Instead of treating art as a unique creation that requires reason
and refined taste to appreciate, Elizabeth Grosz argues that
art-especially architecture, music, and painting-is born from the
disruptive forces of sexual selection. She approaches art as a form
of erotic expression connecting sensory richness with primal
desire, and in doing so, finds that the meaning of art comes from
the intensities and sensations it inspires, not just its intention
and aesthetic.
By regarding our most cultured human accomplishments as the
result of the excessive, nonfunctional forces of sexual attraction
and seduction, Grosz encourages us to see art as a kind of bodily
enhancement or mode of sensation enabling living bodies to
experience and transform the universe. Art can be understood as a
way for bodies to augment themselves and their capacity for
perception and affection-a way to grow and evolve through
sensation. Through this framework, which knits together the
theories of Charles Darwin, Henri Bergson, Gilles Deleuze, FA(c)lix
Guattari, and Jakob von UexkA1/4ll, we are able to grasp art's deep
animal lineage.
Grosz argues that art is not tied to the predictable and known
but to new futures not contained in the present. Its animal
affiliations ensure that art is intensely political and charged
with the creation of new worlds and new forms of living. According
to Grosz, art is the way in which life experiments with
materiality, or nature, in order to bring about change.
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