Criticism and Oblivion
For Baudelaire, art criticism was in part bound up with what makes half of art itself (the other half being its eternal part): “the transitory, the fleeting, the contingent”. The fact is that for some thirty years he have lost oblivion, for if we retain its psychological faculty, our computer-like...
Enregistré dans:
| Dans: | URI:https://journals.openedition.org/critiquedart, |
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| Auteur principal: | |
| Format: | Article ou chapitre numérique |
| Langue: | Anglais |
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Critique d’art
2012
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | For Baudelaire, art criticism was in part bound up with what makes half of art itself (the other half being its eternal part): “the transitory, the fleeting, the contingent”. The fact is that for some thirty years he have lost oblivion, for if we retain its psychological faculty, our computer-like memories–flexible extensions, no less–do store things. How is criticism possible when oblivion no longer is? It is possible thus to formulate the crisis of criticism which each publication here con... |
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