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Making Thought Matter: Postmodern Models for Material Thinking.

机译：使思想变得重要：物质思维的后现代模型。

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摘要

Making Thought Matter: Postmodern Models for Material Thinking, crosses disciplines to trace the aesthetic contexts of Postmodern American artists whose work employs the senses to make legible creative and critical modes of synthesis. I contend that in practicing a material thinking---the artistic mobilization of the intimate and affective qualities of conceptual and physical surfaces---these artists reinsert perceptual knowledge and bodily agency into Postmodernism's "emptied" surfaces. Consequently, their work opposes late theorists of Postmodernity who characterized contemporary artistic forms as immaterial, abstract, and emotionally deficient. To assess contemporary syntheses I develop Philip Johnson's late International Style Glass House into an analogy for a material thinking that reconsiders the alienating surfaces of Postmodernity as sites of innovative dwelling. I assert that the home's extensive glass surfaces provoke sensations common to affect and deeply inflect an early Postmodern environment with disjunctive historical, temporal, and spatial syntheses. Johnson's house provides the framework to analyze Ronald Johnson, a poet who for much of his life made a living writing cookbooks. I argue that his hybrid practice conceptualized taste as a poetic and pragmatic synthesis that reconsidered how food, as a metaphoric, metabolic, and cultural force, commemorated the past and seasoned the living present. To further question received polarities and links between body and world, I assess how the experimental filmmaker Stan Brakhage's hand-painted films visualize a creative and embodied synthesis between consciousness and television. I conclude by reading Charles Reznikoff's documentary, found poem, Holocaust, as a cinematic surface on which narrative motion and emotion is juxtaposed. I claim that this relationship discloses an affective gap between the poem's usage of legal "facts" and the testimonial "truth" it posits. Analogous to the surfaces of Philip Johnson's Glass House, the poem establishes conditions through which a reader is embedded in lived historical particulars and must employ their senses to adjudicate, adapt, and improvise emotional responses to the text. The genealogy I trace is thus defined by surfaces reconceived as sites of transmission, transformation, and communication, on which Postmodernism is not a synonym for alienation, but rather becomes an aesthetic and philosophic practice of mutual transformation.
机译：使思想变得重要：物质思维的后现代模型，跨学科追溯了后现代美国艺术家的审美情境，他们的作品利用感官进行清晰的创造性和批判性合成。我认为，在实践物质思维时（即对概念和物理表面的亲密和情感品质的艺术动员），这些艺术家将感知知识和身体机能重新插入了后现代主义的“空”表面。因此，他们的作品反对后现代主义的后期理论家，后者认为当代艺术形式具有非物质性，抽象性和情感缺陷性。为了评估当代综合性知识，我将菲利普·约翰逊（Philip Johnson）已故的国际风格玻璃屋（International Style Glass House）变成了一种物质思维的类比，这种思维方式重新考虑了后现代主义作为创新住宅场所的疏远表面。我断言，房屋广泛的玻璃表面会引起普遍的感觉，这些感觉会通过分离的历史，时间和空间综合影响和深刻影响早期的后现代环境。约翰逊的家提供了分析诗人罗纳德·约翰逊（Ronald Johnson）的框架，罗纳德·约翰逊一生中大部分时间都靠写菜谱为生。我认为他的混合实践将品味概念化为一种诗意和务实的综合，重新考虑了食物作为一种隐喻，新陈代谢和文化力量如何纪念过去并丰富了现在的生活。为了进一步质疑人与世界之间的极性和联系，我评估了实验电影制片人斯坦·布拉哈奇（Stan Brakhage）的手绘电影如何形象化意识和电视之间的创造性和体现性综合。最后，我通过阅读查尔斯·雷兹尼科夫（Charles Reznikoff）的纪录片，发现诗歌《大屠杀》是一个将叙事动作和情感并列的电影画面。我声称这种关系揭示了这首诗对法律“事实”的使用与其所提出的证明“真相”之间的情感鸿沟。这首诗类似于菲利普·约翰逊（Philip Johnson）的《玻璃屋》（Glass House）的表面，为读者提供了嵌入生活中的历史细节的条件，必须利用其感官来裁定，改编和即兴创作对文本的情感回应。因此，我所追踪的家谱是由表面重新定义为传播，转化和交流的场所来定义的，后现代主义在这些表面上并不是异化的代名词，而是一种相互转化的美学和哲学实践。

著录项

  • 作者

    Belflower, James.;

  • 作者单位

    State University of New York at Albany.;

  • 授予单位 State University of New York at Albany.;
  • 学科 English literature.;Architecture.;Film studies.
  • 学位 Ph.D.
  • 年度 2015
  • 页码 204 p.
  • 总页数 204
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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