| Nota di contenuto |
Intro -- Foreword -- Acknowledgements -- Photographs -- Introduction -- References -- Contents -- 1 The Charged Image in Multi-mode Transitional Practices -- 1.1 The Arachnian Web of the Meta and Mediate Modes -- 1.1.1 Erlebnis and Erfahrung -- References -- 2 The Work of the Wall: Walls, Windows, Doors and Floors -- 2.1 Walls in Transition -- 2.2 Inside the Cave -- 2.3 All 'Wheres' -- 2.4 The Wall as Membrane -- 2.5 Closure and Das Gegenwerk -- 2.6 'A View from Somewhere' -- 2.7 The Uncanny Interior -- 2.8 The, Heimliche, and the Unheimliche -- 2.9 The Door -- 2.10 The 'Event' (Ereignis) -- 2.11 An Index of Agency -- 2.12 The Uncanny and Anxiety -- References -- 3 The Charged Image -- 3.1 What Is an Image? -- 3.2 The 'Affective Arrangement' of Images -- 3.3 Putting Forward a Possibility -- 3.4 Touch -- 3.5 The Charged Image as Memorial Persistence -- 3.6 The Charged Image as 'Saturated Phenomena' -- 3.7 The Transmutation of Immediacy -- 3.8 A Peircian Perspective on the Charged Image: The Immediate and Dynamic Object -- 3.9 Involuntary Memory and the Charged Image -- 3.10 Barthes' Punctum and the Charged Image -- 3.11 Aura and the Charged Image -- 3.12 Drawing from Painting -- 3.13 Seeing and Drawing -- References -- 4 The Object Relations Theories of Winnicott and Lacan -- 4.1 The Transitional Object and Potential Space -- 4.2 The Lost Object or 'Object A' -- 4.3 'The Unmappable Self' -- 4.4 The Uncanny and Anxiety -- 4.5 Tyche (Τύχη) -- 4.6 Architectures of the Unforeseen -- 4.7 The Death of Actaeon -- References -- 5 Aby Warburg's Atlas Mnemosyne and the Trans-Individual -- 5.1 'Disconnected Dynomograms' -- 5.2 The Body as a Place of Passage -- 5.3 Matter and Memory -- 5.4 Between the Old and the New -- 5.5 Archives, Atlases and the WBW -- 5.6 The 'Atlas Mneomsyne' as 'Anatopic Object' -- 5.7 The Atlas and Anxiety.
5.8 Holding Open a Channel Between the Conscious and the Unconscious -- 5.9 Survivals and Residues -- 5.10 Potentiality and Non-actualisation -- 5.11 Stimmung -- References -- 6 The Studio: 'The Whatness of Where' -- 6.1 The Workshop -- 6.2 Finger Painting -- 6.3 A Day in the Studio: Where There Is No 'I' and Nothing Is Secure -- 6.4 The Table -- 6.5 'The Psychosis of the Studio' -- 6.6 The Fourfold -- 6.7 Starter Mechanisms -- 6.8 Lost Without Trace -- References -- 7 'Propositions of the Wall' 49 Rue Hippolyte-Maindron -- 7.1 A Variably Extendable Space -- 7.2 The Life of the Wall -- 7.3 The Dispensable Surface of Inscription -- 7.4 The 'Graffito' Propositions of the Wall -- 7.4.1 Femme Debout -- References -- 8 On the Floor in Front of the Work -- 8.1 A Compost of Images -- 8.2 The Order of Images -- 8.3 Shadows, Rails, and Cages -- 8.4 'Dubuffet's Table -- 8.5 The Voices of Dust -- 8.6 Reaching Down and Reaching Out -- 8.7 Floors, Tables, Walls and Panels -- 8.8 Looking Down and Around -- 8.9 The Site of Abjection -- 8.10 The Ready-To-Hand -- 8.11 Chance and Accident -- 8.12 What More is There to the Image -- 8.13 The Evaporation of Intention -- References -- 9 Working on the Linen Wall -- 9.1 'The Pulsing of Presence and Absence' -- 9.2 Doing, Undoing and Redoing -- 9.3 'The Ghosts of Erased Images' -- 9.4 'With the Quarry in Sight' -- 9.5 'A Gesture Suspended' -- References -- 10 The Wall of the Gates -- 10.1 Modeling and Re-Modeling -- 10.2 The Wall of the Gates -- 10.3 Breaking the Mold -- 10.4 The Artist as Bricoleur -- 10.5 An Endless Process -- 10.6 Literature and Other Sources -- 10.7 Rodin and Charcot -- 10.8 'The Last Days of Mankind' -- References -- 11 Washing the Wall -- 11.1 'Triumphs and Laments' -- 11.2 Drawing on the Ready-To-Hand -- 11.2.1 Fortuna -- 11.3 Drawing as Misprision -- 11.4 Familiarity and Estrangement.
