Vandana U
1024122
CIA II
MEL 132
Western Aesthetics
15 July 2010
Map of Benjamin HD Buchloh’s essay- Figures of authority, Ciphers of Regression: Notes on return of Representation in European Painting
I. 1. Crisis of new and old
2. The essay begins with a crisis being explained
Old— dying— new— cannot be born— appearance— morbid symptoms
II. 1. Phenomena of visual order in restored art
2. This paragraph deals with questions the essayist poses:
Visual links, systems— order—what, how? questions- how— made almost mandatory— deem— return of imaging- painting (1915) important move. Achievement of masters? Or—servants of audience yearning for restoration —-- images of recognizability. Visual productions— Renaissance— broken down-- mid 19th Century— re-instated. Shifts— re-affirmed in an ontological (reality, existence) condition. Other systems outside the realm— positioned— fill new visual systems with historic legitimacy. Links creating phenomena —mimetic— cause-effect, mechanical reaction- forever spawning traditional representation.
III. 1. Relationship between the phenomena
2. Gives examples— Stances— Neue Sachlichkeit, Pittura Metafisca paved way— final takeover— authoritarian styles- Fascist (Germany, Italy), Socialist Realism (Stalinist Russia). Relationship of the phenomenon discussed— Georg Lukacs— ‘Problems of Realism’. However, doesn’t clarify— system of interaction—- protofascism and reactionary art practices.
Explains with example- realism- Neue Sachlichkeit—apologetic, away from replica of reality thus merges into Fascist heritage.
IV. 1. Conception through choices of modes
2. Appropriate understanding— radical shifts between wars— artists’ decision of selecting modes of production—
Speaks of the assumptions— artists’ awareness of consequences of stances—- for identity and ideology chosen.
V. 1. Extent of impact of rediscovery
2. questions the extent— rediscovery of means— visual imaging— present European art.
Extent—dismantling mounting effect of authoritarianism— as political practice— to acquaint with emerging political realities.
VI. 1. Placing aesthetic developments in historical contexts
2. Makes an analogy— fall of modernist idiom and bankruptcy of capitalist economics— aesthetic rhythms—
i. artistic movements taking to pieces dominant ideology—
ii. Negation— artists— internalize oppression— two ways
- Weaken melancholy
- Flatter reactionary power
Describes collapse— cyclical event— like— crisis of capitalist economics— historical repetition— Thus position present circumstances in historical contexts
VII. 1. Motive of placing the phenomena in historical context
2. Illustrates consequences of not placing in historical context— fail in understanding Avant-Garde’s mission— partner in wrongdoing-- creating passive climate.
Reason—postmodernism ideology— overlooks political oppression— environment— essential to save power structure—
Gives instance— allegory of converting concrete anticipation— viewing in hindsight-examples-
i. melancholy— if at origin— then depravity is also enforced.
ii. Cites placing of Walter Benjamin— The origin of Tragic Drama— Fascist Germany— deals— emblems, rituals— George Steiner— reflection— political tension in critical discussion.
VIII. 1. Instances as Hallmarks of return to traditionl forms of art
2. Explains: return to traditional forms— examples
Modernist idiom— First breakdown— world War I— Mentions movements and artists— end of Cubism (influenced modern art/ geometric shapes) Futurism — Picasso—return to traditional forms. Example— readopting easel painting — valuable commodity revalidated— Illustrates negation by artists of their own begun movements— cause— deadlock. Cover up— creation—“new classicism”— refusal to face own art origins— development of ideas— result— break down of European Bourgeoisie. Validated— artists working in historical contexts. Duchamp/ Malevich
IX. 1. Establishment of art in historical contexts
2. Further explains the historical routes with examples placed in historical context
Persisting arguments— Avant-Garde— example- 1st performance of Tristan Tzara’s Coeur a Gaz— reiteration— end— Cubism— Blaise Cendrars. However, indicates— justifications for regression (1914). Cites examples helped establish new aesthetic orthodoxy— Leonce Roenberg, Maurice Raynal—statement— validate end of cubist culture— establishment—prevalence— ancient systems/ traditions. Picasso— Return marks eclecticism— simplicity— equilibrium— proclaim— New Avant-Garde.
X. 1. Picasso as a cubist
2. Examples-- art pieces of Picasso— 1917— characteristics- number, heterogeneity, decorative— classical portraits, sculptures, peasant drawings,— indicate sensuousness through cubist elements
XI. 1. Style of Picasso’s paintings
2. Description— Maurice Raynal— evident strokes of cubist elements— creating a new language— through their easy availability— interchangeability— instituted as aesthetic commodity— type that removed embodiment of any kind. Picasso— Three Musicians.
XII. 1. Moving towards allegory
2. Furthermore, transformation— material ideology to personification, psychosexual origins— symbolic shift— allegorical mode: concrete extending to fantasy. Negation—- yearning— immovable abstraction. Desire— no imitation— now— completion of desiring process— progress towards art of allegory.
XIII. 1. Further development of ideas on allegory
2. Move towards allegory— evident— representations of Metafisca— De Chirico, Carra—Futurism— paralleled cubism— capture speed/ force of modern society— De Chirico describes— unknown/ threatening acts— however elements of Impressionism seen- joy in metaphysical— tragedy of joy— compared to calm before storm. Movement towards Fascism.
XIV. 1. Art activities to restore art
2. This paragraph parallels De Chirico’s paintings to Picasso, elaborating other works that added to restoring of art.
Picasso’s conversion— denouncement— earlier non-representational modes by futurists— rejected ‘collage’ technique (Gris’s techniques— addition of paper on painting surface)— validated with example— Severini (Maternity) and Carra. Transfer of Carra’s— non-mimetic— verbal fragments— mechanization of visuals to biblical sketches— Tuscan.
XV. 1. Mastery of Art, thus right to dominate
2. Rediscovery of history— purpose served— authoritarian— substantiates the fall/ failure of modernism— barbaric/ crude notion of artist— re-built— purposing progress of culture— lesser known elite group— assuring them rights. Comparison to Russia, on other hand— opposite definition— developing— interconnection— aesthetic elements and autonomy.
Examples Girgio De Chirico’s idea revolving— superficial knowledge of art is done for— politics, literature, painting. Francis Phabia— Socialism for the weak— Picasso— dictatorship of painters
XVI. 1. Attempting to save non-viable artistic practices
2. Artists— senile— obstinate—- attempt to save lost/ invalid cultural practice.
Illustrated with example of German Dadaist Chritian Schad— defining Neue Sachlichkeit— Renaissance mode— costumes.
Comparison to Raphael— Analogy of good painter and painting well— Italy— ancient art newer than new art— knowledge— choice— high in Italy— varied.
XVII. 1. Factors seeking to halt modernism
2. Glorification of craft— foundation of past culture— used to realize— solutions and circumstances unachievable in present— Example— glorifying Italy— occur 3 decades- 20th C. Purpose—hiatus in modernism- social and historical through autonomy— symptoms reasoned— artists—- later validated by art historians— imbibed later in culture.
XVIII. 1. Using Style to imbue historical meaning
2. Style— significant part of art-historical thinking— fiction of pictorial mode— traditionally rejected—- applied present— instill worn out modes— historical sense—-- “-wasms to –isms” offensive variation in historicism— put forth— postmodernist—- Charles Jencks
XIX. 1. Style as a commodity due to historical connotation
2. Style— ideological equivalent of commodity.
Repeats— availability and possibility of swapping as in Picasso— maintain distribution— audacities convert to rituals— paintings appear as quoting history.
3. This can be compared to how the essayist describes the cubist elements in Picasso’s paintings, described in paragraph XI as shop with display of cubist inventions and discoveries.
XX. 1. Eclectic nature: symbols as grounds of purpose
2. Features of eclecticism— not haphazard— instead— detailed, systematic network— though can be read differently— grounds of purpose of author, interest of audience, etc. Transformation— rebellious to affirming production— apparent in every bit of detail. Obvious step— history sought as treasure. Cites example: visual of Italian theatre— comprehensible due to this. Through this develops understanding of ciphers of imposed regression— become emblems— represent weakened avant-garde artist. example of image of clown— powerless, submissive— mockery— these ascertain historical failure.
XXI. 1. More characteristics of the eclectic
2. Explains further the concept of the eclectic nature— transparent as a masquerade— separation from history— marks return of the subdued— necessary for functioning of historicism—consolidate fragments— according— degree of projection, identifying needs through images of past. Contrasted to collage (modern)— drawbacks of it— bare, irresolvable contradictions— etc— historicist on other hand— seeks blend—unity— whole.
Unity—perfidious— aesthetic pleasure is false— Resolving dilemma of modernist (ideas- autonomy/ self) — historicist— negates particularization.
XXII. 1. Characteristics of perceptual and cognitive models of artistic production
2. Artistic production— Perceptual, cognitive models—similar— libidinal apparatus— generates and receives.
Models— independent of contexts— therefore easily connotative.
Once exhausted— nostalgia similar to that of obsolete visual representations sets in— void of history, sense— repositioned in history appropriately to contexts.
XXIII. 1. Using obsolete modes in context and sense
2. Attach meaning to obsolete modes— present— radical, new
Obsolescence— contradicts regressive phenomena— labeled innovation. Adiition of “new”, “neo”. Sarcastic expression of using the prefix—
Example—German neo-expressionists— restored wide recognition also operated on premise of historical availability to discover newness.
XXIV. 1. The criteria of aesthetic evaluation
2. Intention of artist— though universality of concept— however cater to specific parts only— contrary to claims.
Criteria of aesthetic evaluation- if expressivity, sensuousness— confrontation with ugly and magnificent both— sublime notion is reaffirmed by alienation and loss. Example- Robinson, Vogel Suffering— personal struggle— powerlessness, despair-- -apparent due to status quo of bourgeoisie.
XXV. 1. An attempt to remain utopian
2. Aesthetic constructs- labeled— ‘sublime’— modernist high culture artists in question— proven sustenance of utopian thought— and instead of changing conditions— shifted rebellious actions into aesthetic. Reaffirms— despair and powerlessness— acknowledges cynically its drawbacks- material, perceptual, cognitive forms— primitive
XXVI. 1. Bourgeois perception and mode of experience in paintings
2. Paintings converted to aesthetic— perceived— sensuous, expressive, animated— glorify— practice of instant pleasure and postponed gratification— the bourgeois mode— countered in negation— Avant-Garde. Model— appropriate positioning— revival of obsolete visual practices
Cites example of Balthus— scopophilic pictures— become ‘new’ figuration. Interesting— no female amongst German neo-expressionists. Role distinctions— based on sexual difference— revisits concept— psychosexual organizations.
XXVII. 1. Painting and sexuality
2. Abandoning painting as sexual metaphor— meant formal, aesthetic changes— and critique of traditional modes of suppression.
Example- Duchamp and androgyny— ban individual ownership and favour collective practice— However— paintings with naïve presuppositions— immediate representation of artist’s intention in traditional mode (complicit with psychosexual aspect) — more effective than paintings which enquire into own procedures.
Example of concealment in Expressionism (Carol Duncan): Distortion of reality— implied meanings in paintings— women portrayed as objects of specialized male interest— marks on a sexual level. Artist if regards women--- means--- must sell himself— promote authenticity.
XXVIII. 1. Sexual and artistic role as an aesthetic equivalent
2. Sexual role— fetishized— aesthetically corresponds to cultural identity— rely on 2 major shifts— Fauvism, Expressionism and before Duchamp and Constructivism— during claim to unity.
XXIX. 1. Relationship between regressions in postmodernism and neoclassicism
2. Similarity in regressions (postmodern) and Neoclassicism (Picasso)- eclecticism— repeats the idea— origin from historical context— consolidated from fragments— maintain decorum— maintain cultural practices.
XXX. 1. Revival of contemporary works by Italians
2. Through— quotation, historical production, visual modes, aesthetic sense.
Techniques— fresco, sculpture, primitivsit drawing, gestural abstraction. Establishing modes— etchings, murals, etc.
XXXI. 1. Unearthing production modes
2. German neo-expressionists disinterred modes— primitivist wood sculpture, teutonic graphics— woodcuts, linocuts— assisted better conception— of allegory— forms—nude, still etc.
XXXII. 1. Result of Auratic nature of art
2. Co-existing with fetishization— work— auratic— crucial as fulfill function of luxury. Uniqueness in auratic— satisfies contempt according to bourgeois— aura— spawns aesthetic pleasure— contempt leads to narcissistic nature— example— Meyer Schpiro— conflict of artist with patrons, indifference to social life
XXXIII. 1. Characteristic of aesthetic attraction
2. The last paragraph of the essay deals with:
Eclectic painting practices— originate from nostaligia— becomes the attractive part— by taking a moment from past— modes taken which have historical roots. Contemporary— an attempt to resurrect figuration, visual codes— not due to precedent— but— attempt to re-instill— primary purpose of re-representations— explore ideological domination
Works cited:
Buchloh, Benjamin H D. “Figures of authority, Ciphers of Regression: Notes on return of
Representation in European Painting.” Art in Modern culture: An Anthology of Critical Texts. Eds. Francis Francina, and Jonathan Harris. London/ New York: Phaidon, 1992. Print.
“Cubism.” Wikipedia The Free Encyclopedia. Wikipedia Foundation Inc, 24 January 2009. Web.
12 July 2010
“Painting.” The World Book Encyclopedia. World Book, Inc. London/ Chicago/ Sydney, 1992-
1993. Print
Thursday, July 15, 2010
Mapping of the essay by Mariya Izzy
Mariya Izzy
1024107
CIA 2
MEL 132
Western Aesthetics
July 15, 2010
Map of the Essay “The Love of Art” by Pierre Bourdieu and Alain Darbel.
Paragraph 1:
In the language of religion, the question of cultural salvation is raised.
Religion of art – fundamentalists – modernists – question – cultural salvation –
language of grace. Pierre Francastel – tone-deaf people – see shapes, – intelligent
people – not seeing – disconcerting, – less cultivated – true vision. Sound –
mysticism of salvation? Heart – own order; – intellect – principle –
demonstration. Resources of salvation – few, – praise – simplicity – children –
ignorant: – wisdom – childhood. Simple people – no argument. Mystical
representation – aesthetic experience – gift – artistic vision, – ‘the eye’ – selected
few, – others – ‘poor in spirit’.
Paragraph 2:
Asceticism directs towards the beatific vision.
Contrast – fundamentalists – modernists – real. Fundamentalists – place,
instrument of worship – faithful – rendered – state – receive grace. Bareness –
lack of ornamentation – encourages asceticism – leads to beatific vision. Visitor
– welcomed – museum, – full of excitement – cross – threshold – silence.
Disposition – predispositions, – no rational teaching, – how – conditions – created
– to awaken – potentialities – dormant in people? Visitors – not separated –
differences – arbitrary distribution of gifts.
Paragraph 3:
It is not possible to divide a line between visitors of different class and origin.
Discriminating – complicated, – disinteresting. Certain museums – consider –
outmoded – inconvenient, – no efforts made – no experiments – impossible.
Paragraph 4:
The already enlightened must give way to the curious.
Erwin Panofsky: – Saint Bernard – what – gold – sanctuary – Suger – gorgeous
vestments – altar vessels – laid out – church – secular persons – out –
accommodate – great crowd – no disturbances – larger church – admit – curious –
display – relics – avoid – rioting.
Paragraph 5:
Art is blissful.
Some think – ritual asceticism – Cistercian starkness – not – only – to attain communion, – offer – easy paths – invoke patronage – one who purchases precious stones – rare vases – stained glass windows – enamels – fabrics, – anticipated – unselfish rapacity – modern museum director. Power of work of art – miraculous persuasion – convert/retain – souls of noble birth. Adherents – method of elevation – material works of art – enlightenment.
Paragraph 6:
Museums must exhibit powerful art leaving behind a strong impact on the observer.
Objects – plastic value – perceptible. Museum – drowsy visitor – thrilled. Tourism – historical and artistic curiosity. Instead – advantages – one loses way – educational processes – superficial knowledge transmitted – intellectual concepts. Lower classes – not reachable. Pictorial art – attraction – increased. Rene Huyghe – art – never before – greatly appreciated, – intensively analysed and explained. Museum – speaks – language of the times – known to all. Museum – way of life. Intelligently organized publicity – new following.
Paragraph 7:
Authorities must fulfil the demands of modern day people.
Authorities – respond – needs – demands – modern population – gripped – new spiritual hunger – new terrestrial nourishnment.
Paragraph 8:
Not only cultivated people, but every person has a sense of the taste of art.
Ancients – moderns – abandon – fortunes of cultural salvation – inexplicable vagaries of grace – arbitrary distribution of ‘gifts’. Cultivated people – logic of predestination – virtues devalued if acquired, – convince themselves – ‘education is innate’.
Paragraph 9: (Conclusion)
A work of art is to be felt and not learnt.
Trouble taken – express – few obvious truths. People will say – what point – where and when Van Gogh was born – ups and downs of his life? True art lovers – pleasure counts. Sociology – ignore – through reductive and disillusioning agnosticism. Sociologist –suspected – disputing – sincerity of aesthetic pleasure, – always describes – conditions of existence. Love of art – acknowledge its origins – prefers strange coincidences – predestined – collective conditions and conditionings.
Paragraph 10:
Objects as complicated as works of learned culture cannot create natural preferences by their own power.
Awareness – admiration of works of art – haunts – aesthetic pleasure. History of individual or collective taste – refute – objects as works of learned culture, – capable – create natural preferences – own power. Pedagogic authority – break – cultural needs’ circle – cultural practice – formed – regular and prolonged practice: – Children – borrow – family disposition to cultural practice – till they acquire their own – giving rise – arbitrary and initially arbitrarily imposed practice. Designating certain works of art or places – worthy to be visited – authorities – determine – works worthy of admiration and enjoyment. Produces culture – through inculcation – results – complete masking – arbitrary nature of the inculcation. Myth of innate taste – recurrent illusion of cultivated nature – part of education – imposition of an arbitrary – imposing a disregard of arbitrary nature of imposed meanings – their manner.
Paragraph 11:
Art or anything cannot derive pleasure in a person without the person having foreknowledge about it.
Sociologist – not refute Kant’s phrase: – ‘the beautiful is that which pleases without concept’, – but defines – social conditions – making this experience possible – determine its limit.
Sociologist establishes – things which please – their concept is understood. Aesthetic pleasure in its learned form – presupposes learning by habit and exercise – in reality is a cultivated pleasure.
Paragraph 12:
Realization of culture is paradoxically defined as naturalization.
Kant called ‘barbarous taste’ – at variance – Kantian description of cultivates taste – in reality – demonstrates – hidden truth of cultivated taste. Hegel set against – ‘realized ethics’, – pure aesthetic – opposed – aesthetic – in cultivated taste – no less than a ‘second nature’, – sublimates primary nature. Judgement of taste – subjective experience – free – won over common culture. Paradox – realization of culture – naturalization. Masters of judgement of taste – experience – aesthetic grace – free from constraints of culture, – little sign of apprenticeship, – social conditions and conditionings – making it possible – seems as an obvious fact, – also an outrage.
Paragraph 13:
To raise a culture, its socio-historical conditions, good or bad, must not be realized.
Culture – to be enhanced – social and historical conditions – making possible complete possession and dispossession of culture – remain unnoticed.
Paragraph 14:
A cultivated nature, which is graceful and talented, acquires a central place in bourgeois society.
Cultivated nature – learned – deserved – condition for existence of charismatic ideology – allows – top place – bourgeois society. Heir of bourgeois – unable to invoke rights of birth and nature – or aesthetic virtues allowing first generation – justify their merit, – call cultivated nature ‘class’, – Freudian slip – not on education or distinction – but namely heritage. Link between culture and education – forgotten or denied. Cultural gift – produces blindness – functions of the institution – ensuring profitability of cultural inheritance. School – positively irreproachable verdicts – transforms inequalities of culture, success – or talent in other words – are also inequalities of merit.
Paragraph 15:
Society divided into barbarians and civilized people but the latter has monopoly of the instruments of appropriation of cultural goods.
Distinguishing other classes – fields of economy or culture, – increasing strictly economic differences – created by pure possession of material goods – and of symbolic goods such as works of art, – search for symbolic distinctions – use the linguists’ word ‘distinction’ – mark of difference – as Littre said – separated from vulgar – ‘by a character of elegance, nobility and good form’, – privileged classes – replace difference between two cultures, – with basic difference between two natures – naturally and unnaturally cultivated nature. Cultured people – believe in barbarism – hide social conditions – making culture as second nature, – and legitimacy of a particular definition of culture. Society divided – cultured people – derive justification – their monopoly – appropriation of cultural goods.
Paragraph 16:
Artists and their world of art separated from the world of everyday life.
