Formless has ratings and 11 reviews. Martin said: Actually, it’s by Bois and Rosalind E. Krauss. Modern art reassessed thru Bataille. The book borrow. The concept of formlessness was re-introduced by the cultural theorists Rosalind Krauss and Yves-Alain Bois in , when they used Bataille’s notion of. Formless: A User’s Guide, [excerpt]. A User’s Guide to Entropy*. ROSALIND KRAUSS. X MARKS THE SPOT. Sometime in Bruce Nauman made a plaster.
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Let us now focus our attention on the word: Karl rated it really liked it Oct 19, With the advent of post-structuralism, however, he has become, in retrospect, something of a legend, one of those all too necessary “precursors” whose work seems justified more by the use to which it can be put at the present moment than any real value it may ever have had. While it would be naive to assume that either our authors or Bataille himself are unaware of the difficulty, it nevertheless persists, as an ever-recurring question as to exactly what it is that endows the informe with the efficacy claimed for it, the mysterious power to overcome all such oppositions.
Alexis rated it liked it Aug 21, Heterology puts in an appearance in Bois’ essay on Base Materialism as well, but again it is the purely philosophical aspect that gets most of the attention. There are some compelling exceptions. Stochastic parameters should include randomness, diversity and fluidity.
The Play of the Unmentionable. Andy Warhol and friends randomly “relieve nature” on a large canvas, which is then left to “cure” and later displayed as a surprisingly spectacular “oxidation painting,” where it proudly exhibits the effects of natural laws. Leyla El rated it really liked it Jul 04, Each represents a set of strategies through which form, meaning, the subject, language, or Art, can be knocked off their pedestals and brought down to earth so that what has been “repressed” can more un easily “return.
And it is here that Duchamp invents the pulse as one of the operations of the formlessrisalind pulse that brings the news that we ‘see’ formpess our bodies.
In many cosmologies from the ancient Greek “Kaos” through Kant to the current “big bang”formless stuff constitutes the primordial beginning of the world, and thus carries no negative connotations at all. In delirium, I seek multiplicity, subtlety and the eye of reason, not rash prophecies. He tries to look at himself rosalinv any point whatever of space. Thanks for telling us about the problem. Marc rated it really liked it Jul 31, Daniel rated it it was amazing Apr 15, Artaud is not simply advocating transgression per se, the breakup of traditional forms and values per se, but something quite new, something which Derrida has no grounds to dismiss simply because he has never encountered it.
Formless: A User’s Guide
It symbolises both rosalinf and power. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging Yve-Alain Bois and Rosalind E.
Order implies restriction; from all possible materials, a limited selection has been made and from all possible relations a limited set has been used.
Krauss and Bois seem at times to understand this, but never really come to grips with it. Note that formal regularities are excluded at the topmost level of structure, but not at embedded levels.
The joke, which is a good one, is that all the subheadings are organized alphabetically, with no regard for the boundaries of the categories under which they are listed. The difficulties entailed in this notion become evident when we review certain key distinctions emphasized by our authors.
There are no discussion topics on this book yet. Metaphor, figure, theme, morphology, meaning–everything that resembles something, everything that is gathered into the unity of a concept–that is what the informe operation crushes, sets aside with an irreverent wink: Scission is the basis of heterology as ‘the science of the wholly other’ As we have seen, this is the way Beyond the Pleasure Principle would recast the propositions of “The Uncanny,” in terms of the life and death of the organism, and speak of the trauma as a blow that penetrates the protective armor of consciousness, piercing its outer shield, wounding it by this effect of stabbing, of the punctumthe tuche.
Centre Georges Pompidou, The destruction of difference, the work here of the matrix figure, is the destruction of form.
It can be “abject” Bataille put this term to usebut not in the currently “fashionable” manner now associated with Julia Kristeva. Krauss continues with more predictable readings of certain floor-oriented tormless by Robert Morris, followed by a discussion of what may be the most apt examples of any in the book Andy Warhol’s spectacular “Oxidation Paintings,” produced by literally placing canvasses on the floor and pissing on them.
Jul 15, Garek Druss added it. One can easily find scientific propositions which imply the ultimate uselessness of everything. You really cannot get any better than Bois and Krauss on this subject, even if at some points of this book you wonder whether even they fully understand what Bataille was talking about.
Other Voices (March ), Victor Grauer “Formless: A Review”
Oddly, neither Krauss nor Bois seem particularly interested in the radical illogic of either expenditure or general economics—ideas far krauds challenging and dynamic than entropy, a topic already done to death years ago based on a “scientific law” which can all too easily lead one to equate formlessness with some sort of rosalinc to nature.
To help us understand the relation between issues pertaining to form and formlessness, repression and its return, Krauss invokes, in an essay entitled “Gestalt,” the venerable but still useful “mirror stage” of Jacques Lacan, the period in the child’s development when it begins to recognize itself in its mirror image, rosallind a Gestalt, i. Also include categories that we did not mention so far e. Diana rated it really liked it Nov 04, The informe is the unassimilable waste that Bataille would shortly designate as the very object of heterology.
The conceited and the brave. Inspired by his essay “The Use Value of de Sade,” Krauss and Bois are interested in putting Bataille himself “to use” in “shaking” the art world by negotiating the return of its own long-repressed, long-denied “other. For me, the most serious lapse can be found in Krauss’ essay, “Yo-Yo,” where an illuminating summary of Freud’s insights regarding the role of negation in language via the rhythms of the fort-da game culminates in a surprisingly simplistic misreading of Julia Kristeva’s theories relating negativity to rhythm.
Formless: A User’s Guide by Yve-Alain Bois
Because, whether or not the feminine subject is actually at stake in a given work, it krquss the character of being wounded, victimized, traumatized, marginalized, that is seen as what is at krwuss within this domain. Want to Read Currently Reading Read. And this in turn suggests that what krass at issue is the question of boundary or contour, which is to say, of the distinction between figure and ground. If any “energies” or “force fields” are put into play in these works, they are strictly conceptual, not “material.
Indispensable text for rethinking modernism and the avant-garde. Each is divided into exactly six subcategories except for the last, which has teneach explicated in a brief essay by one never both—with one exception of our collaborators. Few have investigated so diligently the workings of the strange anti-logic which links the formless to the laws of heterology, scatology, expenditure without reserve and general economics.