Category Archives: theory

First there is nothing, next there is depth of nothingness …

 

 

Ultramarinepigment.jpg

“First there is nothing, next there is depth of nothingness, then a profundity of blue”


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I recently acquired the book above: “Art in Theory“. This is not a book you read from cover to cover, I am reading it the way I like reading most, by the index (and aided by Google book search). The introductory essays to each chapter are very good.

A copy from my first impressions posted on the Art and Pop wiki:

“One single text” by Bataille

Barthes in the From Work To Text on Georges Bataille:

“How do you classify a writer like Georges Bataille? Novelist, poet, essayist, economist, philosopher, mystic? The answer is so difficult that the literary manuals generally prefer to forget about Bataille who, in fact, wrote texts, perhaps continuously ‘one single text’.”

This reminds me of Richard Simmillion, a recurring character in W. F. Hermans‘s novels and stories. Hermans is also an author who wrote one single text.

On Bachelard

Facts long amassed, patiently juxtaposed, avariciously preserved, are suspect. they bear the stigma of prudence, of conformism, of constancy, of slowness,” writes Gaston Bachelard. –via ON INVENTING OUR OWN ART by Ibram Lassaw

Bachelard is also mentioned by Barthes in Mythologies.

“But since Saussure himself, and sometimes independently of him, a whole section of contemporary research has constantly been referred to the problem of meaning: psycho-analysis, structuralism, eidetic psychology, some new types of literary criticism of which Bachelard has given the first examples, are no longer concerned with facts except inasmuch as they are endowed with significance. Now to postulate a signification is to have recourse to semiology. I do not mean that semiology could account for all these aspects of research equally well: they have different contents. But they have a common status: they are all sciences dealing with values. They are not content with meeting the facts: they define and explore them as tokens for something else.”

Bachelard is also mentioned by Yves Klein in a Sorbonne lecture given in 1959.

“I unhappily did not have the pleasure of discovering the writings of Gaston Bachelard till very late, only last year in the month of April 1958. […] will reply by borrowing yet again from Gaston Bachelard that marvelous passage concerning blue from his book Air and Dreams. “This is primarily a Mallarmean document in which the poet, living in ‘contented world-weariness amidst oblivious tarns’, suffers from the irony of blueness. He perceives an excessively hostile blueness which strives with an indefatigable hand to ‘fill the gaping blue holes wickedly made by birds’. […] and that is the dwelling place of Bachelard’s beautiful phrase: ‘First there is nothing, next their is depth of nothingness, then a profundity of blue’.”

These are some of the quotes which make this volume worthwhile. I recommend this book.

Until his head fills the picture


“The Big Swallow” (1901) by James Williamson

[Youtube=http://www.youtube.com/watch?v=dzFh8rYMl6M&]

The Big Swallow (1901) aka A Photographic Contortion, produced and directed by James Williamson.

The sales catalog of this film describes the film as “A man reading finds a photographer with his head under a cloth, about to take his picture. He orders him off, approaching nearer and nearer until his head fills the picture, and finally his mouth only occupies the screen. He opens it, and first the camera, then the operator disappear inside. He retires munching him up and expressing great satisfaction.”

A terrific piece of early meta-cinema breaking the fourth wall.

This post is inspired by a recent article by Keith Sanborn “Second hand, second person, at a second remove, forms of address in Youtube in historical perspective,” published in Brouillon 4. Keith Sanborn is an American filmmaker, media artist and connoisseur of the cinema of Guy Debord. With Peggy Ahwesh, he made The Dead Man.

Tired/Wired #1

Since its inception in the early nineties of last century, Wired Magazine has run a series called Tired/Wired. It highlights what is hot and what is not in cyber culture.

Here is my first Tired/Wired entry backed (or fronted) by a song by my musical hero Gainsbourg:

[Youtube=http://www.youtube.com/watch?v=sieGXAP2dCg]

Qui est In Qui est Out” (1966) by Gainsbourg

(The above composition also counts as World Music Classic #28 )

Tired/Wired

Please excuse the inclusion of my project. It is more a question of ambition than of reality. MUSE and JSTOR feature the best academic info but they keep it behind a walled enclosure.
Further rationales:

  • Wikipedia feels bloated today, Wikisource is getting up to speed (great for contemporary historical info in the public domain)
  • Google books has been a reliable source for some time now and is only getting better, Google itself contains too many Wikipedia clones
  • Downloading: only did this once, and downloaded some 250 tracks during a two month period which I subsequently lost, so I never downloaded again, I’ve always been in favor of the server-centric model proposed by SUN Microsystems rather than the client-centered model of that bête noire of computing Microsoft
    • Youtube satisfies my every music and moving images whim
  • Wikicommons is featuring a better and better image database free for use for any writer and blogger

Quiddity and Derrick May

[Youtube=http://www.youtube.com/watch?v=FUWpSDtD9no&]

“It is what it is” (1988) – Derrick May

Prompted by a recent comment by Lichanos, here is a post on quiddity (the what-isness of things), Susan Sontag’s essay “The Aesthetics of Silence” and Derrick May.

