Memory is deceptive because it is coloured by todays events Essays

Memory is deceptive because it is coloured by todays events Essays Memory is deceptive because it is coloured by todays events Essay Memory is deceptive because it is coloured by todays events Essay Essay Topic: Literature Woman of Colour Novel Literature is a constantly contested and revised term coined to separate the literary world into works of superior or lasting artistic merit and the ‘other’. This elitist nature used by literary ‘scholars’ created the foundation for all the teachings and ideals of the social, cultural and political thoughts of their times. The worth of literature and the means of classification have stemmed from a culmination of varying critique, seen by the changes in phase of perspective from Modernism; valuing the ‘grand narratives of truth’; to New Criticism; the objective evaluation of the ‘text’; and Post-modernism; the movement away from the hierarchy of literature. Thematics, messages, tropes, contexts and the social, cultural and political hierarchy of the time all contribute to the literary ‘worth’ of a text. This agglomeration of features develops texts consisting of the utmost textual integrity; the flow and connection between all the facets of texts. Gail Jones, ‘Sixty Lights’, set in Australia, India and England in the 19th Century, follows the multi-faceted life of the capricious and palimpsest Lucy Strange as she develops and uncovers her modernistic view of light and the world, through the tragedies that befall her and the opportunities that arise. Jones develops a highly intricate and polysensual novel enveloping multiple theories on light, exploring and presenting ideas around photography, memory, light, darkness, ghostliness and the non-linearity of time, through her ambiguity, lyrical lexicon, pre-emption, construction, content, language, binaries, intertextuality and manipulation of the forms and modes of narratives. This abundance of noted facets allow for the multiple interpretations and over-arching worth of ‘Sixty Lights’ as a beautifully composed and worthy text supporting its inclusion in the HSC Prescriptions List. What remade her world: The capture of light. ’(Pg. 139). ‘Sixty Lights’ is set in the 19th Century Victorian society, where the rise of photography becomes apparent and expands to become the ubiquitous form of memory in the 21st Century. Photography; ‘light writing’ is the central theme in the novel, it is ambiguous in the sense that not only does Lucy develop her love and appreciation of this ‘light writing’ but also Gail Jones lexicon choice is a form of ‘light writing’, creating whimsical images captured through her lexicon of image-laden words and light embedded words. Conical’ is repeated throughout the novel in order to both represent the act of photography, the flooding of light into a single image, and the co-working of photography and memory, ‘silver and conical; as seen in the opening scene. This ‘light writing’ is evident throughout, as each sentence; each paragraph can stand alone as an image, as a beacon of light. Photography has without doubt made her a seer; she is a woman of the future, someone leaning into time, beyond others, precarious, unafraid to fall’, there is constant reference to her ‘falling’ and ‘stepping’ into the future, instead of dwelling on the past, she moves on to the prospects of the future. This futuristic and unconventional thought process is in its essence modernist. Lucy, although from the Victorian era, is a modernist character, unhindered or swayed by the conventions of her social construct, searching, discovering and capturing the truths that are imbedded in the world. She travels the streets un-chaperoned at night; she tastes ‘pan-wallah’ in India and moves from the ‘science’ of photography into the aesthetic and omnipresent nature of the image. ‘Sixty Lights’ primarily mimics the action of memory, recurring and redoubling as a series of hallucinated images which re-member the Victorian period. With its sixty chapters that read as sixty snapshots, some apparently unrelated to the others, ‘Sixty Lights’ is equivalent to an album of photographs; a collection of memories, offering images that are partly shrouded by shadow, ‘flecked with time’, coloured by loss, following along with Lucy’s personal philosophy. The implication of the novels’ depiction of reading as the drawing off of other experiences is that ‘Sixty Lights’ offers the Victorian era as the seance of another experience, another time, into ourselves. Indeed, through the notion of embodied and inherited memory, they offer the Victorian era as part of our heritage, and inheritance; the Victorian period is written into our cultural memory. Thus, the Victorian past is offered to us, through a series of references to popular Victorian novels, photographs, fashion, events and landmarks, as an afterimage, a picture that we continue to see in ‘ghosted’ form. ‘Sixty Light’ is a repetition of the Victorian period, medium for its haunting presence. The exploration of Victorian photography and reading foregrounds memory’s discourse, both its loss and retrieval writing the Victorian period into our cultural memory, and suggesting that it