Week 13: Review Questions

Early Part of Class:

1.      What was Dada and what were the reasons behind its creation? What were the perceptions and opinions of the artists who participated in this movement? Did these artists perceive and critique traditional art?

            I believe that this question is important because Dada was the first movement and concept we learned about in this class. With this, I believe that it is important to ask a question about it as learning about the ideas and concepts of this movement as well as the artists that participated in it ultimately allowed me to begin to see art in a new way. I began to see art in a new way while discussing this cultural movement due to the fact that the artists within it used unconventional ideas in order to bring about new forms and styles of art. With seeing that this particular movement incorporated these unique and often strange forms of art, I was then able to understand more of what this cultural movement was about as well as what this class would be about. Through all of this, I believe that Dada is an important concept and movement to understand as it essentially helped introduce the rest of the cultural movements we talked about over the course of the semester. More importantly though, it seems to have laid the underlying theme that exists between all of these movements in that they each critique traditional art for which the participating artists then try to create new and unconventional art forms in response.  

Middle Part of Class:

2.      Can any parallels be drawn between the Oulipo movement and Surrealism or are the two movements substantially different from one another? Use the concepts and intentions of each movement as well as the perceptions and opinions of the artists involved as a guide for exploring this question.

3.       How does the Oulipo movement differ from the other cultural movements we have learned about? Does its intentional focus and use of constraints act as a limitation for an artist? Or, do these constraints rather act as creativity stimulators? Why or Why not?

            I think that both of these two questions are important because they both draw on the main concepts and ideas of the Oulipo movement which was a significant part of this semester’s discussion. I think that the first question is important because I find it interesting to explore and consider how the Oulipo movement and Surrealism are similar to one another as they both focus on the importance of an artist being able to draw into and use their imagination as a creativity stimulator to make new art. On the other hand though, what is even more important is to explore how these two cultural movements are substantially different from one another as the Oulipo movement uses constraints as a means to produce new creativity whereas Surrealism uses the subconscious mind and the human psyche in order to create new and unique forms of art. Therefore, since the Oulipo movement specifically places constraints on an artist, the second question is also important as I believe it is interesting to explore what the intent and reasoning is of purposely placing constraints on an artist and if this would be beneficial or detrimental to an artist.  

Recent Part of Class:

4.      What was the reasoning behind why artists within the Fluxus movement worked together collaboratively rather than individually? What are some Fluxus projects or works of art that portray this idea of collaboration?  

            I think that this question is important because I find it interesting that this specific movement focused on and used collaboration as the cultural movements we have learned about thus far have not really focused on or discussed this idea. Also, since I was very interested in reading about all of the different collaborative projects made during this movement, I think it is important to explore the reasoning as to why collaboration was so important for these artists and thus what it meant to them and the art they were creating.

Week 11: Networks and Relationships- Receivable Texts

                In reading the article by McLuhan, I thought that the concept of receivable texts was interesting as it seems to portray what the Fluxus movement was all about in that a network of artists came together through an informal way and thus created different forms and pieces of art. This idea of receivable texts is described in the article by McLuhan as it discusses the concept according to Roland Barthes in that “this text, guided, armed by a notion of the unpublishable, would require the following response: I can neither read nor write what you produce, but I receive it, like a fire, a drug, an enigmatic disorganization” (McLuhan 3). This definition of the concept is interesting to me as it seems to imply that the idea of receivable texts is very different and unique as it does not involve a formal way of making and producing art which in turn makes it seem unconventional. Despite this though, Barthes alludes to the idea that even though these texts that were produced were often very difficult to understand and read, they essentially consumed artists when they received them. With this, this idea of fascination with these receivable texts leads me to believe that although this concept seems to not have been intentional, it was very popular among a network of specific artists at the time.