Derrick May’s “It is what it is” is a composition first published in 1988 on Detroit recording label Transmat. Derrick May was my hero in the early 1990s but after his collaborations with System 7 (if you’d care to track down this material, only go for the Derrick May/Steve Hillage collaborations) he basically stopped making music.

“The scene changes to an empty room.”

The Aesthetics of Silence” is an essay by Susan Sontag first published in book form in Styles of Radical Will. She examines three 20th century intellectuals who – after having produced work in their younger years – stopped making anything as they grew older. Her case rests on Arthur Rimbaud, Ludwig Wittgenstein, and Marcel Duchamp.

The analogies with Derrick May are obvious, but does he deserve to be mentioned in the row of illustrious predecessors?

Back to the title of this post. The oblique link is the title of this musical composition “It is what it is” = quiddity.

The shoe of a dead woman at the bottom of a cupboard

Dead_Woman's_Shoes

The Critical Dictionary (French: Dictionnaire critique) was a regular section of the journal Documents. It offered short essays by Georges Bataille and his colleagues on such subjects as “Absolute“, “Eye“, “Factory Chimney”, and “Keaton (Buster)“.

In the entry for aesthete one finds the following sentence:

“When it comes down to it, these words have the power to disturb and to nauseate: after fifteen years, one finds the shoe of a dead woman at the bottom of a cupboard; one throws it in the rubbish bin.” […] The unfortunate who says that art no longer works, because that way one remains disengaged from the ‘dangers of action’, says something deserving of the same attention as the dead woman’s shoe.” (translation by Art in Theory).

Bataille never fails to intrigue me. I must confess – and I always do – that I do not understand one iota of what he means by the image of a dead woman’s shoe in relation to art and aesthetes, but not understanding is a very big part of the attraction. As I stated before, I like my philosophy poetic and incomprehensible.

Nobrow manifestos, #1

 

Playboy magazine, December 1969 in which Cross the Border — Close the Gap was first published in English.

Cross the Border — Close the Gap (1968) is a nobrow treatise on postmodern tendencies in literature by American literary critic Leslie Fiedler.

The treatise coincides with a trend in which literary critics such as Leslie Fiedler and Susan Sontag started questioning and assessing the notion of the perceived gap between “high art” (or “serious literature“) and “popular art” (in America often referred to as “pulp fiction“), in order to describe the new literature by authors such as John Barth, Leonard Cohen , and Norman Mailer; and at the same time re-assess maligned genres such as science fiction, the western, erotic literature and all the other subgenres that previously had not been considered as “high art”, and their inclusion in the literary canon:

The notion of one art for the ‘cultural,’ i.e., the favored few in any given society and of another subart for the ‘uncultured,’ i.e., an excluded majority as deficient in Gutenberg skills as they are untutored in ‘taste,’ in fact represents the last survival in mass industrial societies (capitalist, socialist, communist — it makes no difference in this regard) of an invidious distinction proper only to a class-structured community. Precisely because it carries on, as it has carried on ever since the middle of the eighteenth century, a war against that anachronistic survival, Pop Art is, whatever its overt politics, subversive: a threat to all hierarchies insofar as it is hostile to order and ordering in its own realm. What the final intrusion of Pop into the citadels of High Art provides, therefore, for the critic is the exhilarating new possibility of making judgments about the ‘goodness’ and ‘badness’ of art quite separated from distinctions between ‘high’ and ‘low’ with their concealed class bias.

In other words, it was now up to the literary critics to devise criteria with which they would then be able to assess any new literature along the lines of “good” or “bad” rather than “high” versus “popular”.

Accordingly,

  • A conventionally written and dull novel about, say, a “fallen woman” could be ranked lower than a terrifying vision of the future full of action and suspense.
  • A story about industrial relations in the United Kingdom in the early 20th century — a novel about shocking working conditions, trade unionists, strikers and scabs — need not be more acceptable subject-matter per se than a well-crafted and fast-paced thriller about modern life.

But, according to Fiedler, it was also up to the critics to reassess already existing literature. In the case of U.S. crime fiction, writers that so far had been regarded as the authors of nothing but “pulp fiction” — Raymond Chandler, Dashiell Hammett, James M. Cain, and others — were gradually seen in a new light. Today, Chandler’s creation, private eye Philip Marlowe — who appears, for example, in his novels The Big Sleep (1939) and Farewell, My Lovely (1940) — has achieved cult status and has also been made the topic of literary seminars at universities round the world, whereas on first publication Chandler’s novels were seen as little more than cheap entertainment for the uneducated masses.

