Cyrus Manasseh PhD | University of Technology Sydney (original) (raw)
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Books by Cyrus Manasseh PhD
ZIG ZAG EDUCATION, BRISTOL, UK, 2014
The Lead Guitarist, 2018
Story Summary In London in the vibrant 1990s, a group of young musicians led by a lead guitarist... more Story Summary
In London in the vibrant 1990s, a group of young musicians led by a lead guitarist head for stardom playing a popular kind of music. However, after finding some success, Alex, the lead guitarist discovers the path he had chosen and always wanted for himself is no longer what he wants and decides to head off in a different direction.
In the future time of 2048, - a post-factual age and solely digital world a group of people on ho... more In the future time of 2048, - a post-factual age and solely digital world a group of people on holiday all meet on an island and have their ideas about the lives they lead very radically changed. The novel is both an adventure and a philosophy all in one and is about the problems of too much technology versus not enough nature in the future. "Continuous upgrading was a bad thing – each step forced everybody away from humanity and into the void. At the same time, humans were being controlled so much since the time before when they had disrespected the uncreative robots
Throughout the mid-1970s until the early 1990s, video art as vehicles for social, cultural and po... more Throughout the mid-1970s until the early 1990s, video art as vehicles for social, cultural and political analysis were prominent within global museum-based contemporary art exhibitions. For many, video art during this period stood for contemporary art. Yet from the outset, video art’s incorporation into art museums had brought about specific problems in relation to its acquisition and exhibition. Cyrus Manasseh’s The Problematic of Video Art in Museum 1968-90 analyses, discusses and evaluates the problematic nature and form of video art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney.
Papers by Cyrus Manasseh PhD
From the 1960s, the American Conceptual artist Bruce Nauman would challenge Modernist gallery str... more From the 1960s, the American Conceptual artist Bruce Nauman would challenge Modernist gallery structures through his video art. This paper addresses the effect of Nauman's pioneering video art within White Cube gallery spaces particularly in relation to the High Modernist period (1968-90 app.) by examining its meaning from a particular standpoint. It does this by discussing Nauman's video artworks in relation to aspects of existentialist philosophy and theatre as Nauman's avant-garde works would cross into these territories. Nauman's work I argue, would manifest in such a way that would, in terms of his works being displayed, lead to the re-sculpting within the period of High Modernism of the Modernist gallery paradigm set by the Museum of Modern Art in 1929
The international journal of the constructed environment, 2011
Margreiter's film Pavilion and McQueen's film Giardini exhibited respectively inside the Austrian... more Margreiter's film Pavilion and McQueen's film Giardini exhibited respectively inside the Austrian Pavilion and the British Pavilion at the 53rd Venice Biennale of Art, question the architecture of the pavilion in general in the constructed environment of the Giardini. Is the architecture used as a container of art or the architectural form, the container itself, to be interpreted as art? Their films are about the places in which they are shot and displayed: the pavilions themselves, the containers of art, which are transformed through the films into architectural sculpture/art objects. Arguably, Margreiter's and McQueen's film reveal the extent to which the modern language of architecture of the Venice pavilions, frozen in 'space' (within the boundary of the Giardini) and 'time' (still contemporary from the date of their realization), seem to conjure that particular primordial 'timelessness' which can be valued as one of the main attributes of contemporary architecture in general. These "kaleidoscopic spaces" which are used to haunt our memory are used to stimulate the ontological role of imagination-creating a new experience of the universe via the pavilion.
