De-Indexing Topos To Aperception Ap

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SO after 10 days I am on page 39 of Mieka Bal’s Quoting Caravaggio a Preposterous History ( ie she conflates the pre and post isms in the context of quotation as a concept tool… at this point she gets to Deleuze… her book on the Deleuze connection to the Baroque fold I have encountered previously quoted by Jessica Berman writing on Ethical Folds: ethics, aesthetics, Woolf. This writer is at pains to explicate the fold as a metaphor yet draped in a physicality that pertains to as she quotes Bal ” subject and and object become codependent, folded into each other putting the subject at risk” The Deleuze connection that is intriguing these writer is as Berman puts it  “…the folding  between the levels separating soul and body” and again to Deleuze himself  the fold ” links the soul that possesses a body to other souls that body possesses” This last sentence interests me as using a formal rhetorical device: “ad junction” ie putting a verb at beginning or end of sentence or both ie  run the run.  To get perspective on how to use the concept tool of the fold I think it is useful to use a mode of minimalist sculptors who place to objects ie two pole together so that in going back and forth ones eye builds a matrix of the minds own a perception building on the relation, a polarity.

 

 

Two poles, or fragments, or quote objects I will put together as verbal-sculptural objects that enfold perception are (1) a quote from Deleuze by Bal and (2) a quote from Heraclitus

Heraclitus: ” It is an attunement that turns back on itself like that of the bow and the lyre”

Deleuze” ” Moving from branching of inflection, we distinguish a point that is no longer what runs along inflections, nor is it the point of inflection itself;, it is the one in which the lines perpendicular to tangents meet in a state of variation. It is not exactly a point but a place, a poition, a site, a “linear focus”,  a line emanating from lines. To the degree it represents a variation or inflection, it can be called a point of view.

The  Caravaggio painting that I reference t  build up a series of drawing here namely the Burial of St Lucy is an interesting example of Deleuze’s principle just as Deleuz

es is an interestng example of Heralitus. The painting is unusually free of Chiaroscuro patterning that uses the passage of linking like tones to submerge some differences while highlight others, and allowing the artist to create relations that are rather disjointed per se but unify to the picture, ( like the general logic of Ingres using line as his art Issue)… Instead this picture obliterates with a kind of black halo the center point where perspective lines would converge and the picture instead is mapped to a system of draperies on one grave diggers back… from this rather specific example I will  branch out here to observing the general quality of concept tools that occur to me as use a vocabulary of open joints that symbolize the opposite of one to one correspondence.

My topos of deindexing seems to encounter the following concept tools. I am motivated towards making this de-index by Bals own book which has a list of concepts she uses…

De-Index

TRopai ( turn- change)- trope- entropy ( measure of  degrees of change a system can withsand,topos, herme (spoils of war_ ) hermetic ( sealed off) Aporia- toomuchness- aphorism-( controll of aporia), adjunction( verb or act at beginning and end per canonical function) trace- ( drawing from point to line to plane to mass) rhizome – vectoring to a nonhierarchical knowledge system Deleuze starts to define in the quote above) scape( scape, scalpel, escape, landscape, mindscape scapula) clock time and process time. Janus ie history linking past to present in dialectical present, over writing(  going back over a concept repeatedly to show different conflicting potential realizations and notions also not necessarily logically yet intuitively creative through the destruction the destructures to structure,fragment (portability of knowledge) autonomy ( self realization) figure ground in relation to memory,( shows are the background of commercials- why you will remember) siglia( symbol of a work within itself canonical in  way to art self reference) …. and so forth…

Bal herself has written that she is unsatisfied with her book and would like to revise it. Her approach was to take narratology studies per literature and then approach art through art criticism linked to those concepts. I would be interested in seeing how abstract narrative levels could be established closer to the art experience, and she being a video artist as well probably has a similar intuition.