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Notes (Main)

\n

criticism, tangents

\n

Seeing: definitions, conditions, expressions

\n
    \n
  1. \"It is seeing which establishes our place in the surrounding world.\" (7)
    2. \n
  2. \"The way we see things is affected by what we know or what we believe.\" (8)
    3. \n
  3. reference to sight's leverage as apperception
    4. \n
  4. \"We only see what we look at\" <--looking as a conscious act/decision to bring seeing into greater immediacy; touching initiates relationship
    5. \n
  5. as such, looking is necessarily relational (9) (vs seeing, which JB seems to consider as unitary, self-sufficient, and total
    6. \n
  6. dialogue subsidiary to vision
    7. \n
  7. example of conceptualization in looking ~ Adam & Eve: nakedness created in mind upon eating the apple, at which point they saw each other differently (48) \n\n
    8. \n
\n

Image (in the singular&plural)

\n
    \n
  1. JB's defn of img: re-x-ed sight, x = {production, creation, etc.}
    2. \n
  2. img there4 destroys [original] ontology of sight by (ironically) its coming into being (10)
    3. \n
  3. img a direct byproduct of increasing individuality
    4. \n
  4. \"direct testimony\": claims images' precision, richness superior to those of lit
    5. \n
  5. \"the more imaginative the work, the more profoundly it allows us to share the artist's experience of the visible\"
    6. \n
  6. b/c divorced from identifiable authority, \"...images of art have become ephemeral, ubiquitous, insubstantial, available, valueless, free\" // language (32)
    7. \n
  7. publicity images: of this moment but not in this moment: \"...never speak of the present. Often they refer to the past and always they speak of the future.\" (130)
    8. \n
\n

Interpretation

\n
    \n
  1. challenges notion of history as self-evident: rather, constituted via relation between past, present (11)
    2. \n
  2. fear of present --> \"mystification of the past\" \n\n
    3. \n
  3. reproduction: \"Because of the camera, the painting now travels to the spectator rather than the spectator to the painting. In its travel, its meaning is diversified.\" (20)
    4. \n
  4. publicity images don't celebrate \"pleasure-in-itself\" but \"is always about the future buyer\" (132) \n\n
    5. \n
\n

Meaning

\n
    \n
  1. links painting's historical uniqueness w/its spatial location s/t reproduction destroys original meaning by fragmenting it [into multiple meanings] (19)
    2. \n
  2. now, considers uniqueness exists, but in \"what [the painting] is\" rather than \"what it says\" (21)
    3. \n
  3. expresses society's consideration of uniqueness as a f(its rarity)
    4. \n
  4. doesn't consider meaning as residing in the painting,  but as transmittable and therefore reduced to status of information (24)
    5. \n
  5. contextual (29)
    6. \n
\n

Value

\n
    \n
  1. before camera: paintings originally embedded w/memory of that structure that housed them (19)
    2. \n
  2. married to price and set by valuation of historical prominence (21)
    3. \n
  3. JB decidedly pessimistic to publicity images owing their value to being a signifier of affluence and to being a gift for them (135)
    4. \n
  4. oil painting : \"spectator-owner\" vs publicity image: \"spectator-buyer\" (141)
    5. \n
\n

Perception

\n\n\n
    \n
  1. perspective = key explanatory feature wrt differences in perception over time (16) \n\n
    2. \n
  2. See 1923 - Dziga Vertov (Soviet film director) - comments on camera eye: \"'Free from the boundaries of time and space, I co-ordinate any and all points ofthe universe, wherever I want them to be.'\" (17)
    3. \n
  3. camera confessed that time+space inseparable s/t perception relative to these two dimensions jointly considered
    4. \n
  4. credits camera, esp movie camera, to purporting the illusion of a center
    5. \n
\n

