THE WOLF'S DEN - Tana dei Lupi I
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by RomaShield27 » Fri May 30, 2008 9:25 am
Last edited by RomaShield27 on Fri May 30, 2008 9:34 am, edited 1 time in total.
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RomaShield27 
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by RomaShield27 » Fri May 30, 2008 9:39 am
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RomaShield27 - Posts: 13281
- Joined: Mon Jul 09, 2007 9:58 am
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by marco » Fri May 30, 2008 3:49 pm
i thought that was a good move by samp. if they were to flip him, they could even use the difference (after paying out real) to absorb the full wages that they now have to pay. they could essentially be getting the services of cassano for another season or two for 'free'.
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by maro » Fri May 30, 2008 4:01 pm
glad, super post yesterday on art and artefacts and contexts. I think, though, you slightly misunderstood my point about the 'Ara pacis' - I wasn't suggesting that it be returned to some kind of impossible 1st-century context for impossibly 1st-century eyes. I suppose one of the points is that in its original conception it was already a privileged object. 'Returning' it to a different kind of dynamic of urban noises and smells and movements, then, while it might make for a kind of intellectually interesting frisson of new and old, would do its own kind of violence. On the other hand, when you do go, you may be pleased to see that one of the features of the building is its huge glass sides, which allow one to see the altar from a distance from outside and did, indeed, on one evening we wandered past - on our way to the Stadio Olimpico I think, in fact - allow it to catch the natural evening light in a quite arresting way and which, as you pleaded, brought out a different play of shadow and softer light.
I know what you're saying about galleries and museums too - though I tend to come at it from exactly the opposite direction (though carrying similar kinds of impatiences and ideals). I get utterly fed up with people who know bollocks about the stuff they're seeing racing past it and taking from it only what their limited knowledge and interest and capacity can absorb. Of course, as you say, presenting those 'objects' in a differently arresting way would be one way of overturning this; I prefer a written test at the door or, better still, at the gates of the city. One of the things that happens, of course, is that these infinitely rich things are consumed in about 30 seconds, their meaningfulness almost instantly exhausted. There's a beautiful essay by Benjamin on the 'storyteller' where he differentiates 'news' and 'story' along these sorts of lines. And of course one of the advantages of what you're proposing is that there's a chance that the art or artefact might take an unsuspecting viewer off-guard so that suddenly something new happens or opens up. The biggest problem of all, of course, is the power of mass production which has quite changed our attitudes to the value and uniqueness of artefacts.
I know what you're saying about galleries and museums too - though I tend to come at it from exactly the opposite direction (though carrying similar kinds of impatiences and ideals). I get utterly fed up with people who know bollocks about the stuff they're seeing racing past it and taking from it only what their limited knowledge and interest and capacity can absorb. Of course, as you say, presenting those 'objects' in a differently arresting way would be one way of overturning this; I prefer a written test at the door or, better still, at the gates of the city. One of the things that happens, of course, is that these infinitely rich things are consumed in about 30 seconds, their meaningfulness almost instantly exhausted. There's a beautiful essay by Benjamin on the 'storyteller' where he differentiates 'news' and 'story' along these sorts of lines. And of course one of the advantages of what you're proposing is that there's a chance that the art or artefact might take an unsuspecting viewer off-guard so that suddenly something new happens or opens up. The biggest problem of all, of course, is the power of mass production which has quite changed our attitudes to the value and uniqueness of artefacts.
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maro 
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