Love of art – clear mark of the chosen – those touched and untouched by it – museums in their tiniest details – betray their true function – reinforce for some the feeling of belonging and some the feeling of exclusion. Ancient palaces or large historic residences – bourgeois society deposits relics – not their own past, – concluding – world of art – opposed to everyday life – just as sacred to profane: – untouchability of objects, silence, huge galleries – reminders – transition from profane to sacred world – Durkheim says – ‘ a veritable metamorphosis’, – radical transformation of mind – relation between two worlds – delicate operation – great precautions – complicated initiation, – impossible. Work of art – requires dispositions or predispositions – bestows sanction – chosen. – Work of art – awaken the grace of aesthetic inspiration, – produce conditions of its own diffusion – sanction – attribution of all abilities – fates of grace – arbitrary of ‘talent’, – in reality they are a product of unequal education – regard inherited aptitudes as virtues inherent – natural and commendable.
Paragraph 17:
Museums are open to all and yet reserved for some others who claim to possess a love for art.
Museum – public heritage – monuments of past splendor – instruments glorifying great people of the times: – false generosity, – free entry is optional entry – reserved – people having the ability to appropriate works of art – make use of this freedom – find themselves legitimated in their privilege, – Max Weber – their monopoly of cultural goods and salvation.
Comments:
Museums and places of art exhibitions are visited only by those people who claim to acquire a special taste for art. They consider this art to be innate. But it is not so. This taste for art and its subsequent derivation of pleasure in people is an acquired taste. It cannot by itself create natural preferences by their own power. Children borrow the disposition of their families at first and then acquire their own disposition to practice. Societies divide its people into classes and such individuals claiming to have an innate sense of art are placed at the top level in the bourgeois society. They assume to have an ‘eye’ for art and distinguish those who cannot understand it as being ‘poor in spirit’.
Work Cited:
Bourdieu, Pierre, and Alain Darbel. “The Love of Art.” Art in Modern Culture: An Anthology of
Critical Texts. Eds. Francis Franscina, and Jonathan Harris. London/New York: Phaidon,
1992. Print.
“The Love of Art: European Art Museums and Their Public Book Description.” Infibeam.com.
2010. Web. 14 July 2010.
1024107
CIA 2
MEL 132
Western Aesthetics
July 15, 2010
Map of the Essay “The Love of Art” by Pierre Bourdieu and Alain Darbel.
Paragraph 1:
In the language of religion, the question of cultural salvation is raised.
Religion of art – fundamentalists – modernists – question – cultural salvation –
language of grace. Pierre Francastel – tone-deaf people – see shapes, – intelligent
people – not seeing – disconcerting, – less cultivated – true vision. Sound –
mysticism of salvation? Heart – own order; – intellect – principle –
demonstration. Resources of salvation – few, – praise – simplicity – children –
ignorant: – wisdom – childhood. Simple people – no argument. Mystical
representation – aesthetic experience – gift – artistic vision, – ‘the eye’ – selected
few, – others – ‘poor in spirit’.
Paragraph 2:
Asceticism directs towards the beatific vision.
Contrast – fundamentalists – modernists – real. Fundamentalists – place,
instrument of worship – faithful – rendered – state – receive grace. Bareness –
lack of ornamentation – encourages asceticism – leads to beatific vision. Visitor
– welcomed – museum, – full of excitement – cross – threshold – silence.
Disposition – predispositions, – no rational teaching, – how – conditions – created
– to awaken – potentialities – dormant in people? Visitors – not separated –
differences – arbitrary distribution of gifts.
Paragraph 3:
It is not possible to divide a line between visitors of different class and origin.
Discriminating – complicated, – disinteresting. Certain museums – consider –
outmoded – inconvenient, – no efforts made – no experiments – impossible.
Paragraph 4:
The already enlightened must give way to the curious.
Erwin Panofsky: – Saint Bernard – what – gold – sanctuary – Suger – gorgeous
vestments – altar vessels – laid out – church – secular persons – out –
accommodate – great crowd – no disturbances – larger church – admit – curious –
display – relics – avoid – rioting.
Paragraph 5:
Art is blissful.
Some think – ritual asceticism – Cistercian starkness – not – only – to attain communion, – offer – easy paths – invoke patronage – one who purchases precious stones – rare vases – stained glass windows – enamels – fabrics, – anticipated – unselfish rapacity – modern museum director. Power of work of art – miraculous persuasion – convert/retain – souls of noble birth. Adherents – method of elevation – material works of art – enlightenment.
Paragraph 6:
Museums must exhibit powerful art leaving behind a strong impact on the observer.
Objects – plastic value – perceptible. Museum – drowsy visitor – thrilled. Tourism – historical and artistic curiosity. Instead – advantages – one loses way – educational processes – superficial knowledge transmitted – intellectual concepts. Lower classes – not reachable. Pictorial art – attraction – increased. Rene Huyghe – art – never before – greatly appreciated, – intensively analysed and explained. Museum – speaks – language of the times – known to all. Museum – way of life. Intelligently organized publicity – new following.
Paragraph 7:
Authorities must fulfil the demands of modern day people.
Authorities – respond – needs – demands – modern population – gripped – new spiritual hunger – new terrestrial nourishnment.
Paragraph 8:
Not only cultivated people, but every person has a sense of the taste of art.
Ancients – moderns – abandon – fortunes of cultural salvation – inexplicable vagaries of grace – arbitrary distribution of ‘gifts’. Cultivated people – logic of predestination – virtues devalued if acquired, – convince themselves – ‘education is innate’.
Paragraph 9: (Conclusion)
A work of art is to be felt and not learnt.
Trouble taken – express – few obvious truths. People will say – what point – where and when Van Gogh was born – ups and downs of his life? True art lovers – pleasure counts. Sociology – ignore – through reductive and disillusioning agnosticism. Sociologist –suspected – disputing – sincerity of aesthetic pleasure, – always describes – conditions of existence. Love of art – acknowledge its origins – prefers strange coincidences – predestined – collective conditions and conditionings.
Paragraph 10:
Objects as complicated as works of learned culture cannot create natural preferences by their own power.
Awareness – admiration of works of art – haunts – aesthetic pleasure. History of individual or collective taste – refute – objects as works of learned culture, – capable – create natural preferences – own power. Pedagogic authority – break – cultural needs’ circle – cultural practice – formed – regular and prolonged practice: – Children – borrow – family disposition to cultural practice – till they acquire their own – giving rise – arbitrary and initially arbitrarily imposed practice. Designating certain works of art or places – worthy to be visited – authorities – determine – works worthy of admiration and enjoyment. Produces culture – through inculcation – results – complete masking – arbitrary nature of the inculcation. Myth of innate taste – recurrent illusion of cultivated nature – part of education – imposition of an arbitrary – imposing a disregard of arbitrary nature of imposed meanings – their manner.
Paragraph 11:
Art or anything cannot derive pleasure in a person without the person having foreknowledge about it.
Sociologist – not refute Kant’s phrase: – ‘the beautiful is that which pleases without concept’, – but defines – social conditions – making this experience possible – determine its limit.
Sociologist establishes – things which please – their concept is understood. Aesthetic pleasure in its learned form – presupposes learning by habit and exercise – in reality is a cultivated pleasure.
Paragraph 12:
Realization of culture is paradoxically defined as naturalization.
Kant called ‘barbarous taste’ – at variance – Kantian description of cultivates taste – in reality – demonstrates – hidden truth of cultivated taste. Hegel set against – ‘realized ethics’, – pure aesthetic – opposed – aesthetic – in cultivated taste – no less than a ‘second nature’, – sublimates primary nature. Judgement of taste – subjective experience – free – won over common culture. Paradox – realization of culture – naturalization. Masters of judgement of taste – experience – aesthetic grace – free from constraints of culture, – little sign of apprenticeship, – social conditions and conditionings – making it possible – seems as an obvious fact, – also an outrage.
Paragraph 13:
To raise a culture, its socio-historical conditions, good or bad, must not be realized.
Culture – to be enhanced – social and historical conditions – making possible complete possession and dispossession of culture – remain unnoticed.
Paragraph 14:
A cultivated nature, which is graceful and talented, acquires a central place in bourgeois society.
Cultivated nature – learned – deserved – condition for existence of charismatic ideology – allows – top place – bourgeois society. Heir of bourgeois – unable to invoke rights of birth and nature – or aesthetic virtues allowing first generation – justify their merit, – call cultivated nature ‘class’, – Freudian slip – not on education or distinction – but namely heritage. Link between culture and education – forgotten or denied. Cultural gift – produces blindness – functions of the institution – ensuring profitability of cultural inheritance. School – positively irreproachable verdicts – transforms inequalities of culture, success – or talent in other words – are also inequalities of merit.
Paragraph 15:
Society divided into barbarians and civilized people but the latter has monopoly of the instruments of appropriation of cultural goods.
Distinguishing other classes – fields of economy or culture, – increasing strictly economic differences – created by pure possession of material goods – and of symbolic goods such as works of art, – search for symbolic distinctions – use the linguists’ word ‘distinction’ – mark of difference – as Littre said – separated from vulgar – ‘by a character of elegance, nobility and good form’, – privileged classes – replace difference between two cultures, – with basic difference between two natures – naturally and unnaturally cultivated nature. Cultured people – believe in barbarism – hide social conditions – making culture as second nature, – and legitimacy of a particular definition of culture. Society divided – cultured people – derive justification – their monopoly – appropriation of cultural goods.
Paragraph 16:
Artists and their world of art separated from the world of everyday life.
Love of art – clear mark of the chosen – those touched and untouched by it – museums in their tiniest details – betray their true function – reinforce for some the feeling of belonging and some the feeling of exclusion. Ancient palaces or large historic residences – bourgeois society deposits relics – not their own past, – concluding – world of art – opposed to everyday life – just as sacred to profane: – untouchability of objects, silence, huge galleries – reminders – transition from profane to sacred world – Durkheim says – ‘ a veritable metamorphosis’, – radical transformation of mind – relation between two worlds – delicate operation – great precautions – complicated initiation, – impossible. Work of art – requires dispositions or predispositions – bestows sanction – chosen. – Work of art – awaken the grace of aesthetic inspiration, – produce conditions of its own diffusion – sanction – attribution of all abilities – fates of grace – arbitrary of ‘talent’, – in reality they are a product of unequal education – regard inherited aptitudes as virtues inherent – natural and commendable.
Paragraph 17:
Museums are open to all and yet reserved for some others who claim to possess a love for art.
Museum – public heritage – monuments of past splendor – instruments glorifying great people of the times: – false generosity, – free entry is optional entry – reserved – people having the ability to appropriate works of art – make use of this freedom – find themselves legitimated in their privilege, – Max Weber – their monopoly of cultural goods and salvation.
Comments:
Museums and places of art exhibitions are visited only by those people who claim to acquire a special taste for art. They consider this art to be innate. But it is not so. This taste for art and its subsequent derivation of pleasure in people is an acquired taste. It cannot by itself create natural preferences by their own power. Children borrow the disposition of their families at first and then acquire their own disposition to practice. Societies divide its people into classes and such individuals claiming to have an innate sense of art are placed at the top level in the bourgeois society. They assume to have an ‘eye’ for art and distinguish those who cannot understand it as being ‘poor in spirit’.
Work Cited:
Bourdieu, Pierre, and Alain Darbel. “The Love of Art.” Art in Modern Culture: An Anthology of
Critical Texts. Eds. Francis Franscina, and Jonathan Harris. London/New York: Phaidon,
1992. Print.
“The Love of Art: European Art Museums and Their Public Book Description.” Infibeam.com.
2010. Web. 14 July 2010.
Mapping of the essay by Rohit S Nair
Rohit S Nair
1024101
CIA 2
MEL 132
Western Aesthetics
July 15, 2010
A Map of Terry Eagleton’s “Capitalism, Modernism and Postmodernism”
Frederick Jameson argues in his article ‘Postmodernism, or the Cultural Logic of Late Capitalism’-‘Pastiche is the appropriate mode of postmodernist culture-not parody. Pastiche is-imitation of a peculiar mask-speech in dead language-is a neutral practice of such mimicry sans parody’s ulterior motives (satiric impulse, laughter, etc.)’. Terry Eagleton says-excellent point but parody –not alien to postmodernist culture-does exist but not very consciously. What postmodernist culture parodies (with art dissolved into forms of commodity production)- is avant-garde. It is as though postmodernism-a sick joke at the expense of the revolutionary avant-garde. Avant-garde major impulses are-dismantle institutional autonomy of art-erase culture-political society frontiers- return aesthetic production to its humble place-social practices. In postmodernist artifacts-avant-garde dream of art-society integration returns in monstrously caricatured form. Appears as though postmodernism is-cynical revenge wreaked by bourgeois culture upon revolutionary antagonists. Postmodernism-mimes formal resolution of art and society attempted by avant-garde-but sans the political content.
Aesthetics of Post Modernism
Productivist aesthetics of twentieth century avant-garde spurned the notion of-art which would be more material intervention, than ‘reflection’. The aesthetic of postmodernism-a dark parody of anti-representationalism. If art no longer reflects-its because there is no reality that is itself not an image/gratuitous fiction. Social reality- commodified, textured, fetishized. Hence for art to reflect itself-is doing no more than mirroring itself. Commodity-less a reflection-more an image of itself-devoted to self-representation. If artistic unreality mirrors societal unreality-then it does not mirror at all-mirrors nothing real. The point behind this paradox is the historical truth-the thorough integration off postmodernist artefact into an economic system where commodity fetish is the order of the day.
To see art from avant-garde’s vantage point (as practice, strategy, performance, production) is ridiculed by late capitalism-Lyotard points out ‘performativity principle’ is all that counts here. He also points out-capitalism’s massive subordination of cognitive statements to finality of best possible performance. The games of scientific language ‘whoever is rich has a greater chance of being right. Hence it is not difficult to see relation between J L Austin and IBM, etc. Classical models of truth/cognition are out of favour-what matters in whether you deliver commercial or rhetorical goods. Everywhere-goal is no longer truth-but performativity is and also power not reason. Lyotard –having outlined the most oppressive facts of capitalism- has nothing to offer here. It amounts to guerrilla skirmishes of a paralogism which might from time to time rupture-cause instabilities, paradoxes. Good pragmatics turned against bad one-but will lose-because it has abandoned Enlightenment’s grand narrative of human emancipation-which is disreputably metaphysical.
History and Modernity
With all such anarchistic/camusian revolt-modernism can never die-has resurfaced in our own time as paralogical science. Reason modernity can never be worsted, the fact that it does not occupy same temporal terrain/logical space as its antagonists-is exactly why it can never defeat the system. The characteristic post-structuralist blend of pesissism/euphoria springs from this paradox. History and modernity-play endless cat and mouse game-neither able to slay each other-as they occupy different ontological sites. Modernity-really means active forgetting of History-the healthy spontaneous amnesia of an animal who has wilfully let go of its sordid determinations and so is free.Modernity-exact opposite of Walter Benjamin’s ‘revolutionary nostalgia’-the power of active remembrance as ritual summoning-invocation of the traditions of oppressed in violent constellation with political present. No wonder –Lyotard against historical consciousness-celebrates narrative as eternal present not revolutionary recollection of the unjustly supressed. If Lyotard remembered in the Benjaminisque mode-he’d realise that class struggle can’t be rooted out all that easily. Nor can a simplistic binary opposition-the narratives of enlightenment and the paralogistic-be polarized. Benjamin’s difficult-to-be-understood thoughts on history throw such binary post-structuralist scheme into disarray. Benjamin’s tradition-totality exists-but detotalizes a triumphant ruling class history-is always from the pint of view of the present-deconstructs hegemonic ideologies of history-yet is a totalizing movement within which sudden affinities, correspondences, constellations-are fashioned between different struggles.
Defining the concept
Modernism gives rise to-crisis and change. Signifies-portentous, confused yet curiously heightens the three selfs- self-consciousness, self-doubting and self-congratulatory. Suggests-an arresting, denial of history in the immediate present. If modernism lives its history as present-then the present moment is somehowof the future-to future present is just an orientation. The idea of Now-eclipsed by the idea of present as deferment-as an empty openness to the future-which may or may not have yet come. Modern-is to catch up with. The fact that futuristic is used-to donate modernist experiment-issymptomatic of this fact. Modernism is-revaluation of time-the significant shift in temporality(both the meaning and modality). What’s moving-not history but-what’s unleashed by its rupture and suspension. Benjaminisqueness- spatializes and constellalites history-bringing it to a standstill & shimmering with all the silence of crisis/catastrophe.
High modernism-born with a state of mass commodity culture-fact about its internal form and not just external history.Modernism-where art resists commodification-holds out against social forces that degrade it into an exchangeable object. Modernist works-contradict their own material status-deny their shabby economic reality. Modernist work-brackets off real historical world-manipulates to draw instant consumability -draws its own language protectively around it-becoming a mysterious self-explaining object-with no connections with the real. Modernist work-always a form of commodification or other.
The Social World Bracketed
When modernism brackets off real world-it must bracket itself from the political forces too-as they seek to transform the social order. Political modernism exists- but is not characteristic of the movement. When modernist work removes itself from society-paradoxically it reproduces/intensifies aesthetic autonomy- which marks the bourgeois order modernism protests against! Modernist works are works-all free play within them-bourgeois art institutions understand the same. Avant garde-defeated by political history. Post modernism takes another way out. If art is commodity then admit it. Hence commodity-mechanically producible ousts commodity as magical aura. If artifacts-appropriated by ruling order-then pre-empt this fate-don’t suffer. Only commodity can resist commodification.If high modernism-institutionalized-post modernism reacts to such eliticism-it places itself at the base. Like Brecht remarked ‘better start from bad new things than good old ones’.
Post modernism stops there. Brecht’s comment-hints the Marxist habit-extracting progressive moments from an ambivalent reality-very much like avant-garde’s espousal of technology-both to emancipate and to enslave. At later stage of technological capitalism-postmodernism says-bad does not contain good-bad is good- these are metaphysical terms-they don’t have to be affirmed-only accepted.
A Desiring Machine
In some postmodernist theory-injunction to glimpse good in bad-pursued with vengeance. Capitalist technology-desires machines-an enormous circuit of messages-pluralistic idioms multiply-as a result random objects come to glow with intensity.
If we kick metaphysical nostalgia for truth-we’d realize desire is here,now-in fragments and surface-kitsch is quite as good as real thing-because there is no real thing at all! Old fashioned modernism-refuses to abandon the struggle for meaning-caught up in metaphysical depth/wretchedness-mortgaged to the very bourgeois humanism it seeks to subvert.
Modernism-interesting as it struggles for meaning. This drives towards-unacceptable,incapable classical styles of sense making. Traditional ideology of representation-in crisis-yet search of truth-not abandoned. Postmodernism believes-discrediting the representational epistemology is the death of truth-just as how they mistake disintegration of certain ideologies for the subject’s final disappearance. Post modernism persuades-to relinquishepistemological paranoia-embrace the brute objectivity of random subjectivity. Modernism-torn by contradictions between bourgeois humanism and a new anonymous rationality. Modernism’s underminings of traditional humanism-anguished and exhilarate-because there are more problems in the modern epoch. It’s a choice-between feminism and fascism. Western ideologies-of reason and humanities-undecidable. There is difference between meaninglessness by some postmodernist and meaninglessness by some trends of avant-garde injected into bourgeois society.
The Bourgeois Humanist Society
The subject of late capitalism-amalgamation of self regulating synthetic agent posted by classical humanist ideology and a decentered network of desire.Its constitution at ethical, juridical, political levels-not continuous with its mass cultural unit image.Eclecticism-degree zero of contemporary general culture-one listens to reggae, watches western, eats at McDonald’s. Some others-educate their children, vote, withdraw their labour. Many live at the intersection between these two.
Postmodernism-mixes benefits of modernism and avant-garde. From modernism-it inherits “self”-from avant-garde-dissolution of art into social life-rejection of tradition-opposition of high culture. Exposes-residual formalism of radical art form.Contradictions of modernistic work-political in character. Modernist culture-self-reflexive-can explore key ideological issues-at the same stroke render its products unavailable to the public. Art casts-contradictions of modernism-explicitly-politically. To do so effectively-has to learn from modernism-i.e., if it does not present the question of ‘political’-will still seem part of the tradition, modern wants to free itself from.
Work Cited:
Eagleton, Terry: Capitalism, Modernism and Postmodernism. Art in Modern Culture: An Anthology of Critical Texts. Eds: Franscina, Francis and Jonathan Harris. London New York: Phaidon, 1992. Print.
1024101
CIA 2
MEL 132
Western Aesthetics
July 15, 2010
A Map of Terry Eagleton’s “Capitalism, Modernism and Postmodernism”
Frederick Jameson argues in his article ‘Postmodernism, or the Cultural Logic of Late Capitalism’-‘Pastiche is the appropriate mode of postmodernist culture-not parody. Pastiche is-imitation of a peculiar mask-speech in dead language-is a neutral practice of such mimicry sans parody’s ulterior motives (satiric impulse, laughter, etc.)’. Terry Eagleton says-excellent point but parody –not alien to postmodernist culture-does exist but not very consciously. What postmodernist culture parodies (with art dissolved into forms of commodity production)- is avant-garde. It is as though postmodernism-a sick joke at the expense of the revolutionary avant-garde. Avant-garde major impulses are-dismantle institutional autonomy of art-erase culture-political society frontiers- return aesthetic production to its humble place-social practices. In postmodernist artifacts-avant-garde dream of art-society integration returns in monstrously caricatured form. Appears as though postmodernism is-cynical revenge wreaked by bourgeois culture upon revolutionary antagonists. Postmodernism-mimes formal resolution of art and society attempted by avant-garde-but sans the political content.