Experience

\n
    \n
  1. compositional unity (painting) = 1 of chief determinant of ptg's power (13)
    2. \n
  2. acknowledges silence and stillness in original paintings that are absent in their corresponding reproductions, which, being information, are never \"silent and still\" (31)
    3. \n
  3. \"Their historical testimony is literally there before our eyes\"; diminishes temporal distance between creative act, perception
    4. \n
  4. innocence mandates abstinence from a) overarching/imposed sociopolitical view and b) ignorance
    5. \n
  5. usually experience publicity images as passing us whereas we are the ones passing them (130) \n\n
    6. \n
\n

Depiction

\n
    \n
  1. non-European traditions: ex. of sexual attraction - active portrayal of shared sexual love r/t object of sexual desire (53) vs in Eur traditions, nakedness points to some aspect of individiuality (52)
    2. \n
  2. additional relationship b2n artist, depicted emerge in the painting itself, a relationship to which the spectator remains an outsider (58)
    3. \n
  3. conjunctive to Seeing.7(1): photography shows nudity (i.e., nakedness in process) b/c moments of nakedness strung together construct fantasy, whereas one moment is banal and \"will be chilling\" (60) \n\n
    4. \n
  4. oil paintings contain embedded itent of possession w/in art form (83-5) \n\n
    5. \n
  5. publicity images form a language that parades glamor, or \"the state of being envied\" (131), which relies on a lack of sharing (133) \n\n
    6. \n
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Lecture - 21.10.09

\n

\"sociology of art\"

\n

berger

\n
    \n
  1. clearer understanding of art + ...view of art history + of [lived] world today
    2. \n
  2. marxist view: today = f(history) r/t f(natural, inevitable) ~ reinventing the past in the interests of the present: art, cult there4 pol issues
    3. \n
  3. ptg-prop-ideol
    4. \n
  4. ptg n/o prop b/a + @ prop depiction (esp oil ptg) [Depiction 4.3]: reveals owner's (burgeouise's) attit to prop and there4 to proletariat
    5. \n
  5. mementomori = remember the transience of life (art-historical/ philosophical) \n\n
    6. \n
  6. interretive challlenges: contemporary ex of baseball cap worn backwards (q of intoxication, taste, fashion: even generational hindsight attests to this 3rd pt) \n\n
    7. \n
  7. art as evidence of n/o society (whole) b/a as one unfairly imbalanced towards men (active/passive, act/appear, subj/obj) \n\n
    8. \n
  8. situational tension? wherein lies the diff b2n explicit art and pornographic imgs? (difference wrt intention?) categories as contradistinction?
    9. \n
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Notes (Main)

\n

cs conscious, csc consciousness, R reality, F fantasy, A art

\n

Works of Art and Mere Real Things

\n
    \n
  1. title ~ leading question (law) (3)
    2. \n
  2. likens diff b2n \"basic action and a mere bodily movement\" to that b2n \"an artwork and a mere thing\" in that he disagrees that \"the artwork just is the material from which it is made\" (5)
    3. \n
  3. draws on Wittgenstein \n\n
    4. \n
  4. tries to address Q of \"what is art?\" by w/theory of art as mimetic (in base, simple terms) (7) using a hypothetical ex. of a mirror
    \n\n
    5. \n
  5. Sartre: the only csc is that which is cs of itself (10)
    \n\n
    6. \n
  6. Plato: n/t art = mimetic, but such art undesirable (11) \n\n
    7. \n
  7. suggests closer look @ gap b2n imitation&reality as a possibly \"more perspicuous way of appreciating the gap between art and life\" (13)
    8. \n
  8. resemblance, imitation separate
    9. \n
  9. Aristotle: pleasure in imitation (14); knowledge of x being an imitation y presupposes pleasure (knowl abt pleasure's src ID) \n\n
    10. \n
  10. imitations n/o false things b/have + f(g=representation(real)) [uses Nietzche's B.Tragedy] (18)
    \n\n
    11. \n
  11. 10.4 => cannot leverage (dispassionate attention - Kant's Critique) as sole criterion b/c dispassionate attit is employable for any object (22)
    12. \n
  12. nonmimetic features essential to art (e.g., Orson Welles '30s broadcast inciting fear) (24) (links to cognitive component#1: 1-1.9)
    13. \n
  13. Nietszche: Aethetic Socratism (rationality dilutes A) (25) \n\n
    14. \n
  14. A, then, a convention insolong A = f(R's comparison/contrast(features)) (30-1): \"dialectical comedy\" in line w/conventional theory of art
    15. \n
  15. counter: conventions of honors, though (artwork has honor of being such), and how are these \"earned\"? \"And what about defeating conditions?
    16. \n
\n

