Bourriaud Altermodern Essay

Bourriaud Altermodern Essay-37
It's more about falling through links as I come across them.

It's more about falling through links as I come across them.

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As I write these words I realise I'm going to have to quote myself and turn this depth into easy bite size links for Heterochronia.

The images aren't connected in anyway to the essay, but should be seen as a visual counterpoint.

Considering this emphasis on travel, then we need to explore what forms of travel are implied, and what are their reasons and effects.

We can see the beginnings of an answer in the Altermodern catalogue: By constructing the identity of this nomad and how it is suited to Altermodernity, we can look for comparisons to differing identites found in Modernity and Post Modernity.

Through this construction we will then articulate how this nomad exists in the parameters set forth by Bourriaud and what journey forms are made and how.

This essay will not look at the art or artists of the Altermodern exhibition (Tate Triennial 2009), but instead extend the central thesis put forth by the show’s curator and lead theorist, Nicolas Bourriaud.That is, instead of throwing up a quick link here and there.That's the beauty of studying: the forced concentration, the singular depth of thought.Not content to view their writing as a mode of binary oppositions, Deleuze and Guattari look to the image of the Rhizome: an underground root system consisting of only horizontal offshoots, such as ginger.This metaphor is one that indulges in it’s plurality: The need to create this distinction was to delineate away from Cartesian dualisms, that of the vertical tree and root system, and instead to comprehend the notion of horizontal multiplicities.By continuing with the botanical metaphor Bourriaud utilizes the image of the Radicant: a vine or creeper plant that plants it roots constantly as it moves along.Unlike the rhizome, which is defined as a multiplicity that brackets out the question of a subject from the beginning, the radicant takes the form of a trajectory or path; the advance of a singular subject. It accepts the need for multiplicities and the need to not be fixed upon one stable point.The surplus is then used to create life, enabling plants to complete their own life cycle.They don't really connect with Bourriaud's notion of the vine or creeper as the botanical metaphor for our time, but it's a plant that lives in a robot and moves about a polluted landscape. I'll stop faffing about and let you get on with the essay.Apologies for the academic language but I don't have the energy, headspace or the smarts to work through and rewrite it.This essay was written last year, during what I'm calling my Bourriaud phase when I was knee deep in art theory.


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