Ninfa moderna : Essai sur le drapé tombé, Georges Didi-Huberman; Publisher - Gallimard; ISBN - 978-2070763757L'image survivante: Histoire de l'art et temps des fantômes selon Aby Warburg, Georges Didi-Huberman; Publisher - Éditions de Minuit; ISBN - 9782707317728.

In this paper I want to do the following things. First I want to show that in the part of the Theaetetus where the relationship between knowledge and perception is examined, the concept of knowledge that is in question is very clearly characterized. We are left in no doubt as to what is to count as knowing. Secondly I want to unravel in some detail the case that Socrates puts on Protagoras’ behalf where he draws on what Protagoras actually wrote (...) (151 E-152C); as opposed to what he may have taught secretly to his pupils (152C-160D). Thirdly I wish to argue that if we let the dialogue speak for itself, it is manifest that this case put up on Protagoras’ behalf at 151 E-152C is not overthrown; it is not even shaken. (shrink)

Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...) and belief, but they can also lead to a different common sense, a sensorium – a sensorial medium and an aesthetic mediation open to a new world and to new experiences. -/- By investigating mimetism as a fundamental and polymorphic aesthetic performance, this issue of «Aisthesis» aims to rethink the concept, value, and function of mimesis and its media in the context of camouflage, simulation, and dissimulation, where images do not reveal themselves as such, but are to be perceived unambiguously as what they are not – as hieroglyphs or puzzles. In the animal kingdom, as well as in war or in ordinary public life, camouflage consists in taking on the traits, colours, and shapes of a given form or environment. This is a twofold process: on the one hand, by blending two or more shapes in one, the camoufleur seeks to remain hidden and to mislead the others in order to keep a vital secret or an ephemeral whim; on the other hand, however, he/she aims to be recognized by a specific milieu or group, thus betraying a craving for communication and familiarity, as well as a need to convey an agreeable appearance and to share a way of life. (shrink)

In this paper I want to do the following things. First I want to show that in the part of the Theaetetus where the relationship between knowledge and perception is examined, the concept of knowledge that is in question is very clearly characterized. We are left in no doubt as to what is to count as knowing. Secondly I want to unravel in some detail the case that Socrates puts on Protagoras’ behalf where he draws on what Protagoras actually wrote (...) ; as opposed to what he may have taught secretly to his pupils. Thirdly I wish to argue that if we let the dialogue speak for itself, it is manifest that this case put up on Protagoras’ behalf at 151 E-152C is not overthrown; it is not even shaken.In that part of the dialogue where the question is under examination whether or not knowledge and perception are the same, Socrates uses an idealized concept of knowledge. That is, he restricts the use of the word by setting down what he will consider to be the essential characteristics of knowledge, the sufficient and necessary conditions of its being instantiated. An excellent piece of philosophical procedure. (shrink)

Because anticipated and retrospective regret play important roles in practical deliberation and motivation, better understanding them can illuminate the contours of human agency. However, the possibility of self-ignorance and the fact that we change over time can make regret—especially anticipatory regret—not only a poor predictor of where the agent will be in the future but also an unreliable indicator of where the agent stands. Granting these, this paper examines the way in which prospective and, particularly, retrospective regret can nevertheless yield (...) important insight into the sorts of creatures we are, both generally and individually. The experience of retrospective regret can show a person she values something in a way she did not know or that she is (or was) a different person than she had thought, insights which can factor into forward-looking, or prospective, deliberation. Such instances of revelatory regret reveal something to the agent about herself as agent. I examine two cases of agential self-ignorance. In the first, the experience of regret reveals what the agent values, not only to others but even to the agent himself. In the second, the agent anticipates experiencing regret for an action but does not experience the regret, suggesting that the agent did not value the rejected alternative in the way she thought. Anticipatory regret is forward-looking and can play an important role in practical deliberation. But insofar as anticipatory regret flows from one’s imperfect judgment and prospection about oneself, retrospective regret can be an important corrective in helping the agent understand her own standpoint. (shrink)

Fish Night, an episode of LOVE DEATH + ROBOTS (S01E12, 2019) based on a 1982 short story by Joe R. Lansdale, can be interpreted as an allegory of the impossibility of immersive experience: if real, it is deadly, because the images are no longer such or ghosts but living beings present in a shared environmental habitat, acting with but also against the subject, in turn no longer a spectator. Comparing the story and film, and ancient ekphrastic literature, I discuss, in (...) a trans-medial imaginary genealogical perspective, the symptoms of this cultural topos and of the regressive desire for immersion and for transparent immediacy that shapes and drives it, dwelling in particular on the ambivalent phenomenological and ontological relations between living bodies, pictures and media as deep time-bending. (shrink)

