By Jan Jagodzinski
The oral-eye is a metaphor for the dominance of world clothier capitalism. It refers back to the consumerism of a dressmaker aesthetic via the 'I' of the neoliberalist topic, in addition to the aural soundscapes that accompany the hegemony of the taking pictures of consciousness via display cultures. An try out is made to articulate the old emergence of the sort of synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancière, Virilio, Ziarek, and Zizek to discover modern paintings (post-Situationism) and visible cultural schooling. jagodzinski develops the concept that of an 'avant-garde with out authority,' 'self-refleXion' and 'in(design)' to additional the questions surrounding the posthuman as complex by means of theorists resembling Hansen, Stiegler and Ziarek's 'force' of artwork.
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Extra info for Visual Art and Education in an Era of Designer Capitalism: Deconstructing the Oral Eye
She uses the more pedestrian term “stickiness” (2004b, 89) for the very same accumulation of affect that this libidinal exchange of energy (jouissance) brings about, which can be characterized by an entire range of ‘emotions’—fear, anxiety, disgust, hate, love, and so on. When she writes, “The unconscious is hence not the unconscious of a subject, but the failure of presence—or the failure to be present—that constitutes the relationality of subject (a relationality that works through the circulation of signs)” (2004a, 121, my emphasis), this merely reiterates the collapse of the subject with the object in fantasy as articulated by Lacan.
A chance . . to develop a culture of reception,” to break Hollywood’s culture industry of cinema and television marked by “a reifying schema, and by opposing production to consumption, that is to say: by putting analysis on one side (production) and synthesis on the other (consumption)” (2002, 163, original emphasis). The many writings of Mark Hansen (2006) in relation to the new media have much the same hope. He too envisions digitalization as a freeing agent for the body by modifying the Deleuzian-Bergsonian account.
The blank face as a surface is waiting to be manipulated in any shape or form. “Blank sheet 28 / visual art and education or blank face both present themselves as already full of meaning expressed as impassivity or the absence of a mark” (Gilbert-Rolfe 1999, 114). Susan Boyle at first gave this particular assemblage a bit of a fright, upsetting the post-Taylorist seriality of producing yet another idol. But the surgery was quickly and easily performed. Despite the best ‘probe-head’ effects by Orlan with her implants and operations to deterritorialize the face, her celebrity status cannot be denied.
Visual Art and Education in an Era of Designer Capitalism: Deconstructing the Oral Eye by Jan Jagodzinski