Collectivism after Modernism - autonomous learning - Blogs
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NOTES<br />
Internationaleries 39<br />
1. Harold Rosenberg, “The Fall of Paris,” Wrst published in Partisan Review<br />
(1940). From Tradition of the New (London: Grove Press, 1962), 209–20.<br />
2. Louis Althusser, “Ideology and Ideological State Apparatuses,” in Lenin and<br />
Philosophy, trans. Ben Brewster (London: Monthly Review Press, 1971), 135.<br />
3. See Renato Poggioli’s discussion, The Theory of the Avant-garde (Cambridge,<br />
Mass.: Belknap Press of Harvard University Press, 1968).<br />
4. “La Chute de Paris” (unsigned article), Internationale Situationniste, no. 4 (June<br />
1960), 7–9.<br />
5. Mikhail Bakhtin, Rabelais and His World, trans. Helene Iswolsky (Bloomington:<br />
Indiana University Press, 1984).<br />
6. Ibid., 7.<br />
7. “Les Methodes de détournement,” Les Levres Nues, no. 8 (1956). Trans.<br />
“Methods of Détournement,” in Situationist International Anthology, ed. Ken Knabb<br />
(Berkeley: Bureau of Public Secrets, 1981), 8.<br />
8. The reference is to a famous analysis of the play element in human culture<br />
by Dutch scholar Johan Huizinga (1872–1945), who has written about the crisis<br />
in modern culture criticizing the modern, technologically egalitarian world for its<br />
destruction of imagination and collectivity. Johan Huizinga, Homo Ludens: A Study<br />
of the Play-Element in Culture, trans. R. F. C. Hull (London: Routledge and K. Paul,<br />
1949).<br />
9. These references, attacks, and defenses testify to an ongoing fascination with<br />
surrealism. See in particular Asger Jorn, Discours aux pingouins et autres ecrits (Paris:<br />
École Nationale Supérieure des Béaux-Arts, 2001).<br />
10. Asger Jorn, Lettres à plus jeune (Paris: L’Echoppe, 1998), 48.<br />
11. See Serge Guilbaut’s ongoing work and analysis starting with How New York<br />
Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War, trans.<br />
Arthur Goldhammer (Chicago: Chicago University Press, 1983); and Reconstructing<br />
<strong>Modernism</strong>: Art in New York, Paris and Montreal 1945–65, ed. Guilbaut (Cambridge,<br />
Mass.: MIT Press, 1990).<br />
12. The term “cold war” was allegedly used for the Wrst time in the sixteenth<br />
century in Spain to describe an intensive diplomatic exchange between belligerent<br />
parties.<br />
13. Eric Hobsbawm in his analysis of twentieth-century history thus qualiWes the<br />
cold war, because of its long-reaching implications for a global population. Eric<br />
Hobsbawm, The Age of Extremes: A History of the World, 1914–1991 (New York:<br />
Pantheon, 1994), 225–57.<br />
14. Prussian war strategist General Carl von Clausewitz (1780–1831), who was<br />
one of the Wrst theoreticians of modern warfare. Carl von Clausewitz, On War, trans.<br />
J. J. Graham (London: Penguin, 1982), 101–231.<br />
15. See for one of the Wrst and highly polemical Georges Bataille, “The Marshall<br />
Plan,” in The Accursed Share: An Essay on General Economy, trans. Robert Hurley,<br />
vol. 1, Consumption, (New York: Zone Books, 1988), 169–91. This essay was originally<br />
published in French as La part maudite in 1949.<br />
16. “Geopolitique de l’hibernation” (unsigned editorial), Internationale Situationniste,<br />
no. 7 (April 1962). Trans. “Geopolitics of Hibernation,” in Situationist International<br />
Anthology, ed. Knabb, 76–82.<br />
17. See more in Alain Quemin, L’art contemporain international: Entre les institutions<br />
et le marché (Nîmes: Éditions Jacqueline Chambon, 2002), 113–59; Raymonde