By Kim W. Woods
This quantity contains essays on key topics of medieval and Renaissance paintings, together with analyses of sacred paintings, Gothic structure, the paintings of the crusades, and paintings at court docket. Key artists resembling Simone Martini and Botticelli are integrated, in addition to defining monuments of the interval comparable to the Basilica of Saint Denis and Westminster Abbey.
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Additional info for Art & Visual Culture 1100-1600: Medieval to Renaissance
40 But this conceptual circuit also requires—it is perpetually in search of (this search being its history)—concrete material-technological support that will give the medium its operational body. Eventually, operational technology is declared normative. At that point, however, the Idea of the medium is also substantially transformed: its immaterial conceptual design acquires a thus far unprecedented degree of specificity by being forever related to the structural-material dynamics of the standardized apparatus.
For how else can one read “out loud” the blank, entirely content-less verse of Man Ray’s poem, but as purely carnal manifestations of mute sounds? In other words, the body, the conductor, and the converter mediating between images and sounds can only perform a Dumb Poem by acting itself out (through movements and contortions originating in the area of the mouth), after having been caught in the situation of not being able to discharge. Deprived of the possibility of a properly sonorous energetic/libidinal release, the body dynamically materializes what forever remain the “not-yet sounds”: sounds that ought to be articulated, but at the same time cannot be articulated for they remain unknown, unspecified by the poem.
As Friedrich Kittler authoritatively points out in his analysis of Christian Morgenstern’s work “The Great Lalula,” before this author’s “1905 collection Gallows Songs, no poem had existed as a small discourse network. Literary historians have sought classical-romantic models for these poems and have found some nonsense verse here and there. . is at least speakable. 8 “Dumb poem” in Man Ray’s Return to Reason (1923) Opto-phonetic poetry, originating with Morgenstern and subsequently actively pursued by the Dadaists, is a type of inter-media practice in which meaning is “bracketed off ” (as in Morgenstern’s () or (;)), while the bracket itself (the desublimated physical substance of the media dispositif) is what is communicated in the process of infinite conversion of sounds into images and vice versa.