In further reading about this concept of receivable texts and what it entailed, I found myself beginning to see direct influences of the Fluxus movement within it. These influences became apparent as I learned that these receivable texts were essentially an intimate relationship that ultimately arose from the formation of a network of relationships among many participants that sent and received these texts in the mail (McLuhan 4). Considering these texts were passed around through a network of artists, I believe this portrays one of the beliefs of the Fluxus movement in that collaboration among artists is better than one’s own individualism. From this, it appears that this concept of receivable texts consisted of the fact that these texts were produced for and circulated among only the participants of a specific network as they were passed from one person to another person in the mail. This concept is interesting to me because this close network of different artists that shared these texts together seems to reflect the attitude of Fluxus even more as having this collaborative method seems to allow each individual artist to focus on their own imagination and creativity. Each artist seems to be able to focus on these two aspects due to the fact that when they would receive the specific text in the mail, it is likely that they could then do whatever they wanted to with it. Furthermore, because these texts were often very difficult to understand and interpret according to Barthes, I believe that this allowed each artist to essentially perceive the text in any way they’d like which seems to ultimately force one to dive into their creativity and imagination even more.  

After reading the article even more, it was also interesting to learn that this network of participants was tied together not only as a result of the desire to make and send these texts to one another but also because many of the artists’ attitudes and perceptions mimicked one another. For example, the article says that these receivable texts all reflected a militant attitude towards mercantile constraints of publication for which is expressed by almost all of the multiple senders of these texts (McLuhan 4). This is interesting as these attitudes seem to reflect the overall sentiment of the Fluxus movement even more in that it is crucial that an artist’s creativity is not held back by the constraints of society as this ultimately limits one’s imagination and creativity. In thinking about the fact that these receivable texts reflected negative attitudes towards the constraints of mainstream publication and art forms, I believe these perceptions allude to the idea that these artists may have shared the belief that these receivable texts were essentially created in order to be substantially different from the mainstream forms and works of art. This idea is further apparent through the article’s mentioning of how these receivable texts created intense, intimate situations rather than the polite and pleasurable feeling one would normally get from reading something such as a magazine (McLuhan 4). With this, it seems as if these receivable texts contradicted the cultural standards of publication and rather took a different approach in which the artists shifted the tone and images of society. This shifting of tone and different images of society was depicted through the fact that the article says that these artists often used ironic satire, parody and inside jokes. I believe that the fact that these artists created these receivable texts for which incorporated parodies of mass-media images and concepts of society further alludes to the idea that they were contradicting and in a way mocking mainstream publication. Through all of this, this concept of receivable texts ultimately depicts and highlights the idea of Fluxus in that collaboration among a network of artists essentially allows individualism to overtake cultural conformities and constraints which ultimately results in creativity and new forms of art.

Week 10: Sons & Daughters of Dada- Fluxus 1

 One idea I came across in the article Fluxus Experience by Higgins for which seems very interesting was the creation made from combining artwork from different artists entitled Fluxus 1. I learned that Fluxus 1 was essentially a yearbook because it contained unique contexts of art as it included texts and objects by various artists that were associated with the first Fluxfestival (moma.org). Some of the artists included were Ay-O, Brecht, Stanley Brown, Robert Filliou, Ken Friedman, Geoff Hendricks, Higgins, Takehisa Kosugi, Jackson MacLow, Takako Saito, Tomas Schmit and Ben and Emmett Williams (moma.org). Fluxus 1 was a book that consisted of a number of envelopes bound together by metal bolts as each contained a printed work or art form from one single artist. It is interesting that the whole book was contained in a wooden case which was used, in part, to facilitate sending the work of these artists by mail. Because of this, a number of copies have the actual recipient's address written directly on the cover (Fluxus 1). I find this very interesting because it ultimately shows the collaborative technique these different Fluxus artists used as they all came together and relied on mail in order to send in all of their own and unique forms of art. This collaborative technique essentially highlights the Fluxus "do-it-yourself" aesthetic for which valued individualism over cultural beliefs and simplicity over complexity. This simplicity over complexity concept is especially exemplified in this book of art as many of the different art forms that were created and included by individual Fluxus artists show the use of simple objects and items for which ultimately resulted in very different, unique and perhaps even strange forms of art.