Potentialities of attention and distraction with respect to images are critically reprised by Neapolitan artist Domenico Antonio Mancini. In Landscapes (2019), Google Street View addresses painted on canvases take the place of outlying areas of Italian cities, and of canonical oil ‘vedute’ paintings, obliging the viewer to switch from aesthetic absorption to a multitasking, reflexive attention enabled by the tools of mobile devices and the operative agency between the displayed and depicted images. Attracted by the ephemeral, geo-localized vistas displayed on (...) their smartphones, spectator-users must deal with the dynamis of the on-line GSV images: rhetorical and predictable, though, at the same time, and perhaps unintentionally, serendipitous and figural. (shrink)

En el verano de 1947, Yves Klein, Claude Pascal, Armand Fernández, sentados en la playa de Niza: contemplan el mar y el cielo azul, no hacen nada, y hacen declaraciones sobre el arte que llegará, sobre el Arte y el Gran Estilo del Futuro. A partir de ese momento, y de esas palabras, cada una de sus vidas cambia radicalmente: se convertirá en una vida nueva, una vida de artista sin obras, hecha solo de palabras, narraciones, gestos. En ese episodio, (...) nace el Nouveau Realisme y la voluntad artística de la superación del problema del arte según el Modernismo y la Action Painting. En ese episodio y en su narración, hecha sucesivamente por los tres jóvenes artistas, se puede localizar el nacimiento del propio y auténtico mito del artista contemporáneo. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...) and belief, but they can also lead to a different common sense, a sensorium – a sensorial medium and an aesthetic mediation open to a new world and to new experiences. -/- By investigating mimetism as a fundamental and polymorphic aesthetic performance, this issue of «Aisthesis» aims to rethink the concept, value, and function of mimesis and its media in the context of camouflage, simulation, and dissimulation, where images do not reveal themselves as such, but are to be perceived unambiguously as what they are not – as hieroglyphs or puzzles. In the animal kingdom, as well as in war or in ordinary public life, camouflage consists in taking on the traits, colours, and shapes of a given form or environment. This is a twofold process: on the one hand, by blending two or more shapes in one, the camoufleur seeks to remain hidden and to mislead the others in order to keep a vital secret or an ephemeral whim; on the other hand, however, he/she aims to be recognized by a specific milieu or group, thus betraying a craving for communication and familiarity, as well as a need to convey an agreeable appearance and to share a way of life. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

My discussion addresses the differences between analytic and continental philosophy concerning the use of logic and exact reasoning in philosophical practice. These differences are mainly examined in the light of the controversial dominance of Hegel's concept of logic (and theory of concept) in twentieth-century continental philosophy. The inquiry is developed in two parts. In the first (Sections 1-2), I indicate some aspects of the analytic-continental divide, pointing to the role that the topic 'logic and philosophy' plays in it. In the (...) second part (Sections 3-6), I give a short account of the views of logic which are typical of the three main trends of continental philosophy (see Table 1). I also suggest how, with the aid of some typical analytical devices, some continental 'anti-logical' attitudes may be corrected, on their own terms. (shrink)

What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when a (...) performative utterance of the artist about his art takes the place of a real piece of artwork seen or perceived, or that may be seen or perceived? For Andy Warhol, «wasted space is any space that has art in it.» In the spring of 1958, in Paris, an artist already well-known among the neo-avantgardes and accredited by the international art-world, shows up empty-handed and presents himself as a painter without paintings in a empty space. In a singular never-wasted space, Yves Klein displays himself as a snob, with an extraordinary showbiz glamour and literally sine-nobilitate, without the traditional marks of artistic manual skills. Against the modernist issues, he writes: «Credit was given to me. The gesture alone was enough. The public had accepted the abstract intention.» What’s the matter with this powerful prestige and its influence on the critic and public? How to understand the public trust in the artist as a producer of an institutional “make-believe” without any objecthood, devoid of any individual artwork presented to the sight or to any other sense? For Modernism and Minimalism, the work of art seems to have an internal coherence, whether formal or expressive, and is thus autonomous from the surrounding world, existing with only the clear opposition to the living space and set as a specialized and situated objection to the enclosing field. Instead, now the object melts into the air and becomes undetectable, confused with the atmosphere of the theory of art and with the stylish and snobbish life of the artist. What type of interpretation is put on regarding this unclassifiable and ambiguous field, simultaneously an-aesthetic and existential, theoretical and sensitive, charismatic and motionless, at same time without a specialized position in the world made by the artist himself? And what kind of embodied experience is performed by the spectatorship? What type of phenomenology and pragmatics of aesthetic relationship is necessary to describe how the body of the beholder absorbs this vacated and boring space via a direct and immediate perception-assimilation? What kind of artistic rhetoric, what kind ontology of art? Until this day, after more than 50 years, Yves Klein’s The Void has not ceased asking these and other questions on aesthetics, philosophy and the history of art. (shrink)

