File spoon-archives/lyotard.archive/lyotard_1997/97-04-10.192, message 4


Date: Fri, 17 Jan 1997 00:40:51 -0500
From: rojan josh <rojan-AT-bu.edu>
Subject: Re: Req. sublime and lyotard


a sporadic thought: in the intro to po-mo condition jameson talks about
the "terrorism" of high modernism architecture, which would suggest that
it tries to instill a sublime experience of the type suggested below

post-modern architecture shys away from the high seriousness and utopian
apocalypticism of its predecessor and would seem to abandon the sublime
except as citation

RJ
 
Christine Mills wrote:
> 
> from Toward the Postmodern: "With the beautiful, it is pure happiness,
> the miracle of promise, but with the sublime, it is impossibility, the
> imminent threat of non-being. The beautiful is an event of birth; the
> sublime, one of death" (155)
>  for me, part of the answer lies in the threat of
> non-being. a response by the artist that is not about soothing, not about
> comfort, but is instead about the reaction of the viewer in the face of
> kant's "absolutely large". an object that resists apprehending. the sheer
> force of that resistance brings a fear of "non-being", a fear of
> destruction in the presence of a work that not only does not invite
> participation and understanding, but actively deflects it.
> 
> this is almost an inversion of the goal of (especially high) modernism
> (though i speak more about 2-D art and literature, i'm not well-versed in
> late 20th c. architecture). Lyotard also speaks about the "ravishing of
> sensitivity" and i think that may be relevant as well...
> 
> cm
> 
> On Thu, 16 Jan 1997 9336801-AT-lewis.sms.ed.ac.uk wrote:
> 
> > I am looking at the subject of late twentieth century architecture in the
> > context of the proposal by Jean-Francois Lyotard that, "It is in the
> > aesthetic of the sublime that modern art (including literature) finds its
> > impetus and the logic of the avant-gardes finds its axioms."
> >       I want to know how Lyotard would answer this question himself.
> >


   

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