Art, Sensation and the Edges of Thought

Marshall, Michael. 2007. Art, Sensation and the Edges of Thought. Doctoral thesis, Goldsmiths, University of London [Thesis]

Text (Art, Sensation and the Edges of Thought)
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Abstract or Description

This thesis explores the relationship between art, sensation and thought. It begins from the contention that thought has a tendency to identify and subordinate the artwork according to what it already knows and how it is already capable of thinking. For an artwork to overcome this tendency it needs to express and trigger processes that lie outside of thought's normative procedures of recognition and identification. It is argued that only in this way can the artwork creatively bring something new into thought. Correspondingly, thought needs to develop ways of thinking in relation to the artwork that potentialise rather than close off its creatively fugitive aspects.

The written element is a thinking through of themes and ideas central to the artwork. It consists of three chapters which correspond to areas relevant to the art practice: beauty, the sublime, and the relation between sound and vision in the audio-visual. Each looks at the limitations of identity thinking and asks how an artwork might overcome it, and examines the potential for immanent modalities of thinking, asking what these may enable us to do. The key thinkers that inform this study are Deleuze and Guattari, Kant, and Massumi.

The artwork involves using film, video, photography and sound to aim at bringing more intense and yet fluidly open modes of engagement with scenarios otherwise overlooked and at the edges of perception. It is in this way that the habitual responses of thought might become overtaken by modalities of 'sensory thinking' more capable of relating not only with the indeterminacy of the artwork as an event but also, in more general terms, to 'life' as it is lived.

Item Type:

Thesis (Doctoral)

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art, sensation, thought, art practice

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Date Deposited:

05 Jun 2020 11:50

Last Modified:

12 Sep 2022 11:20


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