By Giuliana Bruno
What's the position of materiality—the expression or of actual substance—in our visible age of quickly altering fabrics and media? How is it formed within the arts or manifested in digital varieties? In floor, cultural critic and theorist Giuliana Bruno deftly explores those questions, looking to comprehend materiality within the modern world.
Arguing that materiality isn't really a query of the fabrics themselves yet fairly the substance of fabric relatives, Bruno investigates the distance of these family, interpreting how they seem at the floor of alternative media—on movie and video monitors, in gallery installations, or at the skins of constructions and other people. the thing of visible reports, she contends, is going well past the picture and engages the outside as a spot of touch among humans and paintings gadgets. As Bruno threads via those floor encounters, she unveils the materials of the visual—the textural characteristics of artworks, even if manifested on canvas, wall, or display. Illuminating the trendy floor , she notes how façades have gotten digital displays and the paintings of projection is reinvented on gallery partitions. She traverses the sunshine areas of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches at the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic monitors; and travels around the floor materiality within the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the paintings of Doris Salcedo and Rachel Whiteread, the place the outside rigidity of media turns into concrete. In acting those serious operations at the floor, she articulates it as a website within which varied kinds of mediation, reminiscence, and transformation can take place.
Surveying item family throughout artwork, structure, type, layout, movie, and new media, floor is a magisterial account of up to date visible tradition.
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Additional resources for Surface - Matters of Aesthetics, Materiality, and Media
What is at stake in Wong Kar-wai’s work is a form of desire that is not simply attached to the costume as an object or commodity but concerns the larger sense of the fabrication of the surface of design. An agent of imaging and a maker of worlds, fashion, as we have argued, is akin to architecture as a form of material dwelling and as a visual design that can convey mental atmospheres through the sensible world. As it tailors this world of surface materiality in film, fashion does not dwell exclusively or separately in clothing but resides in the architectonics of the film language, contributing to the shaping of its aesthetic texture.
And thus the surface of the urban condition displays the longing to be folded in screens of virtual connection, to be embraced by the mood for love. In this film, mood is thus an atmosphere that is entirely fashioned as a matter of surface, fabricated as enveloping fabric. And the mood for love has the architecture of the fold. As 30 if to stretch the point, the lovers’ eventual erotic encounter—elusive, only ambiguously alluded to, and never shown—happens behind drawn curtains, an actual architecture of the fold.
Indeed, design, architecture, and cinema all move with the temporal mood of history as traces of the movement of time. ”51 These objects of material culture are sensitive mnemonic fabrications. They hold in the pleats of their material texture the inner rhythm, the actual movement, of mental unfolding—the temporal flow that shapes the surface of design. Ultimately, as objects of design, architecture, fashion, and cinema are surfaces that design the transformative texture of psychic interiority.