Aesthetics of Post Modernism
Productivist aesthetics of twentieth century avant-garde spurned the notion of-art which would be more material intervention, than ‘reflection’. The aesthetic of postmodernism-a dark parody of anti-representationalism. If art no longer reflects-its because there is no reality that is itself not an image/gratuitous fiction. Social reality- commodified, textured, fetishized. Hence for art to reflect itself-is doing no more than mirroring itself. Commodity-less a reflection-more an image of itself-devoted to self-representation. If artistic unreality mirrors societal unreality-then it does not mirror at all-mirrors nothing real. The point behind this paradox is the historical truth-the thorough integration off postmodernist artefact into an economic system where commodity fetish is the order of the day.
To see art from avant-garde’s vantage point (as practice, strategy, performance, production) is ridiculed by late capitalism-Lyotard points out ‘performativity principle’ is all that counts here. He also points out-capitalism’s massive subordination of cognitive statements to finality of best possible performance. The games of scientific language ‘whoever is rich has a greater chance of being right. Hence it is not difficult to see relation between J L Austin and IBM, etc. Classical models of truth/cognition are out of favour-what matters in whether you deliver commercial or rhetorical goods. Everywhere-goal is no longer truth-but performativity is and also power not reason. Lyotard –having outlined the most oppressive facts of capitalism- has nothing to offer here. It amounts to guerrilla skirmishes of a paralogism which might from time to time rupture-cause instabilities, paradoxes. Good pragmatics turned against bad one-but will lose-because it has abandoned Enlightenment’s grand narrative of human emancipation-which is disreputably metaphysical.
History and Modernity
With all such anarchistic/camusian revolt-modernism can never die-has resurfaced in our own time as paralogical science. Reason modernity can never be worsted, the fact that it does not occupy same temporal terrain/logical space as its antagonists-is exactly why it can never defeat the system. The characteristic post-structuralist blend of pesissism/euphoria springs from this paradox. History and modernity-play endless cat and mouse game-neither able to slay each other-as they occupy different ontological sites. Modernity-really means active forgetting of History-the healthy spontaneous amnesia of an animal who has wilfully let go of its sordid determinations and so is free.Modernity-exact opposite of Walter Benjamin’s ‘revolutionary nostalgia’-the power of active remembrance as ritual summoning-invocation of the traditions of oppressed in violent constellation with political present. No wonder –Lyotard against historical consciousness-celebrates narrative as eternal present not revolutionary recollection of the unjustly supressed. If Lyotard remembered in the Benjaminisque mode-he’d realise that class struggle can’t be rooted out all that easily. Nor can a simplistic binary opposition-the narratives of enlightenment and the paralogistic-be polarized. Benjamin’s difficult-to-be-understood thoughts on history throw such binary post-structuralist scheme into disarray. Benjamin’s tradition-totality exists-but detotalizes a triumphant ruling class history-is always from the pint of view of the present-deconstructs hegemonic ideologies of history-yet is a totalizing movement within which sudden affinities, correspondences, constellations-are fashioned between different struggles.
Defining the concept
Modernism gives rise to-crisis and change. Signifies-portentous, confused yet curiously heightens the three selfs- self-consciousness, self-doubting and self-congratulatory. Suggests-an arresting, denial of history in the immediate present. If modernism lives its history as present-then the present moment is somehowof the future-to future present is just an orientation. The idea of Now-eclipsed by the idea of present as deferment-as an empty openness to the future-which may or may not have yet come. Modern-is to catch up with. The fact that futuristic is used-to donate modernist experiment-issymptomatic of this fact. Modernism is-revaluation of time-the significant shift in temporality(both the meaning and modality). What’s moving-not history but-what’s unleashed by its rupture and suspension. Benjaminisqueness- spatializes and constellalites history-bringing it to a standstill & shimmering with all the silence of crisis/catastrophe.
High modernism-born with a state of mass commodity culture-fact about its internal form and not just external history.Modernism-where art resists commodification-holds out against social forces that degrade it into an exchangeable object. Modernist works-contradict their own material status-deny their shabby economic reality. Modernist work-brackets off real historical world-manipulates to draw instant consumability -draws its own language protectively around it-becoming a mysterious self-explaining object-with no connections with the real. Modernist work-always a form of commodification or other.
The Social World Bracketed
When modernism brackets off real world-it must bracket itself from the political forces too-as they seek to transform the social order. Political modernism exists- but is not characteristic of the movement. When modernist work removes itself from society-paradoxically it reproduces/intensifies aesthetic autonomy- which marks the bourgeois order modernism protests against! Modernist works are works-all free play within them-bourgeois art institutions understand the same. Avant garde-defeated by political history. Post modernism takes another way out. If art is commodity then admit it. Hence commodity-mechanically producible ousts commodity as magical aura. If artifacts-appropriated by ruling order-then pre-empt this fate-don’t suffer. Only commodity can resist commodification.If high modernism-institutionalized-post modernism reacts to such eliticism-it places itself at the base. Like Brecht remarked ‘better start from bad new things than good old ones’.
Post modernism stops there. Brecht’s comment-hints the Marxist habit-extracting progressive moments from an ambivalent reality-very much like avant-garde’s espousal of technology-both to emancipate and to enslave. At later stage of technological capitalism-postmodernism says-bad does not contain good-bad is good- these are metaphysical terms-they don’t have to be affirmed-only accepted.
A Desiring Machine
In some postmodernist theory-injunction to glimpse good in bad-pursued with vengeance. Capitalist technology-desires machines-an enormous circuit of messages-pluralistic idioms multiply-as a result random objects come to glow with intensity.
If we kick metaphysical nostalgia for truth-we’d realize desire is here,now-in fragments and surface-kitsch is quite as good as real thing-because there is no real thing at all! Old fashioned modernism-refuses to abandon the struggle for meaning-caught up in metaphysical depth/wretchedness-mortgaged to the very bourgeois humanism it seeks to subvert.
Modernism-interesting as it struggles for meaning. This drives towards-unacceptable,incapable classical styles of sense making. Traditional ideology of representation-in crisis-yet search of truth-not abandoned. Postmodernism believes-discrediting the representational epistemology is the death of truth-just as how they mistake disintegration of certain ideologies for the subject’s final disappearance. Post modernism persuades-to relinquishepistemological paranoia-embrace the brute objectivity of random subjectivity. Modernism-torn by contradictions between bourgeois humanism and a new anonymous rationality. Modernism’s underminings of traditional humanism-anguished and exhilarate-because there are more problems in the modern epoch. It’s a choice-between feminism and fascism. Western ideologies-of reason and humanities-undecidable. There is difference between meaninglessness by some postmodernist and meaninglessness by some trends of avant-garde injected into bourgeois society.
The Bourgeois Humanist Society
The subject of late capitalism-amalgamation of self regulating synthetic agent posted by classical humanist ideology and a decentered network of desire.Its constitution at ethical, juridical, political levels-not continuous with its mass cultural unit image.Eclecticism-degree zero of contemporary general culture-one listens to reggae, watches western, eats at McDonald’s. Some others-educate their children, vote, withdraw their labour. Many live at the intersection between these two.
Postmodernism-mixes benefits of modernism and avant-garde. From modernism-it inherits “self”-from avant-garde-dissolution of art into social life-rejection of tradition-opposition of high culture. Exposes-residual formalism of radical art form.Contradictions of modernistic work-political in character. Modernist culture-self-reflexive-can explore key ideological issues-at the same stroke render its products unavailable to the public. Art casts-contradictions of modernism-explicitly-politically. To do so effectively-has to learn from modernism-i.e., if it does not present the question of ‘political’-will still seem part of the tradition, modern wants to free itself from.
Work Cited:
Eagleton, Terry: Capitalism, Modernism and Postmodernism. Art in Modern Culture: An Anthology of Critical Texts. Eds: Franscina, Francis and Jonathan Harris. London New York: Phaidon, 1992. Print.
Mapping of the essay by Pannaga S.G
Pannaga.S.G
1024108
CIA-2
MEL 132
Western aesthetics
15th July, 2010
Map of the essay, ‘The works of art themselves?’ - By Raymond Williams:
Paragraph 1:
1. Presence of art in sociology of culture
2. Long way - studying - sociology of culture- cultural institutions, formations and means of production. Bound to –stop and ask-we are studying (However important- own terms) - sufficiently central- presumed subject. We have – sociology- Where is art
Paragraph 2:
1. The whole inquiry begins with the work of art themselves.
2. Reasonable question (above) – true – there is unreasonable apparent form of it – intended – whole inquiry. Certain sociological facts and conditions – hastily admitted. So, minor place is reserved for them – But – we understand – to begin the real work – we go to the work of art themselves.
Paragraph 3:
1. Categorizing art based on forms and terms rather than socio-cultural
2. Every day decision- things like this- possible. Often and should- stop reasoning- art – instead- look- listen- read. This – different- conceptual shift (invited – break off- social inquiry) – not – specific attention – but to- generalized category – presumed internal rules. Difference- a necessary empirical shift (reasoning) & a deceptive empiricism (attention- autonomous objects – justified & protected terms unargued immediacy). One thing – leave sociological analysis – read a poem, - leave socio cultural analysis – adopt – socio cultural category – object of analysis.
Paragraph 4:
1. Distinguishing art from other human activities
2. The work of art themselves – category - not – neutral objective description. Socio cultural category – highest importance. Only because of it – cannot be – empirically presumed. Consider diverse practices – makes sense of – identical. Radically different – practices – directed – human senses (E. g. - hearing alone – sight alone) – single general category. Would be complex – at this level – music dance painting etc – properties in common – distinguish as a group – other human practices.
Paragraph 5:
1. Art that admit itself as art considering its form.
2. Another level- question – case of dance – as an example – those admit as a form of art – ballet – does not suggest itself- ballroom dancing. Normally set – pleasurable – social activity – such different form?
Paragraph 6:
1. Dealing with Art in terms of complexity, development, participation, exhibition and performance.
2. Early distinction – performed for audience – ballroom dancing – join in. what about – exhibition or competition – ballroom dancing? – next distinction – ballet – higher, more developed form – Then folk dance? – not – less developed – formally – yet folk dance –exhibition and performance.
Paragraph 7:
1. Art as conscious performance and/or exhibition or self satisfactory?
2. Earlier distinction – art – depends on – conscious performance? - cave painting? – seen as art. Sited – dark, inaccessible place. We do not know – period, culture – they were made. A case – painter or painters of Altamira (undiscovered) – cannot deny – its Art status – considering – not been consciously exhibited.
Paragraph 8:
1. ‘Art’ based on the quality of manual skills?
2. Status – matter of – supreme material execution – not serve – delimit art – distinguish – engineering work – rhetorically we speak of such work. As work of art – knife – car – pot – bridge. Art – applied – other purpose – to be work of art.
Paragraph 9:
1. Art possessing ‘aesthetic’ as distinction
2. Definition – autonomous distinction – common – modern – justification. Commands – vocabulary – aesthetic – designed for – proving it art. ‘Aesthetic’ new term – 18th c – generalization – art and creative art. Indicates – described previously. Interlock of terms – aesthetic intention, creative arts, aesthetic affect.
Paragraph 10:
1. Scientifically analyzing the terms indicating aesthetic.
2. Easy to categorize – ‘the aesthetic’ – bringing supporting and specifying terms. General term – beauty – specific term – harmony, proportion, form. A little doubt – on qualities. Scientific analysis – process and response – material and physical. Reality – what is being described?
Paragraph 11:
1. Problems at two levels; perception and response
2. Real problem – significance of perception; presumed specialization – response to – work of art.
Similar experience- human body, animals and bird shapes, etc. there is interaction – process and response – neutral perception. No definite way- defining category ‘art’.
Paragraph 12:
1. Beauty harmony and perception as the criteria in defining art.
2. Problem - marginal definition. Manmade – art running through – ornaments, dress, etc – used criteria – harmony and perception. – Here the definition is withheld. Art in – areas of human thought and discourse – values truth ideas observations. Perception – relevant. Most of us – truth and beauty.
Paragraph 13:
1. Art possessing the presumed values
2. 2nd major problem – conventional categorization – social interest. Further delimitation – value ob presumed value?
Paragraph 14:
1. Distinguishing works in various fields
2. Distinguish – in terms of quality – normal and inevitable. Such – clear and regular – delimit a category – specified as an art – ‘not art’, ‘not really art’. Example - Some novel – work of art – some – trash, pulp fiction, sub_ art, etc – others – routine, mediocre, library fodder. Apply these descriptions – willing to give reason. Terms harsher- tendency exists.
Paragraph 15:
1. Distinction of art in terms of seriousness/relation to reality
2. We can see – specific judgments – presumptions of classes in relation to the nature of practice (mixed criteria – criteria which are incompatible with the original delimitations.) Bad novel =category ‘novel’ ( at the level of generic definition). But, fails – certain things – seriousness and relation to reality.
Paragraph 16:
1. Moving to ‘the work of art themselves’ leaving ‘social categories’ aside.
2. Confusion – ‘art’, ‘sub art’ ‘non art’. Tend to shift – social categories (Commercial popular culture) - ‘the work of art themselves’. Refuse – rhetorically invoking – by – strictest intellectual articulation and thoughts.
Reference:
1. Williams, Raymond. “The work of art themselves” Art in modern culture: an anthology of critical text. EDS. Francis Franscina, and Jonathan Harris. London/Newyork: Phaidon, 1992. Print.
1024108
CIA-2
MEL 132
Western aesthetics
15th July, 2010
Map of the essay, ‘The works of art themselves?’ - By Raymond Williams:
Paragraph 1:
1. Presence of art in sociology of culture
2. Long way - studying - sociology of culture- cultural institutions, formations and means of production. Bound to –stop and ask-we are studying (However important- own terms) - sufficiently central- presumed subject. We have – sociology- Where is art
Paragraph 2:
1. The whole inquiry begins with the work of art themselves.
2. Reasonable question (above) – true – there is unreasonable apparent form of it – intended – whole inquiry. Certain sociological facts and conditions – hastily admitted. So, minor place is reserved for them – But – we understand – to begin the real work – we go to the work of art themselves.
Paragraph 3:
1. Categorizing art based on forms and terms rather than socio-cultural
2. Every day decision- things like this- possible. Often and should- stop reasoning- art – instead- look- listen- read. This – different- conceptual shift (invited – break off- social inquiry) – not – specific attention – but to- generalized category – presumed internal rules. Difference- a necessary empirical shift (reasoning) & a deceptive empiricism (attention- autonomous objects – justified & protected terms unargued immediacy). One thing – leave sociological analysis – read a poem, - leave socio cultural analysis – adopt – socio cultural category – object of analysis.
Paragraph 4:
1. Distinguishing art from other human activities
2. The work of art themselves – category - not – neutral objective description. Socio cultural category – highest importance. Only because of it – cannot be – empirically presumed. Consider diverse practices – makes sense of – identical. Radically different – practices – directed – human senses (E. g. - hearing alone – sight alone) – single general category. Would be complex – at this level – music dance painting etc – properties in common – distinguish as a group – other human practices.
Paragraph 5:
1. Art that admit itself as art considering its form.
2. Another level- question – case of dance – as an example – those admit as a form of art – ballet – does not suggest itself- ballroom dancing. Normally set – pleasurable – social activity – such different form?
Paragraph 6:
1. Dealing with Art in terms of complexity, development, participation, exhibition and performance.
2. Early distinction – performed for audience – ballroom dancing – join in. what about – exhibition or competition – ballroom dancing? – next distinction – ballet – higher, more developed form – Then folk dance? – not – less developed – formally – yet folk dance –exhibition and performance.
Paragraph 7:
1. Art as conscious performance and/or exhibition or self satisfactory?
2. Earlier distinction – art – depends on – conscious performance? - cave painting? – seen as art. Sited – dark, inaccessible place. We do not know – period, culture – they were made. A case – painter or painters of Altamira (undiscovered) – cannot deny – its Art status – considering – not been consciously exhibited.
Paragraph 8:
1. ‘Art’ based on the quality of manual skills?
2. Status – matter of – supreme material execution – not serve – delimit art – distinguish – engineering work – rhetorically we speak of such work. As work of art – knife – car – pot – bridge. Art – applied – other purpose – to be work of art.
Paragraph 9:
1. Art possessing ‘aesthetic’ as distinction
2. Definition – autonomous distinction – common – modern – justification. Commands – vocabulary – aesthetic – designed for – proving it art. ‘Aesthetic’ new term – 18th c – generalization – art and creative art. Indicates – described previously. Interlock of terms – aesthetic intention, creative arts, aesthetic affect.
Paragraph 10:
1. Scientifically analyzing the terms indicating aesthetic.
2. Easy to categorize – ‘the aesthetic’ – bringing supporting and specifying terms. General term – beauty – specific term – harmony, proportion, form. A little doubt – on qualities. Scientific analysis – process and response – material and physical. Reality – what is being described?
Paragraph 11:
1. Problems at two levels; perception and response
2. Real problem – significance of perception; presumed specialization – response to – work of art.
Similar experience- human body, animals and bird shapes, etc. there is interaction – process and response – neutral perception. No definite way- defining category ‘art’.
Paragraph 12:
1. Beauty harmony and perception as the criteria in defining art.
2. Problem - marginal definition. Manmade – art running through – ornaments, dress, etc – used criteria – harmony and perception. – Here the definition is withheld. Art in – areas of human thought and discourse – values truth ideas observations. Perception – relevant. Most of us – truth and beauty.
Paragraph 13:
1. Art possessing the presumed values
2. 2nd major problem – conventional categorization – social interest. Further delimitation – value ob presumed value?
Paragraph 14:
1. Distinguishing works in various fields
2. Distinguish – in terms of quality – normal and inevitable. Such – clear and regular – delimit a category – specified as an art – ‘not art’, ‘not really art’. Example - Some novel – work of art – some – trash, pulp fiction, sub_ art, etc – others – routine, mediocre, library fodder. Apply these descriptions – willing to give reason. Terms harsher- tendency exists.
Paragraph 15:
1. Distinction of art in terms of seriousness/relation to reality
2. We can see – specific judgments – presumptions of classes in relation to the nature of practice (mixed criteria – criteria which are incompatible with the original delimitations.) Bad novel =category ‘novel’ ( at the level of generic definition). But, fails – certain things – seriousness and relation to reality.
Paragraph 16:
1. Moving to ‘the work of art themselves’ leaving ‘social categories’ aside.
2. Confusion – ‘art’, ‘sub art’ ‘non art’. Tend to shift – social categories (Commercial popular culture) - ‘the work of art themselves’. Refuse – rhetorically invoking – by – strictest intellectual articulation and thoughts.
Reference:
1. Williams, Raymond. “The work of art themselves” Art in modern culture: an anthology of critical text. EDS. Francis Franscina, and Jonathan Harris. London/Newyork: Phaidon, 1992. Print.
