tailieunhanh - THE ANTI-AESTHETIC ESSAYS ON POSTMODERN CULTURE

It is exactly this shift from denotation to connotation and obtuse meaning, or – to put it differently – from information to sensorial and affective qualities that is the topic of this discussion. In the luxury domain in recent years, a certain type of advertisement has emerged that relies almost exclusively on the evocation of pure sensations. Only in part do the depicted scenes, characters or objects lead to these sensations. Rather, the aesthetic features of style – such as depth of field, diffusion, colour or light – enhance the spectator’s sensorial response. Most often, these types of. | THE ANTI-AESTHETIC ESSAYS on POSTMODERN CULTURE Edited and with an Introduction by Hal Foster Contributors Jean Baudrillard Douglas Crimp Kenneth Frampton Jurgen Habermas Fredric Jameson Rosalind Krauss Craig Owens Edward Said Gregory Ulmer The Ecstasy of Communication Jean Baudrillard There is no longer any system of objects. My first book contains a critique of the object as obvious fact substance reality use value. There the object was taken as sign but as sign still heavy with meaning. In this critique two principal logics interfered with each other a phantasmatic logic that referred principally to psychoanalysis its identifications projections and the entire imaginary realm of transcendence power and sexuality operating at the level of objects and the environment with a privilege accorded to the house automobile axis immanence transcendence and a differential social logic that made distinctions by referring to a sociology itself derived from anthropology consumption as the production of signs differentiation status and prestige . Behind these logics in some way descriptive and analytic there was already the dream of symbolic exchange a dream of the status of the object and consumption beyond exchange and use beyond value and equivalence. In other words a sacrificial logic of consumption gift expenditure defense potlatch and the accursed In a certain way all this still exists and yet in other respects it is all disappearing. The description of this whole intimate universe projec- 145 146 The a nt I - a EST h et 1 c tive imaginary and symbolic still corresponded to the object s status as mirror of the subject and that in turn to the imaginary depths of the mirror and scene there is a domestic scene a scene of interiority a private space-time correlative moreover to a public space . The oppositions subject object and public private were still meaningful. This was the era of the discovery and exploration of daily life this other scene emerging in the .

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