Content and Causation

\n
    \n
  1. establishing artwork's identity (33)
    \n\n
    2. \n
  2. borrowing from others \n\n
    3. \n
  3. Goodman: suggests aesth diff +imp in a work vs Danto's concern is ontological and whether ontology affects aesthetics (42) \n\n
    4. \n
  4. similar works: later work perhaps not A b/c anachronistic (historical element) (45) \n\n
    5. \n
  5. (Descartes's Meditations: representational theory) causal constrast: ex.of World Trade Ctr photograph bvo WTC's actual existence enabling photograph's existence vs an img on photographic paper that appeared mysteriously ~ diff entities (48) \n\n
    6. \n
  6. (Wittgenstein's Investigations: cause prerequisite to [identifying correct] meaning) ex. of sum of integrals as occurring in a tribe's decor, but equating its meaning to what is supposed contemporarily depends on \"how these marks arrived on a surface\" (50): notations' meanings enables q-ing of whether syntax exists and then, what it means
    7. \n
  7. 2-6+2-7 => \"forgery...too stands in the wrong relation to its maker to be supposed a statement of his\" (51) (innocent oblivion, q of motive)
    8. \n
  8. raises possibility of artwork transcending A, R by incorporating the boundaries b2n the latter into itself--\"by incorporating a definition of itself as such\" (51)
    9. \n
  9. use of materials in rendition: Shiko Munakata (modern Japanese woodcut master) - \"'If there is anything here that is inferior to an uncarved block, then I have not created my print.'\" from Charles E. Tuttle's 1958, ed Yojuro Yasuda, Shiko Munakata p.5
    10. \n
\n

Philosophy and Art

\n
    \n
  1. (previous) philosophy discusses only those elements of A as they are/become relevant to the broader philosophical network [of objects of inquiry] (55)
    2. \n
  2. (current) symbiotic relat b2n the 2 wrt A's essence (57) - Hegel on history: inevitable that x becomes cs of itself (56)
    3. \n
  3. definability of A and its philosophy dep on boundary demarcation b2n phil, A (57) \n\n
    4. \n
  4. alternative approach: performative r/t descriptive; r/t features, what about identifying A based on whether it maintains a certain relationship w/something else? (63) (applied after Mandelbaum's similar analysis w/games) \n\n
    5. \n
  5. \n
  6. relationship b2n imitation, resemblance (66-71) \n\n
    7. \n
  7. dual meaning of imitations (71)
     \n\n
    8. \n
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I

\n
    \n
  1. Susanne Langer (Philosophy in a New Key): recurrent pattern of certain ideas bursting into ideological landscape as a promise to explain everything (3)
    2. \n
  2. cultural analysis is interpretive w/meaning as goal (5)
    3. \n
\n

II

\n
    \n
  1. calls for applied operationalism to cultural analysis to understands signifying structures (6)
    2. \n
  2. ex of ethnography (Gilbert Ryle's \"'thick description'\"): \"a stratified hierarchy of meaningful structures\" (twitch, wink, parody, ...) (7)
    3. \n
  3. problem w/ethnography is its inclination towards observation r/t interpretation: we presume backgd info w/firsthand exam (9)
    4. \n
  4. proposes a requisite exam of structures w/r/t their \"social ground and import\"
    5. \n
  5. (first) ethnographic challenge remains seeing through the seeming ephemerality of thick descriptions (10)
    6. \n
\n

