Drawing Alain Badiou – The Symptom 12

نوشته شده در موضوع خرید اینترنتی در 28 دسامبر 2015
Drawing Alain Badiou – The Symptom 12

Author’s Bio

I intend simply to introduce a really ubiquitous clarification of a arts, and some-more precisely of contemporary arts. And, after that, a brief clarification of Drawing. These definitions pull their impulse from a really pleasing and in fact elemental poem of a American producer Wallace Stevens. The pretension of a poem is: “Description though Place.”

In a really elementary and really brief talk, it would be probable for me to say: This is my clarification of art : Every work of art, generally each work in contemporary arts, is a outline though place. An installation, for example, is a outline of a set of things outward their normal place and normal attribute between them. So it is a origination of a place that dis(places) all things in it. A performance, or a happening, is a arrange of declining period of gestures, pictures, voices, so that a transformation of bodies describes a space that is particularly vocalization outward itself. But what is a Drawing? A Drawing is a formidable of marks. These outlines have no place. Why? Because in a loyal Drawing, a artistic one, a marks, a traces, a lines, are not enclosed or closeted in a background. On a contrary, a marks, a lines—the forms, if we will—create a credentials as an open space. They emanate what Mallarmé names, “the dull paper that is stable by a whiteness.”

In a initial case—the installation—the new place displaces all things in it; in a second case—the happening—the new things, a new bodies, excommunicate a place. In a third—the Drawing—some outlines emanate an inexistent place. As a result, we shall see, we have a outline though place. So my ubiquitous clarification of humanities is good, and we have apparently no reason for stability my lecture, for we can introduce a brief clarification of Drawing. There is a Drawing when some snippet though place creates as a place an dull surface.

Fortunately, one indicate in a poem of Wallace Stevens surprises me; and we can't stop my harangue though origination myself transparent about it.

The best thing substantially is to review and to criticism on some passages of a poem. First, a beginning:

It is probable that to seem—it is to be,
As a object is something ostensible and it is.

The object is an example. What it seems
It is and in such ostensible all things are.

So a artistic suspicion of a outline though place is in a tighten attribute with a aged philosophical doubt of being and seeming.  Or of being qua being and appearing—to be and to appear—appearing precisely in a place, in a distinct world. The object is, and it is something seeming, and in Poetry, we contingency name “sun” and a fact that a object is, nor a fact that a object seems, or appears, though we contingency name “sun” a equilibrium of ostensible and being, a inseparability of being and appearing. And finally, a equilibrium of to exist and not to exist.

That is accurately a problem of Drawing. In one sense, a paper exists, as a element support, as a sealed totality; and a marks, or a lines, do not exist by themselves: they have to harmonise something inside a paper. But in an other and some-more essential sense, a paper as a credentials does not exist, since it is combined as such, as an open surface, by a marks. It is that arrange of mobile respect between existence and inexistence that constitutes a really hint of Drawing. The doubt of Drawing is really conflicting from a doubt in Hamlet. It is not “to be or not to be,” it is “to be and not to be.” And that is a reason for a elemental infirmity of Drawing: not a transparent alternative, to be or not to be, though an problematic and enigmatic conjunction, to be and not to be. Or, as Deleuze would say: a disjunctive synthesis.

This infirmity of Drawing is a essential feature. And if we remember another famous judgment of Hamlet: “Frailty, thy name is woman,” we can understand a tip attribute between Drawing and femininity.

I shall lapse in a impulse to these points.

We have found here, in Wallace Stevens, a censor of dual chronological definitions of Beauty and Art. The initial one is that genuine Beauty is always over appearances. So a work of art, as a origination with element means, is usually a pointer or a pitch of something gigantic that is over a correct appearance. Appearing is usually a thoroughfare to genuine being. Wallace Stevens summarizes this exemplary speculation of Beauty when he writes: “Description is stoical of a steer indifferent to a eye.” The eye, a petrify vision, is not in art a loyal sight, a genuine prophesy of Beauty. The genuine prophesy of Beauty is indifferent to a eye. It is an act of thinking. But Stevens does not agree, and we do not determine either. In a work of art, there is not a comprehensive coherence of appearing on a conceptual being. On a contrary, we have to repair a indicate where appearing and being are indiscernible. In Drawing this indicate is precisely a point, a mark, a trace, when it is frequency distinct from a white background.

Another source of Beauty of art, some-more regretful than classical, is that Beauty is a supportive form of a Idea. The work of art as a combination in appearing realizes an effective participation of a infinite, of a comprehensive Idea. It is not a doubt of going over seeming. The transformation goes in a conflicting sense: a Idea, a genuine being comes down in a element form and appears as Beauty.

But Wallace Stevens does not determine with this regretful prophesy and we do not determine either. Stevens might seem to agree, when he writes: “description is revelation.” Is not “revelation” a name for a entrance down of a comprehensive Idea in a entrance of a pleasing form? But here, in a poem, it is not a case. Because a work of art, as outline though place “is not a thing described.” So Beauty is not a supportive form of a idea. The work of art is a outline that has no evident attribute with a genuine that would be outward a description, like in a regretful conception, a comprehensive Idea is outward a essential glory.

For example, a contemporary Drawing is not a fulfilment of an outmost motive. It is most some-more totally immanent to a correct act. A sketch is a varied snippet of a gesture, most some-more than a immobile outcome of this gesture. In fact, a regretful Drawing can't be simply a drawing. There is always something else: complicated darkness, black ink, aroused contrasts. A contemporary Drawing is though those sorts of effects. It is some-more sober, some-more invisible. The pristine Drawing is a element prominence of invisibility.