has left myriad traces embodied in texts, images and other material, if transient, forms. Rather than focus upon the problematisation of historical representation, ‘Sixty Lights’ utilises the spectrality of the photograph as a means to explore the uncanny repetition of the Victorian past in the present, and to focus upon the possibility of recovery, the attempt at repayment, even if that which is restored amounts only to the aberrant presence of the ghost. Each posits the historical novel as one means through which the Victorian past can be remembered, if not restored, through the power of language. Thus, in ‘Sixty Lights’ literary text is depicted as an important medium for materialising the past and makes it a culturally worthy text to study. Her use of these theories of lights also intertwines with another exceptional feat she managed to engineer, the intertextualisation of numerous, novels, essays, myths etc. into her novel. Prominent throughout her novel is the Camera Lucida, Roland Barthes, a book with prolific ideas on the effect of photography and objects on memory. He explores two fundamental themes of photography, the studium; the desired message, and the punctum; that accident that disturbs the harmony of the studium. The contrast of Victor and Lucy as photographers: Lucy whom favours the ‘Maculare: stained, spotted, blemished’, the punctum as Barthes would say, whilst Victor favours the ‘immaculare: like the Holy Virgin’ or the studium. Not only does she use theoretical books to instil in the readers a broader sense of understanding to her purpose of the novel, to capture in itself the significance of lights, its effects on ‘seeing’ and its interstitial lucidity, but also adapts narratives and children’s stories in order to give a deeper insight into Lucy. The Princess and the Pea is used to reveal, almost overtly, the sensitivity of Lucy to the light and the world. ‘Lucy was enchanted by the magically sensitivity of princess†¦the felt the tiniest impressions’ (Pg. 27) this ‘enchantment’ of Lucy to some figure, or idea, is symbolic of a shift, or a revelation, of Lucy as she discovers this deep-settled facet of her own self, as her mother says ‘My princess’ (Pg. 31). This ‘sensitivity’ to the lucidity, the ‘subtle beyond’, carries with her throughout the novel. This intertextualisation of not only theoretical and subjective texts, but also the mythical and imaginative, makes a superiorly prepared and thought out novel, worthy of critical analysis. This broadly Bildungsroman text, following the birth to death development of Lucy, is not all that it seems, nor does it try to conceal it. Lucy in the present is in a ‘phantasmic dialogue with the past’, personifying this folding of the past into the present, synchronous with her viewing and ‘stepping into the future’. This folding and pleating of time, is portrayed through many forms in the text, photography, at its base, Lucy’s pre-emption of the future, the links between chapters and the recurring theme of ghostliness. ‘Sixty Lights’ raises the possibility of spectral visitations through both Thomas and the spiritualist Madam Esperance, the notion of the past as revenant is largely elaborated through the ghostliness of photography. Rather than the actual ‘ghost’, it is the ghostliness of photography that becomes a metaphor for this revenant past. In Sixty Lights Neville greets the spiritualist’s luminous image, supposedly the ghost of Honoria, with the whispered word ‘ectoplasm’ (Pg. 94). He believes ‘it is ectoplasm ghosts are composed of’ (Pg. 92), and which Madame Esperance can summon. Barthes deploys the same language to describe photography. This word, ectoplasm, entwines the ghostly image and the photograph as images of an abnormal, or haunting presence. In Sixty Lights the desire to make dead voices speak transforms into the desire to cheat the obliterating action of time and death by creating permanent images, through words and writing, as defences against forgetting. Thus, one of the period’s important technological inventions, the photograph, is proclaimed as ‘the future’ but is, paradoxically, entangled to the past through its yearning for memory-made-permanent. Lucy is wholly anachronistic, she ‘saw both the past and the future’, as ‘Photographs cracked open time’ (pg. 235). This is synonymous with the construction of the novel, connecting chapters to following and preceding chapters; the opening ‘Lucy’ takes us to page 157 where her and Isaac share a bed and he calls her name, the development of Honoria and James, pre-Honoria’s death, are juxtaposed to the development of Lucy and Thomas, post-death, and the seeming misplaced images from her own novel, ‘Special Things Seen’, all act as a metaphor and a medium for a past cyclic, both lost and, paradoxically, perpetuated, continuously repeated in the present. These ‘ruptures’ of time, are utilized by Jones to canvass the non-linearity of time ‘the false liveliness of clocks’, and especially the affect grief and mourning have on the pleating of time. Archetypal of this ‘multitemporal’ construction of ‘Sixty Lights’ is Micheal Serres ‘Conservations of Science, Culture and Time’, ‘the handkerchief represents†¦concept of time which distance