- Krause “As distinct from symbols, indexes establish their meaning along the axis of a physical relationship to their referents.” What does Krause mean by this? And why?
In the painting Tu m’, how is the index finger establishing the connection between the shifter and its referent?
What is the indexical relationship between the photograph (icon) to its object? Why is this?
P. 205Why is it that “the language of rapid exposure which produce a state of rest, an isolated sign, is of course the language of photography .“? How does it describe the isolation of something from within the succession of temporality?
- Krause “The readymade’s parallel with the photograph is established by its process of production. It is about the physical transposition of an object from the continuum of reality into the fixed condition of the art-image by a moment of isolation, or selection. And in this process, it also recalls the function of the shifter. It is a sign which inherently “empty,” its signification a function of only this one instance, guaranteed by the existential presence of just this object. It is the meaningless meaning that is instituted through the terms of the index.” What does Krause mean in the last sentence?
- Krause “Index is juxtaposed to icon and both are then captioned. “With my tongue in my cheek,” is obviously a reference to the ironic mode, a verbal doubling to redirect meaning. But it can also be taken literally. To actually place one’s tongue in one’s cheek is to lose the capacity for speech altogether. And it is this rupture between image and speech, or more specifically, language, that Duchamp’s art both contemplates and instances? Explain how the break between image and speech allows Duchamp’s art to both contemplate and instance.
How has photography become the operative model for abstraction? Why is this concept important?
P. 215- Krause “The painting is thus a sign connected to a referent along a purely physical axis. And this indexical quality is precisely the one of photography.” Why is this?
- Krauss “It is only by disrupting its physical surface and creating discontinuous units that it can produce a system of signs, and through those signs, meaning? What does Krauss mean by this? Examples
Barthes says of the photograph:
Explain how photography produces an illogical conjunction of the here and the formerly? What is the real unreality of the photograph?