Autopsy of Deleuze`s Three Dimensions of Temporality in Francis Bacons`s act of painting with Regard to Aesthetic Analogy

The article follows two goals: first, clarifying three dimensions of temporality in Deleuze Thought and secondly applying these dimensions and their temporality in Francis Bacon's act of painting. In order to understand Deleuze`s ideas in this issue, we search in chapter 2 of Difference and Repetition & his courses on kant. To answer the main question, the role of these three dimensions of temporaliy in Francis Bacon's act of painting has been analysed. The three dimensions of temporality in Deleuze`s thought is the present, the past & pure past, and the future or the possible. In the first dimension, The presents are contemporary with each other in the successive order in straight line. the first passive synthesis of Habitus, is repetitive. living presents by means of a passive foundation are passing. The first passive synthesis concerns the present, the second concerns the past. The second synthesis, like that of memory, constituted time as a pure past, which makes ground for the passing one present and the arrival of another which pass in the reality. the pure past is no more than a condition. the Past as virtual is coexistent to the presents. The layers of past as virtuality encompasses the reality of presents. Pure past allows the presents passed on it`s ground. by the intrusion of pure past, the fissure or fracture is formed. it operates as an interval or intrusion in the coexistence of reality and layers of virtuality. Then the present and the proper layer of past become adjacent intensively, then a new relation is resulted from their interpenetration. This relation bring about the possibility of fact or future, and the actualization of it will shape to the modes of existence of beings. The third dimension gives coherence to other dimensions of time. All three dimensions of temporality are to high extent in the Bacon's act of painting readable. They can be analyzed by passing three moments: 1) the material-color = forces, 2) the formation of the diagram = the relation of forces or possibility of fact, 3) arising the pictorial fact or image through it. The painter will start from figurative givens, suddenly an (maybe mental image) image from past as intruder interrupt the succession of them. The parallel level or circle of past which encompasses the presents that are clichés or response to them, insist in actual layers of reality, and through it`s pressure there will a chatasrophe or an indeterminate area in painting. This indeterminate area bring about pure form of time or pure past. It make genesis to arrangement of different forces that called diagram there will be possibility of fact and through it will emerge pictorial fact. The pure form of Diagram and it`s temporality will rulling over other different types of temporality & time. SO the diagram and modulation and aesthetic analogy make a ground for passing from structure & structuralism. There will be a posteriori armator instead of fix & unchangeable and apriori structure.