Mapping of the essay by Ruchira Datta
RUCHIRA DATTA
1024111
CIA--2
MEL 132
Western Aesthetics
15.07.10
“Map of Edward Said’s Orienatalism”
i.1. The first paragraph provides an understanding of current status of the orient. Visit to-- war stricken Beirut--French journalist—regretfully describes—gutted downtown area—once belonging to the orient of Chateaubriand and Nerval--Orient—European construct—refer to—remarkable experience—exotic—antique—romantic—haunting memories--construction--verge of disappearing--lost in time—French journalist—his French readers--what matters--Beirut--bears no resemblance--European representation of the orient.
ii.1. Next paragraph talks about the differences in perception about the orient among the British the French and the Americans. 2.Unlike Americans--French and British—long history--coming to terms with orient--holds special place--European western experience--Said refers to this as “Orientalism”--orient represents--oldest and richest European colonies--influences the culture, lifestyle, and language of the west-- defines west--in opposition to the orient—thus integral part of western civilization-- To America--represents-- countries in the far east--following recent Japanese, Korean, Indochinese, adventures—horizon expands—after recent economic and political exploits--countries in the middle east included.
iii.1.This paragraph provides an understanding of the orient in the academic context. 2. Definitions of orientalism interdependent--individuals teaching, researching or studying orient--termed orientalist--irrespective of the discipline he/she is involved in—what they do is orientalism---term--widely used in academic institutions—however term loosing preference—due to ambiguity—and association with European colonialism—even if orientalism is losing importance—will survive academically--in orientalist doctrines and theses.
iv.1. Next paragraph talks about the orient as a concept that is epistemologically and ontologically in contrast to the occident.2 Academic tradition of orientalism—is subject of study—provides—general understanding of the orient—distinction--forms basis for-- epics, theories, accounts about orient-- by authors, novelists, theorists, poets , economists.
v.1.This paragraph provides a non academic understanding of orientalism. 2. Third definition of orientalism—more historical and materialistic—Beginning of late 18th century--orientalism regarded as corporate institution--for handling the orient--provides validation, authorization, statements, and description regarding the orient-- the western way of ruling the orient—orientalism a discourse—helps western culture—construct the orient politically, socially, ideologically, and imaginatively—in post-enlightenment period—book orientalism--helps understand “orient “as an entity--does not unilaterally determine the orient—but if orient is under question—helps understand it—through inevitable networks (in terms of the occident)—and explains-- how western culture derives identity and strength from orient.
vi.1. This paragraph talks about the difference in involvement of Britain France and America with the orient. 2. Britain, France and the orient -- closely knit--prior to the 19th century till the second world war--After war--America rose to power-- approached orient--the way Britain and France once did--within this dynamic power bound relationship between the orient and occident-- rests the origin of orientalist.
vii.1. This paragraph is about the existence of the orient, as one with past, tradition of thought, imagination and language. 2.orient--not mere imaginary entity—not just there—Vico-- man makes his own history where by he knows what he makes—concept extended to-- cultural and geographical entities—orient becomes man-made construct-- occident and orient--geographical entities--complimenting each other.
vii.1. This paragraph suggest that orient is not a mere concept. Disraeli—in Tanred--talked of East—as career--something west--could be passionate about—phenomenon of orientalism—deals with—stability in ideas—about orient—discrepancy in ideas—in terms of—real orient--D israeli—east is not a mere being.
vii.1. This paragraph tells us how the orient was orientalized. 2. Histories, cultures and ideas—understood—in the context of the hierarchy that existed--relationship between the orient and west--one of hegemony and dominance--not because--west found the orient to be oriental--on various accounts--but because--orient allowed west to orientalize them--so Flauberts’ description of Kuchuk Hamen-- as typically oriental--is because she is being represented by the one who holds power—in the power equation--this represents the relationship between the east and the west-- in general.
ix.1.This paragraph states that orientalism is no work of fiction and establishes it as collection of theory and principles. 2. Orientalism not mere structure of lies and myths—rather source of—European-Atlantic power over the orient—a veridic discourse—knitted-together--strength of this dicourse—ties—socio-economic and political institutions—thus has redoubtable durability—its ideas remain unchanged— from post renaissance to present day--hence it is not a body of lies—nor a European fantasy--about the orient—but a body of theory and practice—it involves considerable material investment—hence it is a system of knowledge about the orient.
x.1.This paragraph deals with the concept of Europe’s cultural hegemony. 2.Gramsci distinguishes between—civil and political society—civil society includes—school, family and so on—culture operating within civil society—and the civil society operates through consent—non totalitarian society—some ideas rule over others—these societies operates through hegemony-- west—product of cultural hegemony—European cultural hegemony within and outside Europe—gives Europeans identity--of superiority--in comparison to non-Europeans—moreover Europeans have ideas of superiority –regarding oriental backwardness-- hegemony provides durability and strength to orientalism.
xi.1. This paragraph shows how the west’s flexible yet superior status provides strategy to orientalism. 2. Orientalism derives strategy from—west’s positional flexibility—wherein west holds a superior position—superiority on account of west’s assent of power in post renaissance—the scholar, the scientist--thought of the orient—because they could—without resistance from orient—as a branch of knowledge—within the umbrella of hegemony— complex orient was created—for studying in academic institutions--for presenting in museums-- reconstructing colonial history—as such concept of oriental—emerged--outcome of unchallenged sovereign western consciousness—based on general ideas about the orient—then based on detailed logic—as an outcome of desires, repression and projections.
xii.1. this paragraph talks about the various generalized and specific ideas regarding orient. 2. In orientalism—what matters is—not generalized ideas—which are biased with European superiority, racism, imperialism—or other dogmatic views—that describe orient as unchanging abstraction—rather ideas provided by varied individual writers—however in both deals with--pioneers like William Jones, Nerval—however if both ideas are applied—chances of distortion occurs—and if one idea is too specific—or too particular—level of description is maintained systematically.
xii. 1. This paragraph talks about the contemporary realties. 2. Said fears—mutilation and inaccuracy—inaccuracy born of—generalization—deals with problems—addressing contemporary reality—solves problem of—methodological difficulties—writes in coarse polemic--writes in details—overuling generalization..
xiv.1. This paragraph shows how knowledge produced by ideological sciences like sociology, economics and so on is not political. 2. Arguing--knowledge about Shakespeare –is not political—and knowledge about contemporary china or the soviet union—is political--product of improper labeling-- Humanist who critiques wordsworth or keats --no direct impact on politics –while scholars working on soviet economy—are in a highly charged area—produce knowledge--with direct impact on political and government policies—thus-- work of the humanist--have incidental political influence—humanist work produced--not political.
xv.1. This paragraph explains how the knowledge produced by western scholar is non-political.2. knowledge produced should be —impartial, scholarly, and unbiased—not possible in practice- no means of separating scholar from the society to which he belongs—scholar is a product of the society--not free from the class and social beliefs--this influencs his/ her professional work—scholar can not free himself--inhibitions and impact of harsh reality-- So the knowledge he produces-- non-political.
xvi.1. This paragraph tells us how some disciplines receive political importance over other disciplines because of their ability to ascertain power. 2. True knowledge—is not political—all political knowledge--not necessarily true knowledge—thus today adjective of political—used as label—to discredit works--violating protocol of pretended suprapolitical objectivity—certain fields of knowledge--ranked higher than other--because political importance—given to--disciplines that generate economic benefits—and disciplines that help ascertain power--study of long-term Soviet energy potential and its effect on military capability--receives economic backing—but not--study of Tostoys’ early fiction--subject matter—political priority--importance to economics--than literature.
xvii.1.In the next paragraph he explains how knowledge produced is influenced by imperialists views as well as individual views. 2.Vietnam war--scholarship provided--for conducting military research--because the imperial states--cast their political-economic interests onto the civil society—thus—political knowledge produced--tainted with—gross political fact—Americans or Europeans—studying orient—influenced by imperialist and individual opinion.—but this is not a inert fact—to scholars.
Xviii 1. This paragraph explains west’s interest to study the east.2. political actualities—too undefined— to be interesting—problem—discrepancy-- between “big facts” and the realities of everyday life.—notion of big facts—deleted—imperial domination—can be applied--mechanically—west interested in—orient--political reasons oblivious from—historical accounts--interested in the culture also--cultural interests--accompanied by material, political and military—making orient—varied and complicated place—in field of orientalism.
xix.1.The concluding paragraph sums up what orientalism is. 2. Not mere political subject—nor—collection of texts—about orient—not even representative—of western imperialist ideas—to subjugate the orient—rather distribution of—geopolitical awareness—into other fields—elaboration of—geographical distinction—and connotations of orient—created and maintained—through—philological recognition—scholarly discovery—psychological analysis—and so on—a discourse—that is not—direct—and does not—merely represent—a modern political-intellectual cultural paradigm—it has less to do—with orient—than with—modern world.
Works cited
1.Said,Edward.”Introduction to Orientalism” Art In Modern Culture:Anthology of Critical
Texts.Editors,Frascina,Francis and Jonathan Harris.London/New York.Phaidon.19992.
Print.
1024111
CIA--2
MEL 132
Western Aesthetics
15.07.10
“Map of Edward Said’s Orienatalism”
i.1. The first paragraph provides an understanding of current status of the orient. Visit to-- war stricken Beirut--French journalist—regretfully describes—gutted downtown area—once belonging to the orient of Chateaubriand and Nerval--Orient—European construct—refer to—remarkable experience—exotic—antique—romantic—haunting memories--construction--verge of disappearing--lost in time—French journalist—his French readers--what matters--Beirut--bears no resemblance--European representation of the orient.
ii.1. Next paragraph talks about the differences in perception about the orient among the British the French and the Americans. 2.Unlike Americans--French and British—long history--coming to terms with orient--holds special place--European western experience--Said refers to this as “Orientalism”--orient represents--oldest and richest European colonies--influences the culture, lifestyle, and language of the west-- defines west--in opposition to the orient—thus integral part of western civilization-- To America--represents-- countries in the far east--following recent Japanese, Korean, Indochinese, adventures—horizon expands—after recent economic and political exploits--countries in the middle east included.
iii.1.This paragraph provides an understanding of the orient in the academic context. 2. Definitions of orientalism interdependent--individuals teaching, researching or studying orient--termed orientalist--irrespective of the discipline he/she is involved in—what they do is orientalism---term--widely used in academic institutions—however term loosing preference—due to ambiguity—and association with European colonialism—even if orientalism is losing importance—will survive academically--in orientalist doctrines and theses.
iv.1. Next paragraph talks about the orient as a concept that is epistemologically and ontologically in contrast to the occident.2 Academic tradition of orientalism—is subject of study—provides—general understanding of the orient—distinction--forms basis for-- epics, theories, accounts about orient-- by authors, novelists, theorists, poets , economists.
v.1.This paragraph provides a non academic understanding of orientalism. 2. Third definition of orientalism—more historical and materialistic—Beginning of late 18th century--orientalism regarded as corporate institution--for handling the orient--provides validation, authorization, statements, and description regarding the orient-- the western way of ruling the orient—orientalism a discourse—helps western culture—construct the orient politically, socially, ideologically, and imaginatively—in post-enlightenment period—book orientalism--helps understand “orient “as an entity--does not unilaterally determine the orient—but if orient is under question—helps understand it—through inevitable networks (in terms of the occident)—and explains-- how western culture derives identity and strength from orient.
vi.1. This paragraph talks about the difference in involvement of Britain France and America with the orient. 2. Britain, France and the orient -- closely knit--prior to the 19th century till the second world war--After war--America rose to power-- approached orient--the way Britain and France once did--within this dynamic power bound relationship between the orient and occident-- rests the origin of orientalist.
vii.1. This paragraph is about the existence of the orient, as one with past, tradition of thought, imagination and language. 2.orient--not mere imaginary entity—not just there—Vico-- man makes his own history where by he knows what he makes—concept extended to-- cultural and geographical entities—orient becomes man-made construct-- occident and orient--geographical entities--complimenting each other.
vii.1. This paragraph suggest that orient is not a mere concept. Disraeli—in Tanred--talked of East—as career--something west--could be passionate about—phenomenon of orientalism—deals with—stability in ideas—about orient—discrepancy in ideas—in terms of—real orient--D israeli—east is not a mere being.
vii.1. This paragraph tells us how the orient was orientalized. 2. Histories, cultures and ideas—understood—in the context of the hierarchy that existed--relationship between the orient and west--one of hegemony and dominance--not because--west found the orient to be oriental--on various accounts--but because--orient allowed west to orientalize them--so Flauberts’ description of Kuchuk Hamen-- as typically oriental--is because she is being represented by the one who holds power—in the power equation--this represents the relationship between the east and the west-- in general.
ix.1.This paragraph states that orientalism is no work of fiction and establishes it as collection of theory and principles. 2. Orientalism not mere structure of lies and myths—rather source of—European-Atlantic power over the orient—a veridic discourse—knitted-together--strength of this dicourse—ties—socio-economic and political institutions—thus has redoubtable durability—its ideas remain unchanged— from post renaissance to present day--hence it is not a body of lies—nor a European fantasy--about the orient—but a body of theory and practice—it involves considerable material investment—hence it is a system of knowledge about the orient.
x.1.This paragraph deals with the concept of Europe’s cultural hegemony. 2.Gramsci distinguishes between—civil and political society—civil society includes—school, family and so on—culture operating within civil society—and the civil society operates through consent—non totalitarian society—some ideas rule over others—these societies operates through hegemony-- west—product of cultural hegemony—European cultural hegemony within and outside Europe—gives Europeans identity--of superiority--in comparison to non-Europeans—moreover Europeans have ideas of superiority –regarding oriental backwardness-- hegemony provides durability and strength to orientalism.
xi.1. This paragraph shows how the west’s flexible yet superior status provides strategy to orientalism. 2. Orientalism derives strategy from—west’s positional flexibility—wherein west holds a superior position—superiority on account of west’s assent of power in post renaissance—the scholar, the scientist--thought of the orient—because they could—without resistance from orient—as a branch of knowledge—within the umbrella of hegemony— complex orient was created—for studying in academic institutions--for presenting in museums-- reconstructing colonial history—as such concept of oriental—emerged--outcome of unchallenged sovereign western consciousness—based on general ideas about the orient—then based on detailed logic—as an outcome of desires, repression and projections.
xii.1. this paragraph talks about the various generalized and specific ideas regarding orient. 2. In orientalism—what matters is—not generalized ideas—which are biased with European superiority, racism, imperialism—or other dogmatic views—that describe orient as unchanging abstraction—rather ideas provided by varied individual writers—however in both deals with--pioneers like William Jones, Nerval—however if both ideas are applied—chances of distortion occurs—and if one idea is too specific—or too particular—level of description is maintained systematically.
xii. 1. This paragraph talks about the contemporary realties. 2. Said fears—mutilation and inaccuracy—inaccuracy born of—generalization—deals with problems—addressing contemporary reality—solves problem of—methodological difficulties—writes in coarse polemic--writes in details—overuling generalization..
xiv.1. This paragraph shows how knowledge produced by ideological sciences like sociology, economics and so on is not political. 2. Arguing--knowledge about Shakespeare –is not political—and knowledge about contemporary china or the soviet union—is political--product of improper labeling-- Humanist who critiques wordsworth or keats --no direct impact on politics –while scholars working on soviet economy—are in a highly charged area—produce knowledge--with direct impact on political and government policies—thus-- work of the humanist--have incidental political influence—humanist work produced--not political.
xv.1. This paragraph explains how the knowledge produced by western scholar is non-political.2. knowledge produced should be —impartial, scholarly, and unbiased—not possible in practice- no means of separating scholar from the society to which he belongs—scholar is a product of the society--not free from the class and social beliefs--this influencs his/ her professional work—scholar can not free himself--inhibitions and impact of harsh reality-- So the knowledge he produces-- non-political.
xvi.1. This paragraph tells us how some disciplines receive political importance over other disciplines because of their ability to ascertain power. 2. True knowledge—is not political—all political knowledge--not necessarily true knowledge—thus today adjective of political—used as label—to discredit works--violating protocol of pretended suprapolitical objectivity—certain fields of knowledge--ranked higher than other--because political importance—given to--disciplines that generate economic benefits—and disciplines that help ascertain power--study of long-term Soviet energy potential and its effect on military capability--receives economic backing—but not--study of Tostoys’ early fiction--subject matter—political priority--importance to economics--than literature.
xvii.1.In the next paragraph he explains how knowledge produced is influenced by imperialists views as well as individual views. 2.Vietnam war--scholarship provided--for conducting military research--because the imperial states--cast their political-economic interests onto the civil society—thus—political knowledge produced--tainted with—gross political fact—Americans or Europeans—studying orient—influenced by imperialist and individual opinion.—but this is not a inert fact—to scholars.
Xviii 1. This paragraph explains west’s interest to study the east.2. political actualities—too undefined— to be interesting—problem—discrepancy-- between “big facts” and the realities of everyday life.—notion of big facts—deleted—imperial domination—can be applied--mechanically—west interested in—orient--political reasons oblivious from—historical accounts--interested in the culture also--cultural interests--accompanied by material, political and military—making orient—varied and complicated place—in field of orientalism.
xix.1.The concluding paragraph sums up what orientalism is. 2. Not mere political subject—nor—collection of texts—about orient—not even representative—of western imperialist ideas—to subjugate the orient—rather distribution of—geopolitical awareness—into other fields—elaboration of—geographical distinction—and connotations of orient—created and maintained—through—philological recognition—scholarly discovery—psychological analysis—and so on—a discourse—that is not—direct—and does not—merely represent—a modern political-intellectual cultural paradigm—it has less to do—with orient—than with—modern world.
Works cited
1.Said,Edward.”Introduction to Orientalism” Art In Modern Culture:Anthology of Critical
Texts.Editors,Frascina,Francis and Jonathan Harris.London/New York.Phaidon.19992.
Print.
Mapping of the essay by Ritu Kedia
RITU KEDIA
1024110
CIA 2
MEL 132
WESTERN AESTHETICS
15 JULY 2010
MAP OF “MORDERNIST PAINTING” BY CLEMENT GREENBERG
PARAGRAPH 1: WHAT IS MODERNISM?
Includes more than art and literature-covers culture in its entirety-of historical novelty-has self critical tendency-Kant-the first real modernist-criticizes the means itself of criticism
PARAGRAPH 2: WHERE DOES MODERNISM’S ESSENCE LIE?
Using characteristic method of the discipline to criticize the discipline itself-Kant-used logic to establish limits of logic
PARAGRAPH 3: HOW CRITICISM EVOLVED?
Self criticism of modernism-enlightenment-criticized from outside-modernism-from inside- criticism-appeared first in philosophy-then other fields-demanded rational justification-for every formal activity
PARAGRAPH 4: ART AND RELIGION
Religion- could not avail criticism in order to justify itself-art-saved by proving that the experience it provided was valuable in its own right
PARAGRAPH 5: ART’S PLACE
Each art had to determine the effects exclusive to itself-thus narrowing in narrowing its area of competence-making its possession more certain.
PARAGRAPH 6: HOW DOES ART GET ITS PURITY?
Unique area of competence of each art coincided with the uniqueness in the nature of its medium-task of self criticism-to eliminate every effect borrowed from other art-thus art gets purity-purity meant self definition-self criticism-self definition with a vengeance
PARAGRAPH 7: REALISTIC AND IMPRESSIONISTS
Realistic art uses art to conceal art-modernism-used art to call attention to art-limitations of paintings-negative forces-old masters-under modernism became positive forces-recognized-acknowledged openly-Manet’s-first Modernist pictures-flat surfaces- impressionists-abjured underpainting and glazes-Cézanne- sacrificed correctness-to fit his drawing to the canvas’s rectangular shape
PARAGRAPH 8: ROLE OF FLATNESS IN MODERN PAINTING
Stressing ineluctable flatness-fundamental process by which pictorial art criticized and defined itself under modernism-flatness unique to pictoral art-enclosing shape shared with art of theatre-colour shared with theatre and sculpture-flatness of painting shared with no other art
PARAGRAPH 9: HOW DOES SUCCESS OF MODERNISM LEND SUCCESS TO SELF CRITICISM?
Old masters-necessary to preserve integrity of picture plane-signifies enduring presence of flatness underneath-modernists-reversed its term-makes aware of what flatness contains-modernist picture-seen as a picture first-modernism’s success in doing so is the success of self criticism.
PARAAGRAPH 10: PAINTING AND SCULPTURE
Modernist painting-not abandoned-representation of recognizable objects in principle-but represents space that recognizable objects inhibit-abstractness-not necessary in self criticism of pictorial art-illustration-no uniqueness-association important-recognizable entities exist in three dimensional space-it being province of sculpture-to achieve autonomy painting has to divest itself of everything it might share with sculpture-so painting-abstract.
PARAGRAPH 11: HOW PAINTING TOOK ANTI-SCULPTURAL DIRECTION?
Resistance to sculpture-dates back-before advent of modernism-western painting-owes to sculpture that taught-how to shape-model for illusion of relief-greatest feats of western painting made itself rid of the sculptural-started in Venice-sixteenth century-first effort-colour-David-eighteenth century tried to revive sculptural painting-to save pictorial art from-decorative flattening out-emphasis on colour-yet strength of David’s best picture-colour-Ingres-pupil-subordinated colour-executed portraits-that were flattest-least sculptural painting-in West-since fourteenth century-therefore middle of nineteenth century-anti-sculptural direction
PARAGRAOH 12: COUNTER REVOLUTION
From colour versus drawing to optical experience against optical experience-Cezanne-cubist-reacted against Impressionism-David reacted against Fragonard-Cubist counter revolution-painting flatter than anything in Western art since Giotto and Cimabue-hardly recognizable images
PARAGARPH 13: CHANGES OVER THE TIME
Cardinal norms of painting began with onset of modernism-picture’s enclosing shape-loosened-tightened-isolated-tightened again-by successive generations of Modernist painters-norms of finish-paint texture-value-colour contrast-revised-testing is not finished yet
PARAGRAPH 14: LIMITS THAT DEFINE PICTURE
Norms of discipline when defined-limits conditions that a picture must comply with-to be experienced as a picture-Modernism-limits pushed back-indefinitely-picture turns into arbitrary object-criss-crossing black lines-coloured rectangles of Mondrian paintings give new force by echoing shape-once used to abstractness-realize-its conservative in colour—subservient to frame
PARAGRAPH 15: ILLUSIONS BY OLD MASTER’S AND MODERN PAINTERS
Flatness-never-absolute flatness-heightened sensitivity-no longer permitted-sculptural illusion-permitted optical illusion-old masters-illusion of depth and space-one could imagine oneself walking into-analogous illusion-modernist painter can only be seen into-only with the eye
PARAGRAPH 16: R0LE OF SCIENCE
Impressionist or neo impressionist-not misguide when they flirted with science-Kantian self criticism-found fullest expression in science-not philosophy-visual art should confine itself exclusively to-visual experience-no reference to any other experience-thus notion’s justification-in scientific consistency
PARAGRAPH 17: RELATING SCIENCE AND MODERN ART
Art’s convergence with science-mere accident-assures nothing more-convergence show-profound degree to which Modernist art belong-modern science thus of-highest significance as historical fact
PARAGRAPH 18: SELF CRITICISM IN MODERN ART
Carried in spontaneous-subliminal ways-a matter of practice-not theory-less of programmatic in Modernist art than in renaissance or academics painting-no fixed ideas about art-certain inclinations-affirmations-refusals-necessary-more expressive art lies through them-truth and success of work –personal-reveals self critical tendency of Modernist painting
PARAGRAPH 19: HOW MODERNISM DIFFERS FROM THE TRADITIONAL?
