Archive for July, 2014

It Is Where The Emphasis Is Placed That Accounts For The Difference

July 20, 2014

To the list of reasons for making art add “In Shklovsky’s view, law and fortuity were at output-input ends of the cognitive processor called art. He never used exactly these words, of course, but did claim that art was a processing device. What this device processed was art’s raw material, be it the experiential material of life or the semantic material of language. Why people needed art, Shklovsky theorized, was to experience that material anew. That experience involved seeing the lawfulness of the fortuitous and the fortuity of what we take for laws. He called the latter process defamiliarization; as to the former, the simplest example is rhymes.” (From the massive Spring 2014 Comics & Media issue of Critical Inquiry, an essay entitled “Charlie Chaplin and His Shadows: On Laws of Fortuity in Art” by Yuri Tsivian, pg. 71). Of course, flags immediately appear with question marks on them regarding what “art’s raw material” could be. Tsivian expands what he gives as Shklovsky’s components to include media, technology, brands, pop culture icon’s, etc. (“the semantic material of language”). The gist of his article gives a “rhyming” of real or imagined interpretations/understandings of Charlie Chaplin within his time that presented an expression of, or belief in, a Chaplin that was not exactly Chaplin at all (himself or what was portrayed in his films). These in turn were (potentially?) reciprocated by Chaplin within his later work. All of which very much reminded me of a friend’s work (what little I am aware of it) that seems likewise to follow or parallel this, save at a much more compressed manner and pace, very much involving “art’s raw materials” coupled with media (video, digital imaging, etc.) processed through the “lawfulness of fortuity” (the “rhyming” with images, media, etc. that are available and my friend’s intuitive integration within the work). Personally I’m becoming more interested in what Davis gives in the translation of Aristotle’s Poetics (Aristotle’s Poetics: The Poetry of Philosophy by Michael Davis 1992). Aristotle’s definition of man as being a mimetic animal (innately and intimately) and his (Aristotle’s) presented account of this precisely through the utilization of these parameters and manners were impressive. I know Michael Taussig emphasizes this, but anthropologically (not philosophically). But if one considers this innate capacity/necessity to imitate as the “processing device” by which we experience the world (something Lacan parallels), one is left with what Zizek describes as the parallax view – the pencil half submerged in a glass half filled with water appears split or broken when viewed. One and the same pencil? Is what we imagine and articulate conscientiously, or with reason, etc. (“the semantic material of language”) the same as everyday life (“the experiential material of life”)? In everyday life, consider how the Newark (Ohio) Farmers Market differs from the Granville (Ohio) Farmer’s Market. There is a difference present that is more than geographic. Just recently a conversation with a vendor who does both markets confirmed my own view in that she expressed the same assessment (without prompting). My experience is that in Newark, the interaction is akin to Jacques Ranciere’s description of Jacotot’s pedagogy in The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation. There, the teacher, the pupil, and the book ALL had something uniquely individual to say, express, or contribute (an imagining, different with each element). The book was the thing in common between teacher and pupil (a kind of fulcrum point). At the Newark market, the items offered by the vendor are analogous with “the book”. In Granville the buyer’s imagination reigns supreme, with the vendor and items offered either fulfilling this projection or falling short. This emphasis on the imagined world, and assessing whether what is actually present (the real world) meets the imaginer’s expectation/criteria conforms with the traditional pedagogy of the adjoining university, and what spawned its evolution. The preeminent feature/priority is self-awareness (in the tradition of Descartes), and how to make the world work for the subject (of the self-awareness), fulfill the subject’s projections. The projections, like the self-awareness itself, are all imagined (if one reads Aristotle by Davis’s account. This mis-identification of self-awareness is what makes for tragedy.). It isn’t that those at the Newark market are not self-aware. Rather, it is how they respond to, prioritize, or integrate this “imagining” that makes for difference. With Granville, it is the very priority by which all else is arranged hierarchically. It is where the emphasis is placed that accounts for the difference. Personally I integrate Zizek’s comprehension with Aristotle’s via the imagining of a Mobius strip. The cognitive processor, which defines art, is like the twist that makes the strip possible, makes for the union suit that unites north and south, making the two sides one. It is this simple twist that art provides, even better, that imitation supplies which reinforces “seeing the lawfulness of the fortuitous and the fortuity of what we take for laws.”