This paper will reveal the influence of the Louvre upon museums of the East. It will do this via ... more This paper will reveal the influence of the Louvre upon museums of the East. It will do this via examination and discussion of the relationship between the Louvre, Cairo Museum, National Museum of Athens and Ancient Iran Museum in relation to curatorship and Architecture
In January 2010 the Architecture Program of the Faculty of the Built Environment at the UNSW host... more In January 2010 the Architecture Program of the Faculty of the Built Environment at the UNSW hosted a design summer studio: 'Biennale of Sydney Pavilions' open to approximately thirty Masters students of architecture and fine arts. The studio took place twice a week for four weeks with a total of 48 hours. The purpose of this studio was to give the students the opportunity of designing a pavilion for the 17 th Biennale of Sydney visitors, already affected by the display of many artworks in the Biennale, with specific spaces limited to contemplation, thinking and meditation. The pavilion, intended as the point of interaction between art, architecture and the natural beauty of the Sydney Harbour, would offer to Biennale visitors a moment for pause and reflection. The aim of the studio was to cultivate in the students an 'educated design imagination' through the integration of multiple disciplines in order to approach the design in a holistic way. Accordingly, the disciplinary background of the four lecturers/tutors involved in this studio included Art, Architecture and Philosophical Aesthetics. The paper traces the vital role of these respective disciplines taught in the design studio and attempts to gauge to what extent the students will benefit from this multidisciplinary exposure. The term 'educated imagination' is borrowed from the Canadian scholar Northrop Frye's book The Educated Imagination, (1963) 1 , where he distinguishes the way the sciences and the arts construct imagination from opposite ends. Frye suggests that science begins with the world as it is and from a rational and intellectual approach science turns to imagination. On the other hand, "art begins with the world we construct, not with the world we see. It starts with the imagination, and then works towards ordinary experience". 2
The essay discusses the German philologist, archaeologist and historian J.J. Winckelmann's theore... more The essay discusses the German philologist, archaeologist and historian J.J. Winckelmann's theoretical influence on the conception of the Classical museum model as defined and established by the Louvre within the nineteenth-century in Paris. From its initiation, the Louvre would furnish an example for the Metropolitan and for scores of galleries around the world to replicate. This would include the Egyptian Museum in Cairo, the National Archaeological Museum of Athens and the Ancient Iran Museum in Tehran. Winckelmann's historicism would encourage the implementation of new ideas and practices related to the meaning and connoisseurship of art and aesthetics in Western Europe within nineteenth-century gallery systems as they began to develop new practices for displaying art in which the singling out of specific cultures within an historic hierarchical context would become prominent. (McClellan, 3-4). The essay discusses how Winckelmann's ideas would inspire a curatorial system and condition of representation of art for the Louvre as the Classical museum paradigm established in the nineteenth-century.
The age in which the twentieth century French avant-garde visual artists Marcel Duchamp and Franc... more The age in which the twentieth century French avant-garde visual artists Marcel Duchamp and Francis Picabia created some of their most inspired and influential artworks was one that would indomitably and inextricably be linked to the concept of the machine and the increasing onslaught and advent of new technology. Within the twentieth century, whatever these artists accomplished was achieved due to their engaging in a dialogism between art and the newest forms of technology. This dialogism would arise from their endeavors to sidestep traditional aesthetic criteria to critique a new world of machine technology, which they would link integrally to a fresh exploration of language. Much of the inspiration behind this would be provided by the literary influence of French writer Raymond Roussel (1877-1933), whose revolutionary literary individualism strongly influenced Picabia's and Duchamp's artistic development. One of Duchamp's major innovations, which he made by redefining the boundaries and categories surrounding art in the early to mid -twentieth century was his declaration that anything can be art, if the artists says so. A great deal of this was made possible and achievable by following Roussel's spirit of anarchy in tandem with the artistic 'alliance' he would form with Francis Picabia. This paper discusses how the spirit of Roussel's ideas would help point both Duchamp and Picabia in a new direction and inspire them to create a unique art that would open the doors of perception for future avant-garde artists. To do this, this paper discusses the importance of language in Francis Picabia's and Marcel Duchamp's art with a particular emphasis on the literary influence of Raymond Roussel upon on their work
Copyright 2009 Cyrus Manasseh All rights reserved Printed in the United States of America No part... more Copyright 2009 Cyrus Manasseh All rights reserved Printed in the United States of America No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, ...
In January 2010 the Architecture Program of the Faculty of the Built Environment at the UNSW host... more In January 2010 the Architecture Program of the Faculty of the Built Environment at the UNSW hosted a design summer studio: ‘Biennale of Sydney Pavilions’ open to approximately thirty Masters students of architecture and fine arts. The studio took place twice a week for four weeks with a total of 48 hours. The purpose of this studio was to give the students the opportunity of designing a pavilion for the 17 Biennale of Sydney visitors, already affected by the display of many artworks in the Biennale, with specific spaces limited to contemplation, thinking and meditation. The pavilion, intended as the point of interaction between art, architecture and the natural beauty of the Sydney Harbour, would offer to Biennale visitors a moment for pause and reflection. The aim of the studio was to cultivate in the students an ‘educated design imagination’ through the integration of multiple disciplines in order to approach the design in a holistic way. Accordingly, the disciplinary background ...
