User:Emily/20160110: Difference between revisions
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p89 In China calligraphy was elevated to a sophisticated art form. Ancient tradition surrounds the preparation of the hair brushes and the black inks, the quality of the absorbent paper or silk, the inkstone - together known as the "four treasures of the school studio" - as well as the handling of the brushes and the making of the mark. The manufacture of the paper, silk, ink, inkstones and brushes were themselves art forms. These objects were seldom "mere real tools", but often imbued, by association, with a charge or eloquence emanating from the nature of the transcendence of the text or image they were used to create. As Anne Farrer has pointed out, "calligraohy... was throught to be imbued with the qualities of particular persons or groups of people and thus associated with their political social and moral attitudes."<br> | p89 In China calligraphy was elevated to a sophisticated art form. Ancient tradition surrounds the preparation of the hair brushes and the black inks, the quality of the absorbent paper or silk, the inkstone - together known as the "four treasures of the school studio" - as well as the handling of the brushes and the making of the mark. The manufacture of the paper, silk, ink, inkstones and brushes were themselves art forms. These objects were seldom "mere real tools", but often imbued, by association, with a charge or eloquence emanating from the nature of the transcendence of the text or image they were used to create. As Anne Farrer has pointed out, "calligraohy... was throught to be imbued with the qualities of particular persons or groups of people and thus associated with their political social and moral attitudes."<br> | ||
p103 Ideologies aspire to monopolies of "truth", but, as michael Ryan has pointed out, "all models that provide general explanations of the world are to a certian extent theoretical fiction." The perpose of all such illusions, as Marx called them (Debord preferred "distoring effects"), such as art, art histories and religions, is to provide a text that (mis)interprets the physical and psychological effects of the material organisation of a society at a particular time, in order to "remould the whole of the real to its own specifications", to claim the inherent legitimacy of an ideologies may utilise what Schulte-Sasse called a "strategy of textual domination with the foal of robbing the dominated groups, sexes, antions, and classes of the language necessary for interpreting their situation." What we call "reality" is itself, in Norman Bryson's phrase, "aproduction brought about by human activity working within specific cultural constraints." | p103 Ideologies aspire to monopolies of "truth", but, as michael Ryan has pointed out, "all models that provide general explanations of the world are to a certian extent theoretical fiction." The perpose of all such illusions, as Marx called them (Debord preferred "distoring effects"), such as art, art histories and religions, is to provide a text that (mis)interprets the physical and psychological effects of the material organisation of a society at a particular time, in order to "remould the whole of the real to its own specifications", to claim the inherent legitimacy of an ideologies may utilise what Schulte-Sasse called a "strategy of textual domination with the foal of robbing the dominated groups, sexes, antions, and classes of the language necessary for interpreting their situation." What we call "reality" is itself, in Norman Bryson's phrase, "aproduction brought about by human activity working within specific cultural constraints." | ||
*Technology is strongly tied to myth and magical thinking<br> | |||
Artworks: http://we-make-money-not-art.com/interview_with_3/ | |||
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