Bill Viola’s figures of submersion as techniques of transindividual affect

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dc.contributor.authordel Río, Elena
dc.contributor.editorWalton, Saigeen
dc.contributor.editorCrispino, Lucioen
dc.date.accessioned2022-07-15T08:09:28Z
dc.date.available2022-07-15T08:09:28Z
dc.date.issued2022
dc.description.abstractThis article seeks to establish a fundamental continuity between distinctive periods in Bill Viola’s work. Examining two relatively early works—The Reflecting Pool (1977–79) and The Passing (1991)—and the more recent piece Self Portrait, Submerged (2013), I consider the artist’s physical presence as a catalyst for an inherent continuity between early formalism and the intense affectivity of the later period. Affect and its transindividual energies were present in Viola even before they came to acquire a more explicit articulation in the 2000s and beyond. We see in Viola’s work a merging of artist and artwork which drastically departs from traditional notions of authorial autonomy and mediation, giving rise instead to an event of transindividual affect. I consider the merging of artist and artwork here in light of Gilbert Simondon’s philosophy of individuation, a process-oriented ontology remarkably resonant with Viola’s art. I rely on Simondon’s concepts of the technical object, the preindividual and the transindividual, to examine: first, Viola’s immanent, transductive relation to his medium as illustrated in The Reflecting Pool; second, the way in which the artist’s participatory witnessing of technological ontogenesis transmutes into a directly affective experience in The Passing; and finally, the confluent affectivity of artist and spectator in Self Portrait, Submerged.en
dc.description.statusPeer revieweden
dc.description.versionPublished Versionen
dc.format.mimetypeapplication/pdfen
dc.identifier.citationdel Río, E. (2022) 'Bill Viola’s figures of submersion as techniques of transindividual affect', Alphaville: Journal of Film and Screen Media, 23, pp. 52-72. https://doi.org/10.33178/alpha.23.03en
dc.identifier.doihttps://doi.org/10.33178/alpha.23.03
dc.identifier.endpage72
dc.identifier.issn2009-4078
dc.identifier.issued23
dc.identifier.journalabbrevAlphavilleen
dc.identifier.journaltitleAlphaville: Journal of Film and Screen Mediaen
dc.identifier.startpage52
dc.identifier.urihttps://hdl.handle.net/10468/13368
dc.language.isoenen
dc.publisherFilm and Screen Media, University College Corken
dc.relation.urihttp://www.alphavillejournal.com/Issue23/HTML/ArticledelRio.html
dc.rights© 2022, the Author(s). This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.en
dc.rights.urihttps://creativecommons.org/licenses/by-nc/4.0/
dc.subjectAffecten
dc.subjectImmediationen
dc.subjectTransindividualen
dc.subjectBill Violaen
dc.subjectGilbert Simondonen
dc.titleBill Viola’s figures of submersion as techniques of transindividual affecten
dc.typeArticle (peer-reviewed)en
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Alphaville: Journal of Film and Screen Media. Issue 23: Screening the Artist: Between Presence/Absence, Immediacy/Mediation