Image  —  Posted: October 23, 2017 in Uncategorized

Compulsory Assimilation

Posted: October 23, 2017 in Uncategorized

As long as we are discussing the topic of masks.

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The fact that now, wherever we try to point to modern technology as the revealing that challenges, the words “setting-upon,” “ordering,” “standing-reserve,” obtrude and accumulate in a dry, monotonous, and therefore oppressive way, has its basis in what is now coming to utterance. Who accomplishes the challenging setting-upon through which what we call the actual is revealed as standing-reserve? Obviously, man. To what extent is man capable of such a revealing? Man can indeed conceive, fashion, and carry through this or that in one way or another. But man does not have control over ‘unconcealment‘ itself, in which at any given time the actual shows itself or withdraws.

Martin Heidegger, “The Question Concerning Technology” (1953)

“The physique of the viewer was subsumed by an event of looking that gave sole authority to the eyes.”

Canaletto and the Art of Venice is the first book to showcase in full this rich collection of eighteenth-century Venetian art held by the Royal Collection. It explores paintings, prints, and drawings by Canaletto, as well as many of his contemporaries, including Sebastiano and Marco Ricci, Antonio Visentini, Francesco Zuccarelli, and Giovanni Battista Piazzetta. Lavishly illustrated, the book presents these works against the background of the social and artistic networks of the period, looking at the links between art and theater in Venice, as well as the role of the city as a center for printmaking and book production.

was a hallmark of the eighteen-century veduta style. They exagerate the magnificence of the vista, the more to excite the viewer, even if at the cost of truth.

Ferdinando Giuseppi di Bibiena
‘L’Architettura Civile’ (1711)

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Public masquerades were a popular and controversial form of urban entertainment in England for most of the eighteenth century. They were held regularly in London and attended by hundreds, sometimes thousands, of people from all ranks of society who delighted in disguising themselves in fanciful costumes and masks and moving through crowds of strangers. The author shows how the masquerade played a subversive role in the eighteenth-century imagination, and that it was persistently associated with the crossing of class and sexual boundaries, sexual freedom, the overthrow of decorum, and urban corruption. Authorities clearly saw it as a profound challenge to social order and persistently sought to suppress it.

Terry Castle, Walter A. Haas Professor in the Humanities, Stanford University
Stanford University Press, 1986