2.06.2010

Jackson Pollock__ Via Pirate ReSearcher Corry Shores vi..a Deleuze

Your synthesis of disparate elements will be all
the stronger if you proceed with a sober gesture, an act of consistency,
capture, or extraction that

works in a material that is not meager but prodigiously simplified, creatively
limited, selected. For there is no imagination outside of technique.
aTp 344-5
(of the refrain)


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-----the video included is an excerpt as i was inabled to uplink more--------------------------------------------


Back in January PIrAte ReSearcher ExtraOrdinaire ___Corry Shores wrote a terrific text which he blogged and which is also a part of a larger work he is doing ___________titled:
___________________________
"Do Posthumanists Dream of Pixelated Sheep?

My own brain _ less pixelish and less coherent completly bifurcated and debouched as it is schiziotextish deterritoiralizing ....
has been much taken with the scattered



sightings of paintings by Jackson Pollock.
______Pirate
______
Corry summarizes Deleuze ideas and

brings his own observations to bear
on the subject _ No pun intended.
the Subject of the Painting and the Painted


(the subject of digital/analogical
smooth striated?)
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__________ so then: after glancing at this cut and paste_____________
voila_ finally I'd suggest going off and reading the full post.









"By contrast, Deleuze finds analogical modulation inaction painting, in which the painter expresses a chaotic bodily flux. Techniques of this sort include scrubbing, sweeping, and wiping the wet paint, or throwing paint on the canvas. Here the hand is free to express itself with involuntary movements that create chaos on the canvass rather than controlled forms, which reduces the whole painting to catastrophe.



By letting the thrown paint fall in its own way, and by letting it splatter beyond the edges of the canvass, the action painter almost completely submits the painting’s creation to chance. In Jackson Pollock’s drip paintings, for example, we see the dominant role his hand plays in creating the chaotically arranged splatters on his canvass, which is laid horizontally on the ground and in the middle of a wider distribution of drips."
Here, nearly every part of the canvass has equal probabilities for what may be placed in them, because, as is especially the case with thrown paint that falls outside the borders, no section of the painting is oriented by a center and edge of the canvass.


In these paintings, there are no delimitations, and lines continually and randomly change their directions.[xxxvi]Below is one example, Pollock’s Untitled (Green Silver), 1949. (Color image found on panel beside page 38).
Just as was the case for language and replication, analogical communication functions by means ofmodulation, which is a continuous variance of some feature. The force Pollock employs to throw the paint is revealed in the way it spatters, with greater force making longer more slender imprints, for example. Hence, analogical aesthetic communication has the features of smoothness, sensitivity, and dimensionality that we earlier discussed."




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