The essay discusses the German philologist, archaeologist and historian J.J. Winckelmann's theore... more The essay discusses the German philologist, archaeologist and historian J.J. Winckelmann's theoretical influence on the conception of the Classical museum model as defined and established by the Louvre within the nineteenth-century in Paris. From its initiation, the Louvre would furnish an example for the Metropolitan and for scores of galleries around the world to replicate. This would include the Egyptian Museum in Cairo, the National Archaeological Museum of Athens and the Ancient Iran Museum in Tehran. Winckelmann's historicism would encourage the implementation of new ideas and practices related to the meaning and connoisseurship of art and aesthetics in Western Europe within nineteenth-century gallery systems as they began to develop new practices for displaying art in which the singling out of specific cultures within an historic hierarchical context would become prominent. (McClellan, 3-4). The essay discusses how Winckelmann's ideas would inspire a curatorial system and condition of representation of art for the Louvre as the Classical museum paradigm established in the nineteenth-century.
This paper will reveal the influence of the Louvre upon museums of the East. It will do this via ... more This paper will reveal the influence of the Louvre upon museums of the East. It will do this via examination and discussion of the relationship between the Louvre, Cairo Museum, National Museum of Athens and Ancient Iran Museum in relation to curatorship and Architecture
The age in which the twentieth century French avant-garde visual artists Marcel Duchamp and Franc... more The age in which the twentieth century French avant-garde visual artists Marcel Duchamp and Francis Picabia created some of their most inspired and influential artworks was one that would indomitably and inextricably be linked to the concept of the machine and the increasing onslaught and advent of new technology. Within the twentieth century, whatever these artists accomplished was achieved due to their engaging in a dialogism between art and the newest forms of technology. This dialogism would arise from their endeavors to sidestep traditional aesthetic criteria to critique a new world of machine technology, which they would link integrally to a fresh exploration of language. Much of the inspiration behind this would be provided by the literary influence of French writer Raymond Roussel (1877-1933), whose revolutionary literary individualism strongly influenced Picabia's and Duchamp's artistic development. One of Duchamp's major innovations, which he made by redefining the boundaries and categories surrounding art in the early to mid -twentieth century was his declaration that anything can be art, if the artists says so. A great deal of this was made possible and achievable by following Roussel's spirit of anarchy in tandem with the artistic 'alliance' he would form with Francis Picabia. This paper discusses how the spirit of Roussel's ideas would help point both Duchamp and Picabia in a new direction and inspire them to create a unique art that would open the doors of perception for future avant-garde artists. To do this, this paper discusses the importance of language in Francis Picabia's and Marcel Duchamp's art with a particular emphasis on the literary influence of Raymond Roussel upon on their work
From the 1960s, the American Conceptual artist Bruce Nauman would challenge Modernist gallery str... more From the 1960s, the American Conceptual artist Bruce Nauman would challenge Modernist gallery structures through his video art. This paper addresses the effect of Nauman's pioneering video art within White Cube gallery spaces particularly in relation to the High Modernist period (1968-90 app.) by examining its meaning from a particular standpoint. It does this by discussing Nauman's video artworks in relation to aspects of existentialist philosophy and theatre as Nauman's avant-garde works would cross into these territories. Nauman's work I argue, would manifest in such a way that would, in terms of his works being displayed, lead to the re-sculpting within the period of High Modernism of the Modernist gallery paradigm set by the Museum of Modern Art in 1929
Since the early twentieth century, civilization’s obsession with the moving image, has helped it ... more Since the early twentieth century, civilization’s obsession with the moving image, has helped it to go backwards instead of forwards. Because of the nature of the way moving images are proliferated especially during our present age of digital expansion, the past and the history of the past produce a cultural amnesia which creates a misperception that we are greatly ahead of our past. Much of this is because our continuous fascination with the moving image has undermined and effaced a Modernist reasoning which had been more concerned with searching for an internal depth in objects and things which were reflected in the human being. As a result of our visual thirst for the moving image which takes us away from this, we now live in a situation void of causal reasoning which makes it very easy for very little reason, or difficult, for well-justified reasoning to exist since our thirst and addiction to the moving image has seen a spiritual shift away from the search of internal value and...
