Bergson and the Art of Immanence: Painting, Photography, Film

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Contents List of Illustrations Notes on Contributors Introduction: Art’s Philosophy – Bergson and Immanence by CHARLOTTE DE MILLE AND JOHN MULLARKEY PART I: Bergson, Art, History 1. Bergson, History and Ontology by CRAIG LUNDY 2. Art History, Immanently by CHARLOTTE DE MILLE 3. Art History, Less Its Conditions of Possibility: Following Bergson’s ‘Le Possible et le réel’ by ADI EFAL 4. Matisse, Bergson, Oiticica, etc. by ERIC ALLIEZ 5. Bergson Before Deleuze: How to Read Informel Painting by SARAH WILSON 6. Revolutionary Immanence: Bergson Among the Anarchists by MARK ANTLIFF PART II: Unconditional Practice 7. The Matter of the Image: Notes on Practice-Philosophy by FELICITY COLMAN 8. Pasearse: Duration and the Act of Photographing by STELLA BARAKLIANOU 9. Duration and Rhetorical Movement by JAMES DAY 10. A Diagram of the Finite-Infinite Relation: Towards a Bergsonian Production of Subjectivity by SIMON O’SULLIVAN PART III: Immanence of the Visible 11. Painting the Invisible: Time, Matter and the Image in Bergson and Michel Henry by BRENDAN PRENDEVILLE 12. ‘For We Will Have Shown it Nothing’: Bergson as Non-Philosopher (of) Art by JOHN MULLARKEY 13. The Untimeliness of Bergson’s Metaphysics: Reading Diffractively by IRIS VAN DER TUIN 14. Hyperaesthesia and the Virtual by HOWARD CAYGILL Afterword: An Art Historical Return to Bergson by JAE EMERLING Index