The Great Image Has No Form, or On the Nonobject through Painting

Jullien, François; Todd, Jane Marie

doi:10.7208/chicago/9780226415291.001.0001

Cited by 79 publications

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“…44 Jullien, similarly argues, using the inspiration of classical Chinese philosophy, that a failure to notice the effects of small but cumulative changes over time is due to western thought's foundations in classical Greek philosophies of being, which encourage thinking in terms of determined forms and neglect the indeterminable nature of the 'silent transformations' that are constantly taking place. 45 A similar concern with small differences motivates much of the thinking currently taking place in business about markets and consumers that are inevitably concerned with currents of imitation and movements of invention. The intention is clear: to make involvement visible and thereby operable by building an expressive infrastructure that continually tracks these differences and is able to operate on them as they unfold.…”

Section: A New Industrial Revolutionmentioning

confidence: 97%

The insubstantial pageant: producing an untoward land

Thrift¹

2012

cultural geographies

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This paper will consider how we might think about the capitalist economy that now seems to be emerging, one based on spontaneous synthesis. Following an extended introduction, the first part of the paper examines the main changes that have been taking place in the economy grouped around the notion and value of innovation. I will argue that these changes might be thought of as adding up to a second industrial revolution. Then, in the second part of the paper, I will consider how these changes are producing a different kind of production – one that is both industrial and cultural – which is constructing naturalism. The Industrial Revolution is often characterized as the first break in human history with the natural economy. But what if the natural economy was now being recovered – by other means – as a redefinition of what counts as land? In the final part of the paper, I will then turn to modern cities and the imprint that these changes are making upon them as this new land is founded and endowed and rented out to grow new kinds of crop upon.

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Section: A New Industrial Revolutionmentioning

confidence: 97%

The insubstantial pageant: producing an untoward land

Thrift¹

2012

cultural geographies

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“…Of course, accessing this information in translation from the original language brings its risks, but many of those issues have now been addressed, particularly by the philosopher François Jullien. Considering the importance given to transformations in ancient China (Jullien, 2009), this culture is worth considering here. Since the Chinese concept of stroke has now been made more accessible, what can we learn from it?…”

Section: Intermediate Conclusion: the Geometries Of Strokesmentioning

confidence: 99%

“…A second important aspect of drawing with a brush, according to Shitao, is the distinction between "brush" and "ink" as two components of strokes. Both of them are equally important, and they act in a complementary way: "spirit dimension" is given to the ink by the movement of the brush, and ink provides "animation" to the brush by the use of different levels of darkness (Jullien, 2003). While remaining very cautious when it comes to adapting such ancient Chinese concepts in the present, this association between "brush" and "ink" can help us to escape from very deeply rooted habits when we address questions related to strokes, drawing and representation in general.…”

Section: Intermediate Conclusion: the Geometries Of Strokesmentioning

confidence: 99%

From Sketches to Morphing: New Geometric Views on the Epistemological Role of Drawing

Chabrier

2021

Lecture Notes in Morphogenesis

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Geometry, in the modern sense of the term, is based on the study of transformations. The diversity of those transformations has recently been used to understand the diversity of spatio-temporal representations in the brain. I argue that this new association between geometry and neuroscience can also change the way we consider drawing. The role of transformations is thus evaluated here in three differing examples, all involving the drawing of living bodies: drawing from the nude, drawing a sequence of movements, and life sketching. This analysis indicates that "strokes", rather than "lines", play a fundamental role when drawing living beings. On this basis then, it is possible to put aside the classical approach to dealing with spatial representations through "central" or "linear" perspective, and to highlight alternative principles of spatial composition such as drawing "without a point of view". This attempt to connect drawing with modern geometry and neuroscience leads to a re-evaluation of the epistemological importance of digital animation tools, according to their geometrical premises. I will discuss in more detail the role of morphing-based animation, which is based primarily on texture transformations rather than virtual cameras. The development of such a complete approach to drawing, including all its static, moving and transformational aspects, will emerge as a vital step in addressing the new challenges raised by the representation of life in the twenty-first century.

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“…The political force of body resides in the ambiguous and bland body, forever impervious to external objectification. As Jullien observes, 'it cannot inquire into the existence of emptiness because it is constantly experiencing it, prior to any constituted knowledge, prior even to any "question of knowledge," which emptiness is in the process of bringing about' (Jullien, 2009: 81; emphasis in original). The seed of politics, for Zhuangzi, is found in the body's potential in persistently nourishing the unsettlement of the power relation.…”

Section: Body Xu and Politicsmentioning

confidence: 99%

Zones of Indeterminacy: Art, Body and Politics in Daoist Thought

2015

Theory, Culture & Society

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This paper examines the elusive concept of Xu in Zhuangzi’s philosophy to find out how specifically Xu addresses relationality through its distinct cultivation of ambiguity in this Daoist philosopher’s theory. The paper chooses liubai and body as two examples to unravel the ways in which the concept of Xu is manifested. Embedded in the meanings of blandness and lack of substance, Xu enlivens change, transformation and process. Evident in liubai, Xu creates a unique ecological space of metamorphosis that nourishes mutual becoming. For Zhuangzi, body is neither understood as the object to be acquired nor as the means to acquire knowledge. Rather, body is a void to become. The political implication of Xu suggests a politics of indeterminacy – an alienation from preordained power structures and a reconstruction of power relations.

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The Great Image Has No Form, or On the Nonobject through Painting

Cited by 79 publications

References 0 publications

The insubstantial pageant: producing an untoward land

The insubstantial pageant: producing an untoward land

From Sketches to Morphing: New Geometric Views on the Epistemological Role of Drawing

Zones of Indeterminacy: Art, Body and Politics in Daoist Thought

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