Connective Trance In Painting: Historical Continuities, Perceptual Fields, and Expanded Consciousness in the Pictorial Act
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper |
|---|---|
| Key points | Argues that painting has recurrently involved a state the author calls "Connective Trance," in which body, gesture, material, and pictorial field operate as a unified dynamic continuum. Drawing on phenomenology of perception and analyses of van Gogh, Dalí, and Pollock, the essay proposes reframing art history as a lineage of perceptual states materialized through pictorial action, with painting as a site where consciousness extends into matter and returns transformed through embodied gesture. |
Abstract
This study develops the concept of Connective Trance as a relational-operational state of consciousness recurrently enacted in the history of painting. Rather than treating artistic styles as isolated formal systems, the essay proposes that diverse painters have entered intensified perceptual conditions in which body, gesture, material, and pictorial field operate as a unified dynamic continuum. Drawing on phenomenology of perception and analyses of Vincent van Gogh, Salvador Dalí, and Jackson Pollock, the article argues that painting has historically functioned as a practice of expanded relational awareness. Connective Trance reframes art history as a lineage of perceptual states materialized through pictorial action. Within this framework, the act of painting emerges as a site where consciousness extends into matter and returns transformed through embodied gesture.