The International Journal of the Constructed Environment, 2011
Margreiter's film Pavilion and McQueen's film Giardini exhibited respectively inside the Austrian... more Margreiter's film Pavilion and McQueen's film Giardini exhibited respectively inside the Austrian Pavilion and the British Pavilion at the 53rd Venice Biennale of Art, question the architecture of the pavilion in general in the constructed environment of the Giardini. Is the architecture used as a container of art or the architectural form, the container itself, to be interpreted as art? Their films are about the places in which they are shot and displayed: the pavilions themselves, the containers of art, which are transformed through the films into architectural sculpture/art objects. Arguably, Margreiter's and McQueen's film reveal the extent to which the modern language of architecture of the Venice pavilions, frozen in 'space' (within the boundary of the Giardini) and 'time' (still contemporary from the date of their realization), seem to conjure that particular primordial 'timelessness' which can be valued as one of the main attributes of contemporary architecture in general. These "kaleidoscopic spaces" which are used to haunt our memory are used to stimulate the ontological role of imagination-creating a new experience of the universe via the pavilion.
ZIG ZAG EDUCATION, BRISTOL, UK, 2014
The Lead Guitarist, 2018
Story Summary In London in the vibrant 1990s, a group of young musicians led by a lead guitarist... more Story Summary
In London in the vibrant 1990s, a group of young musicians led by a lead guitarist head for stardom playing a popular kind of music. However, after finding some success, Alex, the lead guitarist discovers the path he had chosen and always wanted for himself is no longer what he wants and decides to head off in a different direction.
In the future time of 2048, - a post-factual age and solely digital world a group of people on ho... more In the future time of 2048, - a post-factual age and solely digital world a group of people on holiday all meet on an island and have their ideas about the lives they lead very radically changed. The novel is both an adventure and a philosophy all in one and is about the problems of too much technology versus not enough nature in the future. "Continuous upgrading was a bad thing – each step forced everybody away from humanity and into the void. At the same time, humans were being controlled so much since the time before when they had disrespected the uncreative robots
Throughout the mid-1970s until the early 1990s, video art as vehicles for social, cultural and po... more Throughout the mid-1970s until the early 1990s, video art as vehicles for social, cultural and political analysis were prominent within global museum-based contemporary art exhibitions. For many, video art during this period stood for contemporary art. Yet from the outset, video art’s incorporation into art museums had brought about specific problems in relation to its acquisition and exhibition. Cyrus Manasseh’s The Problematic of Video Art in Museum 1968-90 analyses, discusses and evaluates the problematic nature and form of video art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney.
From the 1960s, the American Conceptual artist Bruce Nauman would challenge Modernist gallery str... more From the 1960s, the American Conceptual artist Bruce Nauman would challenge Modernist gallery structures through his video art. This paper addresses the effect of Nauman's pioneering video art within White Cube gallery spaces particularly in relation to the High Modernist period (1968-90 app.) by examining its meaning from a particular standpoint. It does this by discussing Nauman's video artworks in relation to aspects of existentialist philosophy and theatre as Nauman's avant-garde works would cross into these territories. Nauman's work I argue, would manifest in such a way that would, in terms of his works being displayed, lead to the re-sculpting within the period of High Modernism of the Modernist gallery paradigm set by the Museum of Modern Art in 1929
The international journal of the constructed environment, 2011
Margreiter's film Pavilion and McQueen's film Giardini exhibited respectively inside the Austrian... more Margreiter's film Pavilion and McQueen's film Giardini exhibited respectively inside the Austrian Pavilion and the British Pavilion at the 53rd Venice Biennale of Art, question the architecture of the pavilion in general in the constructed environment of the Giardini. Is the architecture used as a container of art or the architectural form, the container itself, to be interpreted as art? Their films are about the places in which they are shot and displayed: the pavilions themselves, the containers of art, which are transformed through the films into architectural sculpture/art objects. Arguably, Margreiter's and McQueen's film reveal the extent to which the modern language of architecture of the Venice pavilions, frozen in 'space' (within the boundary of the Giardini) and 'time' (still contemporary from the date of their realization), seem to conjure that particular primordial 'timelessness' which can be valued as one of the main attributes of contemporary architecture in general. These "kaleidoscopic spaces" which are used to haunt our memory are used to stimulate the ontological role of imagination-creating a new experience of the universe via the pavilion.
