Visual Art and Education in an Era of Designer Capitalism: Deconstructing the Oral Eye (Education, Psychoanalysis, and Social Transformation)
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This book offers a unique perspective of art and its education in designer capitalism. It will contribute to the debate as to possibilities art and design hold for the future. It also questions the broad technologization of art that is taking place.
sayable and visible within the given sensible regime, and a logic of ‘politics’ based on equality as the possibility of reconfiguring what can increase the distribution of the sensible. This gap would then constitute the (im)possibility of counting everyone as a totality. True politics is a ‘rare’ occurrence when the ‘police’ order is confronted by its own contingency; that is, when there is enough dissensus for the emergence of the new. The difficulty is that contingency is not totally grounded
activity of free play and infinite deferral of the signified. In Barthes’s terms, the ‘work’ was an empirical object, but the idea was to create a new object—a ‘text’ that was a ‘methodological field,’ which opened the work up to a ‘writing.’ Such ‘writing’ was understood to be a “process of demonstration” or ‘transposition’ to establish the intelligibility of the literary object. Barthes’s act of critical reading and recontextualization applies equally to the field of the visual. John Searle’s
artistic developments of 1960s and 1970s art), and spectacularist art (art that continues to play into the spectacle). The demands of time placed on gallery-goers differs within these three currents, especially when it comes to installation, human-machine (new media) interaction, and participatory events; however, the following four in(design) strategies seem to traverse these three currents, avoiding the gallery spaces and stepping out into public space of the metropolis (what’s left of it),
habits of everyday life and the belief system in place. The past is projected into the future through the present via such expectations. Repetition, in and of itself, is not an objective property, but something that we passively experience and can be changed. Disruptive forcework cannot guarantee a change in repetition, but it can open up the interval between repetitions to initiate a change in the future. the force of art / 135 Rhizomatic Forcework Another extension of the post-Situationist
to the exploration of the surrealist Event; once ‘moved’ by its ‘truth’ as that which has been voided—in this case the recognition of the unconscious. Truth here refers to the void set (ø), what Badiou refers to as being ‘generic,’ as that which is not ‘counted,’ that which exists on the ‘outside in’ as it were (extimate), forever out of the reach of the subject. Yet the subject must have fidelity, faith, and confidence as to the ‘truth’ of an Event as she/he explores its unknowable dimensions