들뢰즈의 ‘감각을 그리는 활동’으로서의 회화 예술과 교육의 관계: 『감각의 논리』를 중심으로

Abstract

In this paper, the researcher aims to identify the characteristics of Deleuze's act of “painting the sensation” in The Logic of Sensation and to explore how the act of painting the sensation can relate to education. First, this paper analyzes the characteristics of sensation as “a compound of percepts and affects” to clarify the meaning of Deleuze's sensation. This paper discusses how Deleuze's sensation is not the superficial sense but is, rather, a sensation as a potential entity that exists in depth behind the superficial and, at the same time, produces the superficial. Second, it explores how Bacon paints the sensation and what its characteristics are. Bacon, who seeks to paint the sensation, paints the Figure by creating a third way of painting. The Figure painter who “creates resemblance, but through non-resembling means” is not “a painter of faces” but, rather, “a painter of the heads.” Third, it explores the characteristics of art as a form among Deleuze’s three great forms of thought. Art as a form of thought creating the finite that restores the infinite is interpreted as letting in a breath of air from the chaos into the cosmos, therefore constituting a chaosmos. Deleuze and Bacon's sensation is not fixed into one particular form but is instead a sensation of multiplicity that can potentially be actualized as various forms depending on changing conditions. Fourth, Deleuze's sensation shows the importance of creation not only in art but also in education. Education is an eternally recurrent movement of both destructing the current level of sensation and creating a new dimension of sensation, and Deleuze employs the terms “education of the senses” and “pedagogy of the senses” to show the importance of creation, compared to imitation and representation, in education.