By jan jagodzinski
The oral eye is a metaphor for the dominance of world fashion designer capitalism. It refers back to the consumerism of a clothier aesthetic by way of the ‘I’ of the neoliberalist topic, in addition to the aural soundscapes that accompany the hegemony of the shooting consciousness via display cultures. An try out is made to articulate the historic emergence of this kind of synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Ranci?re, Virilio, Ziarek, and ?i?ek to discover modern paintings (post-Situationism) and visible cultural schooling. jagodzinski develops the idea that of an ‘avant-garde with no authority,’ ‘self-refleXion’ and ‘in(design)’ to additional the questions surrounding the posthuman as complex via theorists resembling Hansen, Stiegler and Ziarek’s ‘force’ of paintings.
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Additional resources for Visual Art and Education in an Era of Designer Capitalism: Deconstructing the Oral Eye (Education, Psychoanalysis, and Social Transformation)
18) Foster asks. Life-style has become a consumer style, as presented by Bruce Mau (2000), rather than an ethics of living, as Foucault once maintained (see May 2006). Place branding, where a spectacle is created, but perhaps not as vile as ‘slum tourism or poverty tours,’ has become particularly common. 19 Now the confused space of the Bonaventure Hotel (designed by the architect John Portman), the oral eye in designer capitalism / 37 which was once accorded an iconic status by Fredric Jameson, who cited it as an example of the impossible cognitive mapping of global capitalism, has become the paragon of “a neo-Baroque Sublime dedicated to the glory of the Corporation (which is the Church of our age)” (Foster 2000a, 191) by such architects as Frank Gehry, who use computer-aided design and manufacture (commonly called CAD and CAM), in a particular program called CATIA (computer-aided three-dimensional interactive application).
4 This is what a model’s face does. This is the action it is paid to perform—to hold the world of the beholder. It is precisely anti-Platonic in its structure. Designer capitalism thrives on this jouissance that circulates outside the frame. It presents for us what is seemingly unattainable because it always exists outside our reach; it is somehow unique, one of a kind, embedded in the representation of differences at a point of excess that is as yet to be reiterated. That point, as a point of transformation, is precisely where turbulence occurs, the so-called far-from-equilibrium complex system, theorized by complexity theory.
It may well be a Deleuzian century after all, stripped of its ethico-political thrust— representation as such no longer sells. Post-Fordism now transforms the relations of representation against representing. Heterogeneity is ‘in’ as a strange attractor. The negative is now positive. com) are perhaps the best the oral eye in designer capitalism / 25 example of this approach in the way custom-designed type and typography address the ‘forces’ of local geography, politics, and culture by taking into account local traditions (heritage), the graphic vernacular, and subcultural representations to push against generic globalist styles (Boman 2006).