In further exploring Fluxus 1, I learned that this unique publication of collections of object-based works by different Fluxus artists ultimately resulted from George Macinuas as he essentially created and designed it. Fluxus 1 or also called a Fluxkit, contains objects, visual work, and essays by thirty-nine artists all of whom were not necessarily defined by social integration or friendships with the group (Higgins 14). It is said that Fluxus 1 was “Maciunas' first attempt at creating a coherent collective voice, an attempt to erode the artist's status as heroic individual and his first attempt to communicate the concept of self-sufficiency to the audience, an art where anything can substitute for an art work and anyone can produce it” (Fluxus 1). This idea is completely depicted in Fluxus 1 through the use of various items and objects such as songs, a napkin, a medical examination glove, photo portraits and visual and sound poems for which all ultimately yield multisensory, primary information (Higgins 14). With having each of these unique and interesting items, it seems as if they only help to exemplify Maciunas’ idea that art comes in various forms in which anyone can create.

These unique objects essentially do portray many of the different forms of art that can be created as for example, having a song with words and melody involves sight, motility and hearing. Having a napkin which is meant to touch the hand and the mouth involves tactility and taste. Having a medical examination glove which has the smell and look of latex involves touch both in and through the glove as well as sight and smell. The photo portraits included ultimately appeal to the eye and involve all of the senses. Lastly, including visual and sound poems that are meant to be read, heard or performed involve the eye, the ear and the body (Higgins 14). From this, it is apparent that all of these simple objects actually portray different forms of art such as taste and sight for which one would normally assume is not art. As mentioned before, the Fluxus movement emphasized the use of simple objects which is apparent here as the unusual use of a napkin and a medical examination glove show new and creative forms of art. This use of simple objects essentially results from the beliefs of the Fluxus movement discussed earlier in that simplicity is more important than complexity. Overall, the Fluxus movement included a strong sense of anti-commercialism as well as an anti-art sensibility which caused it to focus on the artist-centered creative practice rather than the conventional market-driven art world (Fluxus). With this, it is apparent from all of the interesting and unusual objects that were used in Fluxus 1, that the intent of this movement was to essentially erode the cultural status of art as well as help eliminate the artist’s ego through exemplifying the idea that art can come in any form.

In learning what Fluxus 1 was, I think it is necessary to look at a specific example of one of the pieces of art included within it. I thought that the discussion of Finger Boxes by Fluxus artist Ay-O in the article was interesting as it specifically shows the idea of using simple objects as a means for creative art. Although none of the original boxes were included within the Fluxus 1 itself, an envelope version of this art form was included. The article discusses the original Finger Boxes as it says that these boxes contained various tactile elements ranging from nails to sponges, beads to cotton balls and bristle brushes to hair (Higgins 16). With this, the idea behind this particular piece of art was that because the boxes looked identical from the outside, the actual experience with these boxes could only occur from touching the objects inside. Therefore, one would have to insert their finger and explore the objects inside the box through touch as merely looking at them is only experiencing them partially (Higgins 16).  It is interesting that this project emphasized the fact that the index fingertip is the most sensitive organs as it shows that one is essentially relying on only their finger to create the experience with the art. Furthermore, I find it interesting that when one puts their finger in the box, their curiosity overcomes their sense of fear for exploring the unknown. I believe that this is true as the human psyche tends to be lured into the unknown and the uncertainty with things. I believe that this uncertainty that comes with not knowing what is inside the box essentially helps to portray the intentions of the Fluxus movement even more as the objects themselves yield the information and the experience of the art. Also, it is interesting that the Finger Boxes project focuses on the fact that the unknown objects inside should affect the audience communicatively as they are a means to be explored socially (Higgins 16). With this, it says that these Finger Boxes are not meant to be explored in solitude as they are rather intended for multiple users so that the experience can be a social one (Higgins 16). This social experience ultimately goes back to the whole idea of collaboration seen within the Fluxus movement as its aims were centered on the idea that it is necessary to partake in collaborated creation processes that use whatever materials are at hand as this ultimately allows artists to focus on the creativity of art rather than just their own artistic abilities.