We can sum adult briefly:
1. The best clarification for a work of art is: outline though place.
2. This outline is always a couple between genuine being and seeming, or appearing.
3. This couple is not quite symbolic. We do not need to go over appearances to find a Real. The outline is not a pointer for something that lays outward a form.
4. This couple is not a pristine revelation. It is not a entrance down of a comprehensive Idea, or of a infinite, in a pleasing form. Appearing is not like a grave physique of being. It is therefore required to cruise a new couple between appearing and being. Wallace Stevens writes:

It is an synthetic thing that exists,
In a possess seeming, seemingly visible,

Yet not too closely a double of a lives,
Intenser than any tangible life could be.

Our new charge is to explain 4 facilities of a work of art as a outline though place:
1. The outline is “artificial thing that exists.” Artificiality. Drawing is something that is composed. It is a doubt of technology. Today a credentials can be a screen, and not a square of paper, and a outlines can be a manifest projection of vaporous numbers.
2. The outline is “in a possess seeming.” There is an eccentric existence in appearances. Drawing contingency exist though any outmost explanation. And though outmost references.
3. But a outline is not “too closely a double of a lives.” A loyal Drawing is not a duplicate of something. It is a constructive deconstruction of something, and most some-more genuine than a initial thing.
4. The outline is “intenser than any tangible life.” A Drawing is fragile. But it creates a really heated fragility. In short:
—First, being is quite a mathematical abstraction. It is, in any thing, a mixed though any peculiarity or determination. Drawing seizes this clarification by shortening any thing to a complement of marks.
—Second, when a thing appears as a grade of intensity, we have zero else than a existence of a thing in a world. A thing exists some-more or less, and a energy has no propinquity with being, though usually with a petrify universe in that a thing appears. In Drawing, a universe is symbolized by a background, pages, screen, or wall.
—Third, there is no doubt of fabrication or of representation. The existence of a multiplicity is directly a appearing in a world, with a new magnitude of a energy of this appearing.

Within this framework, we can refurbish a speculation of a work of art as a indicate where appearing and being are indiscernible.

I shall start with dual examples, a elegant one and an other in Drawing, about a same form of things: a song instrument, a guitar. Wallace Stevens has combined a book underneath a pretension The Man with a Blue Guitar. What is a “blue guitar?” It is a poetical energy of a thing “guitar” in a work of Stevens, in a synthetic universe combined in denunciation by Stevens. At a indicate of “blue guitar” there is no probable eminence between “guitar” as a word, “guitar” as a genuine thing, guitar as being, and guitar as appearing. Because this guitar, that appears in poems of Stevens, is a blue guitar. So we can contend that with a blue guitar we have a poetical energy in that being and existence are identical. That is substantially a best clarification of a work of art: in a outline though place we have a arrange of alloy of being and existence. That’s because Stevens writes:

The speculation of outline matters most
It is a speculation of a word, for those
For whom a word is a origination of a world.

Here a outline is suspicion as a indicate inside a elegant denunciation where we have a origination of a world. But if a universe is combined before us, we have no eminence between a appearing of a thing, a existence and a being. All that is enclosed in a same intensity, a energy of a blue guitar.

We can immediately send all that on a knowledge of Drawing. As we know, a guitar is something like a illusion in cubist portrayal during a beginning. It is a thing that appears like a new core of a combination in Picasso, Braque or Juan Gris. And, as a thing-of-drawing, it is a new approach of existent for a loyal being of a thing. It is a origination of a guitar though subdivision between a being and a existence. Because in Drawing, a guitar is zero else than a pristine form. A guitar is a line, a curve.

You see that to contend that a Drawing is a work of art has a accurate meaning. It is a outline though place that creates a arrange of synthetic world. This universe does not conform a common law of subdivision between genuine being and appearances. In this world, or during slightest in some points of this world, there is no disproportion between “to be” and “to exist”; or between “to be” and “to seem,” to “appear.”

All this allows us to ensue in a instruction of a attribute between Drawing and Politics. Classically, politics, insubordinate politics, is a outline with places. You have amicable places, classes, secular and inhabitant places, minorities, foreigners and so on; we have widespread places, wealth, power… And a domestic routine is a arrange of totalization of conflicting design places. For example, we classify a domestic celebration as a countenance of some amicable places, with a aim of seizing a state power.

But today, maybe, we have to emanate a new trend of politics, over a mastery of a places, over social, national, secular places, over gender and religions. A quite replaced politics, with comprehensive equivalence as a elemental concept.

This arrange of politics will be an transformation though place. An general and winding origination with—as in a work of art—a reduction of violence, condensation and final peace.

We have to classify a new trend in politics over a law of places and of centralisation of power. And in fact, we have to find a form of transformation where a domestic existence of everybody is not distant from a being, a indicate where we exist in so heated a conform that we forget a inner division. Doing so we turn a new subject.

Not an individual, though a partial of a new subject.

Wallace Stevens writes about something like that during a finish of a really pleasing poem with a bizarre title, “Final Soliloquy of a Interior Paramour”:

Out of this same light, out of a executive mind
We make a home in a dusk [air]
In that being together is enough.

Yes, we have to build a new dwelling, a new house, where “being together is enough.” But for that, we contingency change a mind (“out of a executive mind”) and change a light. And for that, with a assistance of new forms of art, we contingency go into an transformation though places.

This is precisely a idea of a pristine Drawing: to hospital a new world, not by a strength of means, like images, painting, colors, an so on, though by a minimalism of some outlines and lines, really tighten to a inexistence of any place. Drawing is a ideal instance of an energy of weakness.

Victory of fragility. Victory of feminity, maybe. In a Drawing, a “together” is usually a together of some declining marks. “Together is enough.”

For these reasons we might maybe pronounce of a politics of Drawing.

this square creatively seemed in lacanian ink 28, that is now sole out


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