Friday, September 6, 2013

Baudelaire's Distrotion of Beauty

Tiberge, of Galliawatch, sent me the following writings by Baudelaire with the note:

"Why don't you comment on Baudelaire's idea of beauty? Or have you already done so? Here it is:"

THe quote is from:
Journaux intimes. Fusées. Mon coeur mis à nu / Charles Baudelaire
Pp 18-20

The French edition, from 1920, is available here online
J'ai trouvé la définition du Beau, de mon Beau.

C'est quelque chose d'ardent et de triste, quelque chose d'un peu vague, laissant carrière à la conjecture. Je vais, si l'on veut, appliquer mes idées à un objet sensible, à l'objet par exemple, le plus intéressant dans la société, à un visage de femme. Une tête séduisante et belle, une tête de femme, veux-je dire, c'est une tête qui fait rêver à la fois, — mais d'une manière confuse, — de volupté et de tristesse ; qui comporte une idée de mélancolie, de lassitude, même de satiété, — soit une idée contraire, c'est-à-dire une ardeur, un désir de vivre, associés avec une amertume refluante, comme venant de privation ou de désespérance. Le mystère, le regret sont aussi des caractères du Beau.

Une belle tête d'homme n'a pas besoin de comporter, aux yeux d'un homme bien entendu, — excepté, peut-être, aux yeux d'une femme, — cette idée de volupté, qui, dans un visage de femme, est une provocation d'autant plus attirante que le visage est généralement plus mélancolique. Mais cette tête contiendra aussi quelque chose d'ardent et de triste, — des besoins spirituels, — des ambitions ténébreusement refoulées, — l'idée d'une puissance grondante et sans emploi, — quelquefois l'idée d'une insensibilité vengeresse (car le type idéal du dandy n'est pas à négliger dans ce sujet); quelquefois aussi, — et c'est l'un des caractères de beauté les plus intéressants — le mystère, et enfin (pour que j'aie le courage d'avouer jusqu'à quel point je me sens moderne en esthétique), le malheur. Je ne prétends pas que la Joie ne puisse pas s'associer avec la Beauté, mais je dis que la Joie est un des ornements les plus vulgaires, tandis que la Mélancolie en est pour ainsi dire l'illustre compagne, à ce point que je ne conçois guère (mon cerveau serait-il un miroir ensorcelé?) un type de Beauté où il n'y ait du Malheur. Appuyé sur — d'autres diraient: obsédé par—ces idées, on conçoit qu'il me serait difficile de en pas conclure que le plus parfait type de Beauté virile est Satan, — à la manière de Milton.

I will only partially translate it, and write my comments underneath:

J'ai trouvé la définition du Beau, de mon Beau

I have found the definition of the Beautiful, my beautiful
[KPA: he is rather pompous, giving us "his" definintion]



C'est quelque chose d'ardent et de triste, quelque chose d'un peu vague
It is something passionate and sad, a little vague
[KPA: He gives it a defininte, strong definitnion, then goes into the anticlimactic "sad" and "vague."



He then wants to use it to describe a woman's beauty, a woman's face.
...une tête de femme, veux-je dire, c'est une tête qui fait rêver à la fois, — mais d'une manière confuse, — de volupté et de tristesse ; qui comporte une idée de mélancolie, de lassitude, même de satiété,
[KPA] A seductive and beautiful face, he explains, is a woman's face. It is a face of dreams (and fantasies?), but a face which evokes sadness, weariness, and even melancholy.

Why this negative approach towards a beautiful woman's face?

Even the life he gives to a woman's face, a woman's beauty, is negative:
[U]ne ardeur, un désir de vivre, associés avec une amertume refluante, comme venant de privation ou de désespérance
Bitterness and desperation are words that he uses, as he "livens up" a beautiful woman's face.

Perhaps this is it. He continues:
Le mystère, le regret sont aussi des caractères du Beau.
[KPA]Has he been rejected that many times by beautiful women that he has resorted to bitterness?

Je ne prétends pas que la Joie ne puisse pas s'associer avec la Beauté, mais je dis que la Joie est un des ornements les plus vulgaires, tandis que la Mélancolie en est pour ainsi dire l'illustre compagne,

[KPA] He admits that joy can be associated with beauty, but he finds this joy vulgar, whereas melancholy is beauty's best companion.

...à ce point que je ne conçois guère (mon cerveau serait-il un miroir ensorcelé?) un type de Beauté où il n'y ait du Malheur.
[KPA]He cannot think of beauty which doesn't possess unhappiness.

...il me serait difficile de en pas conclure que le plus parfait type de Beauté virile est Satan, — à la manière de Milton.
[KPA] As much as a woman't beauty may best be associated with melahcholy and a vague sadness, he is more definitive about masculine beauty: the perfect type of virile beauty is that of Satan.

In any case, beauty can have no redeeming factors for Baudelarie.

