Bill Viola’s figures of submersion as techniques of transindividual affect

This article seeks to establish a fundamental continuity between distinctive periods in Bill Viola’s work. Examining two relatively early works—The Reflecting Pool (1977–79) and The Passing (1991)—and the more recent piece Self Portrait, Submerged (2013), I consider artist’s physical presence as catalyst for an inherent formalism intense affectivity of later period. Affect its transindividual energies were present Viola even before they came acquire explicit articulation 2000s beyond. We see work merging artist artwork which drastically departs from traditional notions authorial autonomy mediation, giving rise instead event affect. here light Gilbert Simondon’s philosophy individuation, process-oriented ontology remarkably resonant with art. rely on concepts technical object, preindividual transindividual, examine: first, immanent, transductive relation his medium illustrated Pool; second, way participatory witnessing technological ontogenesis transmutes into directly affective experience Passing; finally, confluent spectator Submerged.