Here is Zizek discussing the Conversation (1974) Frances Ford Coppola. Gene Hackman plays Harry Caul, a surveillance expert who finds personal contact difficult. In an earlier scene, Harry being paranoid, pulls back a shower curtain in a bathroom investigating because he suspects, or fantasises, that a person he previously tapped is in danger.Here you’ll hear Zizek talking about cracks, by which he is actually referring to the eye. 42:33 – 48:00
Bee in bonnet ha haha.
“This runs from the very complex organisation of the household, with its dozens of technical slaves, to street furniture and whole material machinery of communication; from professional activities to the permanent spectacle of the celebration of the object in advertising and the hundreds of daily messages from the mass media; from the minor proliferation of vaguely obsession gadgetry to the symbolic psychodramas fuelled by the nocturnal objects which come to haunt us even in our dreams.”
Against the concept of a Meta- Symbol.
Hopefully what you’ve seen, in our exploration of key issues. Is that Globalization is highly debated. What exactly the role of Visual Practitioners is, in the Global environment, is equally complex. For a book we have in our college Library ten photographers were commissioned to document ‘Globalization’. What suprising is the very different approaches they all took to the different locations they visited. Stephan Vanfleteren made carefully composed portraits of people in Belgium who seem to isolated, perhaps because are old and cannot easily participate in the fast paced contemporary world of here Bertien Van Manen documents the memorabilia of immigrants living in Europe.
Elizabeth Edwards and Janice Hart argue in Photographs Objects Histories that we have a tendency to forget the the material dimension of photographs – treating them purely as images as if they were only 2 dimensional.
Materiality And The Image
Modernism and After (Vis Com)<br />Lecture 5: Materiality and the Image<br />
Today we’ll be touching...<br />Waste<br />Products and Commodities<br />Material Culture<br />Photographs<br />Illustrations<br />
Mary Douglas<br />“In chasing dirt, in papering, decorating, tidying we are not governed by anxiety to escape disease, but are positively re-ordering our environment, making it conform to an idea. There is nothing fearful or unreasoning in our dirt avoidance: it is a creative movement, an attempt to relate form to function, to make unity of experience.”<br />(Douglas 2001 , p.2)<br />
“The production of ideas, of conceptions, of consciousness, is first directly interwoven with the material activity and the material intercourse of men, the language of real life. Conceiving, thinking, the mental intercourse of men, appear at this stage as the direct efflux of material behaviour.”<br />Karl Marx in (Eagleton 1997, p.6)<br />
“Objects are important for Marx because they are the unit representations of fundamental processes of capitalist society: alienation, exploitation and estrangement.”<br />(Woodward 2007, p. 36)<br />
Martha Rosler (1969-72) Cleaning the Drapes<br />
Martha Rosler (2004) Bringing the War Home <br />
“Forty years ago [in 1968, Marxism] was supposed to denounce the machinery of social domination in order to equip those challenging it with new weapons. Today, it has become the opposite: a disenchanted knowledge of the reign of the commodity and the spectacle, of the equivalence between everything and everything else and between everything and its own image.”<br />(Ranciere 2009, p. 32)<br />
Strictly speaking, the humans of the age of affluence are surrounded not so much by other human beings, as they were in all previous ages, but by objects. Their daily dealings are now not so much with their fellow men, but rather – on a rising statistical curve – with the reception and manipulation of goods and messages...<br />
Bertien Van Manen (2003) La Courneuve. Chez Monsieur Fofana (Mali). They came to Paris in 1963<br />
Photographs<br />“Photographs are both images and physical objects that exist in time and space and thus in social and cultural experience. They have ‘volume opacity, tactility and presence in the world’ (Bracten 1997, p.2) and are thus enmeshed with subjective, embodied and sensuous interactions.”<br />(Edwards and Hart 2004, p. 1)<br />
References / Readings<br />Baudrillard, J (1998) The Consumer Society: Myths and Structures. London, Sage.<br />Buchli, V (2002) The Material Culture Reader. Oxford, Berg.<br />Dant, T (2005) Materiality and Society. Berkshire, Open University Press.<br />Douglas, M (2001 ) Purity and Danger. London, Routledge.<br />Eagleton, T (1997) Marx. London, Phoenix.<br />Edwards, E and Janice Hart (eds) (2004) Photographs Objects Histories: On the Materiality of Images. London, Routledge.<br />Graves-Brown, P.M. (2000) Matter, Materiality and Modern Culture. London, Routledge.<br />Miller, D (2008) The Comfort of Things. Cambridge, Polity Press.<br />Miller, D (ed) (2005) Materiality. London, Duke University Press.<br />Miller, D (1997) Coca-Cola: A Black Sweet Drink From Trinidad. In Miller, D (ed) (1998) Material Cultures: Why some things Matter. London, UCL Press. Pp. 169-188.<br />Ranciere, J (2009) The Emancipated Spectator. London, Verso.<br />Tilley, C et al. (eds) Handbook of Material Culture. London, Sage.<br />Tilley, C (ed.) (1990) Reading Material Culture. Oxford, Basil Blackwell Ltd.<br />Woodward, I (2007) Understanding Material Culture. London, Sage.<br />