Today I have brought together all the quote I want for the wrapper of the feuilleton. It is these wrappers, used to help distribute the newspapers, that WB often used to make his notes of for the Arcades Project.
How Beautiful is the street!
Walter Bendix Schönflies Benjamin ( 15 July 1892 – 26 September 1940) was a German-Jewish intellectual, who functioned variously as a literary critic, philosopher, sociologist, translator, radio broadcaster and essayist.
Use the Feuilleton to guide you from the statue of Christopher Columbus to the Jardines de Walter Benjamin, where you will see some sculptures by the artist JD Holden (1965, Switzerland), made as a temporary memorial on the eve of Benjamin’s death in Port Bou, Spain.
In 1839 it was considered elegant to take a tortoise out walking.
This gives us an idea of the tempo of Flanerie in the arcades. [M3,8]
You are passing through a great city that has grown old in civilisation and your eyes are drawn upward, for in the public squares stand motionless figures, repeating to you the solemn legends of Glory, most heedless of men, the most unhappy or the vilest, a beggar or a banker; War, Science and Martyrdom. Some are pointing to the sky to which they aspired, others to the earth, from which they sprang. They brandish, or they contemplate, what was the passion of their life: a tool, a sword , a book, a torch. Even if you are the most heedless of men, this bronze phantom takes possession of you for a few minutes, and commands you, in the name of the past, to think of things which are not of the earth. Such is the divine role of sculpture. [J34,3]
Fees for feuilletons went as high as two francs per line. Authors would often write as
much dialogue as possible so as to benefit from the blank spaces in the lines. [U9,3]
An intoxication comes over the man who walks long and aimlessly through the streets. [M1,3]
The best way, while dreaming, to catch the afternoon in the net
of the evening is to make plans. The flaneur is planning. [M3a,2]
The Press brings into play an overabundance of information, which can
be all the more provocative the more it is exempt from any use. [M16a,1]
On the feuilleton: It was a matter of injecting experience - as it were, intravenously - with the poison of sensation; that is to say, highlighting within the ordinary experience the character of immediate experience. To this end, the experience of the big-city dweller presented itself. The feuilletonist turns this to account. He renders the city strange to its inhabitants. [m3,a2]
The student “never stops learning”; the gambler “never has enough”;
for the flaneur, “there is always something more to see.” [m5,1]
“Man as civilised being, as intellectual nomad, is again wholly microcosmic, wholly homeless,
as free intellectually as hunter and herdsman were free sensually.” [m5,6]
Rest assured that when Victor Hugo saw a beggar on the road, he saw him for what he is, for what he really is in reality: the ancient mendicant, the ancient friar that forbade ownership of property, subsisting mostly on alms, on the ancient road. [C5,1]
As long as there is still one beggar around, there will still be myth. [K6,4]
Showing posts with label Prometheus. Show all posts
Showing posts with label Prometheus. Show all posts
Introducing Walter Benjamin
Introducing Walter Benjamin
Howard Caygill, Andrzej Klimowski (Contributor)
Publisher: Totem Books
ISBN: 1874166870 DDC: 838.91209 Edition: Paperback; 1994-03-16
"All future is the past. The past of things is the future of the "I" time. But past things have futurity." p23
"A philosophy that does not include the possibility of soothsaying from coffee grounds...cannot be a true philosophy." p.40
Kant = pure reason. Hamann = "not only the entire capacity to think rests on langauge, but language is also the centre of the misunderstanding of reason itself."
BUT what about art!! reason without language!!
Angelus Novus - Klee
Haptic art = egyptian art and hollow relief this makes me think of Braille
Optic art = Greek are with foreshortening, shadows - but "depth" is still restricted
3D art - late roman art - "the space between bodies appears measurable, and although still organised in relation to a plane, the objects have no tactile connection to it. This is achieved by deep shadowing and the objects tend to blur into their environment."
so my question here is the position of the white cube. if art is in a white cube, it cannot blur into it´s environment. Caro puts his work into a field of green (grass, for example). see also the female artist talking about her little people sculptures in an opulent room, rather than a white cube.
p.75 "Graphic art is the art of the applied line. Painting is the art of the emergent line."
so series 2 of Abstract heads creates "emergent lines" between the individual forms on the individual canvasses
"The collector is the saviour of objects that might otherwise be lost." p.77
"The place where the word is most debased - the newspaper - becomes the very place where a rescue operation is mounted." p.131
"a halo of uniqueness and authenticity" p.135
"The unique phenomenon of distance no matter how close an object may be"
"To substitute a plurality of mechanically reproduced copies for the unique original must destroy the very basis for the reproduction of auratic works of art - that singularity in time and space on which they depend for their claim to authority and authenticity." p.137
do I believe that my works of art have authority? do they have an aura? should i give up now?????
