By Rosalind E. Krauss
October: the second one Decade collects examples of the cutting edge serious and theoretical paintings for which the magazine October is understood. A magazine anthology attracts a collective portrait; jointly, the accrued texts show the journal's objectives and strengths. From the outset, October's target has been to think about a number cultural practices and to evaluate their position at a specific old juncture. That job has now taken on an intensified urgency. The catastrophic country of our city economies and the attendant social crises, in addition to the extra common predicaments of a postcolonial period, have had an inescapable effect at the cultural and discursive practices which are October's quandary. therefore, October in its moment decade has had an intensified difficulty with the position of cultural creation in the public sphere and a sharper specialize in the intersections of cultural practices with institutional buildings. the subjects of inquiry contain physique politics and psychoanalysis, spectacle and institutional critique, artwork perform and paintings background, and postcolonial discourse. members: Carol Armstrong, Leo Bersani, Homi Bhabha, Yve-Alain Bois, Mikkel Borch-Jacobsen, Benjamin H. D. Buchloh, Susan Buck-Morss, Lygia Clark, T. J. Clark, Jonathan Crary, Gilles Deleuze, Manthia Diawara, Peter Eisenman, Hal Foster, team fabric, Denis Hollier, Alexander Kluge, Gertrud Koch, Silvia Kolbowski, Rosalind Krauss, Annette Michelson, Helen Molesworth, V. Y. Mudimbe, Oskar Negt, Mignon Nixon.
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Extra info for October: the second decade, 1986-1996
Marguerite Bonnet (Paris: Gallimard, 1988), p. 638. 4. Breton, Manifestoes, p. 127. " Five years later, Bataille would use the same words against Breton, probably without noticing that he was borrowing them from him, and to the very same effect. This would be in ''The Use-Value of D. A. F. de Sade," where Bataille accuses the Surrealists of degrading the life and works of Sade by commodifying them as an exchange-value. Everything happens as though Bataille could no more stand that Breton should read Sade than Breton could stand that Claudel should read Rimbaud.
Thus, the simultaneous use of proper names and photographs in Nadja belong to one and the same antinovelistic strategy, since a character in a novel can be defined (among other qualities) as someone who can't be photographed. Shadows don't cast shadows. Breton gives both the names and the snapshots of the beings who enter his book. But the real function of photography is not so much, as Breton claims, that of allowing the narrator to dispense with the tiresome naturalistic ritual of the description of settings.
25. Just as, for Descartes, the presence of the idea of God in man's mind implies the existence, outside of the mind, of the being who is its cause, so the photographic image implies the existence (present or past) of an object of which it is the effect, and the first person pronoun that of a subject who supports it. Page 21 plans, to the taste for expectation without knowing the object, to aimless wandering without a predetermined goal. "26Above all it allows one to attach Breton's narratives to the general structure of Surrealist writing, and particularly automatic writing.