Posts Tagged ‘ Roland Barthes ’

Images, Text and Modern Feints: Dongyoung Lee’s I can’t and the Material of Meaning – 3:AM Magazine

[…] Barthes, a tempered romantic, speaking of “entering upon the true history of language,” perhaps caught between a science and a poetics, writes in 1966:

“An image gives out different meanings and we don’t always know how to handle them. Moreover, this phenomenon of polysemy also exists in articulated language, and is one of the main themes of current linguistic research. But the fact remains that, in the case of language, polysemy is considerably reduced by context, by the presence of other signs which direct to the choice and the intellection of the reader or hearer.” […]

Source: Images, Text and Modern Feints: Dongyoung Lee’s I can’t and the Material of Meaning – 3:AM Magazine

“A way of shutting my eyes”: Reflections on the Photographic Turn in Recent Literary Memoirs | 3 Quarks Daily

by Rafaël Newman For Fred Weinstein “What is hidden is for us Westerners more ‘true’ than what is visible,” Roland Barthes proposed, in Camera Lucida, his phenomenology of the photograph, almost forty years ago. In the decades since, the internet, nanotechnology, and viral marketing have challenged his privileging of the unseen over the seen by…

Source: “A way of shutting my eyes”: Reflections on the Photographic Turn in Recent Literary Memoirs | 3 Quarks Daily

Piero Manzoni and the Reinvention of Art

“Piero Manzoni. Materials of his Time” at Hauser & Wirth New York, 22nd Street (2019), installation view, photo: Thomas Barratt, © Fondazione Piero Manzoni, Milan, (courtesy the artist and Hauser & Wirth)

Manzoni’s work can be viewed as slight and Herculean, tragic and buoyant, mystical and materialist, minimal and baroque.

Source: Piero Manzoni and the Reinvention of Art

The Essential Mundanity of Grief | Hazlitt

I don’t know where or when I learned that I needed to curb any narcissistic tendency I might feel, even in grieving, but I most certainly caught on quick.

Source: The Essential Mundanity of Grief | Hazlitt

BOMB Magazine — Masha Tupitsyn’s Love Dog by Carmen Giménez Smith

A Place in the Sun (1951), directed by George Stevens.

BOMB Magazine — Masha Tupitsyn’s Love Dog by Carmen Giménez Smith.

Roland Barthes – The Incident – from “Empire of Signs” |Evening Will Come

Roland Barthes
The Incident

Evening Will Come.

indra’s net by Donna Fleischer

“Imagine a multidimensional spider’s web in the early morning covered with dew drops. And every dew drop contains the reflection of all the other dew drops. And, in each reflected dew drop, the reflections of all the other dew drops in that reflection. And so ad infinitum. That is the Buddhist conception of the universe in an image.” ~ Alan Watts

“In Hua-yen and Zen Buddhist thought the Net of Indra, which originates in the Sanskrit “Avatamsaka Sutra”, constructs the cosmos as a multi-dimensional array of interrelationships that simultaneously and repeatedly reflect each other and the whole as jewels embedded within each node of the net.” ~ Donna Fleischer

“Indra’s Net”, the book, is housed with the Japanese Museum of Haiku Literature, Tokyo, Poets House NYC, UMASS – Amherst DuBois Library, the Canadian Haiku Society, & the California State Library Haiku Archives at Sacramento.

[indra’s net (bottle rockets press, 2003): 25 haibun by Donna Fleischer, out of print & available free at Scribd http://bit.ly/11V4K9f

Art Post-LaBeouf — Medium

Thanks to Maxwell Clark ~

Art Post-LaBeouf The hermeneutics of cryptocurrency as conceptual poetry in networked society

In “Art After Philosophy” (1969), Joseph Kosuth argued that since Duchamp the value of conceptual art, as opposed to formalist art that is valued for its beauty, is “weighed according to how much [it] questioned the nature of art.” A new work of conceptual art can be characterized as a new proposition about what art is. If the artist is successful, we accept their demonstration as proof and expand our concept of what art can be.

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Felix Bernstein Notes on Post-conceptual Poetry [excerpts] | Evening Will Come, May 2014

pic-fbernsteinFelix Bernstein

Felix Bernstein Notes on Post-conceptual Poetry | Evening Will Come, The Volta

Felix Bernstein debuted on YouTube with his real and satirical Coming Out Video in 2008. Since then he’s embodied characters ranging from Amy Winehouse to Lamb Chop to Leopold (peter) Brant. He performed in George Kuchar’s late diary films; Synonym for Untitled (Andrew Lampert’s multimedia piece for the Whitney restaurant); and Red Krayola’s opera Victorine (which he co-directed at the 2012 Whitney Biennial). His criticism has been published, or is forthcoming, in The Brooklyn RailHtmlgiant, and The Boston Review. With Gabe Rubin, he sang Jellicle Cats for nearly four hours on GaussPDF and directed the movies Boyland and Unchained Melody; together they front the punk band Tender Cousins. – Evening Will Come: Bio | The Volta, May 2014

Punctum, the Senior BFA Photography Exhibition Opens at the Silpe Gallery, April 17, 2014 at the University of Hartford, West Hartford, CT

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The Senior BFA photographers are

Terrel Grant • Hannah Klotz • Kimberly  Macdonald • Erin McPeek • Cassandra Mendoza • Katie Miles • Hannah Minor • Sydney Morris • Johanna Pirog • Erin Shaw • Natalie Titone • Christian Welsh

The use of  punctum is based on its definition in the book Camera Lucida by Roland Barthes.

Punctum, the Senior BFA Photography Exhibition Opens at the Silpe Gallery

To the Lighthouse: Breach of Meaning?: Roland Barthes’s View of Haiku

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Roland Barthes’s View of Haiku