 the real objective and incontrovertible facts hidden behind the illusion of prejudices?"17 The answer is, of course, "Yes." One might find a certain consilience between Ruskin‟s pictorial philosophy and Richter‟s were one to admit, Art is not meant to solve problems, it is meant to state the truth. And this truth is told in dialectical procedures (dialectical truths as dialectical images/syntheses, at a standstill or otherwise). One cannot help admire Jameson‟s totalizing inquest of literature and art (and architecture) insofar as that inquest is Hegelian (and essentially immaterial). The teleology (end) of the interrogation of form is always inverse DRAFT 07/19/10 5 to its target; that is, mostly retrospective and mostly concerned with dematerializations of apparent singularities toward releasing aspects of formal agency (repressive or progressive). In many senses the "end" of such maneuvers is also anti-historicist (despite Jameson‟s well-known bromide to "always historicize"). Deranged discursivity opens on the purely visual. Reading discursively and reading visually are, oddly, one and the same procedure, while visual reading engages a set of formal apparatuses given, simply, to the visual. It is Badiou‟s critique, in Logics of Worlds, of Hubert Robert‟s painting The Bathing Pool (ca. 17771779) that formally announces such a set of apparatuses of the visual that are in excess of the verbal, but without that being quite the intention. Whereas in Agamben one finds an allegiance to a metric within artworks that signals an instantiation of a unique form of (subjective) time, in Badiou one finds an extreme form of the outside brought inside under the name of the Event, obliterating the individual, and – in the case of Robert‟s painting – the artwork nailed to the cross of the austere model (the logical sets and determinants) that forms worlds (political, artistic, and amorous).18 This reductive force is typical of formalist agendas that are "intelligibly" based. It is a Platonic or neo-Platonic model (and Badiou admits such). Yet this is the antithesis of Tertullian‟s statement regarding the "radiance of the visual." Intellection of the order of the world of logic is inapplicable to the formal apparatuses of the artwork as
the real objective and incontrovertible facts hidden behind the delusion of prejudices?"17 The solution is, of course, " Yes. " One might find a sealed consilience between Ruskin‟s pictorial doctrine and Richter‟s were one to admit, Art is not intend to clear problems, it is mean to state the truth. And this accuracy is told in dialectical procedures (dialectical accuracy as dialectical picture / syntheses, at a standstill or otherwise). One cannot help oneself admire Jameson‟s totalizing inquest of literature and art (and architecture) insofar as that inquest is Hegelian (and basically immaterial). The teleology (end) of the question of form is constantly inverse DRAFT 07/19/10 5 to its target; that is, mostly retrospective and mostly concerned with dematerializations of apparent singularity toward releasing aspects of formal agency (repressive or progressive). In many senses the " end " of such maneuvers is also anti - historicist (despite Jameson‟s well - known bromide to " always historicize "). Deranged discursivity opens on the purely visual. Reading discursively and read visually are, oddly, one and the same routine, while ocular reading engages a set of conventional apparatuses given, simply, to the visual. It is Badiou‟s review, in Logics of Worlds, of Hubert Robert‟s painting The Bathing Pool (ca. 17771779) that formally announces such a set of apparatuses of the visual that are in excess of the verbal, but without that being quite the intention. Whereas in Agamben one recover an allegiance to a metric within artworks that signals an instantiation of a alone form of (immanent) meter, in Badiou one finds an extreme form of the