III

\n
    \n
  1. anthropology misconceives q of culture as debate b2n subjective, obj; human action = symbolic and there4 such a q is unaskable
    2. \n
  2. ontological status irrelevant b/c in any case, worldly; real q concerns \"their import\"
    3. \n
  3. such analysis overlooked by tendencies \"to reify\" and \"to reduce\" culture (11)
    4. \n
  4. attacks culture's \"privacy theories of meaning\" (12)
    5. \n
  5. differences in understanding not psychological, but structuralist/symbolic (13)
    6. \n
\n

IV

\n
    \n
  1. apprehending interpretation (and scaling it) demands precise callibration of the interpreted's formulations of its symbolic systems abt which interpretation occurs (14)
    2. \n
  2. underscores need for awareness concerning the inseparability of \"the mode of representation and substantive content\" (16)
    3. \n
\n

V

\n
    \n
  1. culture's meaning evident in its lived behavior r/t than available thru a disrobing of the underlying relationships b2n its [these] artifacts in motion (17)
    2. \n
  2. calls into Q the reliability of coherence as a criterion for validity [of cultural analysis]
    3. \n
  3. \"A good interpretation of anything...takes us into the heart of that of which it is the interpretation\" (18); further, \"TO set forth symmetrical crystals of significance, purified of the material complexity in which they were located, and then attribute their existence to autogeneous principles of order...is to...imagine a reality that cannot be found\" (20).
    4. \n
\n

VI

\n
    \n
  1. 3 features of ethnographic description: interpretive, --of social discourse, --in a way that attempts to preserve for revistation and perusal
    2. \n
  2. anthropologists' fallacous models (21)
    \n\n
    3. \n
  3. \"...where an interpretation comes from does not determine where it can be impelled to go\" (23)
    4. \n
\n

VII

\n
    \n
  1. interpretion resista conceptualization, but cultural theory as a science must be conceptualized (24)
    2. \n
  2. cultural theory \n\n\n
    3. \n
  3. social confoundment occurs when cultural forms are called forth in atypical contexts (vs cease operation) (28)
    4. \n
\n

VIII

\n
    \n
  1. \"Cultural analysis is intrinsically incomplete\" (29); depth, incompleteness dir-ly related
    2. \n
  2. \"...interpretive anthropology['s]...progress is marked less by a perfection of consensus than by a refinement of debate.\"
    3. \n
  3. \"The essential vocation of interpretive anthropology is not to answer our deepest questions, but to make available to us answers that others...have given...\" (30).
    4. \n
\n

 

\n

 

\n

 

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Notes

\n

Focus: \"exploring the interconnexions b2n the diff f(x)s perf by the same item of culture\" (337)

\n

Myths (non-sociological, sociological, structuralist)

\n
    \n
  1. not errors b/c ref to x that can't exist
    2. \n
  2. features \n\n
    3. \n
\n

Comparative theories

\n
    \n
  1. [can] explain diff myth components (338)
    2. \n
  2. taxonomy rests on degrees of diff
    \n\n
    3. \n
\n

Formulations & critique (respectively fr above)

