“Despite this “emergent” intervention – this vibrating “chord” – however, the end product is most often a translation of one sensory input into another rather than a simultaneous audiovisual flow: time can vibrate within a painted instant, but it nevertheless remains without actual teleological motion.”
(page 63)
Holly Rogers. Sounding the Gallery: Video and the Rise of Art-Music. Oxford: OUP, 2013.
Found while browsing the stacks at the Belzer Library, SFU.
“Perhaps, then, it is not accurate to categorise and separate the arts according to their immediate temporal or spatial qualities. Rather, something extra comes into play when they combine, something similar to Pound’s “ideograms” or the gestus described by Brecht and Weill: an ideogram or a gestus, explains Albright, “is not an element within any specific artistic medium; it is not an icon, not a word, but a chord, vibrating between media, abolishing the distinctness of media.” Albright’s understanding of these gestures able to speak across genres is reminiscent of Cook’s hypothesis concerning audiovisual dialogues in film: form him, the crux of the question is not whether or not music and image can say the same thing but, rather, what their “emergent” language is when combined.”
(page 62)
Holly Rogers. Sounding the Gallery: Video and the Rise of Art-Music. Oxford: OUP, 2013.
Found while browsing the stacks at the Belzer Library, SFU.
“Throughout history, the desire to achieve artistic synthesis has moved in and out of favour. While medieval and early modern artists, musicians, and architects sought a transmedial holisticism defined in part by parallel philosophical objectives working toward theological harmony, Enlightenment thinkers, such as Gotthold Lessing, promoted a separation of the arts into discrete entities.”
(pages 46-47)
Holly Rogers. Sounding the Gallery: Video and the Rise of Art-Music. Oxford: OUP, 2013.
Found while browsing the stacks at the Belzer Library, SFU.
“The pigment and ornament we apply to a supporting structure stir our gesture into the surface. Application is a persuasive and pleasurable folding; the surface is comprised of bodily traces and fixations—rubbing, flecking, scrubbing, weaving, stroking are tactile instrumentations in time. They address both substance and the future of bodies. Hence the surface poses a rhetorical index even while temporal contingency renders it partly unaccountable. We wish to face the unaccountable. In the tradition of meaning, if the idea of internal structure could be temporally expressed as the past perfect, the idea of the surface would be the future conditional.”
Lisa Robertson, “Spatial Synthetics”
http://www.tarpaulinsky.com/Fall06/Robertson.html
Read for Humanities 300: Critical Practices Workshop, Fall 2012 @ Emily Carr University.
Libraries Within Libraries 