{"title":"艺术和渗透时刻","authors":"Jared Pappas-Kelley","doi":"10.7228/MANCHESTER/9781526129246.003.0002","DOIUrl":null,"url":null,"abstract":"Chapter two endeavours to define art amid a portmanteau—starting with Jean-Luc Nancy’s understanding of art and the image in The Ground of the Image, Bataille’s ideas concerning art as a rupture or fissure, Jean Baudrillard’s Why Hasn’t Everything Already Disappeared?, and Paul Virilio’s The Accident of Art—to understand better the accident, disappearance, and destruction that art courts. Next, it proposes that through this art houses a solvency—in a sense undoing, yet at the same time securing or making fixed—as conflicting and resistant tendencies within the object formed. This chapter also puts forward a correlation between Bataille and Virilio and their ideas regarding the negative or reverse miracle (that they suggest gives art its form), which is similarly made visible through loss or destruction.","PeriodicalId":21883,"journal":{"name":"Solvent Form","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2018-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Art and permeable moments\",\"authors\":\"Jared Pappas-Kelley\",\"doi\":\"10.7228/MANCHESTER/9781526129246.003.0002\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Chapter two endeavours to define art amid a portmanteau—starting with Jean-Luc Nancy’s understanding of art and the image in The Ground of the Image, Bataille’s ideas concerning art as a rupture or fissure, Jean Baudrillard’s Why Hasn’t Everything Already Disappeared?, and Paul Virilio’s The Accident of Art—to understand better the accident, disappearance, and destruction that art courts. Next, it proposes that through this art houses a solvency—in a sense undoing, yet at the same time securing or making fixed—as conflicting and resistant tendencies within the object formed. This chapter also puts forward a correlation between Bataille and Virilio and their ideas regarding the negative or reverse miracle (that they suggest gives art its form), which is similarly made visible through loss or destruction.\",\"PeriodicalId\":21883,\"journal\":{\"name\":\"Solvent Form\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-11-23\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Solvent Form\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.7228/MANCHESTER/9781526129246.003.0002\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Solvent Form","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7228/MANCHESTER/9781526129246.003.0002","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
第二章努力定义艺术在portmanteau-starting Jean - luc南希的理解艺术与图像在图像的地面,借的想法关于艺术作为断裂或裂缝,让·鲍德里亚的为什么没有一切已经消失了吗?以及保罗·维利里奥的《艺术的意外》——更好地理解艺术所追求的意外、消失和毁灭。其次，它提出通过这种艺术容纳一种偿付能力——在某种意义上是解除的，但同时又确保或固定——作为所形成的对象内部的冲突和抵抗趋势。本章还提出了巴塔耶和维利里奥之间的联系，以及他们关于消极或反向奇迹的想法(他们认为这赋予了艺术形式)，同样通过损失或破坏使其可见。
Chapter two endeavours to define art amid a portmanteau—starting with Jean-Luc Nancy’s understanding of art and the image in The Ground of the Image, Bataille’s ideas concerning art as a rupture or fissure, Jean Baudrillard’s Why Hasn’t Everything Already Disappeared?, and Paul Virilio’s The Accident of Art—to understand better the accident, disappearance, and destruction that art courts. Next, it proposes that through this art houses a solvency—in a sense undoing, yet at the same time securing or making fixed—as conflicting and resistant tendencies within the object formed. This chapter also puts forward a correlation between Bataille and Virilio and their ideas regarding the negative or reverse miracle (that they suggest gives art its form), which is similarly made visible through loss or destruction.
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