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读书笔记 The Modernity Thesis and the Crisis in Representation

“Conditions of signification“

At certain momnets in history specific features arising from the dominant mediums of communication allow for the limitation and apperance of specific content or subject matter, and that meanings or significations and their ideological values are at least partially formed, limited and predetermined not only by the medium that conveys them, but also the ways that they are disseminated. "the medium is the message", as Marshall McLuhan formulated it. That is, certain concepts will only appear when the means for the communication of them are available.

A corollary of this is the notion that certain media are invented when the social need for the concepts arises. Specific ideas, therefore, arises when the options, both technical and social, for their communication arises. It is safe to say that contemporary technologies have allowed far more options and more varied and dispersed communications than any previous historical period.

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"Crisis in representation"

the periodic desrabilization of belief in the existing concepts of art, its legitimating insititutions and its expressive forms. In condtions of historical change, the mediums through which ideological and cultural values are represented come under stress from changing conditions in those values and the technology that informs them, and often because of changes in the technology that informs them.

作者的Idea on combining paiting and photography

As I formulated it in shorthand, I inscribe across the ideal ground of abstract monochrome painting, the prosaic referential representational power of the photographic image. That is, I bring together in a single framed space the two antipodes of pictorial media of the modern period: painting that has been reduced to pure material, and photography which is unavoidably and purely representational; painting on canvas which is implicitly aesthetic, and photography which might or might not be aesthetic. Through the representaitonal aspect of photography, I have also touched upon various social, aesthetic and intellectual themes expressed through various locations that function as the focal point for these themes: the studio, the museums or the street.


"literature of images"

By virture of its unique capability for making direct or indexical references to the world at large, photography has become the most ubiquitous language of appropriation. Every photograph claims an abstracted fragment of the infinite extention of reality and converts it into a sign for the real. It converts all phenomena of the world into a "readymade" image that can then be positioned to function as linguistic allegory.

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