„Herbarium czystych zewnętrzności”: Siegfried Kracauer, Busby Berkeley, Sherrie Levine
„Herbarium of Pure Surface-Level Manifestations”: Siegfried Kracauer, Burby Berkley, Shevrie Levine
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For Kracauer, the regular abstract patterns viewed in the gymnastic stadiums and in the musical revues presented an analogy with modern life and technological Ratio. Ornament is a place of their meeting and mutual transformation, and thus the crucial point, which decides the future of the modernity project. Busby Berkeley’s choreography during the New Deal period is an extension of this phenomenon. In Gold Diggers of 1933 and Footlight Parade aesthetics of Fordism intercrosses with the Pythagorean and Renaissance Neo-platonic vision of an orderly and purposive cosmos, in which Eros is a kind of coordinating and organizing force (both in a cosmological and social way). Sherrie Levine’s work, which is a postmodern appropriation of Berkeley’s trademark, follows a similar method to undermine the distinction between individual creativity and well-regulated collective, between modern art and industrial production.
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