Modernism means devolution-unraveling of tradition-further evolution-modernist art continues the past without gap-making of pictures-controlled-Palaeolithic painters-disregard norm of frame-worked on support-arbitrarily given by nature-deliberate choosing of flat surface-modernist painting- limiting conditions of art are altogether human conditions
PARAGRAPH 20: WHAT MODERNISM DOES?
Does not offer theoretical demonstrations-converts theoretical possibilities into empirical ones-tests theories about art for their relevance-revives reputations of-Uccello-El Greco Giotto- not lowering-Leonardo-Raphael- past did appreciate masters justly-but gave wrong reasons for doing so often
PARAGRAPH 21: MODERN ART THROUGH JOURNALISM
Art criticism-art history-lag behind modernism as it lagged behind pre modernistic art-written things about modern art belong to journalism –not critical or art history-journalism hails each new phase of modernist art as the start of new epoch-breaking from customs-everyone regardless of how well informed or uninformed-has say about it-each time expectations disappointed-Modernist art takes place in intelligible continuity of taste and tradition
PARAGRAGH 20: ART IS CONTINUITY
Lacking the past of art-need to maintain standards of excellence-modernist art would lack both substance and justification.
Work cited:
Greenberg,Clement “Modernist Painting”art in modern culture: an anthology of critical texts. Eds Francis,Jonathan Harris. Londaon/New York: Phaidon1992.Print.
1024110
CIA 2
MEL 132
WESTERN AESTHETICS
15 JULY 2010
MAP OF “MORDERNIST PAINTING” BY CLEMENT GREENBERG
PARAGRAPH 1: WHAT IS MODERNISM?
Includes more than art and literature-covers culture in its entirety-of historical novelty-has self critical tendency-Kant-the first real modernist-criticizes the means itself of criticism
PARAGRAPH 2: WHERE DOES MODERNISM’S ESSENCE LIE?
Using characteristic method of the discipline to criticize the discipline itself-Kant-used logic to establish limits of logic
PARAGRAPH 3: HOW CRITICISM EVOLVED?
Self criticism of modernism-enlightenment-criticized from outside-modernism-from inside- criticism-appeared first in philosophy-then other fields-demanded rational justification-for every formal activity
PARAGRAPH 4: ART AND RELIGION
Religion- could not avail criticism in order to justify itself-art-saved by proving that the experience it provided was valuable in its own right
PARAGRAPH 5: ART’S PLACE
Each art had to determine the effects exclusive to itself-thus narrowing in narrowing its area of competence-making its possession more certain.
PARAGRAPH 6: HOW DOES ART GET ITS PURITY?
Unique area of competence of each art coincided with the uniqueness in the nature of its medium-task of self criticism-to eliminate every effect borrowed from other art-thus art gets purity-purity meant self definition-self criticism-self definition with a vengeance
PARAGRAPH 7: REALISTIC AND IMPRESSIONISTS
Realistic art uses art to conceal art-modernism-used art to call attention to art-limitations of paintings-negative forces-old masters-under modernism became positive forces-recognized-acknowledged openly-Manet’s-first Modernist pictures-flat surfaces- impressionists-abjured underpainting and glazes-Cézanne- sacrificed correctness-to fit his drawing to the canvas’s rectangular shape
PARAGRAPH 8: ROLE OF FLATNESS IN MODERN PAINTING
Stressing ineluctable flatness-fundamental process by which pictorial art criticized and defined itself under modernism-flatness unique to pictoral art-enclosing shape shared with art of theatre-colour shared with theatre and sculpture-flatness of painting shared with no other art
PARAGRAPH 9: HOW DOES SUCCESS OF MODERNISM LEND SUCCESS TO SELF CRITICISM?
Old masters-necessary to preserve integrity of picture plane-signifies enduring presence of flatness underneath-modernists-reversed its term-makes aware of what flatness contains-modernist picture-seen as a picture first-modernism’s success in doing so is the success of self criticism.
PARAAGRAPH 10: PAINTING AND SCULPTURE
Modernist painting-not abandoned-representation of recognizable objects in principle-but represents space that recognizable objects inhibit-abstractness-not necessary in self criticism of pictorial art-illustration-no uniqueness-association important-recognizable entities exist in three dimensional space-it being province of sculpture-to achieve autonomy painting has to divest itself of everything it might share with sculpture-so painting-abstract.
PARAGRAPH 11: HOW PAINTING TOOK ANTI-SCULPTURAL DIRECTION?
Resistance to sculpture-dates back-before advent of modernism-western painting-owes to sculpture that taught-how to shape-model for illusion of relief-greatest feats of western painting made itself rid of the sculptural-started in Venice-sixteenth century-first effort-colour-David-eighteenth century tried to revive sculptural painting-to save pictorial art from-decorative flattening out-emphasis on colour-yet strength of David’s best picture-colour-Ingres-pupil-subordinated colour-executed portraits-that were flattest-least sculptural painting-in West-since fourteenth century-therefore middle of nineteenth century-anti-sculptural direction
PARAGRAOH 12: COUNTER REVOLUTION
From colour versus drawing to optical experience against optical experience-Cezanne-cubist-reacted against Impressionism-David reacted against Fragonard-Cubist counter revolution-painting flatter than anything in Western art since Giotto and Cimabue-hardly recognizable images
PARAGARPH 13: CHANGES OVER THE TIME
Cardinal norms of painting began with onset of modernism-picture’s enclosing shape-loosened-tightened-isolated-tightened again-by successive generations of Modernist painters-norms of finish-paint texture-value-colour contrast-revised-testing is not finished yet
PARAGRAPH 14: LIMITS THAT DEFINE PICTURE
Norms of discipline when defined-limits conditions that a picture must comply with-to be experienced as a picture-Modernism-limits pushed back-indefinitely-picture turns into arbitrary object-criss-crossing black lines-coloured rectangles of Mondrian paintings give new force by echoing shape-once used to abstractness-realize-its conservative in colour—subservient to frame
PARAGRAPH 15: ILLUSIONS BY OLD MASTER’S AND MODERN PAINTERS
Flatness-never-absolute flatness-heightened sensitivity-no longer permitted-sculptural illusion-permitted optical illusion-old masters-illusion of depth and space-one could imagine oneself walking into-analogous illusion-modernist painter can only be seen into-only with the eye
PARAGRAPH 16: R0LE OF SCIENCE
Impressionist or neo impressionist-not misguide when they flirted with science-Kantian self criticism-found fullest expression in science-not philosophy-visual art should confine itself exclusively to-visual experience-no reference to any other experience-thus notion’s justification-in scientific consistency
PARAGRAPH 17: RELATING SCIENCE AND MODERN ART
Art’s convergence with science-mere accident-assures nothing more-convergence show-profound degree to which Modernist art belong-modern science thus of-highest significance as historical fact
PARAGRAPH 18: SELF CRITICISM IN MODERN ART
Carried in spontaneous-subliminal ways-a matter of practice-not theory-less of programmatic in Modernist art than in renaissance or academics painting-no fixed ideas about art-certain inclinations-affirmations-refusals-necessary-more expressive art lies through them-truth and success of work –personal-reveals self critical tendency of Modernist painting
PARAGRAPH 19: HOW MODERNISM DIFFERS FROM THE TRADITIONAL?
Modernism means devolution-unraveling of tradition-further evolution-modernist art continues the past without gap-making of pictures-controlled-Palaeolithic painters-disregard norm of frame-worked on support-arbitrarily given by nature-deliberate choosing of flat surface-modernist painting- limiting conditions of art are altogether human conditions
PARAGRAPH 20: WHAT MODERNISM DOES?
Does not offer theoretical demonstrations-converts theoretical possibilities into empirical ones-tests theories about art for their relevance-revives reputations of-Uccello-El Greco Giotto- not lowering-Leonardo-Raphael- past did appreciate masters justly-but gave wrong reasons for doing so often
PARAGRAPH 21: MODERN ART THROUGH JOURNALISM
Art criticism-art history-lag behind modernism as it lagged behind pre modernistic art-written things about modern art belong to journalism –not critical or art history-journalism hails each new phase of modernist art as the start of new epoch-breaking from customs-everyone regardless of how well informed or uninformed-has say about it-each time expectations disappointed-Modernist art takes place in intelligible continuity of taste and tradition
PARAGRAGH 20: ART IS CONTINUITY
Lacking the past of art-need to maintain standards of excellence-modernist art would lack both substance and justification.
Work cited:
Greenberg,Clement “Modernist Painting”art in modern culture: an anthology of critical texts. Eds Francis,Jonathan Harris. Londaon/New York: Phaidon1992.Print.
Mapping of the essay by Triveni Waikhom
Map of Essay “Aesthetics and Politics” Triveni Waikhom
By 1024120
Frederic Jameson MEL132:Western Aesthetics
15/07/2010
Paragraph 1: Post-Marxism
Besides Political history-Post-Marxism-Marxism-Pre-Marxism.Marxism-older controversies.Past-haunting factor-present.
Understanding:
1.It is clear known fact that it is not only political history but histories of the past that reflects the present and nobody can get away from it just as explanation requires explanation for the emerging concepts and others in the present.
Paragraph 2: Navigation
“return of the repressed”-Realism and Modernism-aesthetic conflict. Navigation inevitable but irreducible past. Political replay-Querelle des anciens et des modernes-aesthetics-dilemmas –history.
Understanding:
1.The aesthetic times is also explicably “return of the repressed.””Realism” and “Modernism”are bound in counteracting their ideas in aesthetics.Only conversion is possible and that happens through changes in them.Contemporary political replay,Querelle des anciens et des modernes is in which aesthetics came face to face with dilemmas of history.
Paragraph 3:Controversy
1.Controversy over Realism and Modernism was a living fact among the German Left writings in the 1920s and1930’s.
2.Lukacs set the stage for debate between Bloch,Lukacs,Brecht,Benjamin and Adorno which relate to internal dynamism and surpasses Expressionism and realism to draw within popular art,naturalism,socialist realism etc.
3.Fundamental themes have been transmitted to students by Marcuse while their revival in political modernisms was in Brecht’s work.
Paragraph 4:Lukacs-Brecht counteraction
1.In the controversy over Realism and Modernism,Brecht-Lukacs confrontation was of rare” “spots” on the influence of contemporary Marxism.
2.Brecht was the support of the Communist while the latter was a heir of German tradition.
3.Differences of style,identification and culture in Pleibeian and mandarin type collided the two.Lukacs had the better stand here.
Paragraph 5:Brecht on Lukacs
1.Lukacs turned down the discussion of Expressionism into Realism one.
2.Lukacs insisted on the crucial significance of literature and his development of theory of mediations was purely formal aesthetic phenomena.
3.Brecht terming Lukacs method as formalistic in the former’s decoding of naturalism.
4.Lukacs privileged on solitary reading as in novels contrasted to Brechts performance in art.
5.Brechts adverse ideas point the practical stance challenging the idealogical radicality.Two types of idealisms:
• .common variety in religion,metaphysics or literalism and
• .ideal science dividing mental and manual labour
On the other hand Lukacs touch on psychoanalytics,semiotics serves a a construct of ideological act to present-day research.
Paragraph 6:Discussion on the argument
1.Brecht’s argument was indignation while Lukacs employed his methods more.
2.The exhibit of Lukacs link on Expressionism and social-democracy to intricate on Bloch’s essays launched the Realism debate.
3.Marxism reduced to texual objects by the Lukacses.Among them Die Zerstorung der Vernunft is the least restorable.Lukacs’ reference not so much referred to social class but so with the relation between class and ideology.
4.Lukacs’ “decadence”streams with fascism and modern art ,also equivalent the false consciousnessness of ideal concept.
5.He fails to imply everyday issues.In the 1920s and 30s such culpability of decadence was of eternal rounds.
6.More is the content of the social repressed in modern era though Fitzgerald supports Lukacs concept.
Paragraph 7:Political failure on Lukacs’ stance
1.Lukacs failure to relate art and ideology is its explaination in politics.
2.He disliked socialist realism as much as western modernism and did not show up in the Moscow of the 1930’s and 1940’s.
3.’Naturalism’ was pejorative word for socialist realism.
4.The argument between modernism and the bad immediacy of photographic naturalism was his insight
5.In his “entry to ticket” on rationality to Lukacs choice ,Korsh or Reich argued with his objectives.
6.Lukacs formal means to subjectiveness to modernism and objectivism to naturalism he had no intellect proves it all.
7.A revolutionary anti-fascist support and anti-capitalist merged in Lukacs “Blue Theses.”In military era genuine social revolution becomes difficult.
Paragraph 8:Lukacs as in aesthetics
1.Lukacs work today is more analysed alike an old fashioned monument.
2.Lukacs occupies a certain mimetic position of mediation as “real” in our eyes.Lukacsian realism possibly aids sociological approach which is antagonistic to recent construing narratives.
3.Lukacs view is taken to be more today at argumentative level than in artistic style.
Paragraph 9: Lukacs’ ansd Brecht’s definition of science
1.Brechts has rewritten in concern of the present.Lukacs stand is only more complex stand on realism Brecht says.Brechts bound up more in science in contemporariness.
2.For Lukacs science is abstract while for Brecht it is far less a matter of knowledge.Lukacs’ is more of popular science while for Brecht it is blurring the difference between the physical and the mental activity.It keeps track of changings and unites theory and action Brecht says.Didactic art may no longer be judged separate from teachings and pleasure.
Paragraph 10:Brecht’s vision
1.Brecht vision science is non- alienated production.
2.In bourgeoise literature there is practice of Utopian emblem leaving out alienation and division of labour.
3.Brechts vision is present still what is termed as second industrial revolution.Brecht on “science”piece is one on Lenin’s “ the soviets plus electrification”
Paragraph 11:Ends of Revolution
1.Lukacs fundamental notion of” Verfremdung”the estrangement effect”invoking political modernism.
2. Estrangement is revealed to be historical and revolutionary change provide an outlet from the dead end agitational didactism.Pounds”make it new”from the ends of a revolutionary politics.
3.Traditional realism defended by Lukacs is oriented to the”closed form” while even bourgeois modernism calls older formal values to question to an open end.
Paragraph 12:”Total system”
1.Brecht and Lukacs spelled out of the notion of the Marxist aesthetics and a Marxian concept of realism.
2.The inextricable relationship between and media’s revolutionary possibilities is as for minority”elites “and massive mediafor Brecht and Benjamin,so our thinking about aesthetics is locked inevitably.
3.Nazism corresponds to the early media so does Benjamin’s cultural strategy for attacking it and takes back technically to their degree of advancement.
Paragraph 13:Compatible impact.
1.The fundamental difference between present situation and that of the thirties is the transformation of the late monopoly.Adorno’s two postwar essays reflects upon this.
2. Adorno and Horkheimer encourages all pervasiveness with its culture and makes for an unpropitious climate for any of the older .Some of Adorno’s most remarkable essays in the Philosophy of Modern Music holds up a mirror referring late capitalism.
3.Adorno’s attack on Lukacs is Lukacs partiality in analyzing Brecht’s work.Early anti-social phenomenon became a social part today.
References:
Jameson Frederic”Aesthetics and Politics”Art in Modern Culture:An Anthology of Critical Texts.
Eds:Francis Franscina and Jonathan Harris.London/New York:Phaidon,1992
“Aesthetics and Politics” Wikipedia. The Free Encyclopaedia.Wikipedia FoundationInc.,13 June
2010.Web15 July2010.
By 1024120
Frederic Jameson MEL132:Western Aesthetics
15/07/2010
Paragraph 1: Post-Marxism
Besides Political history-Post-Marxism-Marxism-Pre-Marxism.Marxism-older controversies.Past-haunting factor-present.
Understanding:
1.It is clear known fact that it is not only political history but histories of the past that reflects the present and nobody can get away from it just as explanation requires explanation for the emerging concepts and others in the present.
Paragraph 2: Navigation
“return of the repressed”-Realism and Modernism-aesthetic conflict. Navigation inevitable but irreducible past. Political replay-Querelle des anciens et des modernes-aesthetics-dilemmas –history.
Understanding:
1.The aesthetic times is also explicably “return of the repressed.””Realism” and “Modernism”are bound in counteracting their ideas in aesthetics.Only conversion is possible and that happens through changes in them.Contemporary political replay,Querelle des anciens et des modernes is in which aesthetics came face to face with dilemmas of history.
Paragraph 3:Controversy
1.Controversy over Realism and Modernism was a living fact among the German Left writings in the 1920s and1930’s.
2.Lukacs set the stage for debate between Bloch,Lukacs,Brecht,Benjamin and Adorno which relate to internal dynamism and surpasses Expressionism and realism to draw within popular art,naturalism,socialist realism etc.
3.Fundamental themes have been transmitted to students by Marcuse while their revival in political modernisms was in Brecht’s work.
Paragraph 4:Lukacs-Brecht counteraction
1.In the controversy over Realism and Modernism,Brecht-Lukacs confrontation was of rare” “spots” on the influence of contemporary Marxism.
2.Brecht was the support of the Communist while the latter was a heir of German tradition.
3.Differences of style,identification and culture in Pleibeian and mandarin type collided the two.Lukacs had the better stand here.
Paragraph 5:Brecht on Lukacs
1.Lukacs turned down the discussion of Expressionism into Realism one.
2.Lukacs insisted on the crucial significance of literature and his development of theory of mediations was purely formal aesthetic phenomena.
3.Brecht terming Lukacs method as formalistic in the former’s decoding of naturalism.
4.Lukacs privileged on solitary reading as in novels contrasted to Brechts performance in art.
5.Brechts adverse ideas point the practical stance challenging the idealogical radicality.Two types of idealisms:
• .common variety in religion,metaphysics or literalism and
• .ideal science dividing mental and manual labour
On the other hand Lukacs touch on psychoanalytics,semiotics serves a a construct of ideological act to present-day research.
Paragraph 6:Discussion on the argument
1.Brecht’s argument was indignation while Lukacs employed his methods more.
2.The exhibit of Lukacs link on Expressionism and social-democracy to intricate on Bloch’s essays launched the Realism debate.
3.Marxism reduced to texual objects by the Lukacses.Among them Die Zerstorung der Vernunft is the least restorable.Lukacs’ reference not so much referred to social class but so with the relation between class and ideology.
4.Lukacs’ “decadence”streams with fascism and modern art ,also equivalent the false consciousnessness of ideal concept.
5.He fails to imply everyday issues.In the 1920s and 30s such culpability of decadence was of eternal rounds.
6.More is the content of the social repressed in modern era though Fitzgerald supports Lukacs concept.
Paragraph 7:Political failure on Lukacs’ stance
1.Lukacs failure to relate art and ideology is its explaination in politics.
2.He disliked socialist realism as much as western modernism and did not show up in the Moscow of the 1930’s and 1940’s.
3.’Naturalism’ was pejorative word for socialist realism.
4.The argument between modernism and the bad immediacy of photographic naturalism was his insight
5.In his “entry to ticket” on rationality to Lukacs choice ,Korsh or Reich argued with his objectives.
6.Lukacs formal means to subjectiveness to modernism and objectivism to naturalism he had no intellect proves it all.
7.A revolutionary anti-fascist support and anti-capitalist merged in Lukacs “Blue Theses.”In military era genuine social revolution becomes difficult.
Paragraph 8:Lukacs as in aesthetics
1.Lukacs work today is more analysed alike an old fashioned monument.
2.Lukacs occupies a certain mimetic position of mediation as “real” in our eyes.Lukacsian realism possibly aids sociological approach which is antagonistic to recent construing narratives.
3.Lukacs view is taken to be more today at argumentative level than in artistic style.
Paragraph 9: Lukacs’ ansd Brecht’s definition of science
1.Brechts has rewritten in concern of the present.Lukacs stand is only more complex stand on realism Brecht says.Brechts bound up more in science in contemporariness.
2.For Lukacs science is abstract while for Brecht it is far less a matter of knowledge.Lukacs’ is more of popular science while for Brecht it is blurring the difference between the physical and the mental activity.It keeps track of changings and unites theory and action Brecht says.Didactic art may no longer be judged separate from teachings and pleasure.
Paragraph 10:Brecht’s vision
1.Brecht vision science is non- alienated production.
2.In bourgeoise literature there is practice of Utopian emblem leaving out alienation and division of labour.
3.Brechts vision is present still what is termed as second industrial revolution.Brecht on “science”piece is one on Lenin’s “ the soviets plus electrification”
Paragraph 11:Ends of Revolution
1.Lukacs fundamental notion of” Verfremdung”the estrangement effect”invoking political modernism.
