Towards new states of fluidity. Audiovisual arts and affective escalation

In line with Spinoza, Deleuze and Braidotti, I would like to propose a new conception of the image and also highlight the emergence of new audiovisual art features and capabilities ―always in relation to the evolution of audience habits. The articles starts with two major affective escalations in the history of audiovisual practices. The first occurred almost immediately after World War II, while the effects of the second were more diffusely propagated at the margins of industry for decades. The study of these two historical events vividly illuminates the evidence that a work is not a term. This epistemological aspect is of special interest in the field of artistic theory. As will be seen in various examples, the work is an active agent, defined by the relations of exteriority of which it is capable, by varying capabilities and dependent on a living environment of which it is a part. To refer to “medium”, therefore, is to refer to a relationship system that involves our bodies in a situation. I will, therefore, focus on the fact that the spectator is not to be found among terms, but precisely there where objects pick up speed, where possibilities arise in the very genesis. The vision I propose is infused with renewed optimism in that it predicts that the audiovisual art of the twenty-first century will encounter new states of fluidity and other forms of emotional escalation. The roles of director and spectator will continue to be diluted generation after generation; in fact, each has always been an active agent in the morphogenesis of the world.