We investigate whether ordinary quantification over objects is an extensional phenomenon, or rather creates non-extensional contexts; each claim having been propounded by prominent philosophers. It turns out that the question only makes sense relative to a background theory of syntax and semantics (here called a grammar) that goes well beyond the inductive definition of formulas and the recursive definition of satisfaction. Two schemas for building quantificational grammars are developed, one that invariably constructs extensional grammars (in which quantification, in particular, thus (...) behaves extensionally) and another that only generates non-extensional grammars (and in which quantification is responsible for the failure of extensionality). We then ask whether there are reasons to favor one of these grammar schemas over the other, and examine an argument according to which the proper formalization of deictic utterances requires adoption of non-extensional grammars. (shrink)

“Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a pointing, (...) and different ways of para-textual activation, entitle and unable us to such an operation and to live an aesthetic relation? This issue of “Aisthesis” explores the conditions under which it could be useful to distinguish between aesthetic objects and artworks–visual, musical, literary, performing arts– and to admit that the existence of the latter depends on a marginal and basic component of them: tags. The issue contains articles by Jerrold Levinson, Bernard Sève, Filippo Focosi, Alberto Voltolini, Giulia Alberti, Pietro Kobau, Jean-Pierre Cometti, Isabelle Thomas-Fogiel, Filippo Fimiani, Bertrand Rougé, Leardo Botti, Michel Déguy, Jean-Marie Klinkenberg, Micla Petrelli, Andrea Olivieri, Alessandro Ottaviani. (shrink)

Inspired by the text entitled The Collapse of the Fact/Value Dichotomy and Other Essays (2004) of Hilary Putnam, the volume focuses on the theory and practice of knowledge, but one can legitimately extend it to other fields, most especially in aesthetics. Certain observable features in the fields of aesthetics, practice and artistic creation show that old evaluation criteria may now be obsolete. This is because upon further consideration, the definition of value remains opaque : should the artwork be judged according (...) to its moral value, its market value, or its formal value ? To side with or against the concept of value in art and aesthetics does not preclude a certain number of differences concerning the very nature of what is meant by value. If traditionally the ‘fact’ was the work, taken in all its tangibility, currently the materiality of the object no longer seems to play such a major role. Art is increasingly populated by so-called ‘immaterial’ or ‘ephemeral’ works and is therefore rarely, or badly, quantifiable according to old aesthetic and economic evaluation criteria. The progressively pragmatic contextualization of works within the social space puts forward a new definition of aesthetic value, no longer eternal and ideal, but rather anchored in the sensible and the politico-economic issues of a culturally specific situation. The current changes too support the idea that the question of ‘value’ and its confrontation with the concept of ‘fact’ is urgent. What role do artistic practices and aesthetic theories play ? A role of emancipation, of liberation, escape, or transformation ? Or on the contrary, could art become another means to subject individuals to the status quo ? As can easily be noticed, the question of maintaining or rejecting the dichotomy of facts and values is at the heart of the most pressing issues. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...) and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington really embodies the beauty of his meaning. For him, the Memorial’s “internal beauty” is felt and read because she is built as a text by the rhetoric of enthymeme, as a syllogism based on some tacit knowledges and highly probables communplaces. However, the relationship to the Kant’s pulchritudo adhaerens and philosophy of architecture is not an easy one : Danto rejects as unreadable the self-referent formalism of Greenberg’s Modernism and (...) the environmental non-monumentality of Richard Serra’s Minimalism, but the agency of the Memorial’s shared internal beauty is haunted by an unquestioned spectral logic. Actually, the image embodiment in this work can always exceed the rhetoric of reconnaissance supported by the syllogistic rhetoric and disturb the identity framework of the nord-american community. The beholders’ reflecting shape on the Memorial can become, finally, an unreadable and pathetic index, or be perceived as a figural imprint, ephemeral and troubling ; these disembodied pictures can achieve a medial incarnation – e.g. a Verkörperung – of the underworld. (shrink)

Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic index and (...) a medial incarnation–e.g. a Verkörperung–of the underworld. (shrink)

What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type of (...) phenomenology, pragmatic, rhetoric, and ontology is called upon? What type of percepts, of effects and affects, of appearance and apparatus, are put into play in this esthetic relation lacking an artistic object? When there is nothing to see and to touch, what living forms, what beliefs, what qualities are dealt with? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics and to the history of art. (shrink)

This paper is dedicated to the Εἰκόνες of the two Philostrati and to the Ἐκφράσεις of Callistratus, that is to say to three Greek works that bear important witness to the genre of art criticism in Antiquity and which concern both literary history and the history of art. The first series of Εἰκόνες is the work of Philostratus the Elder (2nd-3rd century AD) and comprises sixty-five descriptions of paintings with mythological subjects, which the author assures us he has seen in (...) a gallery in Naples. Another Philostratus, who claims to be the grandson of the former, and who is traditionally referred to as Philostratus the Younger, wrote a second, shorter series of Εἰκόνες, which describes seventeen paintings. Finally, a certain Callistratus, who probably dates from the 4th century AD, is the author of the Ἐκφράσεις, which group together fourteen descriptions of statues in marble and bronze.1 Ecphrasis is a subject that is often the focus of contemporary research. Perhaps its importance stems from the fact that we live in a civilization dominated by images, and we feel the need to control the visual imagery that surrounds us, to govern it and to make sense of it through language. The attention given to literary theory, rhetoric and sophistry today also helps to explain the success of this subject. The present book is situated in this field of research. The "La Licorne" series in which it is published specializes in the study of ancient and modern literature, a specialization to which this volume corresponds. This volume has two points of focus: (1) the literary form of description and the complex relationships between word and image, between the oral and the visual (hence the title Le défi de l'art, which signifies, among other things, that the art of the painter and of the sculptor challenges the sophist, who tries to describe works of art with words); (2) the Nachleben of ancient texts, because Philostratus and Callistratus were well-known to posterity, particularly during the Renaissance. (shrink)

“La ‘modernidad’ a través de la imagen de la comida y la digestión”. Ésta es la tarea y el programa de la genealogía fisiológica y psicológica identificada con claridad por Nietzsche en un fragmento del otoño de 1888 y firmemente perseguida en toda su obra. El diagnóstico es implacable y es posible por un uso extendido de la metáfora gastronómica, aplicada a todos los campos de la experiencia y el lenguaje por una escritura temeraria de la historia. Como Valéry y (...) Péguy también lo ilustran, la experiencia de los hombres contemporáneos es pobre y enferma y se caracteriza por una duplicidad radical y una contradicción sin síntesis. No sólo las cosas, como además lo muestra en sus análisis sobre las mercancías como nuevos jeroglíficos que marcan el espacio saturado de la metrópolis, sino también el hombre es doble, así como su corporizada y profundamente fisiológica economía. Su estómago hambriento tiene dos caras, porque todo lo toma pero no nutre en absoluto; vocifera acerca de entusiasmos varios y heterogéneos, no sobre un verdadero alimento para ser absorbido y transformado. En resumen, vive por un instante sin pasado ni futuro. El opuesto de esta lógica de la enfermedad y la insensibilidad en busca de muchas sensaciones y shocks sensacionales, y el reverso de este olvido por rapidez excesiva, es un ser anti- o incluso premoderno en extremo. En los tiempos modernos, el entrenamiento de un criticismo genuino acerca de los prejuicios y el supuesto auto-conocimiento implican una regresión y una alteración de las propias identidades históricas, las creencias y los valores. Finalmente, como Benjamin y Warburg lo revelaron, el criticismo es como tornarse otra vez animal y la interpretación es como recuperar la lentitud y la melancolía de un eterno masticar, al igual que un perro o una vaca. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...) and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