This paper will reveal the influence of the Louvre upon museums of the East. It will do this via ... more This paper will reveal the influence of the Louvre upon museums of the East. It will do this via examination and discussion of the relationship between the Louvre, Cairo Museum, National Museum of Athens and Ancient Iran Museum in relation to curatorship and Architecture
In January 2010 the Architecture Program of the Faculty of the Built Environment at the UNSW host... more In January 2010 the Architecture Program of the Faculty of the Built Environment at the UNSW hosted a design summer studio: 'Biennale of Sydney Pavilions' open to approximately thirty Masters students of architecture and fine arts. The studio took place twice a week for four weeks with a total of 48 hours. The purpose of this studio was to give the students the opportunity of designing a pavilion for the 17 th Biennale of Sydney visitors, already affected by the display of many artworks in the Biennale, with specific spaces limited to contemplation, thinking and meditation. The pavilion, intended as the point of interaction between art, architecture and the natural beauty of the Sydney Harbour, would offer to Biennale visitors a moment for pause and reflection. The aim of the studio was to cultivate in the students an 'educated design imagination' through the integration of multiple disciplines in order to approach the design in a holistic way. Accordingly, the disciplinary background of the four lecturers/tutors involved in this studio included Art, Architecture and Philosophical Aesthetics. The paper traces the vital role of these respective disciplines taught in the design studio and attempts to gauge to what extent the students will benefit from this multidisciplinary exposure. The term 'educated imagination' is borrowed from the Canadian scholar Northrop Frye's book The Educated Imagination, (1963) 1 , where he distinguishes the way the sciences and the arts construct imagination from opposite ends. Frye suggests that science begins with the world as it is and from a rational and intellectual approach science turns to imagination. On the other hand, "art begins with the world we construct, not with the world we see. It starts with the imagination, and then works towards ordinary experience". 2
The essay discusses the German philologist, archaeologist and historian J.J. Winckelmann's theore... more The essay discusses the German philologist, archaeologist and historian J.J. Winckelmann's theoretical influence on the conception of the Classical museum model as defined and established by the Louvre within the nineteenth-century in Paris. From its initiation, the Louvre would furnish an example for the Metropolitan and for scores of galleries around the world to replicate. This would include the Egyptian Museum in Cairo, the National Archaeological Museum of Athens and the Ancient Iran Museum in Tehran. Winckelmann's historicism would encourage the implementation of new ideas and practices related to the meaning and connoisseurship of art and aesthetics in Western Europe within nineteenth-century gallery systems as they began to develop new practices for displaying art in which the singling out of specific cultures within an historic hierarchical context would become prominent. (McClellan, 3-4). The essay discusses how Winckelmann's ideas would inspire a curatorial system and condition of representation of art for the Louvre as the Classical museum paradigm established in the nineteenth-century.
