Clint Burnham: The Sublime Object of Edward Burtynsky
October 10, 2012
Presented by SFU’s Vancity Office of Community Engagement.
Canadian photographer Edward Burtynsky's images of industrial waste and natural despoliation have shown in galleries around the world and been the subject of books, critical discourse, and a film (Manufactured Landscapes, directed Jennifer Baichwal, 2006). His work is often described as "sublime" for its large-format depiction of landscapes and ecological disaster: but what sublime are we talking about here? Burke's disquiet when confronted by natural disorder, or Kant's absolute breakdown of cognitive faculties? I discuss Burtynsky's pictures first of all in terms of Benjamin's theories of photography (the optical unconscious, aura) and then Žižek's properly dialectical sublime (that which is both Kantian and Lacanian). That is, for Žižek, the sublime object – the "objet petit a," Lacan’s Thing or das Ding – is what structures our desire but also serves as a screen against the abyss of desire, which is to say against the sublime; in a way, for Žižek, Lacan is the sublime object to counter the abyss of Kant. In a similar fashion, Burtynsky's gentrified sublime is what protects us from confronting the disaster that is nature. Finally, as counter-examples to Burtynsky's reified sublime, I discuss two photographic practices that engage with the sublime of the industrial archive: Mike Mandel and Larry Sultan's "Evidence" (1977) and Bitter & Weber's ”Events are Always Original” (2010).
Clint Burnham teaches in the Department of English at Simon Fraser University and is a founding member of the Lacan Salon. His writings on art have appeared in journals, catalogue essays, and online media in Canada, the U.S., and Europe. His latest books include The Only Poetry that Matters: Reading the Kootenay School of Writing (Arsenal Pulp, 2011), and, co-edited with Paul Budra, From Text to Txting: New Media in the Classroom (Indiana University Press, 2012). He is presently writing a book about Slavoj Žižek and photography.
Видео Clint Burnham: The Sublime Object of Edward Burtynsky канала SFU's Vancity Office of Community Engagement
Presented by SFU’s Vancity Office of Community Engagement.
Canadian photographer Edward Burtynsky's images of industrial waste and natural despoliation have shown in galleries around the world and been the subject of books, critical discourse, and a film (Manufactured Landscapes, directed Jennifer Baichwal, 2006). His work is often described as "sublime" for its large-format depiction of landscapes and ecological disaster: but what sublime are we talking about here? Burke's disquiet when confronted by natural disorder, or Kant's absolute breakdown of cognitive faculties? I discuss Burtynsky's pictures first of all in terms of Benjamin's theories of photography (the optical unconscious, aura) and then Žižek's properly dialectical sublime (that which is both Kantian and Lacanian). That is, for Žižek, the sublime object – the "objet petit a," Lacan’s Thing or das Ding – is what structures our desire but also serves as a screen against the abyss of desire, which is to say against the sublime; in a way, for Žižek, Lacan is the sublime object to counter the abyss of Kant. In a similar fashion, Burtynsky's gentrified sublime is what protects us from confronting the disaster that is nature. Finally, as counter-examples to Burtynsky's reified sublime, I discuss two photographic practices that engage with the sublime of the industrial archive: Mike Mandel and Larry Sultan's "Evidence" (1977) and Bitter & Weber's ”Events are Always Original” (2010).
Clint Burnham teaches in the Department of English at Simon Fraser University and is a founding member of the Lacan Salon. His writings on art have appeared in journals, catalogue essays, and online media in Canada, the U.S., and Europe. His latest books include The Only Poetry that Matters: Reading the Kootenay School of Writing (Arsenal Pulp, 2011), and, co-edited with Paul Budra, From Text to Txting: New Media in the Classroom (Indiana University Press, 2012). He is presently writing a book about Slavoj Žižek and photography.
Видео Clint Burnham: The Sublime Object of Edward Burtynsky канала SFU's Vancity Office of Community Engagement
Показать
Комментарии отсутствуют
Информация о видео
17 мая 2016 г. 0:16:31
01:04:21
Другие видео канала
Voices of the Street: Why I Choose to Stay — with Nicolas Leech-Crier and Mr. EssentialLand Defense and the Climate Emergency — with Grand Chief Stewart PhillipIndian Summer Festival 2014: 5x15 Speaker Series1.5 Degree Lifestyles Report: Targets and Actions for Reducing Lifestyle Carbon FootprintsLief Hall: Mythology, Gender and Cyber-virtual Identity in Pop Music PerformanceHarry Leslie Smith: The Canada We're Losing, and How To Get it Back2022 Dallas Smythe Memorial Lecture: Communication Platform Regulation in CanadaAesthetics & Spirituality with Professor Norman CornettLecture Series on Aboriginal Issues 2014: Aboriginal People in Canada's Labour MarketCanzine West & An Afternoon with Mimi PondAndrew Feenberg: Marcuse and the New Left – Book LaunchLindsay Brown: The Lost History of Vancouver's UN Habitat ForumJim Green Memorial Lecture 2019: Nathan EdelsonTropic of Chaos: An Evening with Christian ParentiBob Williams: Using Power WellThe Indigenous Rights Declaration: From Policy to Practice with KhelsilemSocial Inequality In The CityFentanyl Contamination Deaths during COVID-19 — with Garth Mullins | Below the RadarLeanne Simpson: Restoring NationhoodThe Book of Negroes: From Page to Screen with Lawrence Hill (2015)