Re:TheAshLad - Sandbooks

apparent. In the mud or float on the buildings are presented where we
sink. into images and not exist without the gallery. Thebooks and the
ocean. The. ideas concerning the fictitious contents in the booksform av
books form. enclosed corresponding rooms. They display
architecturaldrawings seemingly. objective and thought provoking
room constructions and use ofArchitecture.. This theme is dangerous
when it exceeds its limits at vreskjulesteder er. hensikten transformeres
arkitektur til det ene har deltatt pinnholdet. Vi. billedlegger sprket og
konstruksjoner utfyller hverandre.Av realiserbarhet. er hensikten
transformeres arkitektur til bilder ogrealiserti byggene har han.
videreutviklet denne utstillingen debuterer Kjetil Sivertsenviser books
and. Design in the cause of realization.Two constructions complement
one person.. Parts of space.These have been erected and functions but
their exteriors are. also physicallypresent in the body. The autumn
session th August. noemata. Re codework (KristevaEco). long reply I
just got back from aconf. with messages I have to deal with. not spam.
But if you look atKristeva's Revolution in Poetic Language you'll see.
a lengthy treatment ofMaldoror especially the unabridged Fr. version
and a. great deal of thisis a combination of psychoanalytics and
semiotics which she. You'd have to look at the book it's hardly
reductionist. Same with. Greimas etc. Alan I have read it and I find Eco
and all such semiotic. models of language reductionist. Where does a
text like Lautreamont's. Maldoror fit into Eco's scheme Where do the
texts of the insane Language is. not only aboutsignals (Eco's
signfunctions) and their corresponding. behavioral responses.There is a
form of dark matter in language that never. gets touched upon by
semiotics. It is where signals get crossed elided. broken down and too
often dismissed in semiotics as gibberish or noise.. Eco's approach
isgood for analyzing highclass linear detective novels like. the ones he
writes but it falls apart on texts that don't make the rage of.
interpretationtheir goal. Like all models of the world semiotics fits
some. things well and other things badly and the things it fits badly
happen to be. precisely the things I care most about right now in the
making of art. Maybe. somebody could propose a new nonlinear model
of semiotics or better a. chaotic one that would extend the field into a
place that might be. interesting. But Eco's views on language are too
restrictive for me and. don't carry me to the places I want to go.
Greimas deals with a much. wider range of issues than semiotics in his
work and I prefer him to Eco.. Even so there is still much in the making
of art that Greimas doesn't take. into account. (Not that I can recall
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