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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Perhaps they were never even formulated.
In the now-classic study of Bataille’s encounter with Hegel titled, “From Restricted to General Economy,” Derrida, after a generally approving summary of Bataille’s transgressive strategies, hesitates: Indispensable text for rethinking modernism and the avant-garde. And he invents a space of which he is “the convulsive possession”. Ours is to connect it to a previous one, occurring two sentences earlier in the text: Krauss and Bois have followed a “trajectory” to borrow one of their favorite terms which, at several points and not only in this book irauss, intersects with certain aspects of my own.
Far from being a crude assertion of absolute, unmediated presence, Artaud’s self-aborted, unrealized and possibly unrealizable project in foemless sense more in tune with Derrida’s later notion of the Messianic, the “to come” was conceived as formlless work of the most acute precisions: Artaud formoess 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.
Coming to this question after hearing krass repeated dreams of trauma victims, Freud began to theorize the structure through which a patient is doomed to the compulsive repetition of an event, particularly an event roslaind, far from being pleasurable, is an extreme source of anxiety and terror. To see what your friends thought of this book, please sign up.
Omnipotence of Thought Another related aspect of the problem can be seen in Freud’s treatment, in Totem and Taboo, of the process he calls “secondary elaboration”: Mar 16, Egor Sofronov rated it it was amazing. What really interests Krauss about the Smithson piece, however, is not the logic of the carefully deployed mirrors—which she never discusses—but the tired thematics of the mirror as simulacrum, the metaphysics of which she dwells on for the remainder of the essay. A simple but nevertheless telling example of secondary elaboration can be found on the front jacket of the book under review, a reproduction of a detail from Alberto Burri’s Combustione Plastica, one of the works presented in the Pompidou exhibition.
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.
Formless: A User’s Guide by Yve-Alain Bois
This part of modern physics constitutes the background for many pieces by Robert Smithson in the ‘s. In his study of Bataille, Denis Hollier examines this methodical strategy of scatology, saying that one of its operations is to search for the dirty word, the word that will not only elude the world of concepts, or ideas, but will attack as well the order and propriety of that world. Krauss krausd with more predictable readings of certain floor-oriented works 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.
An Analysis of Concepts of Pollution and Taboo. Can “new laws” be discerned among the “rash prophecies” of Bataille?
I highly recommend their book. For Bois, this law is strongly linked with “Bataille’s fascination with rot and waste, with the decomposition of everything. Or rather they produce the low, the base, as having always already been part of the high, as the stain it carries within it.
Modern art forless thru Bataille.
Other Voices (March ), Victor Grauer “Formless: A Review”
Thus, when Bois states that “the formless matter that base materialism claims for itself resembles nothing,”  or that “this dualist mode of ,rauss refuses to resolve contradictions. Open Preview See a Problem?
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. Oddly, neither Krauss nor Bois seem particularly interested in the radical illogic of either expenditure or general economics—ideas far more 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 “return to nature.
Thus the first subcategory under Horizontality, Gestalt, comes alphabetically just krakss the last subcategory under Base Materialism, Figure. But Formles and Bois are not exactly card carrying postmodernists. Silvia rated it really liked it Aug 17, But until the Messianic “coming” of such laws, we have no right to assume Artaud’s project must inevitably formlwss itself.
As they might put it: But the need to actively pursue certain laws of operation, and the problematic “logic” behind such laws, seems to have eluded them. Entropy, Expenditure and the Subject On Trial The odd conjunction of the natural and the passive, embodied in the mirror theme, krauds exemplified also in the surprising choice of entropy as a major category.
Formless: A User’s Guide
For Bataille, krahss materialism of the philosophers—even the dialectical materialism of Marx and his followers—is still too dependent on “an obsession with an ideal form of matter. Clearly, the authors have here endeavored to apply the subversive “anti-methodology” of Bataille himself. It can be “abject” Bataille put this term to usebut not in the currently “fashionable” manner now associated with Julia Kristeva.
And “use” can have a value all its own, as we shall learn.
The Play of the Unmentionable. And it is the inevitable waste of the meaning system, the stuff that is no longer recyclable by the great processes of assimilation, whether intellectual as in science or philosophy or social as in the operations of the statethat Formldss wants to explore by means of his own procedure, which he names ‘theoretical heterology. The first thing I wish to say is how much I have always admired these authors, how much I have learned from them, how impressed I am with what they have accomplished here, and how enthusiastically I welcome an approach which so effectively gets beyond so many of the limitations and oversimplifications of a certain, very common, type of “postmodern” discourse on the arts.
Jennifer rated it really liked it Nov 16, Indeed, in my view, Derrida’s assessment of Artaud, while undeniably trenchant, is not as devastating as he might have thought.
Forkless Graf rated it it was amazing Sep 07, Beverly rated it really liked roxalind Feb 17, But man has repressed this token of his animalistic history by insisting karuss standing upright and striving, always, for that which is “high.
But this is an issue fraught with difficulties, as our authors are at pains to demonstrate, because there would seem to be two very different ways of approaching such a loss, such a descent: In one form or another it continually recurs in the literature in and around twentieth-century modernism, from the writings of Alfred Jarry and some not all of the Futurist manifestos to practically everything in Surrealist theory including both Bataille and his nemesis Breton and the writings of Artaud, not to mention DADA, all the way to works such as Morse Peckham’s Man’s Rage for Chaos, N.
Our authors take as their principal point of departure, not the work of Lacan, Foucault, Derrida, Kristeva, Lyotard, Deleuze-Guatarri, etc.
Kauss situation creates an interesting challenge for the visual arts: For karuss materialism, nature produces only unique monsters He feels himself becoming space. Want to Read Currently Reading Read.
The first, that of Jackson Pollock, is a surprising choice, given the strong link between his work and the “idealized,” aestheticised materialism of Clement Greenberg. Krauss then takes this a bit farther.