The age in which the twentieth century French avant-garde visual artists Marcel Duchamp and Franc... more The age in which the twentieth century French avant-garde visual artists Marcel Duchamp and Francis Picabia created some of their most inspired and influential artworks was one that would indomitably and inextricably be linked to the concept of the machine and the increasing onslaught and advent of new technology. Within the twentieth century, whatever these artists accomplished was achieved due to their engaging in a dialogism between art and the newest forms of technology. This dialogism would arise from their endeavors to sidestep traditional aesthetic criteria to critique a new world of machine technology, which they would link integrally to a fresh exploration of language. Much of the inspiration behind this would be provided by the literary influence of French writer Raymond Roussel (1877-1933), whose revolutionary literary individualism strongly influenced Picabia's and Duchamp's artistic development. One of Duchamp's major innovations, which he made by redefining the boundaries and categories surrounding art in the early to mid -twentieth century was his declaration that anything can be art, if the artists says so. A great deal of this was made possible and achievable by following Roussel's spirit of anarchy in tandem with the artistic 'alliance' he would form with Francis Picabia. This paper discusses how the spirit of Roussel's ideas would help point both Duchamp and Picabia in a new direction and inspire them to create a unique art that would open the doors of perception for future avant-garde artists. To do this, this paper discusses the importance of language in Francis Picabia's and Marcel Duchamp's art with a particular emphasis on the literary influence of Raymond Roussel upon on their work
Copyright 2009 Cyrus Manasseh All rights reserved Printed in the United States of America No part... more Copyright 2009 Cyrus Manasseh All rights reserved Printed in the United States of America No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, ...
In January 2010 the Architecture Program of the Faculty of the Built Environment at the UNSW host... more In January 2010 the Architecture Program of the Faculty of the Built Environment at the UNSW hosted a design summer studio: ‘Biennale of Sydney Pavilions’ open to approximately thirty Masters students of architecture and fine arts. The studio took place twice a week for four weeks with a total of 48 hours. The purpose of this studio was to give the students the opportunity of designing a pavilion for the 17 Biennale of Sydney visitors, already affected by the display of many artworks in the Biennale, with specific spaces limited to contemplation, thinking and meditation. The pavilion, intended as the point of interaction between art, architecture and the natural beauty of the Sydney Harbour, would offer to Biennale visitors a moment for pause and reflection. The aim of the studio was to cultivate in the students an ‘educated design imagination’ through the integration of multiple disciplines in order to approach the design in a holistic way. Accordingly, the disciplinary background ...
The essay discusses the German philologist, archaeologist and historian J.J. Winckelmann's theore... more The essay discusses the German philologist, archaeologist and historian J.J. Winckelmann's theoretical influence on the conception of the Classical museum model as defined and established by the Louvre within the nineteenth-century in Paris. From its initiation, the Louvre would furnish an example for the Metropolitan and for scores of galleries around the world to replicate. This would include the Egyptian Museum in Cairo, the National Archaeological Museum of Athens and the Ancient Iran Museum in Tehran. Winckelmann's historicism would encourage the implementation of new ideas and practices related to the meaning and connoisseurship of art and aesthetics in Western Europe within nineteenth-century gallery systems as they began to develop new practices for displaying art in which the singling out of specific cultures within an historic hierarchical context would become prominent. (McClellan, 3-4). The essay discusses how Winckelmann's ideas would inspire a curatorial system and condition of representation of art for the Louvre as the Classical museum paradigm established in the nineteenth-century.
This paper will reveal the influence of the Louvre upon museums of the East. It will do this via ... more This paper will reveal the influence of the Louvre upon museums of the East. It will do this via examination and discussion of the relationship between the Louvre, Cairo Museum, National Museum of Athens and Ancient Iran Museum in relation to curatorship and Architecture
The age in which the twentieth century French avant-garde visual artists Marcel Duchamp and Franc... more The age in which the twentieth century French avant-garde visual artists Marcel Duchamp and Francis Picabia created some of their most inspired and influential artworks was one that would indomitably and inextricably be linked to the concept of the machine and the increasing onslaught and advent of new technology. Within the twentieth century, whatever these artists accomplished was achieved due to their engaging in a dialogism between art and the newest forms of technology. This dialogism would arise from their endeavors to sidestep traditional aesthetic criteria to critique a new world of machine technology, which they would link integrally to a fresh exploration of language. Much of the inspiration behind this would be provided by the literary influence of French writer Raymond Roussel (1877-1933), whose