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:
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?
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