Svitlana Matviyenko's List: Dissertation

For my Warhol chapter.
And more and more like this:

And this is the blind that, like the surface of the lake or the surface of the mirror, both closes us off from, and orientates us towards, the speculative: between the image projected in the retina and the sense data transmitted to the occipital cortex, and so on. It is, in other words, what separates the phenomenon of consciousness from what Wittgenstein terms the locality of thought, and which separates agency from the assumption of mind. On one hand, this blind is represented in purely mechanical terms. The analogue camera-as a type of mechanical eye-doubles, and re-inverts, the reflection of the image in the lake by the reflection in the mirror situated inside the camera. This image, by association, corresponds to the "real" upside-down image projected on the retina in the last stage of visual perception at which there is anything like an "image" in the straightforward way that there is an image on a cinema screen. That is to say, at which there appears an analogue of something "in the real world." Two important points arise here. Firstly, in the arbitrary relation between the analogue (the so-called image) and the technics of its transmission-something Lacan draws our attention to when he defines an image as "the effects of energy starting at a given point of the real … reflected at some point on a surface and come to strike the corresponding same point in space.

For my dissertation:
What is a body?  What is the construction of a new body?  A new body in the artistic field is something like a real concrete creation-a work of art, performances, all that you want-but which are in relation with the trace of the event.  The trace of the event is something like that-the declaration always that something really is a form, that something new of the dignity of the work of art-and that is the trace.  The trace is something like a manifesto, if you want, something like a new declaration, something which says, "this was not a form and it's really now a form."

For Barney chapter:
Serra and the Space of Sculpture  

Zak Watson