outside brought inside under the name of the Event, obliterate the individual, and – in the case of Robert‟s painting – the artwork nailed to the hybridization of the austere model (the logical sets and antigenic determinant) that forms worlds (political, aesthetic, and amorous).18 This reductive force is typical of formalist agendas that are " intelligibly " based. It is a Platonic or neo - Platonic exemplar (and Badiou admits such). Yet this is the antithesis of Tertullian‟s instruction regarding the " radiance of the visual. " thinking of the order of the world of logic is inapplicable to the formal apparatuses of the artwork as
 thf real objective and incuntrovertible fcxts hivden begind the illusion of prejudices?"17 The enswwr is, of course, "Yes." One migft find a certain conwulience bevseen Ruskin‟s llctornao philosophy akd Richter‟s were one to agmkt, Art is not meant to solve problems, it is kewnt to state tre tgueh. Ahd this truth is told in dialecticzl proctdures (dialectical truths as dialectical imahes/sjntheses, at a stanfstill or ojgerruse). One cannut help admire Jameson‟a totalizing inquest of literatjre aud art (and qrxhihgcture) insofer as nhat inquest lx Hegenian (anc essentially lmmatxriao). The teleology (end) oh the interrogation jf form iv clways inverse DRAFT 07/19/10 5 ro itv tasget; rhag ia, koatly rftrkspective znd mostly xoncerned with demaueryqlizations of apparqne singularities toward releasing aspectv or formal agency (repressuve or progressive). In many senfes the "end" of such maneuvers is also anti-historiwist (verpiue Jamerin‟d well-known bromide to "always historicize"). Derwhgtd ciscursivity oiens on the purely vlsiwl. Reading dircursirslg and reading visuwlly arg, oddlt, one and the same procedure, while visuao reading enyagws a set of formal apparatuser gifen, somply, to the visual. It ns Badjou‟s critiqke, in Logjzs of Worlds, of Fubvrt Sobert‟s kxinting The Bathigg Pool (ce. 17771779) thct formauly snnounses such a set of apparatuses of tje vidudl that arf in excess of the verbal, but wmvhout that beonc qlite the nntentlon. Whereas in Wgamben one fiuds an ajlegixnce to a jetric xithin artwowks that signdps an instanviation os a yniqye form uf (subjective) yime, in Bcbiou one dinds an extreme fprm kf the outside yxootht inside undrr ghe nwmx of eve Event, oblhterxtivb the individual, xnd – in the case of Robest‟s lainting – the artwprh nailed to the sross of the sustere model (the pogicel setr and dejerminants) that forms worlds (pomitical, agtiftic, and amowous).18 This reductnve force is typical of formalist agendaw that are "intellitibly" based. It is a Klatonic or nxo-Platjnic moden (and Badiou admits wuch). Yet this is uhe antithesis of Tertumlian‟s statfment regarding the "radiance of the visual." Intellection of the order of tye world of logic js imapplpcayle to thq focmel apparatuses of the artwork as
the real objective and incontrovertible facts hidden illusion prejudices?"17 The is, of course, certain between Ruskin‟s pictorial and Richter‟s were to admit, Art is not meant solve problems, it is meant to state the truth. And this truth is in dialectical procedures (dialectical truths as dialectical images/syntheses, at a standstill or otherwise). cannot admire totalizing of literature and art (and architecture) insofar as that inquest is Hegelian (and essentially immaterial). The (end) of the interrogation of form is always DRAFT 07/19/10 5 to target; that is, mostly retrospective mostly with dematerializations apparent toward aspects of formal (repressive or progressive). In many senses the "end" of such maneuvers is also anti-historicist (despite Jameson‟s well-known to "always discursivity opens the visual. discursively and reading oddly, one and the same procedure, engages a set of formal apparatuses given, simply, the visual. is Badiou‟s critique, in Logics of of Hubert Robert‟s painting The Bathing Pool (ca. that formally announces such a set of apparatuses of the visual that are in excess verbal, but without that quite the intention. in one an to a within artworks that signals an instantiation of a unique form of time, in Badiou one finds an extreme form of the inside the name of Event, obliterating the individual, – the case of Robert‟s the nailed of austere (the logical sets and that forms worlds (political, artistic, amorous).18 This reductive force that are "intelligibly" based. It is a Platonic neo-Platonic model (and Badiou admits such). Yet is the antithesis of Tertullian‟s statement regarding the "radiance of the visual." of the the world of logic is inapplicable to the apparatuses of the artwork
 the real objective and incontRovertible Facts HidDen BeHind The iLlusion of prejuDIces?"17 the answer is, of course, "Yes." one miGhT Find A CeRtain ConsiliENcE BEtwEeN RUskIn‟S PiCtoriAl pHilosopHy and RichtEr‟s WeRe one to admit, aRt Is not meant To sOlve problems, It iS meant To StaTE the tRutH. And tHis truTH is tolD in dialecTiCAl procEDures (diALEcTicaL truths as dialectiCAl IMages/syntheses, At a staNdSTiLL Or oTheRwise). One caNnOt helP Admire JAMeSON‟S toTAlizing inquesT of literatuRE anD art (anD aRchITecturE) insoFaR As tHat inquest iS HegElian (and eSsentiALly immaTErial). ThE teleoLogY (enD) of tHE iNtErrOgATioN Of ForM Is aLways invErSe dRAFT 07/19/10 5 To itS TARGet; tHat Is, moStly rEtrospective aNd mOstlY ConCerneD with DemaTeRialiZationS of apPaRent singularitiEs toWard releaSinG aSpeCtS of foRMal ageNcy (RepRessive Or progrESsiVe). iN MAnY senses the "end" of sucH mANEuVers is alSo anti-HIsToRIcist (desPiTe JAmesON‟S well-KnowN BrOmide to "aLways hIStOrIcize"). DeRaNged diScUrsIviTy opeNS on tHe pureLy visual. readiNG discursively aND reading visuaLLy ARE, oDDly, oNe aNd the same prOcedURe, whIle vISuAl rEAding EngagEs A SeT Of formal apparatuses GiVen, simPly, to The visual. It is badiou‟s criTIQUe, in LogiCs of wOrLDs, of Hubert RobeRt‟s paInting The BAThing PooL (ca. 17771779) thAt formalLy announcES Such a set Of aPpaRatUseS OF tHe visual that aRE In exCeSs of the VerBal, but wIthOut ThaT beInG quite the IntentioN. WHeReAs In AGambeN One finds An AllEgIanCe to a MEtric wIthin ArtwOrKs THat Signals AN iNSTantIaTiOn of A unIqUe forM of (sUBjeCtive) tiMe, in BadioU onE FindS aN eXtreme fOrm of the outsiDe Brought insIdE unDer the NAMe of the EVent, obliterating the indiVIdual, anD – in The caSe of robert‟s paIntIng – the ArtWOrk naiLed to tHe croSs Of tHE AusteRE MoDel (ThE logical seTS And DeterMiNantS) that foRms worlds (political, ARtiStic, and amorouS).18 ThIs reDUCtIve FOrCE is TyPIcaL OF formalist agendAs that are "iNtELlIgibly" baseD. it iS a platoniC or neo-PLatonIC model (aNd Badiou aDmits such). yeT thiS IS thE antithesiS of TertuLlian‟s staTEment REgArdinG thE "radiaNcE of The viSual." InTEllEctioN of the OrDer of tHe worLd Of logic iS inapplicable to the formaL apparAtuseS of The artworK as
 the real objective and in controvert iblefac tshi dden  beh ind the illusi o n of  prejudices?"17 The an sweris ,  ofc ou rse,"Yes."O ne m igh tfi ndac er taincon silienc e betweenRus ki n‟s pictoria l  p hilosophyand  Richter‟s w ere  one t oadm i t, Ar t i s not  meant to sol ve proble ms ,  it is meant t o st atethe truth. And th i st ruth is told i n dial ec t ic a l  pr oce dures (dia le ctica l  truths as d i ale c tical images/ syntheses,a t a  stand st ill or oth erwis e) .  On e cannot he lp a dmire Jam eson‟s totaliz i ng inqu est of  li ter atur e  a nd  ar t( and ar chi t ect ure) ins of ar  as t hati n q u estisHege lian(and essentia lly  imm a ter ial).  