Sources Used:

http://www.moma.org/collection/theme.php?theme_id=10457 (moma.org)

http://en.wikipedia.org/wiki/Fluxus (Fluxus)

http://en.wikipedia.org/wiki/Fluxus_1  (Fluxus 1)

Article: Fluxus Experience (Higgins)

Week 9: Restrictions and Obstructions

The Oulipo movement seems to be very different from the Surrealism movement as the ideas and concepts behind it seem to be revolved around creativity and the different ways in which creativity can be fostered through specifically putting constraints on an artist. This movement known as the Ouvroir de literature potentielle which is translated into “workshop of potential literature,” has the goal of creating potential works of art through experimentation as it intentionally places constraints on artists in hopes that this will foster unique and very creative forms of art (WikiOulipo). This idea of literature potential further translates into the seeking of new structures and patterns that can be used by artists in any way they want which only fosters creativity and the use of the imagination even more (WikiOulipo). With this, this unique literature evolves out of these constrained writing techniques that essentially make the writing task at hand more difficult for the artist to accomplish. Even though these constraints often make an artist’s task more difficult, they produce profound outcomes that often yield completely new and interesting works of art. Although it may seem that these writers are setting themselves up for disaster in choosing to be subjected to follow specific constraints, these constraints ultimately act as a means to trigger new ideas and inspirations that may have never been found otherwise. Considering these constraints are often very specific and nonnegotiable, the artists are ultimately forced to dig into and rely on their creative minds to come up with ideas that abide by the specific rules therefore making every piece of work from this movement fascinating and completely unique.

