11 February 2013

Week 3- Index

P. 198
- 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?
P. 198-199
In the painting Tu m’, how is the index finger establishing the connection between the shifter and its referent?
P. 203
What is the indexical relationship between the photograph (icon) to its object? Why is this?
P. 205
Why 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?

P. 206 
- 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?
P. 206
- 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.
P. 210
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?

P. 216
- 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
P. 217
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?

1 comment:

Evan Crossman said...

1) Explain how the acqusition of language relates to the child's ability to tap into the imaginary. 197

2)Does the system of the index and its significance operate only with a relationship to shifter, or can the index operate effectively as a sign itself?

3)Can the shifter be seen as comparable to a form of media itself?

4) In Ducahmp's work he is unable to render a mirrored sense of self similarly to the autist's. Is it within the symbolic or imaginary that he exploits this internal struggle.

5) What does Duchamp gain from his manipulation of the shifter index relationship he presents in machine optique?

6) Explain the changing style of Duchamp suggested on page 200, and does the timeline presented support the notion that within the imaginary we lack the understanding of language (symbolic)?

7)Outline the difference in relationships that exist within the field of the imaginary and/or symbolic.

8)Define the language of photography? Compare it to the way Duchamp's Tu 'm speaks to us. 205

9) What type of art is produced if multiple signs are isolated and captured? What does this suggest about photography?

10) Does Krauss suggest a need for the symbolic and imaginary to operate in cooperation for art to be successful, or do pieces like Marcia Hafif's suggest the irrelevancy of the relationship?