I associate this horror of beauty, and its association with even, and with Satan, in Baudelaire's case, comes from artists (and people) who have rejected God. Looking for beauty without God puts us in Satan's territory, where the beautiful becomes horrifically transformed into the Ugly.

Monday, February 11, 2013

Emails

ee blog post draft for full addresses


1. "Lawrence Auster"
2. "Kristor Lawson"
3. "Dean Ericson"
4. .... Howard Sutherland
5. "Bjorn Larsen"
6. "Carol Iannone"
7. "Jeanette Victoria"
8. "Thomas Bertonneau (dactylic@verizon.net)"
9. "Svein Sellanraa (tradisjonalisme@gmail.com)" (Orthosphere)
10. "Belien P." 11. "Sam Solomon"
12. "PAUL WESTON"
13. Michael Coren michael.coren@sunmedia.ca
14. "abaynesh" ..... Abby

15. dianawest@verizon.net
16. SAGE.M.MCLAUGHLIN@saic.com
17. judith.hakimian@verizon.net
18. "James Kalb"
19. "bisrat mengesha"

20. (What's wrong with the world) editor@whatswrongwiththeworld.net
21. (Alan Roebuck) asrprof@yahoo.com
22. (Mark Richardson) swerting@bigpond.com
23. (Mary Lou Ambrogio) mlambrogio@ifpscanada.com


24. Bruce Charlton http://charltonteaching.blogspot.ca/

25. Nina Rosenwald

Friday, September 18, 2009

This is a trial

Fairgrounds

And their significance


Carousel in "Strangers on a Train"

Three fairgrounds in three important films of the 20th century:

- Fernand Leger's erratic rides in his 1924 "Le Ballet Mecanique" where man and machine fuse as one, even during man's most abandoned and playful moments.

- The 1920 German Expressionist film "The Cabinet of Dr. Caligari" directed by Robert Wien, in which the protagonist, Dr. Caligari, uses a carnival to introduce his somnambulist Cesare.

- Alfred Hitchcock's 1951 "Strangers on a Train" has both a murder and the identification of a murderer occur at a fairground.

Leger uses fairgrounds to wax poetic about machines. Robert Wien makes the expressionist fairground into some kind of unearthly place full of macabre fantasies.

Hitchcock's carousel juxtaposes the horrors of the crime committed by the deranged criminal full of his internal fantasies, with the speed and distorted figures of the wooden horses, to finally evict the murderer through the centrifugal force of the mechanical carousel onto stable ground, where he can be identified and convicted.

Hitchcock took a little of each of the two previous films to make his approachable, human film where man is separated from machine and fantasy, and made to pay for his sins.

I'm always surprised at how moralistic Hitchcock is. After all, his films for the most part are about murder and crime. But, I think he really separates man from other things - nature, machine, psychosis (which is an inferior version of rational, sensible man.) Hitchcock has trust in man, despite his ambiguities and insecurities.

Unlike the other two filmmakers, whose protagonists are outside of the human (machine or fantasy), Hitchcock stays grounded in his portrayals of his fellow being.


Sunday, May 25, 2008

Good Things

Come in threes

Here are three new things I learned about the craft and design world in the past few days:

1. Charles Voysey is my favorite fabric designer (he worked with tapestries, carpets, fabric and also wallpaper design.) I especially love the way he hides birds in his designs, making them blend in with the foliage and other surroundings.

Voysey Birds:
Left for textile design ca. 1916 (how many birds are in the foliage?)
Right: For a greeting card ca. 1901

But I didn't know that he was also an accomplished architect. He had a distinctive style of low roofs and horizontal windows.

His homes have the same simplicity and harmony that his designs do, but their wholeness and beauty is further accentuated by their austerity.

The Orchard (1899)
One of Voysey's low-roofed house with horizontal windows. The Orchard was his home.

2. Felt is not just for hats. It is making a comeback in textile design. I think part of the attraction is that you don't need especially complicated equipment to make your own felt, and it is a very malleable and versatile material.

But, I didn't know this, and it makes sense, that it is one of the oldest fabrics, and that it is still in use, mainly in central Asia. Here are some current attempts at making felt today.

Left: Laser-cut felt rugs
Middle: Scarves using various felting techniques
Right: Penny Rug from early American and Canadian crafts

3. Rosenthal Porcelain from Germany is world-renowned, and considered one of the best both for its porcelain and for its design.

"Le Jardin de Versace"

A Rosenthal/Versace collaboration.


Wednesday, May 14, 2008

When National Symbols Are Lacking

We'll grab onto anything

I've always said that if there is no concerted effort at keeping national symbols alive and well, something else will come along and take up the space.

This is just what happened with the Canadian Summer Olympics team uniform, under the direction of the Hudson's Bay Company Suzanne Timmins.

