“Ever notice how 'What the hell' is always the right answer?”
― Marilyn Monroe
Sunday, February 26, 2012
Jacques Marie Émile Lacan
Jacques Marie Émile Lacan (French pronunciation: [ʒak lakɑ̃]; April 13, 1901 – September 9, 1981) was a French psychoanalyst and psychiatrist who made prominent contributions to psychoanalysis and philosophy, and has been called "the most controversial psycho-analyst since Freud".[1] Giving yearly seminars in Paris from 1953 to 1981, Lacan influenced France's intellectuals in the 1960s and the 1970s, especially the post-structuralist philosophers. His interdisciplinary work was as a "self-proclaimed Freudian....'It is up to you to be Lacanians if you wish. I am a Freudian'";[2] and featured the unconscious, the castration complex, the ego, identification, and language as subjective perception. His ideas have had a significant impact on critical theory, literary theory, 20th-century French philosophy, sociology, feminist theory, film theory and clinical psychoanalysis.
exegesis
Exegesis (from the Greek ἐξήγησις from ἐξηγεῖσθαι 'to lead out') is a critical explanation or interpretation of a text, especially a religious text. Traditionally the term was used primarily for exegesis of the Bible; however, in contemporary usage it has broadened to mean a critical explanation of any text, and the term "Biblical exegesis" is used for greater specificity. The goal of Biblical exegesis is to explore the meaning of the text which then leads to discovering its significance or relevance.
Exegesis includes a wide range of critical disciplines: textual criticism is the investigation into the history and origins of the text, but exegesis may include the study of the historical and cultural backgrounds for the author, the text, and the original audience. Other analysis includes classification of the type of literary genres present in the text, and an analysis of grammatical and syntactical features in the text itself.
The terms exegesis and hermeneutics have been used interchangeably. However, hermeneutics is a more widely defined discipline of interpretation theory: hermeneutics includes the entire framework of the interpretive process, encompassing all forms of communication: written, verbal and nonverbal, while exegesis focuses primarily on the written text.
Exegesis includes a wide range of critical disciplines: textual criticism is the investigation into the history and origins of the text, but exegesis may include the study of the historical and cultural backgrounds for the author, the text, and the original audience. Other analysis includes classification of the type of literary genres present in the text, and an analysis of grammatical and syntactical features in the text itself.
The terms exegesis and hermeneutics have been used interchangeably. However, hermeneutics is a more widely defined discipline of interpretation theory: hermeneutics includes the entire framework of the interpretive process, encompassing all forms of communication: written, verbal and nonverbal, while exegesis focuses primarily on the written text.
did it, didnt understand
In frottage the artist takes a pencil or other drawing tool and makes a rubbing over a textured surface. The drawing can be left as is or used as the basis for further refinement. While superficially similar to brass rubbing and other forms of rubbing intended to reproduce an existing subject, and in fact sometimes being used as an alternate term for it, frottage differs in being aleatoric and random in nature.
It was developed by Ernst in 1925. Ernst was inspired by an ancient wooden floor where the grain of the planks had been accentuated by many years of scrubbing. The patterns of the graining suggested strange images to him. He captured these by laying sheets of paper on the floor and then rubbing over them with a soft pencil.
It was developed by Ernst in 1925. Ernst was inspired by an ancient wooden floor where the grain of the planks had been accentuated by many years of scrubbing. The patterns of the graining suggested strange images to him. He captured these by laying sheets of paper on the floor and then rubbing over them with a soft pencil.
ambig
Ambiguous images are optical illusion images which are crafted to exploit graphical similarities and other properties of visual system interpretation between two or more distinct image forms. These are famous for inducing the phenomenon of multistable perception.
Some often used synonymous terms are reversal images, puzzle images and perceptual rivalry
Some often used synonymous terms are reversal images, puzzle images and perceptual rivalry
isnt everything an optical illusion?feeling culmination of all senses
The paranoiac-critical method is a surrealist technique developed by Salvador Dalí in the early 1930s. He employed it in the production of paintings and other artworks, especially those that involved optical illusions and other multiple images.
