The Algorithms of Distance: Metaphors in Pictorial Language

By Barnaby Fitzgerald.

Published by The Arts Collection

Format Price
Article: Print $US10.00
Article: Electronic $US5.00

The analysis of isometric systems as representations of shadows cast by sunlight, is developed a study of their ensuing patterns of common sense and intimation of apollonian clarity as synthetic beauty. This paper seeks to show the visionary modernist examples of the embracing of the aesthetic with the utopian and totalitarian social ramifications, collectivity, and the triumph of architecture over art. There are interesting and fascinating ideas around the descriptions of space, the orientation of trajectories and their function in creating ideal understanding. The Trimetric projections in the manuals of the Industrial Revolutions, along with the Projection ‘felt magnitudes’ theories of Monge and Poncelet, into the Kandinsky of ‘Point, Line and Plane’ and Mondrian’s visionary writing and painting, will serve as a backdrop to a discussion of a predisposition in societies for the ‘tabula rasa’ of radical aesthetics. The paper is a discourse that rests on indisputable axioms in descriptive geometry and most importantly on their cultural ramifications and political expressions. The territory is vast. However, succinct examples and excerpts from criticism and historic research will indicate the seeds of contemporary post-modern sensibilities as an aversion to the grandiosity of modernist emancipation. Jaques Derrida’s exhibition “Memories of a Blind Man” Art Intenational 14 (1991) in the Pompidou Centre is the source of these ideas.

Keywords: Visual Information, Description, Geometry, Marxism, Post Modern Malaise

International Journal of the Arts in Society, Volume 6, Issue 4, pp.129-158. Article: Print (Spiral Bound). Article: Electronic (PDF File; 2.250MB).

Prof. Barnaby Fitzgerald

Professor, Division of Art, Meadows School, Southern Methodist University, Dallas, TX, USA

I am a painter raised in Italy and Ireland, now teaching art in a North American University. I am interested in what constitutes ‘belief’ in the visual arts, the theories of rhetoric and contemporary art theory. I paint read and teach in Dallas during the academic year and I am active in the international discourse surrounding art, or, as the case may be, non-art. My last foray into the international arena of conference presentation was in March 2010 in Chicago with the ‘Claiming Creativity Symposium’ I presented a video documentary on contemporary African painting, and its underlying politics, title: “The guise of authority-the stance of independence: Proper Nyanú and Sokey Edhor”.

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