One of the designers, Tu Ly, apparently designed the "award winning" uniform for the Canadian team at the 2006 Winter Olympics. I tried finding Tu Ly's other works online, including his supposed knitwear for Saks Fifth Avenue, but came up with nothing. Same thing for his co-designer Vivienne Lu.

Tu Ly's 2006 work was commissioned by Roots Canada, and I get the feeling that he was under strict directions by Roots to follow their austere "everyman" designs and probably didn't have too much creative leeway.

Well, now that he does, here's what he, and his design team, has come up with.

Here are some of the design elements of the Canadian Olympics team uniform:

Font: Bamboo
Font direction: Up to down to mimicking Chinese script
Main background color: China Red
Style: Hip-hop camouflage
Inspiration behind the designs:
- Chinese tattoos
- Chinese astrology elements: Fire, Wood, Water, Earth Metal
- Chinese lucky number eight
- "Organic" maple leaf

I thought Olympics, as friendly as they are, are about giving strength to your own team, with dynamic home-grown symbols and designs.

What the designers have come up with is not Team Canada, but a subversive act to make Canadians into pseudo-Chinese.

At a CBC interview, critic Stig Larsson, a designer and owner of sports store Level Six and himself a national athlete, was concerned that designs makes the clothing too prominent, diminishing the athletes. I agree with him, and upon viewing his company's products, it is a real surprise that he wasn't part of (if not leading) the Olympics design team.

One last thing, 80% of the clothing were made in China, which given the direction of the design should come as no surprise.


Left: Chinese tattoo prints with "organic" maple leaf
Right: The number 8 as an emblem

Left: The Village-wear print with China red background
Middle: Close-up of print with mixture of Chinese and Canadian symbols
Right: "Organic" maple leaf, looking like a marijuana leaf


Left: The five Chinese astrological signs
Right: Bamboo font text from top to bottom (instead of left to right)


Wednesday, May 7, 2008

Update on Good Shape

More like "good form"

Here's a revealing comment by Christopher Alexander:
[F]orms must arise that come from the technology and economics and social circumstances of that era. So that if one sets out a program where you're essentially sort of copying old forms in any version, you're liable to be in a hell of a lot of trouble...But [people] don't know what to do about it...And I think that it is necessary to spend time - I would say major amounts of time - thinking only about form and geometry. Thinking about the language of form that is appropriate now.
This puts a lot of things into perspective, which I had only subconsciously understood until now.

Almost all of my colleagues, professors and acquaintances in the art and design fields seem to be stuck on this search for "the language of form that is appropriate now."

Hence:
- The name "experimental" for the avant-garde group of current filmmakers, of which I was a member for a few years. There was (is) great emphasis on finding new techniques, and even branching into non-film media such as digital and computerized manipulations. Thus calling themselves "experimental."

- A recent bizarre project by fellow board-member (at a post I had at Trinity Square Video), whom I posted about here, who uses jello to simulate water in a fountain. In trying to find a new way to design fountains, she tried to redesign the water instead!

- A textile "artist" who has been experimenting with the very ugly, thick - in all aspects - fiber felt to try and come up with sculptural elements. The problem is that felt is not solid, unless stuffed. Trying to find this intrinsic sculptural element in a non-sculptural material hinders the real emphasis. Which should be representing the object itself.

- Textile designer Looolo makes biodegradable, organic and toxin-free home accessories. The simple pillows range from a steep $100-$150. The price is for the dubious material. Design not included. Also, biodegradable fabric! Isn't the idea that it last as long as possible, and not get tossed in the green bin when a little worn? And aren't cotton, silk and wool naturally biodegradable?

What's going wrong here?

As film theorist Siegfried Kracauer quotes avant-garde filmmaker Jacques Brunius: "The cinema [of the avant-garde] is the least realistic of arts."

This holds true for the three examples I've given above. In the single-minded effort to find "the language of form that is appropriate now", these designers, artists and filmmakers have given up on reality!

It's as simple as that.

There is something noble in this experimental, almost scientific, attempt at finding the right form. But, I think where they are made their fundamental error is in their disengagement with reality. Form comes from the real world. Trying to find form without the real will only give us deflating sculptures and giant jello for water.

Left: Chung-Im Kim's undecipherable object (worm, horn, shell, ice cream cone?)
made with sewn pieces of felt with a hollow inside.
One clutch and the object is flattened

Right: Gwen Macgregor's "Pool." Water made from jello as part of an "installation"
project with wading pools. Even the project is misdirected, looking at the pools
instead of the structures. The kids don't look too much like they're enjoying themselves.

Looolo pillows:
Left, "Fly" at $140; Center, "Janthur" at $190; Right, "Windows" at $140

The Fly and Janthur pillows defy leaning back on their irregular surface. Isn't that what pillows are for? And design is wanting in the Windows series.



Ten second preview of Bruce Elder's experimental film "The Young Prince"