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Rowynn Dumont

Chimeric Unrest www.rowynndumont.com

Some sketches/ cartoons that I drew for the design of the sculptures I did for Nimbus @ Vespertine in Shanghai, China.  The surrealist futuristic steampunk bar.  

If we believe Plato, the artist knows and represents nothing but lies. Not only that, but such lies make men cry—make them act, that is, like women.

- George Smith President of IDSVA 

"Aristotle replies, in effect, “The artist knows less than the philosopher, that I grant you. But it’s also true that the artist knows more than the historian, because [his] mimetic representations are universal, whereas the historian’s facts are particu- lar.” Always the pragmatist, Aristotle takes Plato’s binary of the ideal/real and sets up knowledge as a working hierarchy: philosophy = high; art = middle; history = low. Hence begins one of the main dialectical histories of Western epistemology—with the science of philosophy always already in first position and art and history endlessly fighting it out for second place. But it is Plato’s original point about mimesis as the artist’s representation of lies that sets up the key aesthetic dialectic between truth and art—not to mention the ever-enduring relationship between aesthetics and misogyny. (Aristotle in the Poetics equates women and slaves, as if to assure Plato that whatever their differences on art, they’re a match when it comes to patriarchy.)” 

(Source: muse.jhu.edu)

Form vs. Content in the Centre Pompidou in Paris

By:  Rowynn Dumont 

This essay offers a brief discussion on the discourse of Kantian form vs. Hegelian content in relation to the Centre Pompidou in Paris, France.   Can form and content coexist in one architectural entity?  My argument is that the Centre Pompidou, outwardly displays Kantian form, and yet at the same time, holds Hegelian content through out it’s collective spirit. 

 

In terms of defining form and content, for the use of argument we will use the following definitions:  Eternal form, is a type of platonic form, it is essentially pure form.  It is Kantian form, a form that holds line and geometric shape but without the content.  Content is the ideas, concepts and history of an object.  Content is Hegelian.  Modernism was a celebration of form, a metaphorical shedding of the allegory. It was a time of reverence in line and shape which had never been experienced before.  But you cannot have form without content.  Postmodernism came along and fractured form.  It changed the way people saw and were seen in their constructed theories on art, space and philosophy.  Now form could be something, which could also hold content. 

With this new sight it was apparent that everything has content.  A box of cereal on the ground is trash, but put it on a pedestal and suddenly it has all of the history of art, theory and culture behind it.  Depending on the framing of the context at which the object is observed under.  As long as time exists, content will always be there.  The history of form is inescapable.

 

One of the architectural landscapes that could be said to hold both form and content is the Centre Pompidou in Paris, France.  The architectural team consisting of Richard Rogers, Renzo Piano and Gianfranco Franchini, designed this complex entity in 1977.  The center is considered a great achievement in the forth coming of Postmodernist Structuralism.  The vision of it is both jarring and inspiring, set along the panorama of Parisian streets and colossal palace configurations.  When it was first built it came as a shock to the system for Parisians and tourists alike.  Le Figaro, a daily French newspaper, in reaction to the Centre stated, “Paris has its own monster, just like the one in Loch Ness.” (Silver).  The building is very high tech, and futuristic in appearance.  It’s skeletal like “pure form” had never been encountered in Paris before, nor has it since.  The aversion passed quickly though, due to the considerable content that was laid bare in the depths of the building.  A new library and one of the greatest collections of Modern, Postmodern and Contemporary art was placed within the Centre and made open to the public.  The Pritzker jury said the Pompidou “revolutionized museums, transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city.” (Pogrebin).

 

Can form and content coexist in one architectural entity?   It is not only possible for them to coexist, outside of an allegorical nature, but one cannot truly exist without the other. The Centre Pompidou in Paris proves this possibility making the world a better place for it now and for future generations to come. 

 

  Works Cited:

 Pogrebin, Robin (2007-03-28). "British Architect Wins 2007 Pritzker Prize". New York Times.

 Silver, Leigh.  “ Everything Sneakerheads Should Know About the Centre Pompidou” Complex Art + Design.  March 27, 2014.  http://www.complex.com/art-design/2014/03/everything-sneakerheads-should-know-about-the-centre-pompidou/people-hated-it-at-first

Images and Content © Rowynn Dumont 2014

Video of the day! Give me a little bit of that, Carolee Schneemann: “Meat Joy” (1964)

I was reading Witgenstein’s ‘Philosophical Investigations’, which I think doesn’t provide you with anything except a way to question things. You can have an argument and follow it until you find out that it makes sense or it doesn’t make sense, but it was still useful to me to find out that it didn’t go to anywhere or it was wrong…

Bruce Nauman (1941) Interview with Michele De Angelus 

"One can well imagine a truly obscene version of the “aristocrats” joke…

that easily beats all the vulgarity of family members vomiting, shitting, fornicating, and humiliating each other in all possible ways: when asked to perform, they give the manager a short course in Hegelian thought, debating the true meaning of the negativity, of sublation, of absolute knowing, etc., and, when the surprised manager asks them what is the name of the weird show, they enthusiastically reply: “The Aristocrats!” Indeed, to paraphrase Brecht’s quote “What is the robbing of a bank compared to the founding of a bank?”: what is the disturbing shock of family members shitting into one another’s mouth compared to the shock of a proper dialectical reversal? So, perhaps, one should turn the title of the joke around— the family comes to the manager of a night club specialized in hard-core performances, performs its Hegelian dialogue, and, when asked what is the title of their strange performance, enthusiastically exclaims: “The Perverts!”

Žižek

(Source: critical-theory.com)