFLYG6)

Read the introduction here.

Read the Conclusion below.


The Mobile Image

 

We live in the age of the mobile image. Today, more than ever before, we are surrounded by hybrid images of all kinds that circulate freely and mix with contemporary images. This incredible mobilization and proliferation of images forces us to rethink the basic structure and definition of the image itself—as something fundamentally kinetic. The advent of the digital image, defined by a continuous flow of electricity, forces us to see that the image is not and never has been a representation of a static model. Images have always had a material agency. Movement, and not representation, has always been central to the image, making possible a new materialist aesthetics. This book thus has made three main contributions to the philosophy of art and aesthetics.

 

THE KINETIC THEORY OF THE IMAGE

Its first contribution is to offer an original kinetic theory of the image. Traditionally, the image has been viewed as either objectively or subjectively derived from something else. A relatively static object, subject, or human structure was assumed as primary and the image was what moved in between them. Even when the image has not been treated explicitly as a representation, it has typically been thought of an expression or production of something else. Even contemporary theories of images as a copy of copies or copies without originals, still miss the point. The image is not a copy and there was never a model to have gone missing. In contrast to these previous theories, this book proposes a new definition of the image as a reflection, a duplication, or a fold in moving generative matters. All images are sensuous and all sensations are images. Images both sense and are sensed. The image is thus not something strictly visible. There are images of sight and sound, just as there are images of taste, smell, and touch. The image is also not unique to humans or to organic life.

 

The original contribution of part I, then, is to have provided a kinetic and materialist theory of the image defined by the flow, fold, and field of sensitive matters. As such, it reorients the central problem of aesthetics and art history, moving it away from the question of representation and anthropocentric constructivism, whether linguistic, social, psychological, or otherwise, and toward the distribution and analysis of regimes of moving images with their own material agency and generativity.

THE HISTORY OF THE IMAGE

The second contribution of this book is that it offers an original conceptual and historical methodology for the study of art and art history. If the study of the image is not a question of representation but, rather, of kinetic distribution, then we need to understand what kinds of distributions have been invented and to what degree and with what mixture they persist in the present. Part II of this book thus presented neither a universal ontology of affect nor a merely empirical history of works of art but, rather, a study of the kinesthetic patterns or historical regimes of aesthetic motion.

Unlike merely empirical art histories, kinesthetic regimes of motion prefigure, persist, and mix well beyond their initial empirical manifestation, making their analysis much more broadly applicable to the study of art, art history, and sensation widely construed. Thus, the kinetic method of this book makes no attempt at an ahistorical ontology of sensation, affect, or image; rather, it offers a regional ontology from the perspective of the early twenty-first century. Based on the apparent primacy of mobility revealed in the digital image, it proposes an answer to the simple question: What must images at least be like for them to be capable of this kind of motion? In doing so, it thus discovers a previously hidden dimension of all hitherto existing images: the primacy of their motion.

 

THE CONTEMPORARY IMAGE

The third major contribution of this book is its offer of an original theory of the digital image defined by its materiality and mobility. In contrast to the first wave of new-media scholarship that defined the digital image as largely immaterial and virtual, this book provides an analysis of the material and kinetic dimensions of the digital image and its conditions of circulation. While more recent new-media scholarship seems to be taking the material dimension of the digital image more seriously, this book adds to this literature a complete conceptual and analytic framework that connects the study of the digital image with the rest of art history and the structure of affection more broadly.

The electrical flow that defines the digital image is historically novel in some ways, but not in others. The digital image thus allows an incredible degree of hybrid mobile images, but in a more general sense, electrical flows also pervade all material images. The digital image is not just about hybridity and remediation; it is also about the creative pedesis and feedback of the electrical flow itself: its generative power. This includes both contemporary digital and historical nondigital generativity. The digital image thus presents the twenty-first century with an incredible aesthetic decision: how and to what degree to treat the digital image as an instrumental tool for merely replicating images or as a means for releasing a more generative flow in all matters, thus generating completely new images.

Theory of the Image (Oxford University Press, 2019)

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We live in an age of the mobile image. The world today is absolutely saturated with images of all kinds circulating around the world at an incredible rate. The movement of the image has never been more extraordinary than it is today. This recent kinetic revolution of the image has enormous consequences not only for the way we think about contemporary art and aesthetics but also for art history as well.

Responding to this historical moment, Theory of the Image offers a fresh new theory and history of art from the perspective of this epoch-defining mobility. The image has been understood in many ways, but it is rarely understood to be fundamentally in motion. The original and materialist approach is what defines Theory of the Image and what allows it to offer the first kinetic history of the Western art tradition. In this book, Thomas Nail further develops his larger philosophy of movement into a comprehensive “kinesthetic” of the moving image from prehistory to the present. The book concludes with a vivid analysis of the contemporary digital image and its hybridity, ultimately outlining new territory for research and exploration across aesthetics, art history, cultural theory, and media studies.


“This is an engaging book with a fascinating argument. Thomas Nail stakes out new territory, building a theory from the group up of the image as kinetic” — David Morgan , Duke University
“Thomas Nail’s Theory of the Image is an ambitious and original attempt to re-theorize the material and cognitive dynamics of the image. In this respect, his model is kinetic as opposed to representational, mimetic, or hermeneutical. The book is eminently suitable for use on a range of undergraduate and postgraduate courses, in particular, philosophy, cultural theory, and art history.” — John Roberts , University of Wolverhampton


Read the introduction here.

Pre-orders are available from OUP (30% off code: AAFLYG6) and Amazon.

Black Hole Sun: On the Materialist Sublime

The first image of black hole has just been released today. This is a profound and important aesthetic moment from a new materialist perspective. The image is not beautiful because we enjoy a free play of our imagination as we try to figure out what we are looking at and how it fits with our existing conceptual framework. The image is also not sublime in the sense that a black hole is an infinitely dense singularity that defies all calculation by general relativity, and thus “blows our mind,” as we try to conceptualize the radically unconceptualizable. The black hole is itself a work of art. Nature, according to Kant, cannot be art because nature is passive and mechanistic. Art, for Kant, is radically free because it is a strictly human feeling of our own freedom.

The black hole is an excellent example of the materialist sublime. Nature and matter are not passive or deterministic. They are indeterminate material processes. They perform precisely the sublime that Kant restricts to humans alone. Black holes are not infinitely dense singularities. At the heart of a black hole is a specific (and very small) spatio-temporal region measured by the Planck scale and related to the size of the black hole (its Schwarzschild radius). However, and more importantly, below the Planck level of the black hole there are quantum processes that produce the spacetime of that region. These quantum processes below the Planck unit are fundamentally indeterminate—meaning that they are neither in one spacetime or another. They are the indeterminate material conditions for the emergence of spacetime itself (quantum gravity).

In other words, nature is not just the passive conditions for the human experience of its own aesthetic faculties of beauty or the sublime but itself performs the sublime activity of radical indeterminism without concrete form. Humans have the experience of sublimity only because nature is already performatively and materially sublime.

 

 

Material Ecology: Neri Oxman’s Generative Design

Oxman’s design takes seriously the ecology and movement of matter.

Designer and architect Neri Oxman is leading the search for ways in which digital fabrication technologies can interact with the biological world. Working at the intersection of computational design, additive manufacturing, materials engineering and synthetic biology, her lab is pioneering a new age of symbiosis between microorganisms, our bodies, our products and even our buildings.