revolutionary literary individualism strongly influenced Picabia's and Duchamp's artistic development. One of Duchamp's major innovations, which he made by redefining the boundaries and categories surrounding art in the early to mid -twentieth century was his declaration that anything can be art, if the artists says so. A great deal of this was made possible and achievable by following Roussel's spirit of anarchy in tandem with the artistic 'alliance' he would form with Francis Picabia. This paper discusses how the spirit of Roussel's ideas would help point both Duchamp and Picabia in a new direction and inspire them to create a unique art that would open the doors of perception for future avant-garde artists. To do this, this paper discusses the importance of language in Francis Picabia's and Marcel Duchamp's art with a particular emphasis on the literary influence of Raymond Roussel upon on their work
From the 1960s, the American Conceptual artist Bruce Nauman would challenge Modernist gallery str... more From the 1960s, the American Conceptual artist Bruce Nauman would challenge Modernist gallery structures through his video art. This paper addresses the effect of Nauman's pioneering video art within White Cube gallery spaces particularly in relation to the High Modernist period (1968-90 app.) by examining its meaning from a particular standpoint. It does this by discussing Nauman's video artworks in relation to aspects of existentialist philosophy and theatre as Nauman's avant-garde works would cross into these territories. Nauman's work I argue, would manifest in such a way that would, in terms of his works being displayed, lead to the re-sculpting within the period of High Modernism of the Modernist gallery paradigm set by the Museum of Modern Art in 1929
Since the early twentieth century, civilization’s obsession with the moving image, has helped it ... more Since the early twentieth century, civilization’s obsession with the moving image, has helped it to go backwards instead of forwards. Because of the nature of the way moving images are proliferated especially during our present age of digital expansion, the past and the history of the past produce a cultural amnesia which creates a misperception that we are greatly ahead of our past. Much of this is because our continuous fascination with the moving image has undermined and effaced a Modernist reasoning which had been more concerned with searching for an internal depth in objects and things which were reflected in the human being. As a result of our visual thirst for the moving image which takes us away from this, we now live in a situation void of causal reasoning which makes it very easy for very little reason, or difficult, for well-justified reasoning to exist since our thirst and addiction to the moving image has seen a spiritual shift away from the search of internal value and...
The International Journal of the Constructed Environment, 2011
Margreiter's film Pavilion and McQueen's film Giardini exhibited respectively inside the Austrian... more Margreiter's film Pavilion and McQueen's film Giardini exhibited respectively inside the Austrian Pavilion and the British Pavilion at the 53rd Venice Biennale of Art, question the architecture of the pavilion in general in the constructed environment of the Giardini. Is the architecture used as a container of art or the architectural form, the container itself, to be interpreted as art? Their films are about the places in which they are shot and displayed: the pavilions themselves, the containers of art, which are transformed through the films into architectural sculpture/art objects. Arguably, Margreiter's and McQueen's film reveal the extent to which the modern language of architecture of the Venice pavilions, frozen in 'space' (within the boundary of the Giardini) and 'time' (still contemporary from the date of their realization), seem to conjure that particular primordial 'timelessness' which can be valued as one of the main attributes of contemporary architecture in general. These "kaleidoscopic spaces" which are used to haunt our memory are used to stimulate the ontological role of imagination-creating a new experience of the universe via the pavilion.
Electronic Melbourne Art Journal, 2007
This article addresses how and why video art shaped the museum environment for the 21st century. ... more This article addresses how and why video art shaped the museum environment for the 21st century. The argument tracks a period of museological innovation between 1968 and 1990. Beginning with the Museum of Modern Art, New York, changes in architectural display and curatorial focus are then examined with respect to the Centre George Pompidou, Paris, the Tate Gallery, London and the Art Gallery of New South Wales in Sydney. This research reveals how video art's "problematic" time-based presence and redefinition of normative spectator positions assisted in the development of modern museum environments suitable for constant modification.
The International Journal of the Constructed Environment, 2011
In this philosophical lecture I discuss how and why the art of today is not a real art and how th... more In this philosophical lecture I discuss how and why the art of today is not a real art and how there are no standards anymore at all. I chose to give this lecture because I feel that if we understand why art today is not a real art, we will be able to change it and our conceptions for the future. This paper is an elaboration of the lecture and discusses how the heroic artists in Modernism were mistakenly taken as the examples and leaders for creating that which is seen as art in and after the post-modern era today.
