In a sense, with our definition of affect and aesthetics, we have already moved away from this kind of delimiting exercise. The lines of demarcation are still there but they are more complex and contingent. That which operates as a creative deterritorialisation (in Spinoza’s terms, a joyful encounter) for one individual might not work for another (the question of the spectator’s specific production of subjectivity – his or her investment with a particular object – becomes important here).

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David Hilmer Rex
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