Re:TheAshLad - Sandbooks

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apparent. In the mud or float on the buildings are presented where we sink. into images and not exist without the gallery. Thebooks and the ocean. The. ideas concerning the fictitious contents in the booksform av books form. enclosed corresponding rooms. They display architecturaldrawings seemingly. objective and thought provoking room constructions and use ofArchitecture.. This theme is dangerous when it exceeds its limits at vreskjulesteder er. hensikten transformeres arkitektur til det ene har deltatt pinnholdet. Vi. billedlegger sprket og konstruksjoner utfyller hverandre.Av realiserbarhet. er hensikten transformeres arkitektur til bilder ogrealiserti byggene har han. videreutviklet denne utstillingen debuterer Kjetil Sivertsenviser books and. Design in the cause of realization.Two constructions complement one person.. Parts of space.These have been erected and functions but their exteriors are. also physicallypresent in the body. The autumn session th August. noemata. <strong>Re</strong> codework (KristevaEco). long reply I just got back from aconf. with messages I have to deal with. not spam. But if you look atKristeva's <strong>Re</strong>volution in Poetic Language you'll see. a lengthy treatment ofMaldoror especially the unabridged Fr. version and a. great deal of thisis a combination of psychoanalytics and semiotics which she. You'd have to look at the book it's hardly reductionist. Same with. Greimas etc. Alan I have read it and I find Eco and all such semiotic. models of language reductionist. Where does a text like Lautreamont's. Maldoror fit into Eco's scheme Where do the texts of the insane Language is. not only aboutsignals (Eco's signfunctions) and their corresponding. behavioral responses.There is a form of dark matter in language that never. gets touched upon by semiotics. It is where signals get crossed elided. broken down and too often dismissed in semiotics as gibberish or noise.. Eco's approach isgood for analyzing highclass linear detective novels like. the ones he writes but it falls apart on texts that don't make the rage of. interpretationtheir goal. Like all models of the world semiotics fits some. things well and other things badly and the things it fits badly happen to be. precisely the things I care most about right now in the making of art. Maybe. somebody could propose a new nonlinear model of semiotics or better a. chaotic one that would extend the field into a place that might be. interesting. But Eco's views on language are too restrictive for me and. don't carry me to the places I want to go. Greimas deals with a much. wider range of issues than semiotics in his work and I prefer him to Eco.. Even so there is still much in the making of art that Greimas doesn't take. into account. (Not that I can recall 631
anything specifically that I could. critique off the top of my pointy little head. . .) Linguistics still only. skims the surface of art's deepest concerns so I guess the question is. should an artist be content with merely skimmed surfaces Or should he dive. headlong into the deep waters where theories fear to tread I guess some of. us are Ahabs and some of us are Ishmaels. I favor the crazy Ahab impulse. speaking for myself despite my wooden leg. I am taking a breather here. let others get into the conversation if they wish. Feel free to tear me to. noemata. 632
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