11.5 A Theatre of Memory -- 11.6 The Roman Tear Vase -- References -- 12 The 'Teachings of the Wall': R.B. Kitaj's Painting and Drawing Studios -- 12.1 The Roads Made by Walking -- 12.2 Reading -- 12.3 Repetition of Reproductions -- 12.4 The 'Placelessness' of the Reproduction -- 12.5 The Drawing Studio -- 12.6 The Teachings of the Walls -- 12.7 An Archeology of Interlacing Images -- 12.8 Clues -- 12.9 'The Potential Sphere' -- References -- 13 The Wall of the Gaze: Drawing the Charged Image of the Other -- 13.1 Drawing Blind -- 13.2 Drawing 'the Enigma of the Mad' -- 13.3 Drawing as a Double Act -- 13.4 The Opening of the Absolute -- 13.5 Masks and Marks -- References -- 14 The Mark on the Wall -- 14.1 The Empty Signifier -- 14.2 'The Absolute Mark' -- 14.3 Intentional and Unintentional Marks -- 14.4 Signs and Not Signs -- 14.5 The Mark on the Wall -- 14.6 Distant Blots -- 14.7 The Mark as 'Qualisign' -- 14.8 The Mark as Firstness -- 14.9 The 'Towards This' of the Mark -- References -- 15 Settling In and Setting Up: An Interview with the Artist Evguenia Jokhova -- 15.1 Interview -- 16 The Walls and Webs of Louise Bourgeois' 'Body House' -- 16.1 The 'Body House' -- 16.2 The Spider Mother -- 16.3 Clothes -- 16.4 Chairs -- 16.5 Scavenging, Collecting, Hoarding -- 16.6 Secretions -- 16.7 Bifurcations -- 16.8 Doing, Undoing and Redoing -- 16.9 'The Spinners' -- 16.10 Absorption -- References -- 17 Not Just Another Brick in the Wall: The Charged Image and the WBW in the Context of Secondary and Tertiary Education -- 17.1 The Place of Art Classroom A13 -- 17.2 'The Half Thing' of Atmosphere -- 17.3 Promoting the Provisional -- 17.4 Semiotic Apprenticeship -- 17.5 The Territory of the Seen and the Unforeseen -- 17.6 Anxiety and Entwurf -- 17.7 Drawing in Dialogue: The Dispensable Surface of Inscription -- 17.8 'Show Me What You Mean'.
17.9 The Trigger of Creativity -- 17.10 Habit Change -- 17.11 Developing a Relationship to the Unknown and the Unforeseen -- 17.12 Transitional Practices, Touch and the Context of Education -- 17.13 Establishing a Balance -- 17.14 The Teacher Should also Have a Board -- References -- 18 'The Board Behind My Desk': The Wall-Beside-the-Work in Architectural Practice -- 18.1 The Architects Board -- 18.2 The 'Board' as a 'Conscription Device' -- 18.3 The Notebook and the Board -- 18.4 From Notebook to Board and Back Again -- References -- 19 The Wall-Beside-the-Work: The Allegorical and the Digital -- 19.1 Manipulation and Convergence -- 19.2 The WBW as Collage and Assemblage -- 19.3 The Wall-Beside-the-Work as Ruin -- 19.4 Digitalization, Alienation and Ruin -- References -- Conclusion -- Limitations of the Research -- Future Research Directions -- References -- Bibliography.
|
Info
Teaching creativity [[electronic resource] ] : multi-mode transitional practices / / Derek Pigrum
