Margaret Iversen
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226370026
- eISBN:
- 9780226370330
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226370330.003.0005
- Subject:
- Art, Photography
The index and the diagram are, on the face of it, incompatible types of sign. While the index has a close, causal or tactile, connection with the object it signifies, the diagram is a sign that ...
More
The index and the diagram are, on the face of it, incompatible types of sign. While the index has a close, causal or tactile, connection with the object it signifies, the diagram is a sign that involves statistical abstraction, such as trends in the stock market or the weather. This chapter focuses on a hybrid form of representation that has aspects of both. The graphic trace is an indexical diagram. It takes from the index a registration of something unique, the impress of an individual thing, while incorporating the diagram’s abstraction from what is immediately given in perception. The use of the graphic trace in art is explored by drawing on an essay by the German poet Rainer Maria Rilke, the chronophotography of Étienne-Jules Marey and the work of artists including Marcel Duchamp, Susan Morris, Brian O’Doherty, Gabriel Orozco, Amalia Pica, and Nedko Solakov.Less
The index and the diagram are, on the face of it, incompatible types of sign. While the index has a close, causal or tactile, connection with the object it signifies, the diagram is a sign that involves statistical abstraction, such as trends in the stock market or the weather. This chapter focuses on a hybrid form of representation that has aspects of both. The graphic trace is an indexical diagram. It takes from the index a registration of something unique, the impress of an individual thing, while incorporating the diagram’s abstraction from what is immediately given in perception. The use of the graphic trace in art is explored by drawing on an essay by the German poet Rainer Maria Rilke, the chronophotography of Étienne-Jules Marey and the work of artists including Marcel Duchamp, Susan Morris, Brian O’Doherty, Gabriel Orozco, Amalia Pica, and Nedko Solakov.
Holly Rogers
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199861408
- eISBN:
- 9780199332731
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199861408.003.0003
- Subject:
- Music, History, Western, Popular
The audiovisual history charted in chapter two is here revoiced in terms of spatial expansion. It is argued that video technology did not initiate a new form of creative engagement with its ...
More
The audiovisual history charted in chapter two is here revoiced in terms of spatial expansion. It is argued that video technology did not initiate a new form of creative engagement with its performance spaces, but rather represented the peak of a spatial expansion that had been gathering pace throughout the twentieth century. As musicians explored their spatial parameters and artists included time in their work, attention was drawn to traditional viewing and listening procedures. Drawing on the theories of László Moholy-Nagy, Siegfried Giedion, Christopher Small and Brian O’Doherty, this chapter compares the conventions of gallery exhibition and display, viewing procedures and audience behaviour with the customs and aesthetics of listening in the traditional concert hall. Performance and installation art, aleatoric music and communal composition are used to propose a theory of spatialised creativity, audience activation and performativity.Less
The audiovisual history charted in chapter two is here revoiced in terms of spatial expansion. It is argued that video technology did not initiate a new form of creative engagement with its performance spaces, but rather represented the peak of a spatial expansion that had been gathering pace throughout the twentieth century. As musicians explored their spatial parameters and artists included time in their work, attention was drawn to traditional viewing and listening procedures. Drawing on the theories of László Moholy-Nagy, Siegfried Giedion, Christopher Small and Brian O’Doherty, this chapter compares the conventions of gallery exhibition and display, viewing procedures and audience behaviour with the customs and aesthetics of listening in the traditional concert hall. Performance and installation art, aleatoric music and communal composition are used to propose a theory of spatialised creativity, audience activation and performativity.