\n
    \n
  1. (a) Frazer: literal; (b) Taylor: metaphorical personalz \n\n\n
    2. \n
  2. (a) Mueller; (b) Cassirer: perception of expr itself r/t sci&phil (of things) // humans' double exper(world)
    \n\n
    3. \n
  3. (a) Jung: nature of human mind, universal ucs localized in myths; (b) Freud: expr{fundamental properties} in \"what produces myth? and what do mythical symbols mean?\", msgs coded + set(msgs) condensed (341), myths as daydreams employing condensation, displacement, splitting
     \n\n
    4. \n
  4. (a) Durkheim: reps values of social life, articulates social structure (343), categorical framework for world (344); (b) Malinowski: diff in 1) lacks epistemological, 2) has \"earthy pragmatism\", focused on \"justificatory msg\"
    5. \n
  5. (a) Raglan: myth as ritual (as Durkheim's #1); (b) Graves: D's #1 + there4, historicization thereof (345)
    6. \n
  6. Leach: myth & ritual communicate identical info bvo diff means; captures and integrates previous 2 theories; weakness of all sociological theories seems to be its inability to ans why myth itself must be used to explain those truths that they claim myths do
    7. \n
  7. Levi-Strauss
      \n
    1. \n
        \n
      • myth doesn't explain world events b/c other means available (346)
        • \n
      \n
        \n
      • \"precursor of...the sci of abstract relations\"
        • \n
      • main f(x) = mediative (ex. Oedipus myth sets up contradictions b2n man's autochthuonous and non- nature & mediates); recurring analysis of opposition b2n nature, culture
        • \n
      \n
      2. \n
      \n
    1. \n
        \n
      • \"all cultural forms express basic structural characteristics of the mind\": binary iterations
        • \n
      • structure = key b/c => content = reversible --> diff from narratives (wherein sequential integrity = inviolable); treats myths' narrative facet as secondary if not irrelevant (349)
        • \n
      \n
      2. \n
    \n\n\n\n\n\n\n
    8. \n
\n

[Cohen's] Reflections

\n
    \n
  1. vs L-S, myths' narrative f(x) prime b/c \"anchors the present in the past\"
    2. \n
  2. legitimation via temporal referential device (350)
    3. \n
  3. ref to Focus above: \"functional economy\" (351)
    4. \n
  4. power of myths' socially & individually, rooted in their ability to intimate primordial reality thru use of what is perceived
    5. \n
  5. splitting of myth f(x)s --> its decline in significance (352)
    6. \n
  6. doesn't understand how myth = precursor to sci (352): \"If one recognises the significance of the narrative element and the processes of establishing correspondences between layers of structure and meaning, then  myth is akin to poetry and narrative fiction, not to science\" (353). (disagree - isn't the rationale involved scientific? wonder if he believes in a strict demarcation b2n sci, art)
    7. \n
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Notes

\n

The Raid

\n
    \n
  1. he&wife attend Balinese cockfight (illegal) in midst of police raid
    2. \n
  2. the whole crowd/scene/stadium = \"superorganism\"; within it, they were invisible
    3. \n
  3. by contrast, in village: mainstage act
    4. \n
  4. community's acceptance of them apparent in the couple getting teased; privy to \"'peasant mentality'\"
    5. \n
\n

Of Cocks and Men

\n
    \n
  1. \"deep psychological identification of Balinese men w/their cocks\"
    2. \n
  2. much of social discourse b. on comparisons b2n former 2
    3. \n
  3. Balinese revulsion against animal-like: babies forbidden to crawl; incest +/t bestiality; eating hurriedly
    4. \n
  4. \"...the Balinese man identifying not just with his ideal self, or even his penis, but also, and at the sametime, with what he most fears, hates, and ambivalence being what it is, is fascinated by--The Powers of Darkness.\"
    5. \n
  5. as such, entrenched belief in spirits, sacrifices, ...
    6. \n
\n

The Fight

\n
    \n
  1. everyone somehow participates (in the most peripheral sense, akin to bystanders who aren't really \"watching\")
    2. \n
  2. [describes technicalities of setup, rules, ...]
    3. \n
  3. analogous to Erving Goffman's \"'focused gathering'--gathering\"-a set of persons engrossed in a common flow of activity and relating to one another in terms of that flow\"
    4. \n
\n

Odds and Even Money

\n
    \n
  1. Balinese overcomplicate
    2. \n
  2. [describes betting particulars]
    3. \n
  3. conjures q of the implications and meaning of depth in Balinese betting
    4. \n
\n