2. Estrangement is revealed to be historical and revolutionary change provide an outlet from the dead end agitational didactism.Pounds”make it new”from the ends of a revolutionary politics.
3.Traditional realism defended by Lukacs is oriented to the”closed form” while even bourgeois modernism calls older formal values to question to an open end.
Paragraph 12:”Total system”
1.Brecht and Lukacs spelled out of the notion of the Marxist aesthetics and a Marxian concept of realism.
2.The inextricable relationship between and media’s revolutionary possibilities is as for minority”elites “and massive mediafor Brecht and Benjamin,so our thinking about aesthetics is locked inevitably.
3.Nazism corresponds to the early media so does Benjamin’s cultural strategy for attacking it and takes back technically to their degree of advancement.
Paragraph 13:Compatible impact.
1.The fundamental difference between present situation and that of the thirties is the transformation of the late monopoly.Adorno’s two postwar essays reflects upon this.
2. Adorno and Horkheimer encourages all pervasiveness with its culture and makes for an unpropitious climate for any of the older .Some of Adorno’s most remarkable essays in the Philosophy of Modern Music holds up a mirror referring late capitalism.
3.Adorno’s attack on Lukacs is Lukacs partiality in analyzing Brecht’s work.Early anti-social phenomenon became a social part today.
References:
Jameson Frederic”Aesthetics and Politics”Art in Modern Culture:An Anthology of Critical Texts.
Eds:Francis Franscina and Jonathan Harris.London/New York:Phaidon,1992
“Aesthetics and Politics” Wikipedia. The Free Encyclopaedia.Wikipedia FoundationInc.,13 June
2010.Web15 July2010.
Mapping of the essay by Ankita Das
Ankita Das
1024103
CIA 2 MEL 132
WESTERN AESTHETICS
15 July 2010
MAP OF THE ESSAY
“THE ‘PRIMITIVE’ UNCONSCIOUS OF MODERN ART ”
By- Hal Foster
1. Representation of two scenes:
• Les Demoiselles d’ Avignon is a piece that can be categorized as one falling between modernist and pre-modernist category of painting, it acts as a bridge between the two
• The painting can be said to represent an encounter between two scenes – one, the actually depicted one in the painting being that of the prostitutes in a brothel in Bordello and second, the projected one inspired from Picasso’s visit to the collection of tribal artifacts in the museum in Trocadero, which is evident from the use of the masks in the painting.
2. Tribal Object
• The painting presents the conflict between the threat to male superiority and its defences. The women being projected as the ‘other’ or the subjects to this male superiority.
• The women are using the masks (or more generally the tribal objects) as a weapon in their defence against this male superiority and the writer is of the view that at some level Picasso must have been known the use of tribal objects to ward of evil and that concept gets translated here in the context of male domination over women and more particularly the prostitutes in this painting.
• He further elaborates that point by quoting Picasso on how he initially conceptualized this painting. During his visit to Trocadero it came to Picasso that all the art forms there were in some sense weapons, objects used to ward of evil, and evil is simplistically put anything that was unknown. Picasso sought to ascribe that power of warding off evil to the prostitutes in Bordello through his painting.
3. Mediating Primitivism
• The writer regards this painting as a primary scene of primitivism, demonstrating the relationship between narcissism and aggressivity and that the same primitive notions are applicable to the West.
4. Modern tribal affinity
• In a recent exhibition, the painting was presented together with tribal masks showing the close connection and inspiration of the painting to these tribal objects.
• One argument presented is that primitive modernism is not inspired per se by objects but brought on by the autonomous force of these objects.
5. Decontextualization
• The author questions whether the museum was entirely successful in decontextualizing the art works in the exhibition
• He seems to suggest that in a way the show further reinforced the imperialist underpinnings in the art works presented and merely substituted one for the other, without producing any real counter discourse.
6. Positivist terms
• He says that encounter of tribal and modern was presented in purely objective terms.
• The two were separated into two categories such that one could only reflect the other and the only conclusion proposed was that there is an affinity between the two.
7. Oceanic
• The affinities suggested in the exhibition was mostly morphological even when there could be other possible affinities. This was done through abstraction on both set of objects.One example of this presented by the author is a painted Oceanic wood figure placed together with a painting by Kenneth Noland, which makes a point about universality.
8. Other Affinities
• The author is of the opinion that the exhibition failed to explore other possible associations between the two set of objects, to question what might arise when tribal work is read into modern art or when modern values are imposed upon the tribal objects.
• The author suggests that in both cases above, the result would be such that different orders of tribal culture would be made to resemble a corresponding western form.
9. The Problem with Defining Primitivism
• The author is skeptical that we have failed to properly understand primitivism and seem to have presented it in wholly western terms.
10. Pre-existing Code
• The tribal objects were used as a means to bring forth the affinity between primitivism and modern art in the exhibition. He further suggests that this was already a pre-existing code from the time of the African Negro Art show in 1935.
11. Extension of the code
• This particular show only extended the pre-existing code, by decoding the tribal elements into existing modern terms that resemble it.
12. Western Universality
• The author writes that there are three possible affinities – resemblance, kinship and spiritual / chemical attraction. Through the exhibition, the resemblances were used to suggest kinship, which the author regards as nothing more than an optical illusion. Through this primitivism is once again subordinated under western universality.
13. Mis-readings
• The author criticizes the exhibition as having reinforced some of the misreadings of tribal art and having created new ones though it had sought out to rectify such mistakes.
The author also suggests that the affinities and resemblances appears to be manufactured and super-imposed. He further questions whether the objects presented could qualify as art at all, since many are historical artifacts.
14. Museum – a reflection of the outside world?
But he questions how can this modern / tribal be properly represented and concludes that perhaps for a museum to contextualize beyond the pre-dominant view of the existing society is not possible.
[]
15. Transgressive Model of Modernism
In the primitivism exhibition, the author glimpses shifts from MoMA’s typical modernist model, but then disregards it as only a fake attempt and concludes that MoMA retains its official model of modern art.
16. Conflict within MOMA in its story of art
The show reflects the conflict in the attempts of MoMA of trying to change its modernist model at the same time being blocked by its own premises. What emerges is a pretentious and ineffective attempt at revising its own story of art.
17. Western Construction of Primitive
The Eurocentric construction of primitive has always been the ‘other’ – something that is the opposite of what the West is. In a way primitive helps define Western identity.
18. Two concepts of Primitivism
• Philosophically, there are two primitivisms – one that is rational and the other an evil one.
• With the former, the primitive seeks enlightenment and becomes part of the West.
19. Western man and Primitivism – equal partners?
• The author argues that through the enlightenment of the ‘other’ differences between the other and the western man will disappear. But he questions whether despite this, the western man and the primitive other can be regarded as equal partners in the march of reason.
20. Western Conquest
• The author does not completely agree with the argument that modern artistic primitivism goes hand in hand with scientific knowledge.
• The author states that the invention of the primitive other is a form western conquest, therefore to agree with the above argument would be to make the relationship between the two overly simplistic.
21. Imperialism in Art
• He analogizes modern art primitivism to a military conquest by the west. He states that through primitivism, imperialism in art is sought to be disguised and giving the false notion that the problem has been resolved.
22. West defined by the ‘Other’
• The identity of the west is defined by the other, the author asks what would happen if the other disappears. He answers it by saying that there may be two possibilities, one the primitive as an outside or opposition is threatened; two, it reappears within the western culture as its critique.
23. Modern problem?
• The author suggests that the logical extension of this would be that primitivism is a modern problem, but he is of the view that such an opinion renders it a non-problem.
24. First Encounter with Primitivism
The first encounter with primitivism is regarded as 1492, primarily due to two reasons – discovery of America and also the time of renaissance.
25. Change in the Concept of the Other
In the present context, he argues that the concept of the other has become obsolete.
26. The Other Remains
The author is of the view that despite changes in present context, the ‘other’ remains. The concept of the ‘other’ has now changed from a geographic entity, it can be manifested in other ways, such as opposition to Western ideas such as pretences of sovereignty, supremacy etc.
REFERENCE :
Foster,Hal. “The ‘Primitive’ Unconscious of Modern Art.”, Art in Modern Culture:
An Anthology of Critical Texts .Eds .Francis Franscina and Jonathan Harris.
London/New York :Phaidon .1992 .print.
1024103
CIA 2 MEL 132
WESTERN AESTHETICS
15 July 2010
MAP OF THE ESSAY
“THE ‘PRIMITIVE’ UNCONSCIOUS OF MODERN ART ”
By- Hal Foster
1. Representation of two scenes:
• Les Demoiselles d’ Avignon is a piece that can be categorized as one falling between modernist and pre-modernist category of painting, it acts as a bridge between the two
• The painting can be said to represent an encounter between two scenes – one, the actually depicted one in the painting being that of the prostitutes in a brothel in Bordello and second, the projected one inspired from Picasso’s visit to the collection of tribal artifacts in the museum in Trocadero, which is evident from the use of the masks in the painting.
2. Tribal Object
• The painting presents the conflict between the threat to male superiority and its defences. The women being projected as the ‘other’ or the subjects to this male superiority.
• The women are using the masks (or more generally the tribal objects) as a weapon in their defence against this male superiority and the writer is of the view that at some level Picasso must have been known the use of tribal objects to ward of evil and that concept gets translated here in the context of male domination over women and more particularly the prostitutes in this painting.
• He further elaborates that point by quoting Picasso on how he initially conceptualized this painting. During his visit to Trocadero it came to Picasso that all the art forms there were in some sense weapons, objects used to ward of evil, and evil is simplistically put anything that was unknown. Picasso sought to ascribe that power of warding off evil to the prostitutes in Bordello through his painting.
3. Mediating Primitivism
• The writer regards this painting as a primary scene of primitivism, demonstrating the relationship between narcissism and aggressivity and that the same primitive notions are applicable to the West.
4. Modern tribal affinity
• In a recent exhibition, the painting was presented together with tribal masks showing the close connection and inspiration of the painting to these tribal objects.
• One argument presented is that primitive modernism is not inspired per se by objects but brought on by the autonomous force of these objects.
5. Decontextualization
• The author questions whether the museum was entirely successful in decontextualizing the art works in the exhibition
• He seems to suggest that in a way the show further reinforced the imperialist underpinnings in the art works presented and merely substituted one for the other, without producing any real counter discourse.
6. Positivist terms
• He says that encounter of tribal and modern was presented in purely objective terms.
• The two were separated into two categories such that one could only reflect the other and the only conclusion proposed was that there is an affinity between the two.
7. Oceanic
• The affinities suggested in the exhibition was mostly morphological even when there could be other possible affinities. This was done through abstraction on both set of objects.One example of this presented by the author is a painted Oceanic wood figure placed together with a painting by Kenneth Noland, which makes a point about universality.
8. Other Affinities
• The author is of the opinion that the exhibition failed to explore other possible associations between the two set of objects, to question what might arise when tribal work is read into modern art or when modern values are imposed upon the tribal objects.
• The author suggests that in both cases above, the result would be such that different orders of tribal culture would be made to resemble a corresponding western form.
9. The Problem with Defining Primitivism
• The author is skeptical that we have failed to properly understand primitivism and seem to have presented it in wholly western terms.
10. Pre-existing Code
• The tribal objects were used as a means to bring forth the affinity between primitivism and modern art in the exhibition. He further suggests that this was already a pre-existing code from the time of the African Negro Art show in 1935.
11. Extension of the code
• This particular show only extended the pre-existing code, by decoding the tribal elements into existing modern terms that resemble it.
12. Western Universality
• The author writes that there are three possible affinities – resemblance, kinship and spiritual / chemical attraction. Through the exhibition, the resemblances were used to suggest kinship, which the author regards as nothing more than an optical illusion. Through this primitivism is once again subordinated under western universality.
13. Mis-readings
• The author criticizes the exhibition as having reinforced some of the misreadings of tribal art and having created new ones though it had sought out to rectify such mistakes.
The author also suggests that the affinities and resemblances appears to be manufactured and super-imposed. He further questions whether the objects presented could qualify as art at all, since many are historical artifacts.
14. Museum – a reflection of the outside world?
But he questions how can this modern / tribal be properly represented and concludes that perhaps for a museum to contextualize beyond the pre-dominant view of the existing society is not possible.
[]
15. Transgressive Model of Modernism
In the primitivism exhibition, the author glimpses shifts from MoMA’s typical modernist model, but then disregards it as only a fake attempt and concludes that MoMA retains its official model of modern art.
16. Conflict within MOMA in its story of art
The show reflects the conflict in the attempts of MoMA of trying to change its modernist model at the same time being blocked by its own premises. What emerges is a pretentious and ineffective attempt at revising its own story of art.
17. Western Construction of Primitive
The Eurocentric construction of primitive has always been the ‘other’ – something that is the opposite of what the West is. In a way primitive helps define Western identity.
18. Two concepts of Primitivism
• Philosophically, there are two primitivisms – one that is rational and the other an evil one.
• With the former, the primitive seeks enlightenment and becomes part of the West.
19. Western man and Primitivism – equal partners?
• The author argues that through the enlightenment of the ‘other’ differences between the other and the western man will disappear. But he questions whether despite this, the western man and the primitive other can be regarded as equal partners in the march of reason.
20. Western Conquest
• The author does not completely agree with the argument that modern artistic primitivism goes hand in hand with scientific knowledge.
• The author states that the invention of the primitive other is a form western conquest, therefore to agree with the above argument would be to make the relationship between the two overly simplistic.
21. Imperialism in Art
• He analogizes modern art primitivism to a military conquest by the west. He states that through primitivism, imperialism in art is sought to be disguised and giving the false notion that the problem has been resolved.
22. West defined by the ‘Other’
• The identity of the west is defined by the other, the author asks what would happen if the other disappears. He answers it by saying that there may be two possibilities, one the primitive as an outside or opposition is threatened; two, it reappears within the western culture as its critique.
23. Modern problem?
• The author suggests that the logical extension of this would be that primitivism is a modern problem, but he is of the view that such an opinion renders it a non-problem.
24. First Encounter with Primitivism
The first encounter with primitivism is regarded as 1492, primarily due to two reasons – discovery of America and also the time of renaissance.
25. Change in the Concept of the Other
In the present context, he argues that the concept of the other has become obsolete.
26. The Other Remains
The author is of the view that despite changes in present context, the ‘other’ remains. The concept of the ‘other’ has now changed from a geographic entity, it can be manifested in other ways, such as opposition to Western ideas such as pretences of sovereignty, supremacy etc.
REFERENCE :
Foster,Hal. “The ‘Primitive’ Unconscious of Modern Art.”, Art in Modern Culture:
An Anthology of Critical Texts .Eds .Francis Franscina and Jonathan Harris.
London/New York :Phaidon .1992 .print.
Mapping of the essay by Anjan Behera
Anjan K. Behera
1024126
CIA- 2, MEL-132
Western Aesthetics
15/07/2010
Map of the essay-
‘Literalism and Abstraction: Frank Stella’s Retrospective at the Modern’
by Philip Leider
Paragraph 1 – Pollock’s abstraction
a) Pollock’s works - touchstones for abstraction and literalism.
b) A reading of Pollock’s work has a significant influence on the way one understands Stella’s work.
c) Abstractionist view of Pollock – clearly expressed by Michael Fried – thorough part of literature. How his art -
- Broke painting’s dependence on a sculptural space.
- Line as a free entity in art.
- Carried abstract art further from the depiction of things – creation of a new kind of space.
d) The art focused more on the colour and appearance.
e) These views have inspired artists like Morris Louis, Kenneth Noland, Jules Olitski, etc.
Paragraph 2 - The development of literalist ideas
a) Had a gradual emergence – via arguments and conversation – less in published criticism.
b) Early literalism saw patterns of line within their function of bounding space.
c) These paintings were seen rather as skeins of paint dripped directly from the can.
- Paint having transferred directly from can to canvas with no contact from the artist’s traditional transforming techniques.
- One could visualize the painting being made.
d) Made the entire procedure of painting more obvious.
e) Pollock treated his paintings with ‘plain familiarity’ – treated the picture as a thing
- Left handprints, put cigarette butts out in it.
- Expressing an idea that the kind of object the art is derives strength from the directness of our attitudes towards them.
Paragraph 3 – Literalism in Pollock’s abstract art
a) Literalism sees Pollock as the best abstract art ever made – two reasons – affirmation of the objectness of the painting and the direction of the artist’s relations to his materials.
b) This view led people to find ways to continue in the meaningful creation of abstract art.
Paragraph 4 – Attempt to study objectness of paintings
a) Explored by Jasper Johns in mid and late 1950s – however his study met little support.
b) Left out several crucial points.
Paragraph 5 – Abstraction in painting
a) Objectness was the most important element.
b) Inspired two-dimensionalism – the way to achieve it was through colour, maybe through colour alone.
c) The differences can be noted by comparing a Noland circle painting with a Johns target
- Noland circle painting - colour, centredness, two-dimensional abstraction. No reference to objects belonging to the three-dimensional world.
- Johns – about an object called a target and an object called a painting.
d) Both paintings were an instant success in colleges everywhere.
Paragraph 6 – Stella’s reading of John’s work
a) John left the cleverness, irony and paradox – drawing inspiration from Pollock and Still.
b) Noland perhaps took the idea of the possibility of a centred image.
c) Stella however directly took upon the striping idea, to keep his pictures flat, solving it further to move on to other things.
Paragraph 7 – Stella’s work
a) Stella’s interest in keeping pictures flat was because his one and only aim was to create abstract art that would survive as post-Pollock art.
b) The consistency of Stella’s anti-literalist ideas throughout his career are remarkable.
c) Other newer abstractionists like Louis, Noland and Olitski all pursued this ambition by exploring colour.
d) According to Stella, greater abstraction was being obscured by structure and composition.
e) He went on to work on these themes as a slap on the face revenge, the resultant paintings being displayed in the Museum of Modern Art.
Paragraph 8 – The nature of Stella’s abstract paintings
a) His paintings displayed at the Museum of Modern Art were seen as arrogant, the prime focus being to advocate his principles of abstract art.
- One cannot use the space for a non-abstract to create an abstract art
- The colours should not suggest a non-abstract object – grass, sky, etc.
- One must be careful about the kind of image, how it’s placed and the shape the entire picture has.
b) Pollock’s message was to keep the field dominant, to be careful about colour, keep the space free from the space needed to depict three-dimensional forms and eliminate gesture.
c) The picture as a whole should be right.
The pictures were criticized because they had nothing to say
Paragraph 9 – A move towards three-dimensional art
a) Artists like Carl Andre and Don Judd are drawn towards the literal objectness of Stella’s paintings, who ironically described her work as consistent and non-referential.
b) Andre seemed the first to draw the conclusion that a true post-Pollock abstraction may lie in three-dimensional art.
c) Both the artists manifested the three dimensional implications of Stella’s works.
d) They shared a fundamental presumption of literalism –
- If one considers three-dimensions to be where the best abstractions can take form, then there is no sense in making art in three dimensions that tries to approximate the sensations or appearances of the two dimensions.
e) An affirmed three dimensionality would lead to a more powerful piece of art.
f) Judd notes several important characters of Stella’s three-dimensional work – one among them being order of the stripes – simple one thing after another.
g) Andre heavily depends on order.
Paragraph 10 – Differences between Judd and Andre and the ABC art
a) The differences emerged gradually all through the 1960s.
b) Andre limited himself to solutions that were respectful and were in compliance with the problems of sculpture.
c) Judd remained indifferent to sculpture and its problems.
d) Both found themselves part of a movement – ABC art or ‘Minimal art’, or Primary Structures.
Paragraph 11 – Focus on the development of a literalist art in America
a) Criticism now focused on the development of a literalist art in America which extends from 1959 to present day – included works of artists like Andre, Flavin, Judd, Serra, Morris, etc.
b) Limiting it to themes like minimal, reductive, anti-form are doing more damage to the art than ever.
Paragraph 12 – New ideas emerge
a) Abstraction critics like Clement Greenber, Michael Fred, William Rubin and others turned the focus towards a second-rate, imitative gestural painting – redirected attention to where quality was coming from – works of Louis, Newman, Noland, Olitski, etc.
b) Abstractionist criticism has done very little to help literalism.
Paragraph 13 – Abstractionist criticism and literalism
a) Abstractionists functioned as though there was no literalism – hardly considered literalism except for works of Stella, Noland and Olitski.
b) Stella was engaged with literalism and in contradicting convictions of John about where quality in contemporary art lay.
c) Literalists misunderstood Stella – for being so inextricably mixed up with artists like Judd and Andre.
Paragraph 14 – Literalism and Abstraction after 1960s
a) It was clear that within literalism several tendencies/ideas had occurred.
b) Goal of art making was still high abstraction? No one answer.
c) The move into the three-dimensional, interest in materials led to new orders and ideas far complex than expected.
d) Literalism was accepting ideas that would have been unthinkable 7-8 years back.
e) Undertakings of these artists were sought in traditions older than Modernism and resembles the emerging Abstract Expressionists.
f) It was an era of newness for both abstraction and literalism, the idea of what to do as artists, also for both uncertainty.
g) Bound them to the tradition of modern art.