Nonetheless, “murder stories” such as Dostoyevsky‘s Crime and Punishment or Shakespeare‘s Macbeth are not dependent on their honorary membership in this genre for their acclaim.

P.S. This article is based on freely available Wikipedia code remixed by myself for the Art and Popular Culture wiki.

The energy of art

No-Stop City, Interior Landscape, 1969

No-Stop City, Interior Landscape, 1969 by Archizoom Associati

It was American experimental musician Rhys Chatham who first pointed out that the energy of art is always equal (except in periods of extreme hardship such as famine and war, where production tapers off), but has at the same time the tendency to displace itself. In music for example, the energy in the 1950s was in rock and roll, in the 1980s it was to be found in house music and techno.

The energy in international design in the late 1960s and early 1970s was clearly to be found in Italy. Displayed above is No-Stop City, a “radical design” architectural project by Archizoom Associati first introduced to the public in 1969. It is a critique of the ideology of architectural modernism, of which Archizoom felt that it had reached its limits. The artistic discourse of that era was buzzing with the term neo avant-garde, in a period that corresponds with Late Modernism or early postmodern art. The term neo avant-garde was rejected by many, but the term can be interpreted to refer to a second wave of avant-garde art such as Abstract Expressionism, Pop Art, Nouveau Réalisme and Fluxus.

If you want to read up on this period, please consult the following excellent volume:

The Hot House (1984) – Andrea Branzi [Amazon.com] [FR] [DE] [UK]

Prices in Amazon Europe are around 40€, in America starting from 12USD, a bargain.

 

I want to see all my friends at once

24->24 Music, Dinosaur L’s one full-length album. Recorded in 1979 and released in 82 on Sleeping Bag Records

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I missed this release when it came out late last summer, and I do not own the rare original vinyl on Sleeping Bag. Recommended for Arthur Russell fans. The fact that so many and so cheaply priced copies of this record are turning up surely means that the Arthur Russell hype, which has influenced the tastes of internet-age music connoisseurs and their audiences, is waning.

If you are new to Russell, having the composition “Go Bang!” (with its iconic phrase “I want to see all my friends at once”) is worth the price of the CD alone.

Despite the waning of the hype, Russell remains of course an extremely interesting musical case history, especially because he crossed the line between art and pop in a most elegant manner, without losing face at either side.

The cover art of this re-issue appears to be original, though I have no idea who made it. Could the creator have been influenced by this poster for the first Memphis exhibition? Surely not.

About the male and female gaze

See male gaze, female gaze

Following the comments of Lichanos on Icons of erotic art #21, here is some info about the concept of the gaze in visual culture.

The concept of gaze (often also called the gaze or, in French, le regard), in analysing visual culture, is one that deals with how an audience views the people presented. The concept of the gaze became popular with the rise of postmodern philosophy and social theory and was first discussed by 1960s French intellectuals, namely Michel Foucault‘s description of the medical gaze and Lacan‘s analysis of the gaze’s role in the mirror stage development of the human psyche. This concept is extended in the framework of feminist theory, where it can deal with how men look at women, how women look at themselves and other women, and the effects surrounding this. A key text regarding the male gaze is Visual Pleasure and Narrative Cinema (1975) by Laura Mulvey. Outside of visual culture, the concept of the gaze is connected to voyeurism.

Iconic images that represent the gaze is Kiki staring close-up in the camera in Ballet Mécanique (1924, above) [1]; Un Regard oblique (1948) by Robert Doisneau ([2]) and Sophia Loren eyeing Jayne Mansfield’s décolleté (ca.1957/58), a photograph by Joe Shere ([3]).

Unreason vs. reason

Cults_of_Unreason_1974

Adorable seventies graphic design on the book depicted above.

Of course, the classic illustration of unreason is:

The Sleep of Reason Produces Monstersis a 1799 print by Goya from the Caprichos series. It is the image the sleeping artist surrounded by the winged ghoulies and beasties unleashed by unreason.

The Sleep of Reason Produces Monsters is a 1799 print by Goya from the Caprichos series. It is the image the sleeping artist surrounded by the winged ghoulies and beasties unleashed by unreason.

Unreason on the whole is a subject of innumerable greater interest than reason. As such, I’ll take the counter-enlightenment over the enlightenment any day. Conceded, there were interesting aspects of the enlightenment, ignored by history, such as the enlightenment of Thérèse Philosophe. See Robert Darnton’s The Forbidden Best-Sellers of Pre-Revolutionary France.