By Gary Shapiro
Shapiro explores the complete diversity of Foucault's writings on visible artwork, together with the idea of visible resistance, the concept that of the illusion or simulacrum, and his interrogation of the relation of portray, language, and gear in artists from Bosch to Warhol. Shapiro additionally exhibits via an excavation of little-known writings that the visible is an enormous subject matter in Nietzsche's suggestion. as well as explaining the importance of Nietzsche's research of Raphael, Dürer, and Claude Lorrain, he examines the philosopher's figuring out of the visible measurement of Greek theater and Wagnerian opera and provides a strong new examining of Thus Spoke Zarathustra.
Archaeologies of Vision might be a landmark paintings for all students of visible tradition in addition to for these engaged with continental philosophy.
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Extra resources for Archaeologies of Vision: Foucault and Nietzsche on Seeing and Saying
He never works "from nature" -he leaves it to his instinct, his camera obscura, to sift and strain "nature, " the "case, " the "experience. " . . What will be the result if one does otherwise 7 Carries on colportage psychology in, for example, the manner of Parisian romanciers great and small ? . just see what finally emerges-a pile of daubs [Klecksen], a mo saic at best, in any event something put together, restless, flashy . . Seeing what is - th at pertains to a different species of spirit, the anti-artistic, the prosaic.
Such an alteration could involve readi ng the philosophers in the context of the visual culture of their time, critically examining their work as it touches on (or avoids) significant visual material, or even (as in the case of Bentham) as it involves the design of visual works. 20 A large part of this book is devoted to examining Nietzsche and Foucault in the context of what they looked at and how they translated that looking into words. I attempt to read these thinkers diagonally, as Deleuze would say, at tending to the visual materials that they discuss, whether glancingly or in greater depth, to their accounts of visuality, and to their deploy ment of visual figures in their own work or to their analysis of it in the work of others.
The Re gentesses fared even worse in the eyes of commentators. With the pos sible excepti on of the standing figure at the right, they were thought to exhibit a frightening coldness. One critic, writing in 1902, says: "These five old ladies, so grimly respectable, so austerely benevolent, so reproachfully prim and well-kept, must have been no small terror to their defaulting sisters who appeared before them-as probably Mrs. Hals had done-on a cha rge of poverty . "24 In 1963 two Dutch scholars, a psychologist and an art historian, published an essay titled "The Malignity of Hals's Governors" in which they sought to question such judgments of the painting.