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Repetition and difference : poetic invocations of nature in visual art

机译:重复与差异:视觉艺术中自然的诗意诉求

摘要

Repetition, particularly as employed in minimalist art, has beenudcontrasted to the poetic insofar as it is associated with notions such asudsameness and standardization, while the poetic is associated withuduniqueness and difference. In my work however, my aim is to express audpoetics of nature through the use of repetition.udBecause of the centrality of repetition, minimal ism was the initial contextudthat informed the research. But while minimalists emphasized theudmodular, which has connotations of standardization and mass production,udmy interest resides in how repetition operates in nature where there isudnever an exact replication.udThe key artists within the research context are Carl Andre whose use ofudthe modular grid evokes a sense of environment; Claude Monet inudrelation to his investigations of the nuance of changing light andudatmospheric conditions as manifested particularly in his water lily series;udPaul Klee's use of repetitive tree-like structures; Agnes Martin'sudrepetition of the horizon in her monochromatic paintings; Emily KameudKngwarreye's repetition of marks/gestures that draw on nature in herudpaintings; and Vija Celmins' repetitions of marks and of oceanic andudinter-stellar motifs.udCorrelations have been formed in the research between Gilles Deleuze'sudunderstanding of repetition within Difference and Repetition and GastonudBache lard's definition of poetics within The Poetics of Space. I proposeudthat the similarity of the operations of repetition and poetics suggests they can be viewed as being related, and that the essential condition of the twoudorders is mobility.udThe three main aspects of nature that have been researched in relation toudmobility and repetition are: the wave and its dual characteristics withinudwater and light; growth, particularly leaf vein structures that appearuduniform but are unique; and time seen through cycles and evolutions inudnature.udMy contribution to the field is in extending a dialogue in which repetitionudis not mere replication of the same but arises out of the recognition ofuddifference within sameness.
机译:重复,特别是在极简主义领域中使用的重复,已与诗相较,因为它与诸如“芝麻”和“标准化”之类的概念相关联,而诗歌与“独特性和差异”相关。但是,在我的工作中,我的目的是通过重复的使用来表达自然的 u003d u200b udd。 ud由于重复的中心性,最小的ism是为研究提供信息的初始上​​下文。但是,尽管极简主义者强调了 udmodular,它具有标准化和批量生产的含义,但 udmy的兴趣在于重复在自然环境中的运作方式,甚至从来没有精确的复制。 ud模块化网格让人联想到环境感;克劳德·莫奈(Claude Monet)与他对改变光照和大气环境的细微差别的研究毫无关联,尤其是在他的睡莲系列中;保罗·克利(Paul Klee)使用重复的树状结构;艾格尼丝·马丁在单色画中对地平线的重复;艾米丽·卡姆(Emily Kame) udKngwarreye在她的 udpaintings中重复利用自然的标记/手势;吉尔斯·德勒兹(Gilles Deleuze)对差异和重复中的重复理解与加斯顿·巴德·拉德(Gaston udBache)对猪油在《空间诗学》中的定义之间的研究已经形成了相互关系。我建议 ud,重复和诗学操作的相似性表明它们可以被看作是相关的,并且两个 udorder的本质条件是可移动性。 ud已研究的与自然相关的三个主要方面流动性和重复性是: udwater和light中的波及其双重特征;生长,特别是看上去双重但独特的叶脉结构; ud我对这个领域的贡献在于扩大了对话,其中重复不仅是相同内容的复制,而且源于对相同性的了解。

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    MacDermott MT;

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