and proximity are stable and clearly define; but crumpled in the pocket the handkerchief evokes a ‘topological’ concept of time in which previously distant points ‘become close or even superimposed’†¦ Modernity, can be imagine as pleated or crumpled time, drawing together the past, present and future. In essence, Lucy is symbolic of the anachronistic nature time, a handkerchief crumpled bringing together the lives of her mother, and the future of her child and all the light in-between. This intricate weaving of time, transforms the traditionally conservative and despotic Bildungsroman into a modernist text, it can be seen that this straying away from the mainstream of forms is unconventional and overwhelming, placing the reader in a state of confusion and ‘jump’ state, where time is juggled, but this not only deepens and supports the themes of the novel, but adds another layer, creating the ‘maculate’. Although the novel is based on a Bildungsroman structure, it is written in a post-modernist perspective. Post-modernism, fundamentally, is a move against modernism, its stems from a recognition that reality is not simply mirrored in human understanding of it, but rather, is constructed as the mind tries to understand its own particular and personal reality. For this reason, postmodernism is highly skeptical of explanations which claim to be valid for all groups, cultures, traditions, or races, and instead focuses on the relative truths of each person. In the postmodern understanding, interpretation is everything; reality only comes into being through our interpretations of what the world means to us individually. Postmodernism relies on concrete experience over abstract principles, knowing always that the outcome of ones own experience will necessarily be fallible and relative, rather than certain and universal. ‘Sixty Lights’ is a highly ambiguous title. The sixty chapters of the novel, sixty lights that resonate in her mind and the festival of lights, the birth of Emma, are all interpretable from the title. It is evident that this novel encompasses all things light. Thus, it is uncanny that the novel, so surrounded and encapsulated in light, begins the novel in darkness. This dark introduces two binary themes in the novel, light and dark, and life and death, which shall be explored furthermore. Light is constantly referred to, constructed and resonated throughout the novel. Lucy uses it to form her passion for photography and her sensitivity to the world. The opening scene opens in the darkness, broken first by sound, followed by a string of sensual chains. Insects struck at the mosquito net, which fell silver and conical, like a bridal garment around them’ introduces light to the novel and also light to Lucy ‘a small flare of light’. This light follows Lucy throughout her life, till her death bed, where she was ‘anticipating, more than anything, and abyss of light†¦Ã¢â‚¬â„¢ It is metaphorical of her ability to ignite like a ‘magnesium ribbon’ through the hardships that befall her, whilst being symbolic of the importance of ‘seeing’ in the world of the reader; it is as much an opening to the world of Lucy as it is to the personal lives of the readers. Alternatively, and equally as justifiable, Lucy is seen as a lighthouse, the light beneath the dark, ‘But the desert light’, she said, ‘is scintillating’†¦ Thomas too thought about it many years later†¦ [when he tried] To recover his dead sister’s face, drifting over the surface of the desert. ’ Although light fills novel, darkness fills the empty spaces creating a full-hearted, well-rounded novel. This opposing shade acts as a medium through which grief and mourning manifest and are expressed. In contrast to Lucy followed and enshrouded by light, Thomas is her reversal. This darkness encompasses Thomas from early in the novel, it is when his sleep-walking is betoken, and in has a pinnacle and lasting impression on him, ‘The impersonation of himself was more fearsome than his father’s face appearing on the hallway mirror. The dark around him was welling, as though it would swallow and cover him. Darkness in bucketsful†¦[it] was the hypnotic confirmation of a solitude that he would carry throughout his life’ (pg. 38-39). This epitomizes the grief that he ‘carries throughout life’ and is created by this ‘welling’ of the darkness around him. This dichotomy is not only used to be symbolic of the grief and mourning, but it also ties into her ‘light writing’ and helps to develop ‘snapshots in prose’, images layered into the construction of her sentences. This layering of light and darkness fashions the characters within the novel and adds another interesting layer to this tiered novel, although it can be seen as a highly cliche use of light and dark as forms of representing the inner aura of characters, it is sophistically executed and allows for the discovery of that extra inkling of light after multiple reads, making it worthy of critical study. Sixty Lights’ is everlastingly imprinted by life and death, juxtaposed to each other and evident as two of the only things certain in life; people will live and people will die. These two concepts are recurring in all her works and play a key role in each. The poignant