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Wallin, Jason: "Graphic Affects." In: Visual Arts Research 38.1 (2012), S. 34–44. 
Added by: joachim (01 Jul 2013 13:52:16 UTC)   Last edited by: joachim (30 May 2015 12:47:24 UTC)
Resource type: Journal Article
Languages: englisch
Peer reviewed
DOI: 10.5406/visuartsrese.38.1.0034
BibTeX citation key: Wallin2012
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Categories: General
Keywords: Avantgarde, Metaisierung, USA, Wallin. Jason
Creators: Wallin
Collection: Visual Arts Research
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Abstract
Graphic Affects attempts to conduct a material experiment for thinking the composition of the graphic novel and, further, its potential to palpate new forms of experience on behalf of its reader. This approach necessitates drawing the orthodoxies of the graphic novel into composition with the question of what art can do. While this work marks a nascent commitment to the aforementioned question, its intent is to produce a probe-head for surveying potential modulations in the graphic novel medium (Deleuze & Guattari, 1987). More simply put, the intent of this experimental approach is relatively straightforward in that it attempts to access modes of thinking beyond the habitual reproduction of the graphic novel as a vehicle for expository narrative, temporal linearity, or as an aesthetic alternative to text-based composition (O’Sullivan, 2006). Where one might expect narratology, sequential action, or unfolding didacticism, an encounter of another variety emerges. This other encounter might be thought as a minimal attempt at non-representation in which the familiar circuits of the graphic novel are broken down and reassembled in order to think how the graphic novel works in the fiirst place. This maneuver breaks from the interpretive impulse that asks “What happened?” in lieu of creating conditions by which ‘it happens’, or less opaquely, where an encounter is produced that does not require the function of a pre-text or prior form, hence pushing the graphic novel into potential post-media formations (Lyotard, 1988). In other words, this experiment attempts to reveal the nascent habits that inform upon the graphic novel by practicing a kind of productive law-breaking. It is via this nominal code breaking that this work attempts to habilitate alternative trajectories for the graphic form no longer wed to character, content, chronological action, or familiar didacticism. Here, an alternative pedagogy emerges premised on the production of the event, or rather, an encounter that attempts to dilate the forms of production that might be associated to the graphic novel.
  
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