The past witnesses of the present (the arcades of Paris)
"Photography which renders traditional painting obsolete will liberate the colour elements of cubism" p.155
"In the ruins of great buildings, the idea of the plan speaks more impressively than in lesser buildings, however well-preserved they are." p.165
Howard Caygill, Andrzej Klimowski (Contributor)
Publisher: Totem Books
ISBN: 1874166870 DDC: 838.91209 Edition: Paperback; 1994-03-16
"All future is the past. The past of things is the future of the "I" time. But past things have futurity." p23
"A philosophy that does not include the possibility of soothsaying from coffee grounds...cannot be a true philosophy." p.40
Kant = pure reason. Hamann = "not only the entire capacity to think rests on langauge, but language is also the centre of the misunderstanding of reason itself."
BUT what about art!! reason without language!!
Angelus Novus - Klee
Haptic art = egyptian art and hollow relief this makes me think of Braille
Optic art = Greek are with foreshortening, shadows - but "depth" is still restricted
3D art - late roman art - "the space between bodies appears measurable, and although still organised in relation to a plane, the objects have no tactile connection to it. This is achieved by deep shadowing and the objects tend to blur into their environment."
so my question here is the position of the white cube. if art is in a white cube, it cannot blur into it´s environment. Caro puts his work into a field of green (grass, for example). see also the female artist talking about her little people sculptures in an opulent room, rather than a white cube.
p.75 "Graphic art is the art of the applied line. Painting is the art of the emergent line."
so series 2 of Abstract heads creates "emergent lines" between the individual forms on the individual canvasses
"The collector is the saviour of objects that might otherwise be lost." p.77
"The place where the word is most debased - the newspaper - becomes the very place where a rescue operation is mounted." p.131
"a halo of uniqueness and authenticity" p.135
"The unique phenomenon of distance no matter how close an object may be"
"To substitute a plurality of mechanically reproduced copies for the unique original must destroy the very basis for the reproduction of auratic works of art - that singularity in time and space on which they depend for their claim to authority and authenticity." p.137
do I believe that my works of art have authority? do they have an aura? should i give up now?????
The past witnesses of the present (the arcades of Paris)
"Photography which renders traditional painting obsolete will liberate the colour elements of cubism" p.155
"In the ruins of great buildings, the idea of the plan speaks more impressively than in lesser buildings, however well-preserved they are." p.165
Why? A question of justification.
The other day I was chatting with Miguel (one on the collaborators on my "Prometheus" project) about the use of scaffolding in a dance/performace. He suggested that it should be gold. Later he got some dental floss to talk about the idea of making a "web" in the shape of an Abstract Head, that would connect the audience, or for them to break as they left the theatre.
And then I realised what "justification" means. It means asking "Why?" about everything that we do. I don't want my audience to break things as they leave. Why? Because "Prometheus" is a work of creation. I want to create, to create, to create.
And then I realised what "justification" means. It means asking "Why?" about everything that we do. I don't want my audience to break things as they leave. Why? Because "Prometheus" is a work of creation. I want to create, to create, to create.
Everything I hate about Contemporary Art.
Here's some Altermodernism:
I hate video as art.
I hate conceptualism as art.
I hate needing to explain process as art.
I hate performace as art.
I hate interaction as art.
I hate politics as art.
I hate sound as art.
That's a fairly good list for Breaking the Boundaries.
Here's some brilliant art that ticks all my hates. Well done Marcus Coates.
Here's a fabulous review of Marcus Coates.
And you can see an installation view of "Birdsong" here.
I hate video as art.
I hate conceptualism as art.
I hate needing to explain process as art.
I hate performace as art.
I hate interaction as art.
I hate politics as art.
I hate sound as art.
That's a fairly good list for Breaking the Boundaries.
Here's some brilliant art that ticks all my hates. Well done Marcus Coates.
Here's a fabulous review of Marcus Coates.
And you can see an installation view of "Birdsong" here.
YouTube - Les Sept Planches de la ruse
Although based on a Tangram, this shows one direction my Abstract Heads work could take.
video art ideas
http://old.gold.ac.uk/art/exhibitions/archive/mfa2009/pages/nh/03.html
I rather liked the idea in this video.... playing it backwards gives a weird feel to the movement of the material. It would be interesting to explore the idea of filming a dancer, and playing it backwards as the dancer performs in front of the video.
I rather liked the idea in this video.... playing it backwards gives a weird feel to the movement of the material. It would be interesting to explore the idea of filming a dancer, and playing it backwards as the dancer performs in front of the video.
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