fact of Lucy’s short life, presented to us at the beginning, ‘her own death – in a few years time, at the age of twenty-two. ’ (Pg. 42), is an introduction to the novel and to the steadfast nature of death. There are two key juxtapositions that occur in the book, in terms of life and death. The opening introduces us to Lucy, and the growing life within her, the ‘tiny baby hand in the darkness’, which is then juxtaposed to the revealing of her death at the ‘age of twenty-two’. Secondly and more strongly presented is through the death of Honoria as she harbours new life. This cogent juxtaposition forms the foundation of the novel, the unescapable nature of life and death. In many ways, Lucy and Thomas are binary oppositions; they oppose each other in terms of the era they reflect. Firstly, their rituals are unanimous but their sense and reaction to grief are in stark contrast, ‘bereavement settled as an abstract quality of distortion’. Lucy’s reaction to grief stems to that of distraction in the form of destruction, converting any bereavement into a form of relinquishing her humanity and inflicting damage, becoming in a sense the cause of death. Thomas, on the other hand, follows the endemic form of grieving and ‘burst into tears†¦[and] disappeared for a whole day. These contrasting forms of grief swathe, which Jones values, the multiple ways in which ‘bereavement settles’. This broader understanding and acceptance of life and death create a sense of consciousness within the novel, one, which speaks to the reader in ways of the personal and social, moulding this novel to that beyond the norm, making it of superior worth, a novel worthy of inclusion of the HSC Prescriptions List. Stand alone, each of these layers in t he novel work as ultimately simplistic and used themes, although they do stand out as original in their representation. The success of ‘Sixty Lights’ as a worthy text does not simply come down to the quantity and quality of the themes, these are all in great quality and numerous quantities, but as many argue, for quantity, more is less, if the quality is superior. But one cannot simply say, the novel is not worthy of text due to the vast amounts of knowledge it holds, due to the fact that it is so intricately, delicately and sophistically interwoven and interconnected that it is of supreme worth, its punctum does not disturb the harmony of its studium, but give it the greatest level of exposure, falling together with the utmost textual integrity. Sixty Lights’ is a modernist text, of a Victorian lady, from a post-modernist perspective. The only way such a feat, such a mesh of the three vastly differing literary forms, could only have been achieved by the textual integrity of Lucy, the conduit between the three. She is a woman, living in the present, viewing the past and future simultaneously through the lens of her perspective, motivated by the light beneath the lampshade (Lampshade: a hoop around an untellable story), a palimpsest unveiled.

Biography of Josef Albers, Modern Artist and Influential Teacher

Biography of Josef Albers, Modern Artist and Influential Teacher Josef Albers (March 19, 1888 - March 25, 1976) was one of the most influential art educators of the 20th century in Europe and the United States. He used his own work as an artist to explore theories of color and design. His Homage to the Square series is one of the most extensive and influential ongoing projects undertaken by a prominent artist. Fast Facts: Josef Albers Occupation: Artist and EducatorBorn: March 19, 1888 in Bottrop, Westphalia, GermanyDied: March 25, 1976 in New Haven, ConnecticutSpouse: Anni (Fleischmann) AlbersSelected Works: Homage to the Square (1949-1976), Two Portals (1961), Wrestling (1977)Notable Quote: Abstraction is real, probably more real than nature. Early Life and Career Born into a German family of craftsmen, Josef Albers studied to become a schoolteacher. He taught in the Westphalian primary schools from 1908 to 1913 and then attended the Konigliche Kuntschule in Berlin from 1913 to 1915 to earn certification to teach art. From 1916 to 1919, Albers worked as a printmaker at the Kunstgewerbeschule, a vocational arts school in Essen, Germany. There, he received his first public commission to design stained-glass windows for a church in Essen. Grassimuseum Windows in Leipzig, Germany. Frank Vincentz / Wikimedia Commons / GNU Free Documentation License Bauhaus In 1920, Albers enrolled as a student at the famed Bauhaus art school, founded by Walter Gropius. He joined the teaching faculty in 1922 as a maker of stained glass. By 1925, Albers was promoted to full professor. In that year, the school moved to its most famous location in Dessau. With the move to a new location, Josef Albers began work on furniture design as well as stained glass. He taught at the school along with other prominent 20th-century artists such as Wassily Kandinsky and Paul Klee. He cooperated with Klee for many years on glass projects. Armchair designed by Josef Albers (1927). Tim Evanson / Wikimedia Commons / Creative Commons 2.0 While teaching at the Bauhaus, Albers met a student named Anni Fleischmann. They married in 1925 and remained together until Josef Albers death in 