If one looks at the canvasses in which, in 1796, Hubert Robert is painting the Louvre—which had become a national museum accessible to all just three years before—one can see that the visitors—who are most definitely almost all artists—mostly reproduce paintings there. Cézanne will do the same in the nineteenth century. As he explains in a letter to Émile Bernard, he thinks that one cannot see that which one cannot show by painting it, for example. One only sees to the extent to which one is capable of painting what one sees.
One would have to show that what is happening here is a transformation of Jacob von Uexküll’s sensori-motor loop. From this moment onwards, it starts looping through artificial organs, thus making possible a noetic ex-pression of sensibility that becomes exclamatory and sensational as a result.
Read More | "The Proletarianization of Sensibility" | Bernard Stiegler | Lana Turner