Paragraph 15 – Post 1969
a) Stella loosened overall design structure.
b) Turned authority of paintings over to colour
c) It is the art of our time.
Reference –
Leider, Philip. “Literalism and Abstraction:
Frank Stella’s Retrospective at the Modern.”Art in Modern Culture:
An Anthology of Critical Texts. Eds. Franscina, Francis and Jonathan Harris.
London/New York: Phaidon, 1992.
1024126
CIA- 2, MEL-132
Western Aesthetics
15/07/2010
Map of the essay-
‘Literalism and Abstraction: Frank Stella’s Retrospective at the Modern’
by Philip Leider
Paragraph 1 – Pollock’s abstraction
a) Pollock’s works - touchstones for abstraction and literalism.
b) A reading of Pollock’s work has a significant influence on the way one understands Stella’s work.
c) Abstractionist view of Pollock – clearly expressed by Michael Fried – thorough part of literature. How his art -
- Broke painting’s dependence on a sculptural space.
- Line as a free entity in art.
- Carried abstract art further from the depiction of things – creation of a new kind of space.
d) The art focused more on the colour and appearance.
e) These views have inspired artists like Morris Louis, Kenneth Noland, Jules Olitski, etc.
Paragraph 2 - The development of literalist ideas
a) Had a gradual emergence – via arguments and conversation – less in published criticism.
b) Early literalism saw patterns of line within their function of bounding space.
c) These paintings were seen rather as skeins of paint dripped directly from the can.
- Paint having transferred directly from can to canvas with no contact from the artist’s traditional transforming techniques.
- One could visualize the painting being made.
d) Made the entire procedure of painting more obvious.
e) Pollock treated his paintings with ‘plain familiarity’ – treated the picture as a thing
- Left handprints, put cigarette butts out in it.
- Expressing an idea that the kind of object the art is derives strength from the directness of our attitudes towards them.
Paragraph 3 – Literalism in Pollock’s abstract art
a) Literalism sees Pollock as the best abstract art ever made – two reasons – affirmation of the objectness of the painting and the direction of the artist’s relations to his materials.
b) This view led people to find ways to continue in the meaningful creation of abstract art.
Paragraph 4 – Attempt to study objectness of paintings
a) Explored by Jasper Johns in mid and late 1950s – however his study met little support.
b) Left out several crucial points.
Paragraph 5 – Abstraction in painting
a) Objectness was the most important element.
b) Inspired two-dimensionalism – the way to achieve it was through colour, maybe through colour alone.
c) The differences can be noted by comparing a Noland circle painting with a Johns target
- Noland circle painting - colour, centredness, two-dimensional abstraction. No reference to objects belonging to the three-dimensional world.
- Johns – about an object called a target and an object called a painting.
d) Both paintings were an instant success in colleges everywhere.
Paragraph 6 – Stella’s reading of John’s work
a) John left the cleverness, irony and paradox – drawing inspiration from Pollock and Still.
b) Noland perhaps took the idea of the possibility of a centred image.
c) Stella however directly took upon the striping idea, to keep his pictures flat, solving it further to move on to other things.
Paragraph 7 – Stella’s work
a) Stella’s interest in keeping pictures flat was because his one and only aim was to create abstract art that would survive as post-Pollock art.
b) The consistency of Stella’s anti-literalist ideas throughout his career are remarkable.
c) Other newer abstractionists like Louis, Noland and Olitski all pursued this ambition by exploring colour.
d) According to Stella, greater abstraction was being obscured by structure and composition.
e) He went on to work on these themes as a slap on the face revenge, the resultant paintings being displayed in the Museum of Modern Art.
Paragraph 8 – The nature of Stella’s abstract paintings
a) His paintings displayed at the Museum of Modern Art were seen as arrogant, the prime focus being to advocate his principles of abstract art.
- One cannot use the space for a non-abstract to create an abstract art
- The colours should not suggest a non-abstract object – grass, sky, etc.
- One must be careful about the kind of image, how it’s placed and the shape the entire picture has.
b) Pollock’s message was to keep the field dominant, to be careful about colour, keep the space free from the space needed to depict three-dimensional forms and eliminate gesture.
c) The picture as a whole should be right.
The pictures were criticized because they had nothing to say
Paragraph 9 – A move towards three-dimensional art
a) Artists like Carl Andre and Don Judd are drawn towards the literal objectness of Stella’s paintings, who ironically described her work as consistent and non-referential.
b) Andre seemed the first to draw the conclusion that a true post-Pollock abstraction may lie in three-dimensional art.
c) Both the artists manifested the three dimensional implications of Stella’s works.
d) They shared a fundamental presumption of literalism –
- If one considers three-dimensions to be where the best abstractions can take form, then there is no sense in making art in three dimensions that tries to approximate the sensations or appearances of the two dimensions.
e) An affirmed three dimensionality would lead to a more powerful piece of art.
f) Judd notes several important characters of Stella’s three-dimensional work – one among them being order of the stripes – simple one thing after another.
g) Andre heavily depends on order.
Paragraph 10 – Differences between Judd and Andre and the ABC art
a) The differences emerged gradually all through the 1960s.
b) Andre limited himself to solutions that were respectful and were in compliance with the problems of sculpture.
c) Judd remained indifferent to sculpture and its problems.
d) Both found themselves part of a movement – ABC art or ‘Minimal art’, or Primary Structures.
Paragraph 11 – Focus on the development of a literalist art in America
a) Criticism now focused on the development of a literalist art in America which extends from 1959 to present day – included works of artists like Andre, Flavin, Judd, Serra, Morris, etc.
b) Limiting it to themes like minimal, reductive, anti-form are doing more damage to the art than ever.
Paragraph 12 – New ideas emerge
a) Abstraction critics like Clement Greenber, Michael Fred, William Rubin and others turned the focus towards a second-rate, imitative gestural painting – redirected attention to where quality was coming from – works of Louis, Newman, Noland, Olitski, etc.
b) Abstractionist criticism has done very little to help literalism.
Paragraph 13 – Abstractionist criticism and literalism
a) Abstractionists functioned as though there was no literalism – hardly considered literalism except for works of Stella, Noland and Olitski.
b) Stella was engaged with literalism and in contradicting convictions of John about where quality in contemporary art lay.
c) Literalists misunderstood Stella – for being so inextricably mixed up with artists like Judd and Andre.
Paragraph 14 – Literalism and Abstraction after 1960s
a) It was clear that within literalism several tendencies/ideas had occurred.
b) Goal of art making was still high abstraction? No one answer.
c) The move into the three-dimensional, interest in materials led to new orders and ideas far complex than expected.
d) Literalism was accepting ideas that would have been unthinkable 7-8 years back.
e) Undertakings of these artists were sought in traditions older than Modernism and resembles the emerging Abstract Expressionists.
f) It was an era of newness for both abstraction and literalism, the idea of what to do as artists, also for both uncertainty.
g) Bound them to the tradition of modern art.
Paragraph 15 – Post 1969
a) Stella loosened overall design structure.
b) Turned authority of paintings over to colour
c) It is the art of our time.
Reference –
Leider, Philip. “Literalism and Abstraction:
Frank Stella’s Retrospective at the Modern.”Art in Modern Culture:
An Anthology of Critical Texts. Eds. Franscina, Francis and Jonathan Harris.
London/New York: Phaidon, 1992.
Mapping of the essay by Sneha Sharon
Sneha Sharon
1024117
CIA 2
MEL 132
Western Aesthetics
July 15th, 2010.
______________________
A Map of Timothy J. Clark’s “Preliminaries to a Possible Treatment of ‘Olympia’ in 1865”
Paragraph 1: Olympia’s unfortunate plight of being stranded for display almost for two years- A resubmission by the artist, Manet in 1865- Initial good will and enthusiasm among art critics- The Salon review and Manet’s anxiety.
Paragraph 2: Salon affirmed negative critical response- Four supporters among sixty. Written records/ criticism and analysis of the work on Olympia in 1865 by Jean Ravenel- sole record available.
Paragraph 3: Perplexing title and the ‘outlandish’ verses of introduction- sexual connotations hence judgemental. Relation of a text to the spectator- Olympia limits
forced vocabulary.
Paragraph 4: Complete study as deviating therefore focus on the painting on ‘determinate’, ‘materialistic’ grounds.
Paragraph 5: Discourses routed:1) Clark uses the term ‘Discourse on woman in the 1860’s- combination of the otherwise tripartite version of the woman/ nude/ prostitute. 2) Second Empire: Aesthetic judgement- historic categories- absence of the same make it difficult topic of concern.
Paragraph 6: Olympia –signified unequivocal picture of a prostitute- Several ways of references- 1) ‘woman coutisane, 2) ‘some red head from the quartier breda 3) une manolo du bas etage. 4) Ravenel’s ‘a girl of the night from Paul Niquet’s.- Olympia- representative of sexuality laid out for inspection- Discourse on Woman, realm of art accepts this category of the saleable sex. Alain Corbin- 19th century pin points the prostitute as an important realm while converging on the discourse on woman- seen as a unity- the constituent of feminity. Feminine- 1) fille publique 2) femme honnete, the former articulates relations between sexual identity/ power and social class. Basically founding signification of woman.
Paragraph 7: Transgressive elements plus verbal violence in the painting. Difficult understanding of courtesean and woman held together. Disentangling femininity and prostitution is like going away from normal relations.
Paragraph 8: Nudity as one of the notions of the discourse on woman- marks its artificiality too. Nude- term of art/art criticism- intersection of the sexual and the artistic paving way for 1) representation, 2)knowledge and 3)decorum. Mid way term- pronouncing revealing, unrevealed sexuality/ displayed, masked form. Olympia failed to propound that a woman can be known in her nakedness.
Paragraph 9: Unanswered questions- what sex was Olympia / did it have a sex at all/ could it be included in the discourse on woman at all/ constituting artistic tradition?/modern example of the nude?/ nude and fille publique mapping?/ Instability of the term prostitute- invading myth of the vacation of the edge of city by the prostitute to build a new city with only edges and no single demarcations.
Paragraph 10: Tracking normal forms of discourse in writings on Olympia, figures of death and decay- Olympia’s hand covering her pubic hair as unconventional of the nude- Olympia’s entire posture is ‘disobedient’/ ‘unyielding’/ ‘unfeminine’ Bertall’s caricature stands as a critique of Manet’s original version.
Paragraph 11: Unstable meaning of the picture yields further criticism. Attempts to instate previous forms of representation- Research proves contrary.
Paragraph 12: Olympia and Titian’s Venus of Urbino parallel Baudelaire. Comparison between the former calls in for twentieth century criticism yet again. Titian’s- ‘hollow and hackneyed’ example of the nude. Therefore, should Manet’s work be seen as a referred work/ greater tradition of European art?
Paragraph 13: Amedee Cantalobe’s Le Grand Journal feels Bertell’s is ‘sort of female gorilla..’ Pierrot too comments on the grotesque figure.
Paragraph 14: Reference back to tradition was apparently invisible to most. Titian’s alignment of the nude- travesty/ aping and denying the body both humanity and femininity.
Paragraph 15: Clark likes Pierrot’s comment. Silence of the text- interprets crudity and meaningless picturisation of Titian’s work.
Paragraph 16: Ravenel-complex-L’Epoque –paper of the ‘far left opposition’ -aware of its own uncertainity.
Paragraph 17: Olympia treated as a product of Spanish ‘madness’- disregarded and contempt for the same- vicious weirdness of the character according to some- physical grossness multiplied in reviews.
Paragraph 18: Effective criticism. However, Ravenel breaks the codes of Olympia. His is being pictured down to Baudelaire and Goya- anti bourgeois. Gives Olympia a sort of temporal class identity too- petite faubourienne. Perplexing amounts of signifiers and signifieds. School of Baudelaire leads/ Self conscious satanic Baudelaire’s propositions and assumptions.
Paragraph 19: Even Baudelaire does not stabilize meaning- multiple and refractory. Only the text can be taken up as the central theme of reference- guarantee of its own perplexity- ‘Priveleged system of signs’ apparently fails.
Paragraph 20: The above stands true for the recognition/attribution of class. Ravenel’s petite fabourienne. System of meanings- nothing concrete-shifts directed clearly- but the directions are unclear. Rapid moves- fail to assimilate the other- various metaphors do assist however.
Paragraph 21: Identification of class as a ‘trigger’- fail to circle on themselves. Illusory quality as against ‘free play of the signifier’. To have matter and the text and to work against.
Paragraph 22: Clark’s as an objective analysis?- within historical materialism- mapping the silence and uncertainty involved in the image. Answer hinges on to the convention of the nude and handling of sexuality.
Paragraph 23: Picture- sexual identity- critics of 1865 disagree- instead propose that Olympia failed to inhabit the arena of the discourse on woman- thereby not nude, nor prostitute- neither a modification of the nude- plain sexuality heading for a narrow escape from societal decorum-scandalous yet not although charged to have. Odd duet of disgrace and decorum. Three aspects dealt : 1) Access and address that is the body to be presented rather precisely-neither too mall nor too great. Courbet’s The Bathers unclothed opposite and opponent of male proletarian nakedness.
Paragraph 24: The Bathers too broke codes of the nude- tried establishing the nude in opposition to the spectator- resistance to vision.
Paragraph 25: Olympia neither canonically nude nor borrowed Realism’s refutations. Spectator not given any space for view and identification- nor exclusion and resistance. The gaze and importance for interpretation.
Paragraph 26: 2) ‘Incorrectness’ in the drawing of the figure’s body- dislocation and deformity.
Paragraph 27: 3) Manipulations- hair and hairlessness/ decorum- sexuality strong permissible signs. Olympia breaking the signs.
Paragraph 28: Reversal of terms- framed face. Physical attributes.
Paragraph 29: Taxonomy of the woman- 0lympia very much in the cannon. ‘Disidentifactory practices of art’
Paragraph 30: Is there a difference with tactical implications? Arbitrary play of signifiers versus a sort of play which disrupts. Class struggle-define and dismantle the body. Else, its acts are insignificant like Manet’s.
Paragraph 31: Olympia refuses to signify- not in the conventional realm of the nude and neither the imaginary. However, may be in terms of classes. Could we give her a place in the world which ‘manufactures’ the Imaginary and produces the binaries of the dominator/dominated, fantasizer/ fantasized?
Paragraph 32: Necessarily then, a complex and elliptical position- but readable- conflicts- shifting margins of the petite faubourienne and courtisane/ prostitute and the proletarian. Endless exchange of social and sexual meanings (Second Empire).
Paragraph 33: Olympia- dance of ideology- erodes normal recognitions- she is constantly re engaged made to collude in her ‘double role’.
Paragraph 34: Relevant other meaning in the social space/ counter meaning/clash of classes. Critique of the dominant systems of meaning also the repressed.
Paragraph 35: Manet’s companion painting: The Mocking of Christ- unpopular picture in 1865 in the Salon- branded worse than Olympia. Also, deliberate caricature of religious art. However, definitely not an equation of Christ and Olympia. Bizarre versions of the nude and the altarpiece. Credibility of Manet’s work, his art ‘turns inwards on its own means and materials’. Whole range of contrary iconography. Aim of this work of art: to present the artifice of this familiar ‘repertoire of modern life’.
Work cited:
Clark, Timothy J. “Preliminaries to a Possible Treatment of ‘Olympia’ in 1865." Art in Modern Culture: An Anthology of Critical Texts. Eds. Francis Franscina, and Jonathan Harris. London/New York: Phaidon, 1992.Print.
1024117
CIA 2
MEL 132
Western Aesthetics
July 15th, 2010.
______________________
A Map of Timothy J. Clark’s “Preliminaries to a Possible Treatment of ‘Olympia’ in 1865”
Paragraph 1: Olympia’s unfortunate plight of being stranded for display almost for two years- A resubmission by the artist, Manet in 1865- Initial good will and enthusiasm among art critics- The Salon review and Manet’s anxiety.
Paragraph 2: Salon affirmed negative critical response- Four supporters among sixty. Written records/ criticism and analysis of the work on Olympia in 1865 by Jean Ravenel- sole record available.
Paragraph 3: Perplexing title and the ‘outlandish’ verses of introduction- sexual connotations hence judgemental. Relation of a text to the spectator- Olympia limits
forced vocabulary.
Paragraph 4: Complete study as deviating therefore focus on the painting on ‘determinate’, ‘materialistic’ grounds.
Paragraph 5: Discourses routed:1) Clark uses the term ‘Discourse on woman in the 1860’s- combination of the otherwise tripartite version of the woman/ nude/ prostitute. 2) Second Empire: Aesthetic judgement- historic categories- absence of the same make it difficult topic of concern.
Paragraph 6: Olympia –signified unequivocal picture of a prostitute- Several ways of references- 1) ‘woman coutisane, 2) ‘some red head from the quartier breda 3) une manolo du bas etage. 4) Ravenel’s ‘a girl of the night from Paul Niquet’s.- Olympia- representative of sexuality laid out for inspection- Discourse on Woman, realm of art accepts this category of the saleable sex. Alain Corbin- 19th century pin points the prostitute as an important realm while converging on the discourse on woman- seen as a unity- the constituent of feminity. Feminine- 1) fille publique 2) femme honnete, the former articulates relations between sexual identity/ power and social class. Basically founding signification of woman.
Paragraph 7: Transgressive elements plus verbal violence in the painting. Difficult understanding of courtesean and woman held together. Disentangling femininity and prostitution is like going away from normal relations.
Paragraph 8: Nudity as one of the notions of the discourse on woman- marks its artificiality too. Nude- term of art/art criticism- intersection of the sexual and the artistic paving way for 1) representation, 2)knowledge and 3)decorum. Mid way term- pronouncing revealing, unrevealed sexuality/ displayed, masked form. Olympia failed to propound that a woman can be known in her nakedness.
Paragraph 9: Unanswered questions- what sex was Olympia / did it have a sex at all/ could it be included in the discourse on woman at all/ constituting artistic tradition?/modern example of the nude?/ nude and fille publique mapping?/ Instability of the term prostitute- invading myth of the vacation of the edge of city by the prostitute to build a new city with only edges and no single demarcations.
Paragraph 10: Tracking normal forms of discourse in writings on Olympia, figures of death and decay- Olympia’s hand covering her pubic hair as unconventional of the nude- Olympia’s entire posture is ‘disobedient’/ ‘unyielding’/ ‘unfeminine’ Bertall’s caricature stands as a critique of Manet’s original version.
Paragraph 11: Unstable meaning of the picture yields further criticism. Attempts to instate previous forms of representation- Research proves contrary.
Paragraph 12: Olympia and Titian’s Venus of Urbino parallel Baudelaire. Comparison between the former calls in for twentieth century criticism yet again. Titian’s- ‘hollow and hackneyed’ example of the nude. Therefore, should Manet’s work be seen as a referred work/ greater tradition of European art?
Paragraph 13: Amedee Cantalobe’s Le Grand Journal feels Bertell’s is ‘sort of female gorilla..’ Pierrot too comments on the grotesque figure.
Paragraph 14: Reference back to tradition was apparently invisible to most. Titian’s alignment of the nude- travesty/ aping and denying the body both humanity and femininity.
Paragraph 15: Clark likes Pierrot’s comment. Silence of the text- interprets crudity and meaningless picturisation of Titian’s work.
Paragraph 16: Ravenel-complex-L’Epoque –paper of the ‘far left opposition’ -aware of its own uncertainity.
Paragraph 17: Olympia treated as a product of Spanish ‘madness’- disregarded and contempt for the same- vicious weirdness of the character according to some- physical grossness multiplied in reviews.
Paragraph 18: Effective criticism. However, Ravenel breaks the codes of Olympia. His is being pictured down to Baudelaire and Goya- anti bourgeois. Gives Olympia a sort of temporal class identity too- petite faubourienne. Perplexing amounts of signifiers and signifieds. School of Baudelaire leads/ Self conscious satanic Baudelaire’s propositions and assumptions.
Paragraph 19: Even Baudelaire does not stabilize meaning- multiple and refractory. Only the text can be taken up as the central theme of reference- guarantee of its own perplexity- ‘Priveleged system of signs’ apparently fails.
Paragraph 20: The above stands true for the recognition/attribution of class. Ravenel’s petite fabourienne. System of meanings- nothing concrete-shifts directed clearly- but the directions are unclear. Rapid moves- fail to assimilate the other- various metaphors do assist however.
Paragraph 21: Identification of class as a ‘trigger’- fail to circle on themselves. Illusory quality as against ‘free play of the signifier’. To have matter and the text and to work against.
Paragraph 22: Clark’s as an objective analysis?- within historical materialism- mapping the silence and uncertainty involved in the image. Answer hinges on to the convention of the nude and handling of sexuality.