1976. Anni Albers became a prominent textile artist and printmaker in her own right. Black Mountain College In 1933, the Bauhaus closed due to pressure from the Nazi government in Germany. The artists and teachers who worked at the Bauhaus dispersed, many of them leaving the country. Josef and Anni Albers emigrated to the United States. Architect Philip Johnson, then curator at the Museum of Modern Art in New York City, found a position for Josef Albers as head of the painting program at Black Mountain College, a new experimental art school opening in North Carolina. Josef Albers work at the PaceWildenstein Gallery, New York. Brad Barket / Getty Images Black Mountain College soon took on a very influential role in the development of 20th-century art in the United States. Among the students who studied with Josef Albers were Robert Rauschenberg and Cy Twombly. Albers also invited prominent working artists like Willem de Kooning to teach summer seminars. Josef Albers brought his theories and teaching methods from the Bauhaus to Black Mountain College, but he was also open to influence from the ideas of American progressive education philosopher John Dewey. In 1935 and 1936, Dewey spent extensive amounts of time at Black Mountain College as a resident and frequently appeared in Albers classes as a guest lecturer. While working at Black Mountain College, Albers continued to develop his own theories about art and education. He began what was called the Variant/Adobe series in 1947 that explored the visual effects created by subtle variations in color, shape, and position. Homage to the Square Blue Secret II (1963). Wikimedia Commons / Creative Commons 4.0 In 1949, Josef Albers left Black Mountain College to chair the Design Department at Yale University. There he began his best-known work as a painter. He started the series Homage to the Square in 1949. For more than 20 years, he explored the visual impact of nesting solid-colored squares in hundreds of paintings and prints. Albers based the entire series on a mathematical format that created the effect of overlapping squares nested within each other. It was Albers template for exploring the perception of adjacent colors and how flat shapes might appear to be advancing or receding in space. The project earned significant respect in the art world. In 1965, the Museum of Modern Art in New York City organized a traveling exhibition of Homage to the Square that visited multiple locations in South America, Mexico, and the United States. Josef Albers (American, b. Germany, 1888-1976). Scherbe ins Gitterbild (Glass Fragments in Grid Picture), ca. 1921. Glass, wire, and metal, in metal frame. Photo Tim Nighswander/Art Resource, NY. Â © 2009 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York In 1963, Josef Albers published his landmark book Interaction of Color. It was the most complete examination of color perception yet, and it had a massive impact on both art education and the work of practicing artists. It particularly influenced the development of Minimalism and Color Field Painting. Later Career Albers retired from Yale University in 1958 at age 70, but he continued to teach giving guest lectures at colleges and universities around the country. In the last 15 years of his life, Josef Albers designed and executed major architectural installations around the world. He created Two Portals in 1961 for the entry to the Time and Life building lobby in New York. Walter Gropius, Albers former colleague at the Bauhaus, commissioned him to design a mural named Manhattan that decorated the lobby of the Pan Am Building. Wrestling, a design of interlocking boxes, appeared on the facade of the Seidlers Mutual Life Center in Sydney, Australia in 1977. Wrestling (1977). Whitegost.ink / Wikimedia Commons / Creative Commons 4.0 Josef Albers continued working at his home in New Haven, Connecticut, until his death at age 88 in 1976. Legacy and Influence Josef Albers powerfully impacted the development of art in three different ways. First, he was an artist himself, and his explorations of color and shape laid the groundwork for generations of artists to come. He also presented disciplined shapes and designs to viewers with countless variations on a theme that had varying emotional and aesthetic impact. Second, Albers was one of the most gifted art educators of the 20th century. He was a key professor at the Bauhaus in Germany, one of the most influential architecture schools of all time. At Black Mountain College in the U.S., he trained a generation of modern artists and developed new techniques of teaching art putting the theories of John Dewey into practice. Third, his theories about color and the ways that it interacted in the perception of viewers influenced countless artists around the world. The art worlds appreciation for the work and theories of Josef Albers became evident when he was the subject of the first solo retrospective of a living artist at the Metropolitan Museum of Art in New York City in 1971. Sources Darwent, Charles. Josef Albers: Life and Work. Thames and Hudson, 2018.Horowitz, Frederick A. and Brenda Danilowitz. Josef Albers: To Open Eyes: The Bauhaus, Black Mountain College, and Yale. Phaidon Press, 2006.