Playing with Fire

\n
    \n
  1. Jerry Bentham's concept of \"'deep play'\": \"play in which the stakes are so high that it is, from his utilitarian standpoint, irrational for men to engage in it at all\"
    2. \n
  2. depth derived not fr amt of $ but fr what that $ incites: \"the migration of the Balinese status hierarchy into the body of the cockfight\"; \"a simulation of the social matrix\"; Goffman - \"'a status bloodbath'\"
    3. \n
  3. [delineates hiearchal information embedded and/or (choice depends on the specific tenet) played out in cockfights]; => sociological-social ties
    4. \n
\n

Conclusion

\n
    \n
  1. cockfight significant n/b reinforces existing social beliefs, b/b provides metasocial commentary: \"[The cockfight’s] function, if you want to call it that, is interpretive: it is a Balinese reading of Balinese experience; a story they tell themselves about themselves.\"
    2. \n
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Museums

\n

aura, experience, truth-to-nature wrt archaeologically informed/based cultural experience

\n

interactivity as a necessary component of the rendition of true cultural heritage? to what degree is our understanding already implicitly cognized as a dialogue between the anachronistic past cultural artifacts and our resituation/re-dressing of those artifacts w/contemporary garb? can we have an orthodox (didactic) lesson, as it were? or, do digital media simply bring out and more apparently deploy the oft-overlooked extant reality that we are interactive?

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Do Museums Love Us Back?", "creators": [], "abstractNote": "", "websiteTitle": "", "websiteType": "", "date": "", "publisher": "", "place": "", "DOI": "", "citationKey": "", "url": "http://www.youtube.com/watch?gl=GB&v=gaFbmuEUdwI", "accessDate": "2009-10-23T14:04:50Z", "shortTitle": "", "language": "", "rights": "", "extra": "", "tags": [], "collections": [], "relations": {}, "dateAdded": "2009-10-23T14:04:50Z", "dateModified": "2009-10-23T14:04:50Z" } }, { "key": "IVVQ35RH", "version": 1, "library": { "type": "group", "id": 6311, "name": "culture, arts, aesthetics, ...", "links": { "alternate": { "href": "https://www.zotero.org/groups/culture_arts_aesthetics_...", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/6311/items/IVVQ35RH", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/culture_arts_aesthetics_.../items/IVVQ35RH", "type": "text/html" } }, "meta": { "createdByUser": { "id": 64785, "username": 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Comments

\n

1-4.4

\n

Insofar can this self-revelation be useful, if it is based in one's conception of oneself?

\n

1-5.1

\n

Confusing. If the internal (csc cs of itself) and external (csc cs of objects) discoveries are inseparable, then the reference here is to individual csc? Sartre's Pour-soi (csc cs of itself) distinguishes itself from the objects of which it is cs and sees itself as separate; implication thus is at the psychological level of recognition rather than the metaphysical? Otherwise how are the two states of cs recognition separate for purposes beyond [Sartre's] pedagogy? Note that Danto includes that without the simultaneous recognition of inside-outside, \"the experience of itself as Pour-soi...would have been metaphysically sideless\" (10). ~Ontological split

\n

1-6

\n

Perhaps Plato overlooks the potential of art to bring one to the most fundamental ontology, i.e., that which he considers is the only ontology? He might have focused on the conflated result of canvas and artwork (to use Danto's words) at the expense of acknowledging/realizing not only that a difference exists, but that it is one arguably located in the experiential realm. LU Plato's writings on experience.

\n

1-7

\n

This approach should be fruitful or, at the least, insightful wrt that element--that I hypothesize is experiential--that unites art, life and imitation, reality.

\n

1-11

\n

Is tihs a reason underpinning the view of art as a subset of aesthetics r/t the reverse?

\n

anything that follows

\n

2-1.4

\n

Why, then, is so much faith placed in modern medicine without the seeming level of qualification a general truth such as it is claimed here, necessitates?

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