Thetele ol ogy ( end) o f the  i nterrogation of  for m is alwa ysin ver se  DRAF T  07/19 /10  5to itstarget; tha ti s ,  m ostly retrospectiv ea n dmostly c oncern e dwi t h demate ri ali zati o n s ofappa r en t singul aritie s  t ow ard rel ea sing a sp ect s o f for m al a gency(repress ive o r  progressive). In many sense s  t h e  " e nd"ofsuch maneuv ersi s al so a n ti -hi s toric ist ( de s pi t e Jameson‟s well-kn ow n brom ide t o "always his toricize") . D erangeddisc u rs i vity opens onthe p urely visu a l. Readi ng di scursive ly and re a d ing visu all y a re,  od d l y,  one and thes a me p ro cedure,  wh ile vis ual  re adi ngen gages a s et of fo rm al  a pp ara tuses given, s im ply ,tothe v i sual.It is  Bad io u‟ s  cr itique, in L ogic sof  Wor lds ,of Hu bert Rob ert‟s p ainting T heB athi ng  P ool (ca . 17771779) t ha t formally  a nno uncess u ch a set  of apparatuses of thev isual t hat  arein e xcess ofthe  verba l,b ut wit hout t hat b ei ngq u ite t h e  i nte nt ion. Where a s  in  Agam be n on e finds  an allegiance toa  me tric within a rtw orks t ha t s i gn a lsan ins t a ntiation of a u nique form  o f  ( subjective )  ti me , in Ba diou on e fin d s an ex treme for m of theou tsid e bro ught insid e underthe nameo f the Ev ent,obl iterat in g t he in dividu a l,and –  in th ecase o f Rob er t‟s pain ting – the artwork nail ed tothe c ros s of theaus t ere  model (t he l ogical set s a nddeter min a nts)that fo rms world s (p o litical,a rt ist i c ,and amorous ) . 1 8 T his r edu c tive f orce  is typical of fo r malist agendas  tha t are  "i n tell ig ibly" based. I t i sa Platonic  o r neo-Plato nic mode l( and B adiouadmits  such). Y et this i s th e a ntithesis  of  T e rtullia n‟ ss tateme nt r eg arding  the " r adia n c e of the visual. " Int e l lecti o n o f the  o rder of theworld of l ogic is ina pplica bleto th e forma lappara tus es  of the ar t work as
 the_real objective_and incontrovertible facts hidden_behind the_illusion_of prejudices?"17_The_answer is, of_course, "Yes." One_might find a certain_consilience between Ruskin‟s_pictorial_philosophy and Richter‟s were one to admit, Art is not meant to solve problems,_it_is meant_to_state_the truth. And this truth_is told in dialectical procedures_(dialectical truths_as dialectical images/syntheses, at a standstill or otherwise)._One_cannot help admire_Jameson‟s totalizing inquest of literature and art (and architecture)_insofar as that inquest is Hegelian_(and essentially immaterial)._The_teleology_(end) of the interrogation_of form is always inverse DRAFT_07/19/10 5 to its target; that_is, mostly retrospective and mostly concerned with_dematerializations of apparent singularities toward releasing_aspects of formal agency (repressive_or progressive)._In many senses the "end"_of such maneuvers_is also_anti-historicist (despite Jameson‟s_well-known bromide to "always historicize"). Deranged_discursivity opens on_the purely visual. Reading discursively and_reading_visually are, oddly,_one_and_the same_procedure, while visual_reading_engages a_set_of formal apparatuses given, simply, to_the_visual. It is Badiou‟s critique, in Logics_of Worlds, of Hubert_Robert‟s_painting The Bathing Pool_(ca. 17771779) that formally announces_such a set of apparatuses of_the visual_that are_in excess of the verbal, but without that being quite the_intention. Whereas in Agamben one finds_an allegiance to a_metric within_artworks_that signals an_instantiation_of a_unique form of (subjective) time, in Badiou_one finds_an extreme form of the outside_brought inside under the_name_of the Event, obliterating the individual,_and – in the case of_Robert‟s painting – the artwork_nailed_to_the cross of the austere_model (the logical sets and determinants)_that forms worlds_(political, artistic, and amorous).18 This reductive force_is_typical of formalist agendas that are_"intelligibly"_based. It is a Platonic or_neo-Platonic_model_(and Badiou admits such). Yet_this is the antithesis of Tertullian‟s_statement regarding the "radiance of the visual." Intellection of_the order of_the world of logic is_inapplicable_to_the formal apparatuses of the artwork as