NOTES
- P Overy, “Introduction”, Stuart Brisley exh. cat., London: ICA, 1981, p 9.
- “I think my work… approaches the condition where there's no answer, no resolution… the power of the performance actually resides in reaching a point where nothing happens…”: Interview with Stuart Brisley, London, 22/6/01.
- “Brisley enacts and comments upon how the individual manoeuvres himself fitfully, haplessly between authority and freedom.”: J Roberts, “Stuart Brisley”, in Stuart Brisley exh. cat., London: ICA, 1981, p 11.
- Overy, “Introduction”, Stuart Brisley, p 9.
- This was one of the aims of the conference, Conducting Bodies: Memory, Affect and Sensation, AGNSW, Sydney, July 2001.
- J Bennett, “Stigmata and Sense Memory: St Francis and the Affective Image”, Art History 24:1 (Feb 2001): 14.
- S Best, ‘The Trace and the Body”, Trace: Liverpool Biennial of Contemporary Art, Liverpool, Liverpool Biennial of Contemporary Art & Tate Gallery Liverpool, 1999, p 173.
- M Merleau-Ponty, The Visible and the Invisible, trans. A Lingis, Evanston: Northwestern University Press, 1968, p 102.
- M Merleau-Ponty, The Phenomenology of Perception, trans. C Smith, London: Routledge, 1962, p xiii.
- M Merleau-Ponty, Phenomenology of Perception, p xxi.
- S Biernoff, Sight and Embodiment in the Middle Ages, London: Palgrave, 2002.
- Interview with Stuart Brisley, London, 22/6/01.
- “One has to dispense with the constituent subject, to get rid of the subject itself, that is to arrive at an analysis which can account for the constituent subject within a historical framework. And this is what I would call genealogy, that is, a form of history which can account for the constitution of knowledges, discourses, domains of objects etc., without having to make reference to a subject which is either transcendental in relation to the field of events or runs in its empty sameness throughout the course of history.”: M Foucault, ‘Truth and Power,” an interview with A Fontana and P Pasquino in Power/Knowledge, C Gordon (ed), Sussex: Harvester, 1980.
- The group was founded in 1964 by Hermann Nitsch, Otto Mühl, Rudolf Schwarzkogler and Günter Brus.
- “In presenting the sublime in nature the mind feels agitated… This agitation (above all at its inception) can be compared with a vibration, i.e., with a rapid alteration of repulsion from and attraction to, one and the same object. If a [thing] is excessive for the imagination… then [the thing] is, as it were, an abyss in which the imagination is afraid to lose itself.”: I Kant, Critique of Judgment, trans. WS Pluhar, Indianapolis: Hackett, 1987, Part I, § 27. 258, p 115.
- Chaucer, “The Canon's Yeoman's Tale,” cited in HW Loewald, Sublimation: Inquiries into Theoretical Psychoanalysis, New Haven: Yale University Press, 1988, p 12.
- JB Twitchell, Romantic Horizons: Aspects of the Sublime in English Poetry and Painting 1770–1850, Columbia: University of Missouri Press, 1983, pp 1–2. Sublimatio was in common usage in the context of alchemy from 1144; it was applied to astrology and astronomy after 1200, and the other sciences somewhat later. RE Latham, Revised Medieval Latin Word List from British and Irish Sources, London: Oxford University Press, 1965.
- “[T]his capacity to exchange its original sexual aim for another one, which is no longer sexual but which is psychically related to the first aim, is called the capacity for sublimation [Sublimierung].”: S Freud, “‘Civilized’ Sexual Morality” (1908) in J Strachey, The Standard Edition of the Complete Works of Sigmund Freud, 9:187.
- From Civilization and its Discontents, quoted in Loewald, Sublimation, p 6.
- Kant's comments on femininity are telling: “all the other merits of a woman should unite solely to enhance the character of the beautiful, which is the proper reference point; and on the other hand, among the masculine qualities the sublime clearly stands out as the criterion of his kind.”: I Kant, Observations on the Feeling of the Beautiful and Sublime, trans. JT Goldthwait, Berkeley: University of California Press, 1960, pp 76–77.
- Kant locates the sublime beyond or above the limits of the senses and the imagination. The idea of totality (eg, absolute magnitude or infinity) “strains the imagination to its limit… The judging strains the imagination because it is based on a feeling that the mind has a vocation that wholly transcends the domain of nature (namely, moral feeling)…”: Kant, Critique of Judgement, Part I, § 29. 269, p 128.
- JT Goldthwait, “Introduction” to Kant, Observations, p 11.
- Kant, Critique of Judgement, § 29. 275, p 135.
- E Burke, A Philosophical Enquiry Into the Sublime and Beautiful (1757), D Womersley (ed), Harmondsworth: Penguin, 1998, p 165.
- Burke, Philosophical Enquiry, p 175 (“Why darkness is terrible”).
- Burke, Philosophical Enquiry, p 127.
- Burke, Philosophical Enquiry, p 86.
- Burke, Philosophical Enquiry, p 91.
- Stockhausen later apologised for his remarks. “Stockhausen apologises,” The Guardian (19 Sep 2001): 10.
- Redemptive value is a defining characteristic of the romantic sublime (Twitchell, Romantic Horizons, p 15) and the modern technological sublime according to DE Nye, American Technological Sublime, Cambridge, Massechusetts: MIT Press, 1994, p xiii.
- P Crowther, “The Postmodern Sublime: Installation and Assemblage Art,” The Contemporary Sublime: Sensibilities of Transcendence and Shock, special issue of Art & Design 10. 1/2 (Jan-Feb 1995): 17.
- Crowther, “The Postmodern Sublime”, p 17.
- Julian of Norwich, Showings, trans. E Colledge and J Walsh, Classics of Western Spirituality Series, New York, Paulist, 1978, p 178 (Ch. 2, long text).
- Julian of Norwich, Showings, p 180 (Ch. 3, long text).
- Gal. 2.20.
- In his study of Florentine religious life during the Renaissance, Richard Trexler points out that sacred images were addressed as living people (for example, “Nostra Donna” rather than “the image of Our Lady’) and worshipped, or violated, accordingly. RC Trexler, Church and Community 1200–1600: Studies in the History of Florence and New Spain, Rome: Storia e Letteratura, 1987, pp 50–1; and Public Life in Renaissance Florence, New York: Academic Press, 1980, p 68–9.
- This process is discussed in detail by D Despres in Ghostly Sights: Visual Meditation in Late-Medieval Literature, Norman, OK, Pilgrim, 1989. See in particular Chapter 2: “Franciscan Meditation: Historical and Literary Contexts”, pp 19–54.
- H Belting, The Image and its Public in the Middle Ages, trans. M Bartusis and R Meyer, New Rochelle, NY: Carnizas, 1990, p 83.
- “Bill Viola: Five Angels for the Millennium and Other New Works,” 2 May–21 July 2001, Anthony d'Offay Gallery, London (exhibition notes).