Paragraph 23: Picture- sexual identity- critics of 1865 disagree- instead propose that Olympia failed to inhabit the arena of the discourse on woman- thereby not nude, nor prostitute- neither a modification of the nude- plain sexuality heading for a narrow escape from societal decorum-scandalous yet not although charged to have. Odd duet of disgrace and decorum. Three aspects dealt : 1) Access and address that is the body to be presented rather precisely-neither too mall nor too great. Courbet’s The Bathers unclothed opposite and opponent of male proletarian nakedness.
Paragraph 24: The Bathers too broke codes of the nude- tried establishing the nude in opposition to the spectator- resistance to vision.
Paragraph 25: Olympia neither canonically nude nor borrowed Realism’s refutations. Spectator not given any space for view and identification- nor exclusion and resistance. The gaze and importance for interpretation.
Paragraph 26: 2) ‘Incorrectness’ in the drawing of the figure’s body- dislocation and deformity.
Paragraph 27: 3) Manipulations- hair and hairlessness/ decorum- sexuality strong permissible signs. Olympia breaking the signs.
Paragraph 28: Reversal of terms- framed face. Physical attributes.
Paragraph 29: Taxonomy of the woman- 0lympia very much in the cannon. ‘Disidentifactory practices of art’
Paragraph 30: Is there a difference with tactical implications? Arbitrary play of signifiers versus a sort of play which disrupts. Class struggle-define and dismantle the body. Else, its acts are insignificant like Manet’s.
Paragraph 31: Olympia refuses to signify- not in the conventional realm of the nude and neither the imaginary. However, may be in terms of classes. Could we give her a place in the world which ‘manufactures’ the Imaginary and produces the binaries of the dominator/dominated, fantasizer/ fantasized?
Paragraph 32: Necessarily then, a complex and elliptical position- but readable- conflicts- shifting margins of the petite faubourienne and courtisane/ prostitute and the proletarian. Endless exchange of social and sexual meanings (Second Empire).
Paragraph 33: Olympia- dance of ideology- erodes normal recognitions- she is constantly re engaged made to collude in her ‘double role’.
Paragraph 34: Relevant other meaning in the social space/ counter meaning/clash of classes. Critique of the dominant systems of meaning also the repressed.
Paragraph 35: Manet’s companion painting: The Mocking of Christ- unpopular picture in 1865 in the Salon- branded worse than Olympia. Also, deliberate caricature of religious art. However, definitely not an equation of Christ and Olympia. Bizarre versions of the nude and the altarpiece. Credibility of Manet’s work, his art ‘turns inwards on its own means and materials’. Whole range of contrary iconography. Aim of this work of art: to present the artifice of this familiar ‘repertoire of modern life’.
Work cited:
Clark, Timothy J. “Preliminaries to a Possible Treatment of ‘Olympia’ in 1865." Art in Modern Culture: An Anthology of Critical Texts. Eds. Francis Franscina, and Jonathan Harris. London/New York: Phaidon, 1992.Print.
Wednesday, July 14, 2010
Mapping of the essay by Pritha Biswas
PRITHA BISWAS
1024109
CIA II
WESTERN AESTHETICS
MEL132
JULY 15, 2010.
Map of Richard Shiff’s essay “Defining ‘Impressionism’ and the ‘Impression’ ”
Paragraph 1: Introduction
Defining Impressionism is next to impossible because the genre is an evolution of artistic processes.
Impressionism--terminology--obscurity of term--genuinely of artistic interpretation--classification of impressionists-- identity of impressionists--(1)social group--(2)artist’s subject matter--(3)style or technique--(4)purpose
Paragraph 2:
An artist must, in order to be impressionistic, associate with the group of artists who render similar thoughts.
Social group--voluntary association to impressionists--individual style--Degas works--claimed negative exclusion by critics--yet an impressionist--deviant Cezanne--claimed antithetical to impressionism--society of Salon--acknowledgement of Corot’s works--association imperative for artists--independence of style and subject matter--cannot be strictly adhered.
Paragraph 3:
It is in the subject matter of the art that art can be classified in genres.
Subject matter--impressionism defined by social affiliation of artists--”plein-air subjects”--Theodore Duret--stylistic criteria--classification of painters--impressionistic movement
Paragraph 4:
Art must never encourage identity of self in depiction but self identity in the style of depiction.
Style or technique--bright colour--sketch like finish of impressionist paintings--Charles Bigot and Henry Houssaye--profess elimination of effects of chiaroscuro--observed independently--style fails artist’s identity
Paragraph 5:
Impressionistic art is sense observation and self interpretation of the ultimate aesthetic goal.
Artistic goals or purpose--defining goals for purposeful distinctions among artists--critics vary in interpretation--Castagnary tags impressionist art technical innovation--warns of idiosyncrasy--natural imitation professed by Duret--lacks synchronous criticism and interpretation--impressionism is sensation of naturalism--critics miss vital aspects--unresolved quest--harmony of impressionism and symbolism
Paragraph 6:
It is in revolutionizing the medium of expression that art achieves evolution and development of newer techniques.
Approach to impressionism--means for ends--attributes of impressionism--mixed technique--deviation from formal drawing--exclusive and difficult effects--pattern less and unique
Paragraph 7:
The medium of aesthetic expression is in the command of the technicality that defines and artist’s work.
Technicality of Impressionism--specific technical devices--depiction of coagulated universal and individual truths--distinction of artists by manner--spontaneity in creation--brushwork and bright impressions
Paragraph 8:
Any form of art evolves out a mental imprint that gets shape and form around the content of its aesthetic message.
Impression signifies imprint--impressions of aesthetic vision--top layer of photo transparency--surface phenomenon--first layer of impression--inferential vision of artists
Paragraph 9:
It is in the ability to catch the primary idea of the flux that inspires the artist’s creativity that impressionistic art becomes successful.
Impressionism’s initial imprint--true nature of expression--natural disposition--concretization of innate qualities of expression--impressionistic attribute of character of artists--not imitation but invention--poetic nature
Paragraph 10:
The artist’s ability to infer from the facts that generate aesthetic thought gives art its ingenuity.
Impressionism--synthesis of nature and original sensation--innate expression on natural phenomenon--impressionistic effect of aesthetic vision--external and internal effects fused in unison--assumptive aesthetic cause--inferential effects imprints of mind--artistic psychology
Paragraph 11:
The self of the artist in any form of art cannot be denied because it forms the essence of all artistic interpretation.
Impressionism attains psychosis interpretation--nineteenth century--impressionism is perceptive physiology not metaphysical dogmatism--external objectivity expressed by impressionistic attributes--projection of self on nature--priority of self over technical depiction--impressionistic knowledge--unraveling of truth--impressionism perfect fusion of subjectivity and objectivity
Paragraph 12:
The distinction between the works of the great impressionists is in their treatment of their respective medium.
Impressionistic symbolism of modern art--emotional impression on visual realism--Manet’s works--reading of sensation--not sensory perception--not objective perception--sensations produced by objects in artistic depiction
Paragraph 13: Conclusion
It is in the projection of the self that art achieves its greatness.
Art is artistic self--artistic individuality--aesthetic license--artistic consciousness projecting individual realism of nature
Commentary:
There is no proper generic approach to defining Impressionism and the way Impressionistic style in art can be attributed to artists. Richard Shiff illustrates this idea by elucidating that it is difficult to define Impressionistic art, or for that matter, how artists can be classified according to the strictness of the genre. Shiff, throughout his essay, establishes the idea that an artistic theory, like Impressionism, cannot classify the modulus of art or bring into a strict pattern an artist’s intent and creation. Impressionism, as analyzed from the essay, is thus a style of depicting, creatively and instinctively, not professionally, creating the first impressions that comes to mind when a particular strain of thought gets depicted. It may be just depicting the shallow waters or the primary layer of thought that a particular event or an aesthetic consciousness generates in an artist. Shiff is commendably exemplary when he distinguishes photography and Art in the context of Impressionism, as defining it to be an “imprint”. The elementary difference between photography and art is in the medium of reproduction, which is the essence of all art. Photography is capturing the moment in time as an imprint but art is always contoured by artists ego, the creative psyche and personal interpretation of the flux from where the artists draws inspiration. Shiff also warns us about us misjudging Impressionism with Symbolism, where the latter depends more on hidden layers of meaning or interpretation. Shiff does this by drawing a clear distinction between Manet and Monet’s Artistic depiction of thought patterns. Where Manet’s depiction of impressions on the mind was objectively portrayed by solid brush strokes, Monet was subjective to his aesthetic rendering. The essay is conclusively remnant of the theory that Art is a projection of the artists self and this must be true to the nature of creation. Impressionism is thus the artists’ Impression on nature and not nature’s impression on the artist.
Works cited:
Shiff, Richard. “ Defining ‘Impressionism’ and the ‘Impression’. ” Art in Modern Culture: An Anthology of Critical texts. Eds. Francis Franscina, and Jonathan Harris. London/ New York: Phaidon, 1992. Printed.
1024109
CIA II
WESTERN AESTHETICS
MEL132
JULY 15, 2010.
Map of Richard Shiff’s essay “Defining ‘Impressionism’ and the ‘Impression’ ”
Paragraph 1: Introduction
Defining Impressionism is next to impossible because the genre is an evolution of artistic processes.
Impressionism--terminology--obscurity of term--genuinely of artistic interpretation--classification of impressionists-- identity of impressionists--(1)social group--(2)artist’s subject matter--(3)style or technique--(4)purpose
Paragraph 2:
An artist must, in order to be impressionistic, associate with the group of artists who render similar thoughts.
Social group--voluntary association to impressionists--individual style--Degas works--claimed negative exclusion by critics--yet an impressionist--deviant Cezanne--claimed antithetical to impressionism--society of Salon--acknowledgement of Corot’s works--association imperative for artists--independence of style and subject matter--cannot be strictly adhered.
Paragraph 3:
It is in the subject matter of the art that art can be classified in genres.
Subject matter--impressionism defined by social affiliation of artists--”plein-air subjects”--Theodore Duret--stylistic criteria--classification of painters--impressionistic movement
Paragraph 4:
Art must never encourage identity of self in depiction but self identity in the style of depiction.
Style or technique--bright colour--sketch like finish of impressionist paintings--Charles Bigot and Henry Houssaye--profess elimination of effects of chiaroscuro--observed independently--style fails artist’s identity
Paragraph 5:
Impressionistic art is sense observation and self interpretation of the ultimate aesthetic goal.
Artistic goals or purpose--defining goals for purposeful distinctions among artists--critics vary in interpretation--Castagnary tags impressionist art technical innovation--warns of idiosyncrasy--natural imitation professed by Duret--lacks synchronous criticism and interpretation--impressionism is sensation of naturalism--critics miss vital aspects--unresolved quest--harmony of impressionism and symbolism
Paragraph 6:
It is in revolutionizing the medium of expression that art achieves evolution and development of newer techniques.
Approach to impressionism--means for ends--attributes of impressionism--mixed technique--deviation from formal drawing--exclusive and difficult effects--pattern less and unique
Paragraph 7:
The medium of aesthetic expression is in the command of the technicality that defines and artist’s work.
Technicality of Impressionism--specific technical devices--depiction of coagulated universal and individual truths--distinction of artists by manner--spontaneity in creation--brushwork and bright impressions
Paragraph 8:
Any form of art evolves out a mental imprint that gets shape and form around the content of its aesthetic message.
Impression signifies imprint--impressions of aesthetic vision--top layer of photo transparency--surface phenomenon--first layer of impression--inferential vision of artists
Paragraph 9:
It is in the ability to catch the primary idea of the flux that inspires the artist’s creativity that impressionistic art becomes successful.
Impressionism’s initial imprint--true nature of expression--natural disposition--concretization of innate qualities of expression--impressionistic attribute of character of artists--not imitation but invention--poetic nature
Paragraph 10:
The artist’s ability to infer from the facts that generate aesthetic thought gives art its ingenuity.
Impressionism--synthesis of nature and original sensation--innate expression on natural phenomenon--impressionistic effect of aesthetic vision--external and internal effects fused in unison--assumptive aesthetic cause--inferential effects imprints of mind--artistic psychology
Paragraph 11:
The self of the artist in any form of art cannot be denied because it forms the essence of all artistic interpretation.
Impressionism attains psychosis interpretation--nineteenth century--impressionism is perceptive physiology not metaphysical dogmatism--external objectivity expressed by impressionistic attributes--projection of self on nature--priority of self over technical depiction--impressionistic knowledge--unraveling of truth--impressionism perfect fusion of subjectivity and objectivity
Paragraph 12:
The distinction between the works of the great impressionists is in their treatment of their respective medium.
Impressionistic symbolism of modern art--emotional impression on visual realism--Manet’s works--reading of sensation--not sensory perception--not objective perception--sensations produced by objects in artistic depiction
Paragraph 13: Conclusion
It is in the projection of the self that art achieves its greatness.
Art is artistic self--artistic individuality--aesthetic license--artistic consciousness projecting individual realism of nature
Commentary:
There is no proper generic approach to defining Impressionism and the way Impressionistic style in art can be attributed to artists. Richard Shiff illustrates this idea by elucidating that it is difficult to define Impressionistic art, or for that matter, how artists can be classified according to the strictness of the genre. Shiff, throughout his essay, establishes the idea that an artistic theory, like Impressionism, cannot classify the modulus of art or bring into a strict pattern an artist’s intent and creation. Impressionism, as analyzed from the essay, is thus a style of depicting, creatively and instinctively, not professionally, creating the first impressions that comes to mind when a particular strain of thought gets depicted. It may be just depicting the shallow waters or the primary layer of thought that a particular event or an aesthetic consciousness generates in an artist. Shiff is commendably exemplary when he distinguishes photography and Art in the context of Impressionism, as defining it to be an “imprint”. The elementary difference between photography and art is in the medium of reproduction, which is the essence of all art. Photography is capturing the moment in time as an imprint but art is always contoured by artists ego, the creative psyche and personal interpretation of the flux from where the artists draws inspiration. Shiff also warns us about us misjudging Impressionism with Symbolism, where the latter depends more on hidden layers of meaning or interpretation. Shiff does this by drawing a clear distinction between Manet and Monet’s Artistic depiction of thought patterns. Where Manet’s depiction of impressions on the mind was objectively portrayed by solid brush strokes, Monet was subjective to his aesthetic rendering. The essay is conclusively remnant of the theory that Art is a projection of the artists self and this must be true to the nature of creation. Impressionism is thus the artists’ Impression on nature and not nature’s impression on the artist.
Works cited:
Shiff, Richard. “ Defining ‘Impressionism’ and the ‘Impression’. ” Art in Modern Culture: An Anthology of Critical texts. Eds. Francis Franscina, and Jonathan Harris. London/ New York: Phaidon, 1992. Printed.
Enlightenment Voices, Revolutionary Visions and Contested Boundaries, National Visions
Enlightenment Voices, Revolutionary Visions
There was a conflict as to what should be written and publicized more: Human Nature or Moral Instructions. Human nature became an important aspect which lead to national freedom. Human nature writers like Thomas Hobbes, author of Levation believed in exploration. Roussean gave the idea of Social concept theory which states that man is born free though he is always bound by chains/ limitations. Supporting him is John Loche, who believes that men are not born with a memory; they are a clean slate and he disagrees with the concept of Original Sin. “Humans by nature are harmonious”, was the main idea.
“In philosophical terms, the contradictory ideas expressed during the revolutionary era seem to have risen from conflicting opinions about human nature and the extend to which mankind could progress.”
Moral instructions have its roots in the 17th century; it talks about God’s desire. Paine said that, in struggle, America cannot be with England (moral instructions) but she has to break away from them (Human Nature). It talks about the struggle between science (progressive), which is supported by Thomas Jefferson and religion (limitations) which was supported by John Adams.
Enlightenment refers to the philosophical outlook of Europe in the 1700’s upto the 18th century. It states that men, not God is the center of everything. This concept has its base from the Roussean theory, which believed that men are the epicenter of action; there is shift from the ancient traditions which believed that God is above everything. It is romantic in nature, i.e it is about the ordinary people, the common man. Enlightenment believes that justice is not about punishing but listening to people, giving a fair chance to everyone.
Revolutionary visions also contain the same idea as that of Roussean. It began in 1700’s with the idea that all mankind should be given equal respect. Roussean believed that, “Social betterment might result from individual freedom, in both inquiry and action”. It is said that the American past was ‘great’, as there was equal representation of people irrespective of their caste, race, status and colour. That was enlightenment. The notion of believing that a king is a father figure, a representation of God was held during the revolution era.
“They considered that in ancient Brittany, the people freely choose to constitute themselves into one body for their own better protection and governance. The officials of the commonwealth represented the body of the people and determined the laws and enacted statues for the whole. Yet more recent kings, they instated took away the colonists rights as citizens, forcing them in subjection without offering a suitable of representation in the English common body.”
Contested Boundaries, National Visions
Contested boundaries refer to ‘challenging’ limitations. This dispute was rampant during late 1700’s when America talked about a free nation country. There was a lot of gender inequality going on at that period, and many writers challenged it. “In the new code of laws which I suppose it will be necessary for you to make I desire you would remember the ladies, and be more generous and favorable to them than your ancestors.”
Afro American and Native American women started to write from the period of 1776. They openly confronted the boundaries set for them by the white elite class of men whose visions of what they considered ‘just’ and ‘good.
One of the aAfro American women writer, Lameul Haynes said tha,t English men in America often complain that they are ill-treated by England, while they themselves ill-treat the negro’s (refers to slavery). Though the Afro American learned how to read and write, the white elite class people did not allow their writings (mostly which criticized the white’s) to go into print.
“In fact the whites were generally deaf to the subtle complexity of black oral expression permitted Afro American culture to maintain a resilience, integrity and subversive thrust that played an important role in the spiritual survival of the slaves”. That is, the white’s did not recognize the subtle interaction within the Afro American community though their writing, which helped them to fire up their spirit and keep the spiritual movement going.
Mark Weber once said, “Voice of the oppressor is minus the voice of the oppressed; while the voice of the oppressed has the voice of the oppressor.”
There was a conflict as to what should be written and publicized more: Human Nature or Moral Instructions. Human nature became an important aspect which lead to national freedom. Human nature writers like Thomas Hobbes, author of Levation believed in exploration. Roussean gave the idea of Social concept theory which states that man is born free though he is always bound by chains/ limitations. Supporting him is John Loche, who believes that men are not born with a memory; they are a clean slate and he disagrees with the concept of Original Sin. “Humans by nature are harmonious”, was the main idea.
“In philosophical terms, the contradictory ideas expressed during the revolutionary era seem to have risen from conflicting opinions about human nature and the extend to which mankind could progress.”
Moral instructions have its roots in the 17th century; it talks about God’s desire. Paine said that, in struggle, America cannot be with England (moral instructions) but she has to break away from them (Human Nature). It talks about the struggle between science (progressive), which is supported by Thomas Jefferson and religion (limitations) which was supported by John Adams.
Enlightenment refers to the philosophical outlook of Europe in the 1700’s upto the 18th century. It states that men, not God is the center of everything. This concept has its base from the Roussean theory, which believed that men are the epicenter of action; there is shift from the ancient traditions which believed that God is above everything. It is romantic in nature, i.e it is about the ordinary people, the common man. Enlightenment believes that justice is not about punishing but listening to people, giving a fair chance to everyone.
Revolutionary visions also contain the same idea as that of Roussean. It began in 1700’s with the idea that all mankind should be given equal respect. Roussean believed that, “Social betterment might result from individual freedom, in both inquiry and action”. It is said that the American past was ‘great’, as there was equal representation of people irrespective of their caste, race, status and colour. That was enlightenment. The notion of believing that a king is a father figure, a representation of God was held during the revolution era.
“They considered that in ancient Brittany, the people freely choose to constitute themselves into one body for their own better protection and governance. The officials of the commonwealth represented the body of the people and determined the laws and enacted statues for the whole. Yet more recent kings, they instated took away the colonists rights as citizens, forcing them in subjection without offering a suitable of representation in the English common body.”
Contested Boundaries, National Visions
Contested boundaries refer to ‘challenging’ limitations. This dispute was rampant during late 1700’s when America talked about a free nation country. There was a lot of gender inequality going on at that period, and many writers challenged it. “In the new code of laws which I suppose it will be necessary for you to make I desire you would remember the ladies, and be more generous and favorable to them than your ancestors.”
Afro American and Native American women started to write from the period of 1776. They openly confronted the boundaries set for them by the white elite class of men whose visions of what they considered ‘just’ and ‘good.
One of the aAfro American women writer, Lameul Haynes said tha,t English men in America often complain that they are ill-treated by England, while they themselves ill-treat the negro’s (refers to slavery). Though the Afro American learned how to read and write, the white elite class people did not allow their writings (mostly which criticized the white’s) to go into print.
“In fact the whites were generally deaf to the subtle complexity of black oral expression permitted Afro American culture to maintain a resilience, integrity and subversive thrust that played an important role in the spiritual survival of the slaves”. That is, the white’s did not recognize the subtle interaction within the Afro American community though their writing, which helped them to fire up their spirit and keep the spiritual movement going.
Mark Weber once said, “Voice of the oppressor is minus the voice of the oppressed; while the voice of the oppressed has the voice of the oppressor.”
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