The Words of Gandhi and How the “Libertarian” “Collectivist” Anti-individualistic Post-Modern Turn has Shaped our World , 2020
Abstract The social effects of a “Libertarian” anti-individualistic post-modernism for us today, ... more Abstract
The social effects of a “Libertarian” anti-individualistic post-modernism for us today, are meaningful and significant. Perhaps, many of us have heard about post-modernism? And some can say that we have read about it. But how many really know how much post-modernism has influenced every single thing we now do and think? Making special reference to Jordan Peterson's critiques as well as Socrates and The Enlightenment period and the internet, the essay discusses and evaluates the good and bad side effects of post-modernism and addresses how we might learn from understanding them. This academic essay was part of previous research undertaken when I was lecturing at the University of Western Australia where I had also achieved my PhD. In 2015 I left it unpublished and have subsequently amended and updated it.
EXTRACT: Right from its first performance Ibsen’s play has been misunderstood. From early on, A D... more EXTRACT: Right from its first performance Ibsen’s play has been misunderstood. From early on, A Doll’s House until recently, (when it began to be used mostly as a vehicle for feminism and what had been called the ‘woman question’), has not always been popular and a number of criticisms and misunderstandings have plagued it. Many had commented on the fact that within the society, during the time the play was set, that women were made to stay home and take care of the children and support their husbands and that it would be a travesty if they left all of this in order to pursue self-fulfillment. Yet more recently, its popularity has seemed to have steadily increased. Today, copiously commensurate with Roland Barthes’s 1967 dictum and theory that the author is dead, —(heralding the fact that real fixed ‘meaning’ itself is dead and that texts are constructed out of precariously grouped citations which therefore allow unlimited and arbitrary open-ended interpretations to proliferate in spite of the author of the work’s original intent), today’s unfitting feminism has taken this up in further attempts to achieve greater power and freedom. The problem is that although Ibsen stated that he wrote the play to reflect humanist issues, in much of today’s culture, unfitting feminist interpretations which aim to rewrite the meaning of the play still abound. Regrettably, this is natural enough, since much of today’s feminism seems to still be at the centre of the power struggles that take place within the idea of marriage. Yet in spite of this auto-didacticism and arbitrarily organised consensus, which too often permits things merely stated as true as being true in today’s world if on the right side of political correctness, it is important to reinstate the Norwegian playwright’s original intentions for the play. These are extremely valid, especially since it was about the particular period it was written in, and therefore it should be made apparent that its original meaning is being stretched, altered radically and led away to suit the purpose of many of today’s commentators. Different from the spin that has been put on it Ibsen himself had actually stated what the play was about:
“I thank you for the toast, but must disclaim the honor of having consciously worked for the women's rights movement... True enough, it is desirable to solve the woman problem, along with all the others; but that has not been the whole purpose. My task has been the description of humanity.
It is set in a rigid closely knit society in 19th century Norway, where Torvald’s wife, Nora, had once borrowed a large sum of money to help her husband recover from illness. However, instead of telling him about it, she has been paying it back secretly an instalment at a time with money she gets from him to pay for household expenses. All the while, she plays the role of a child and acts careless and like a doll, which, because of her behaviour, he often calls her. When Torvald is given a position as bank director, he takes it upon himself to dismiss a man who he thinks is guilty of forging his signature on a formal document. However, the man Nils Krogstad, was the person who had loaned the money to Nora. We then learn that it was she who had forged her father’s signature to get the money for her husband. Blackmail ensues from Krogstad who threatens he will reveal what Nora has done unless she convinces her husband not to dismiss him. But although she tries to convince Torvald, he will not take her seriously thinking her too childlike without the capacity to understand the world of money and business. When Torvald discovers that his wife was the one who forged her father’s signature, he wants to reject her even though she had done it to help him. However, after Krogstad changes his mind later she decides that she feels no more love for her husband and leaves him for her own independence. Throughout the play, under pressure in effect, Torvald and Nora are forced to exist on opposite sides of the coin, unable to reach any kind of common ground. At first they appear to complement each other as equally important people with equal value as human beings with the man being the provider and the woman the helper that holds him up, yet, due to societal pressures, by the final scene, they are arguing and are at cross purposes and fail to understand one another.
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Articles [various undisclosed titles] for publication in Design Principles and Practices: An International Journal, Common Ground Publishers, Illinois, United States
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