Formless has ratings and 11 reviews. Martin said: Actually, it’s by Bois and Rosalind E. Krauss. Modern art reassessed thru Bataille. The book borrow. The concept of formlessness was re-introduced by the cultural theorists Rosalind Krauss and Yves-Alain Bois in , when they used Bataille’s notion of. Formless: A User’s Guide, [excerpt]. A User’s Guide to Entropy*. ROSALIND KRAUSS. X MARKS THE SPOT. Sometime in Bruce Nauman made a plaster.
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Heterology puts in an appearance in Bois’ essay on Base Materialism as well, but again it is the purely philosophical aspect that gets most of the attention. Let us now focus our attention on the word: Below we list formlesa of the forms of formlessness that have been explored. Much of this has a familiar ring. And this in turn suggests that what is at issue is the question of boundary or contour, which is to say, of the distinction between figure and ground. One can easily find scientific propositions which imply the ultimate uselessness of everything.
Formlessness – Art Term | Tate
Artaud is not simply advocating transgression per se, the breakup of traditional forms and values per se, but something quite new, something which Derrida has no grounds to dismiss simply because he has never encountered it. It’s hard enough to understand l’art informel when fucking Bataille talks about it, but it’s even more difficult to get it here.
It is also much more, both a theoretical-historical monograph and a manifesto. The dirty word is a word exposing its impropriety, but, rather than doing form,ess by moving toward some desired proper name, it exposes what is not proper and unclean about the proper name, exposing the transposition every name, by itself, is already, the transposition betraying the unspeakable, that which cannot be names.
Formless: A User’s Guide
Formles to this question after hearing the repeated dreams of trauma victims, Freud began to theorize the structure through which a patient is doomed to the compulsive repetition of an event, particularly an event which, far from being pleasurable, is an extreme source of anxiety and terror. This is not a particularly new or even unusual topic.
What is clearly intended as an example of the formless “put to use” can quite easily be seen otherwise as a crouching, black-haired, faceless figure with an elongated head, knees just below the chin, with a right arm extended downward to both encircle the legs and clasp a left arm at the elbow.
In a statement that might have been aimed directly at Bataille’s notions of liberatory eroticism, Freud contends that “the belief in the omnipotence of thought, the unshaken confidence in the capacity to dominate the world Sarah rated it it was amazing Nov 26, In delirium, I seek multiplicity, subtlety and the eye of reason, not rash prophecies.
But this is an issue fraught with difficulties, as our authors are at pains to demonstrate, because there would seem to be two very different ways of approaching such a loss, such a descent: Robert Morris earnestly cuts a huge bolt of felt according to some simple scheme and then hangs it from a wall, where the strands deploy according to gravitational laws nature’s own horizontality. Because, whether or rosallnd the feminine subject is actually at stake in a given work, it is the character of being wounded, victimized, traumatized, marginalized, that is seen as what is at play within this domain.
Nevertheless, sentiments of futility and meaninglessness do not have to spring from anti-scientific preconceptions such as Bataille’s.
To see what your friends thought of this book, please sign up. Order implies restriction; from all rosapind materials, a limited selection has been made and from all possible relations a limited set rosalnid been used. Log in No account? Our authors take as their principal point of departure, not the work of Lacan, Foucault, Derrida, Kristeva, Lyotard, Deleuze-Guatarri, etc.
This machine to collapse a possible, distinct sexual identity is at one and the same time a system constructed within the definition of the informe: Mar 16, Egor Sofronov rated it it was amazing. You really cannot get any better than Bois and Krauss on this subject, even if at some points of this book you wonder whether even they fully formlexs what Bataille was talking about.
Bataille’s “formless” is “base materialism,” but not the flattened “material” surface of Clement Greenberg. The transgression of metaphysics Base Materialism, Horizontality, Pulse, Entropy.
In attempting to take things a bit farther, Krauss borrows a simple example of entropy from the writings of Smithson: Daniel rated it it was amazing Apr 15, There are some compelling exceptions.
And this is certainly one of the keys to the interest our authors take in Bataille. Beverly rated it really liked it Feb 17, Jan 17, Lauren Klotz rated it it was amazing. I like Krauss’s way better. The manner in which this science might actually operate to perform a non-dialectical subversion in, say, a work of art, is not really discussed.
Each represents a set of strategies through which form, meaning, the subject, language, or Art, can be knocked off their pedestals and brought down to earth so that what has been “repressed” can more un easily “return. Or one may give up altogether, and embrace nothing or destruction.
Other Voices (March ), Victor Grauer “Formless: A Review”
To do justice to both Bataille and Artaud, our invocations of Derrida and Freud cannot tell the whole story with respect to the intentions, if not the accomplishments, of these famously “outrageous” poet-thinkers.
The modernist interpretation of modern art, which is an extraction that dares not speak its name, partakes above all in an ontological project: With the advent of post-structuralism, however, he has become, in retrospect, something of a legend, one of those all too necessary “precursors” whose work seems justified more by the use to which it can be put at the present moment than any real value it may ever have had. Caveat Emptor Before proceeding to an evaluation of this work, I must confess that, despite my best efforts, my own response may not be without some degree of bias.
I’m not convinced that Bois himself understands what the formless is. What really interests Krauss about the Smithson piece, however, is not the logic of the carefully deployed mirrors—which she never discusses—but the tired thematics of the mirror as simulacrum, the metaphysics of which she dwells on for the remainder of the essay.
Preview — Formless by Yve-Alain Bois.