Posts Tagged ‘Roland Barthes’
“All familiar things can open into strange worlds”*…
A thoughtful consideration of a modern master…
In the summer of 1953, after a stint in the army, Jasper Johns, aged 23, moved back to New York City. There, a few months later, he met Robert Rauschenberg. Their artistic and romantic partnership would last until 1961; the company they kept included John Cage and Merce Cunningham. In this heady atmosphere, Johns chose, in autumn 1954, to destroy all his prior work, and to begin the paintings that made his name when they were shown four years later: flags, targets and numbers crafted in encaustic (pigment mixed in hot wax) with collage (often mere newspaper) on canvas…
Johns made an exceptional entrance in early 1958: his first show at the new Leo Castelli Gallery nearly sold out, with three paintings immediately purchased by MoMA, and one piece appearing on the cover of ARTnews. Then 27, he had sized up the New York art world precisely, dominated as it then was by the formalist model of ‘modernist painting’ used by Clement Greenberg to champion Abstract Expressionism, and deftly deflected its discourse towards what Leo Steinberg would term ‘other criteria’.
…
In a studied phrase Johns spoke of his position as one of ‘shunning statement’. This suggests an aversion to polemics, political as well as artistic, that goes beyond temperament, a fatigue with the heated ideologies of the period (the Korean conflict, the McCarthy hearings, the Cold War). And Johns did muffle his subjects along with his gestures; his large White Flag (1955) is literally whited out. Might this intimate a ‘painting degree zero’ in line with the ‘writing degree zero’ posed by Roland Barthes against Sartrean commitment at around this time? ‘I can’t imagine my work being used to accomplish anything socially,’ Johns said. This is less negation than neutrality à la Barthes, for whom ‘the neutral’ was a way to baffle conceptual binaries, to undo ideological oppositions, to mess with ‘the paradigm’…
On the occasion of the Whitney’s (@whitneymuseum) show (through February 13) “Jasper Johns: Mind/Mirror,” Hal Foster‘s “Which red is the real red?,” from @LRB.
* Jasper Johns
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As we look closely, we might spare a thought for Francis Picabia (Francis-Marie Martinez de Picabia); he died on this date in 1953. A French avant-garde painter, poet and typographist, Picabia experimented with Impressionism and Pointillism before becoming a Cubist. He then became one of the early major figures of the Dada movement in the United States and in France, and was later briefly associated with Surrealism.
See his work at the record of a major retrospective hung at the Museum of Modern Art in New York in 2017 on their web site.
“The tendency to perceive a connection or meaningful pattern between unrelated or random things (such as objects or ideas)”*…
I am a game designer with experience in a very small niche. I create and research games designed to be played in reality. I’ve worked in Alternate Reality Games (ARGs), LARPs, experience fiction, interactive theater, and “serious games.” Stories and games that can start on a computer, and finish in the real world. Fictions designed to feel as real as possible. Games that teach you. Puzzles that come to life all around the players. Games where the deeper you dig, the more you find. Games with rabbit holes that invite you into wonderland and entice you through the looking glass.
When I saw QAnon, I knew exactly what it was and what it was doing. I had seen it before. I had almost built it before. It was gaming’s evil twin. A game that plays people. (cue ominous music)
QAnon has often been compared to ARGs and LARPs and rightly so. It uses many of the same gaming mechanisms and rewards. It has a game-like feel to it that is evident to anyone who has ever played an ARG, online role-play (RP) or LARP before. The similarities are so striking that it has often been referred to as a LARP or ARG. However this beast is very very different from a game.
It is the differences that shed the light on how QAnon works and many of them are hard to see if you’re not involved in game development. QAnon is like the reflection of a game in a mirror, it looks just like one, but it is inverted…
Read on for a full and fascinating (and frankly, frightening) explanation from Reed Berkowitz, head of Curiouser LLC (@soi). Playing with reality: “A Game Designer’s Analysis Of QAnon.”
Then consider Roland Barthes‘ (painfully–prescient) “The World of Wrestling.”
* Merriam-Webster’s definition of “apophenia.” See also “Being Amused by Apophenia.”
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As we wrestle with reality, we might recall that it was on this date in 1856 that Millard Fillmore was nominated for the Presidency by the (altogether-accurately named far-right nativist) Know-Nothing Party. Fillmore, who had been elected Vice President in 1848 had ascended to the presidency in 1850, when Zachary Taylor died, but then failed to get his own party’s– the Whig’s– nomination to run for re-election in 1852. In 1856, Fillmore turned to the Know-Nothings in (an ultimately unsuccessful) attempt actually to be elected to the highest office.
He was finally trumped by Gerald Ford, who was not even elected– but was appointed in 1973 by Richard Nixon– to the Vice-Presidency, then assumed the top job on Nixon’s resignation in 1974. Ford beat back a primary challenge from Ronald Reagan to win the Republican nomination in 1976, but lost to Jimmy Carter.
