Introduction
"Art as Technique," also recognized as "Art as Device," stands as a pivotal work in Russian Formalism, crafted by Viktor Shklovsky in 1917. Rooted in the seminal ideas of his 1915 essay, this work challenges conventional notions of art perception. Shklovsky posits that art transcends mere imagery; instead, it serves as a technique. According to him, ordinary images lack the ability to encapsulate the true essence of an object. In advocating for the innovative concept of "defamiliarization," Shklovsky contends that art should present objects in a manner that renders them strange and unfamiliar. By doing so, the audience is compelled to linger in perception, investing more time in deciphering the object's representation within the artwork. This deliberate act of making the familiar seem unfamiliar, a process integral to "defamiliarization," prompts individuals to perceive ordinary objects with renewed clarity. Shklovsky's insights into the transformative power of art underscore the significance of presenting the familiar in an unfamiliar light, a notion that has profoundly influenced literary theory and artistic discourse.
Structure
1. Introduction of Defamiliarization:
Shklovsky opens the essay by introducing the central concept of defamiliarization, also known as ostranenie. He posits that the fundamental purpose of art is to present the familiar in a manner that disrupts habitual perception, urging the audience to see the world with renewed and attentive eyes. This initial discussion sets the stage for a deeper exploration of how art achieves defamiliarization and why it is a critical aspect of artistic expression.
2. Automatization:
Moving forward, Shklovsky delves into the concept of automatization, underscoring how routine and habituation lead to a dulling of perceptual sensitivity. He argues that the mind tends to automate familiar experiences, resulting in a loss of the sense of the new and novel. This exploration of automatization serves as a foundational understanding for appreciating why defamiliarization is essential in art; it serves as a means to counteract the mental numbness brought about by habitual responses.
3. Examples:
To substantiate his theoretical framework, Shklovsky provides examples from literature that vividly illustrate the concept of defamiliarization. These examples demonstrate how writers employ various literary devices and techniques to present the familiar in ways that challenge and engage the audience. Through these literary instances, Shklovsky brings his theoretical ideas to life, making them tangible and accessible for readers.
4. Conclusion:
In the concluding section, Shklovsky summarizes the key points of his argument and reinforces the significance of defamiliarization as a vital artistic technique. He reiterates that the primary role of art is to maintain a sense of freshness in perception and prevent the mind from succumbing to automatic responses. The conclusion may also address the broader implications of Shklovsky's ideas, emphasizing their relevance not only within the realm of literature but also in the broader context of human perception and creativity.
Overall Flow:
The essay maintains a logical progression from introducing the concept of defamiliarization to exploring its theoretical foundations and practical applications. Shklovsky systematically builds his argument, first establishing the necessity for defamiliarization through a discussion of automatization, then supporting his claims with illustrative examples. These examples serve as concrete evidence, rendering the abstract concept of defamiliarization more tangible and relatable for the reader. The conclusion effectively ties together the various elements of the essay, reinforcing the central thesis and leaving the reader with a clear understanding of Shklovsky's views on the transformative role of art in challenging and rejuvenating perception.
Summary
Viktor Shklovsky's essay "Art as Technique" challenges the traditional view of art as something purely imagistic, criticizing the idea of interpreting art through a framework of "thinking in images." Shklovsky argues against the stability of images over time, suggesting that poets are often categorized based on how images are arranged rather than their creation, as images are considered the exclusive domain of God. Consequently, the concept of "imagistic art" falls short of encompassing the entirety of art, including verbal art.
Shklovsky introduces the idea that art may be intended as prosaic but accepted as poetic, or vice versa, highlighting the subjectivity in the perception of art. He contends that art fundamentally revolves around how it is perceived, rather than having an objective image for interpretation. Through this lens, Shklovsky explores the intersection of the prosaic and the poetic in art, challenging the dichotomy between intention and reception.
Shklovsky then delves into the role of imagery as a practical means of thinking or as a poetic device reinforcing sensory emotion. He elucidates how habitualization of perception leads to a mechanization of life, reducing it to mundane routine. Shklovsky introduces the "algebraic method of thought," where objects are recognized only by their main characteristics, leading to an economy of perceptive effort. This habitualization, he argues, underscores the need for art to disrupt the monotony of perception and reawaken the "sensation of life."
Central to Shklovsky's thesis is the concept of "defamiliarization," where art serves to estrange us from familiar objects, prioritizing the artfulness of representation over the object itself. Drawing on examples, particularly from Leo Tolstoy's works, Shklovsky illustrates how artists achieve defamiliarization by presenting objects and events as if experienced for the first time. This deliberate departure from habitual perception is posited as essential for genuine artistic impact.
In the second part of the essay, Shklovsky argues that an image does not serve as a means to know an object but rather creates a vision of it. He contrasts poetic language with practical language, quoting Aristotle to underscore the "strange and wonderful" nature of poetic language. Shklovsky contends that poetic language deviates from conventional syntax and lexical structures, intentionally delaying perception to create a lingering effect. He rejects attempts to systematize these irregularities, asserting that deviation from defamiliarization is a prerequisite for artistic credibility, deautomizing habitual perceptions and infusing them with renewed vitality.
In summary, Shklovsky's "Art as Technique" provides a profound exploration of the multifaceted nature of art, challenging established paradigms and advocating for the essential role of defamiliarization in preserving the vitality of artistic expression. The essay navigates the intricate relationship between intention and reception, perception and automation, ultimately positioning art as a dynamic force capable of disrupting the mechanization of life and rekindling the profound sensations of existence.