In his newly updated version of The Anatomy of a Constitutional Law Case, Alan F. Westin provides a documentary portrait of historically important constitutional law case, 'Youngstown Sheet & Tube Co. v. Sawyer, ' from its rise in a bargaining dispute in the steel industry during 1952 to the aftermath of its decision by the United States Supreme Court. Westin has added to his classic book additional materials and personal commentaries collected since the work was first published. The new information (...) covers what went on within the Truman administration, what went on within the Supreme Court when analyzing and resolving issues that come before it. Westin includes selections from transcripts, briefs and other official proceedings, adds notes describing each phase of the constitutional process, and a section of commentary and questions relating this case to others. (shrink)

The paper leans on a movie cult from the 1960s, Blow-Up (1966) by Michelangelo Antonioni, of which a famous sequence is often mentioned, the one in which the protagonist, the photographer Thomas (considered here as a "conceptual character"), repeatedly enlarged the photographs he made in a park, in order to find an answer to the mystery surrounding the murder of a man: magnification which leads, on the one hand, to a gradual loss of definition of images, with the grain of (...) the picture becoming more and more evident, but also, on the other, in the emergence, from the very material of the print, of a fundamental detail that will help solve the mystery. What interests is the link between indicative referentiality and evidence documentary, between degrees of definition and authentication powers. The paper also analyzes the links that intertwine, in the film, between the photographs of Thomas (by Don McCullin) and paintings painted by another character of the movie, Bill (directed by Ian Stephenson), but also, outside the film, with all a series of examples from artistic production and visual culture of the time: very low definition images of the Kennedy assassination in Dallas (the famous Zapruder Film), the portrait of Lee Harvey Oswald directed by Sigmar Polke by simulating the halftone technique, the war photographs of Don McCullin and David Bailey's Fashion Photographs, Random Earths Studies by Mark Boyle and Joan Hills, Materialologies and Texturologies by Jean Dubuffet, as well as Zen for Film by Nam June Paik. Fimiani's text addresses also two contemporary installations which have tried to return to the issues from the photographic sequence of Antonioni's film: Blow-Up Blow-Up (2010) by Joan Fontcuberta and Portrait Landscape (from the Object Classifier series) (2015) by John Houck, an installation in which photograms of Blow-Up are analyzed through facial recognition software. (shrink)

« The destiny of Art—a revenant». « The object of Art might be to seek to eliminate the necessity of the object ». This book’s theme and method stand halfway between these two assertions—the first by the German romantic poet Novalis, the second by the Californian post-minimalist artists Robert Irwin and James Turrell about a research program on art and technology in the late 1960s. Neither of these statements declares that art is dead. On the contrary, they announce that art (...) is not yet present, that it has not yet happened. According to its destiny or to its project, art is always future, and for this very reason it keeps returning from the past and repeating itself in various shapes and embodying itself in diverse media, perhaps not in the expected places but elsewhere—unrecognizable as art, anachronistic and fashionable. Like a revenant going through a wall, the untimely future of art will come across words, things and artworks, subjectiles and gestures, either in the world of art or in ordinary life. Using the tools of aesthetics, visual studies and mediology, the present book seeks to capture some of these ghosts and hauntings. (shrink)

Le tableau vivant, Bernard Vouilloux; Publisher - Flammarion; ISBN - 978-2080126948Le geste, Bernard Vouilloux; Publisher - LETTRE VOLEE; ISBN - 978-2873171605.

BERNARD VOUILLOUX, L’oeuvre en souffrance. Belin 2004 BERNARD VOUILLOUX, Tableaux d’auteurs. P.U.V. 2004.

L’estiu de 1947, tres joves amics, Yves Klein, Claude Pascal i Armand Fernandez, s’asseuen a la platja de Niça. Encara no són artistes, no fan res i perden el temps omplint-lo de projectes i paraules. Prenen el sol, miren el mar i el cel de la Mediterrània, fan declaracions entusiastes sobre el Gran Art del futur i comparteixen la natura, com uns nens que es divideixen un regne imaginari. Klein pren el blau del cel que abasta amb la mirada, com (...) el color absolut i ideal de la pintura. -/- Yves le Monochrome dirà diverses vegades que, aquell matí d’estiu, va fer un viatge fantàstic, com si fos un astronauta conquerint l’espai, i va signar, com si es tractés d’un llenç pintat de blau, l’altre costat d’aquest bell cel sense núvols: la més bella i la més gran de les seves obres. Aquest cel blau pintat de blau és una obra immaterial i impossible, no feta per les mans de l’artista, amb colors, pinzells i teles, sinó explicada amb les seves paraules, mites i llegendes. (shrink)