“Wrestling is not sport, it is a spectacle”*…
Your correspondent has been musing on Roland Barthes’ eerily-prescient essay on wrestling, and on its relevance to the Manichean dramas playing out in the political arena today. At the dawn of his career, your correspondent had a close encounter with wrestling (on the television production crew of a weekly wrestling show in Charlotte, NC), so you can imagine his interest in the following, from that same period…
One Friday morning in the spring of 1971, Geoff Winningham picked up the sports section of the now defunct Houston Post. At the time, Winningham had just begun teaching photography at Rice University, but at night, he’d grab his camera and head wherever he could find a crowd to shoot. In the paper, he saw an ad for a wrestling event happening that night at the Sam Houston Coliseum. “I’d bet there be some crowds there,” he thought.
Winningham was familiar with wrestling; he’d grown up in Tennessee, watching Saturday night fights on TV. Yet what he saw at the coliseum that Friday floored him. “I walked in and walked down the aisle, through the crowd, and toward the ring,” he remembers. “All these bright spotlights coming down on this white mat with the ropes around the ring, crowds screaming, and big guys throwing each other through the air and jumping on each other and torturing each other. It was madness.”
The coliseum’s promoter, Paul Boesch—who also served as the ring announcer—welcomed Winningham, and the photographer became a regular, returning to the revelry night after night. Boesch let him photograph locker rooms, gave him access inside and outside the ring, and introduced him to the wrestlers. With that, Winningham—who became known inside the coliseum as the professor of wrestling—spent the next nine months photographing the Houston wrestling scene, capturing the villainous heels, heroic baby faces, and fervent fans…
Almost fifty years later, Winningham—still a professor of photography at Rice, whose work has been shown at the Museum of Modern Art and the Metropolitan Museum of Art—has revived the spirit, grit, and excitement of those sweaty wrestling nights in Friday Night in the Coliseum. The book, which was first published in 1971, saw its second edition released in February of this year.
Geoff Winningham‘s glorious record of baby faces, heels, and their fans: “Houston’s 1970s-Era Friday Night Wrestling Come Alive in a Stunning Photo Book.”
* “There are people who think that wrestling is an ignoble sport. Wrestling is not sport, it is a spectacle, and it is no more ignoble to attend a wrestled performance of suffering than a performance of the sorrows of Arnolphe or Andromaque.” – Roland Barthes, “The World of Wrestling,” Mythologies
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As we roll off the ropes, we might recall that it was on this date in 1954 that the first of five hour-long “Davy Crockett” adventure-dramas aired on ABC as part of Walt Disney’s Disneyland series. While the form became popular in the mid-1970’s with limited series like Rich Man, Poor Man and Roots, “Davy Crockett” has some claim to the title “first mini-series on American television.”
“In wrestling, nothing exists unless it exists totally”*…
As Jesse Ventura once explained, professional wrestling is “ballet with violence.” Reuters photographer Thomas Peter spent time recently exploring the world of Japanese women’s pro wrestling. He reports that “professional women’s wrestling in Japan means body slams, sweat, and garish costumes. But Japanese rules on hierarchy also come into play, with a culture of deference to veteran fighters. The brutal reality of the ring is masked by a strong fantasy element that feeds its popularity with fans, most [but certainly not all] of them men.”
More (and several more photos) at “Professional Women’s Wrestling in Japan,” and at “Japan’s women wrestlers fight to win.”
* “In wrestling, nothing exists unless it exists totally, there is no symbol, no allusion, everything is given exhaustively; leaving nothing in shadow, the gesture severs every parasitical meaning and ceremonially presents the public with a pure and full signification, three dimensional, like Nature. Such emphasis is nothing but the popular and ancestral image of the perfect intelligibility of reality. What is enacted by wrestling, then, is an ideal intelligence of things, a euphoria of humanity, raised for a while out of the constitutive ambiguity of everyday situations and installed in a panoramic vision of a univocal Nature, in which signs finally correspond to causes without obstacle, without evasion, and without contradiction.”
– Roland Barthes, Mythologies
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As we slam the mat, we might recall that it was on this date in 1994 that the first Induction Ceremony was held for the WWE Hall of Fame. The Hall had in fact been created the prior year; it’s inaugural inductee, (the recently-deceased) Andre the Giant. But that honor had simply been announced during an episode of Monday Night Raw. The class of 1994 included Arnold Skaaland, Bobo Brazil, Buddy Rogers, Chief Jay Strongbow, Freddie Blassie, Gorilla Monsoon, and James Dudley.
Bobo Brazil (Houston Harris), who is credited with breaking the racial barrier in professional wrestling
Sic!…
From the ever-amusing (and ever-illuminating) Michael Quinion and Wide Wide Words:
The news ticker on the BBC site on 10 August read “Police chase man killed by train”. This was not a report of post-mortem athleticism: the first three words make up a noun phrase – the police chased a man, who was then killed by a train…
A similar confusion surrounds a headline found on the website of the Vancouver Province on 5 August: “Archeologist shoots dead rampaging polar bear”…
The story in the Sydney Morning Herald last Monday, on the other hand, is merely badly phrased: “Turks are notorious for breaking out into gunshots to celebrate weddings and sports victories”…
The headline on the website of The Daily Caller of Miami seems to imply a multifunction weapon: “Boy chases away man who shot his dad with kitchen knife.”
As we hesitate before committing to a headline, we might wish a joyeux anniversaire to writer and film-maker Alain Robbe-Grillet, whose first novel, The Erasers (Les Gommes) earned him the praise of eminent critics like Roland Barthes and (in retrospect) the title “father of the Nouveau Roman.”
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