According to Dalí, these objects have a minimum of mechanical meaning, but when viewed the mind evokes phantom images which are the result of unconscious acts.
The paranoiac-critical arose from similar Surrealistic experiments with psychology and the creation of images such as Max Ernst’s frottage technique, which involved rubbing pencil or chalk on paper over a textured surface and interpreting the phantom images visible in the texture on the paper.
Employing the method when creating a work of art uses an active process of the mind to visualize images in the work and incorporate these into the final product. An example of the resulting work is a double image or multiple image in which an ambiguous image can be interpreted in different ways.
André Breton (by way of Guy Mangeot) hailed the method, saying that Dalí's paranoiac-critical method was an "instrument of primary importance" and that it "has immediately shown itself capable of being applied equally to painting, poetry, the cinema, the construction of typical Surrealist objects, fashion, sculpture, the history of art, and even, if necessary, all manner of exegesis."[1]
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[edit] Origins
The Surrealists related theories of psychology to the idea of creativity and the production of art. In the mid-1930s André Breton wrote about a "fundamental crisis of the object". The object began being thought of not as a fixed external object but also as an extension of our subjective self. One of the types of objects manifested in Surrealism was the phantom object.According to Dalí, these objects have a minimum of mechanical meaning, but when viewed the mind evokes phantom images which are the result of unconscious acts.
The paranoiac-critical arose from similar Surrealistic experiments with psychology and the creation of images such as Max Ernst’s frottage technique, which involved rubbing pencil or chalk on paper over a textured surface and interpreting the phantom images visible in the texture on the paper.
[edit] Description
The aspect of paranoia that Dalí was interested in and which helped inspire the method was the ability of the brain to perceive links between things which rationally are not linked. Dalí described the paranoiac-critical method as a "spontaneous method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena."Employing the method when creating a work of art uses an active process of the mind to visualize images in the work and incorporate these into the final product. An example of the resulting work is a double image or multiple image in which an ambiguous image can be interpreted in different ways.
André Breton (by way of Guy Mangeot) hailed the method, saying that Dalí's paranoiac-critical method was an "instrument of primary importance" and that it "has immediately shown itself capable of being applied equally to painting, poetry, the cinema, the construction of typical Surrealist objects, fashion, sculpture, the history of art, and even, if necessary, all manner of exegesis."[1]
[edit] Influence
'Salvador Dali's theory of "paranoic knowledge" is certainly of great relevance to the young Lacan'.[2][edit] See also
[edit] References
- ^ Breton, Andre(1934). What is Surrealism?(A lecture given in Brussels on 1st June 1934 at a public meeting)
- ^ David Macey, "Introduction", Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis (London 1994) p. xv
[edit] External links
architecture is our sex exerpt
Clearly what it means for a building to be "sensitive" to its site is more complicated than I have initially set out here; I merely want to note the essential arbitrariness of the definition of site that is at work in these projects, and, by extension, in the work of the many architects (and landscape architects) who, to varying degrees, use the same means. Here site is only that limited field of physical facts or factors, no matter how far flung, and at the expense of all others, that the designer needs to justify the form of composition that he or she wants to make, regardless of the landscape. This is of course Rem Koolhaas's notorious Paranoid-Critical Method at work, the gist of which, as defined in Koolhaas's great Delirious New York, being that the willfully predetermined design solution — or at least the willful predetermination of what will be formally acceptable in a design solution — is masked in innocence by seemingly neutral methods of production relying on apparently external parameters.
Though the exact form may not be known in advance, the formal characteristics are. That is why the orders mapped sometimes turn out to be hidden, discovered, conveniently, by the architect.
Though the exact form may not be known in advance, the formal characteristics are. That is why the orders mapped sometimes turn out to be hidden, discovered, conveniently, by the architect.
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