            Unlike the Oulipo movement that centered itself on the idea of using constraints as a means to produce creativity, the Surrealism movement also focused on the idea that it is necessary to dive into one’s imagination to create new art forms but was done through different ideas and concepts. Considering the Surrealism movement was heavily influenced by Marx and Freud, the artists within it hoped that the human psyche had the power to reveal the contradictions of the everyday world as this could foster creative ideas (theartstory). Even though they shared much of the anti-rationalism of the Dada movement, Surrealist artists focused more on the accessing of subconscious thoughts as a means to unite them against issues they felt were plaguing modern society such as war (theartstory). Furthermore, the Surrealist movement focused on exposing the inner worlds of sexuality, violence and desire which often fostered unusual behavior and unusual, taboo forms of art. Unlike the Oulipo movement, the Surrealist artists did not have any specific constraints on them and how they would make art as they seemed to follow the opposite approach in that they believed no constraints should be forced upon them as these constraints would stop them from creating the art they wanted to make. This lack of constraints ultimately gave them the ability to create anything they wanted to which is evident when looking at the bizarre, erotic and untraditional pieces of artwork created during this movement. Ultimately, the Surrealism movement was similar to the Oulipo movement in that its intentions were to use the imagination in order to create very unique and fascinating forms of art. Unlike the Oulipo movement though, this was done without having any constraints placed upon the artists which essentially allowed them to dive into and connect to the subconscious, erotic mind and therefore produced the profound pieces of art we see today.   
            In regards to the idea of maintaining tradition within both of these two movements, it seems as if they are completely different as one seems to completely abandon the idea of tradition whereas the other seems to respect it. In looking at the Surrealist movement, it is obvious that these artists believed that traditional art should be replaced with anything “anti-art” as these artists were fed up with modern society and its ways. This perception fostered the ridiculousness, the absurd and the basic disregard for traditional art form during this movement. This movement disregarded the conscious, formal production of art and instead focused upon the unconscious, informal production of art as it centered on the subconscious mind for inspiration which often resulted in themes that were not seen up until this point such as erotic, sexual behavior, violence and desire (theartstory). On the other hand, when looking at the Oulipo movement, it seems as if these artists were not generally focused upon making art that would contradict the traditional art forms but rather were interested in the idea of how these formal art forms could be changed by placing specific constraints on the artist. It seems as if the artists of this movement were more interested in the many different and creative forms of art that could evolve from putting these constraints and rules on the artists as this seemed more revolutionary to them than contradicting and criticizing the traditional forms of art.
            After having learned about both the Surrealist movement and the Oulipo movement, it is difficult to determine whether or not one was more revolutionary than the other. Considering I have heard about the Surrealist movement many other times before taking this class whereas this is the first time I have heard about the Oulipo movement, it does seem as if the Surrealist movement is more recognized by the public and therefore is well known. I think that because the Surrealist movement for the most part seems to have died down in the past decades whereas traces of the Oulipo movement can still be found today in present society, it seems as if the Oulipo movement may be more lasting in the idea that artists today are still using constraints as a means to make creative and unique forms of art. Although I do not believe that surrealistic aspects do not exist at all, I feel that in today’s society, the ideas that were prevalent during the Surrealism movement have just evolved into greater concepts making it difficult to pinpoint if a particular artist is heavily inspired by this movement alone.
            In learning about the Oulipo movement and how it focuses around the idea to specifically put constraints on an artist in order to make them use their imagination and create unique forms of art, I definitely agree that having these restrictions seem to make it more creatively stimulating for an artist. Before, I had never really thought about what it would be like if there were no constraints put on me for projects or papers as I have become so accustomed to being handed specific guidelines on what I need to do. Now though, when I think about what it would be like if I did not have any constraints or rules, I believe that it would be more difficult for me to create something as thinking of having absolutely no guidelines on what to do is actually pretty scary. I feel that if I was completely free to choose and do whatever I wanted, this would be more frustrating as I believe having constraints essentially makes it easier to create something as these limits tie an artist down to make something specific.
            Finally, after having watched the movie “The Five Obstructions,” the idea that constraints often make it easier for an artist to create art is portrayed. This is obvious through the fact that Jorgen is given specific constraints for each of the different obstructions for which ultimately gives him insight on what he specifically needs to do. When Lars von Trier assigns him one of the obstructions for which has absolutely no constraints or specific rules though, Jorgen seems to freak out and is apprehensive to follow the requests. It is obvious that Jorgen begins to feel even more pressure as having no constraints and guidelines causes him to rely only on his imagination and creativity in hopes that this will help him make something Lars von Trier likes. Even though up until this point Jorgen seemed to be in disbelief by the almost impossible constraints Lars Von Trier assigns to him, it is obvious that when he is given no constraints, creating the obstruction becomes much more difficult to accomplish as up until this point he knew exactly what Lars Von Trier wanted and therefore was able to create obstructions that pleased him.

Sources Used:

http://en.wikipedia.org/wiki/Oulipo

http://www.theartstory.org/movement-surrealism.htm

Week 7: Text for Project 2

Main Narrative

            On a cool winter’s eve, striking 9 p.m. a young scraggly male about the age of 23 enters the 7-11 on the corner of Sunset Boulevard and Vine Avenue. A black nylon mask, a dark navy blue sweatshirt and a pair of black jeans hide his ugly long and lanky alien body. Tucked with care inside the front of his pants, lies a shiny silver pistol that was stolen. Surveying the parking lot and gas pumps he sees that no one is around on this dreary night. He enters the gas station and notices a young woman working behind the counter. As his eyes dart to her, he sees that she is obnoxiously smacking away on her bright pink bubble gum while reading a magazine. Walking around the store his nerves start to consume him as his hands begin shaking and his legs begin to feel like twigs beneath him causing him to knock into everything around him. The chick says something to him but his mind is consumed with other thoughts. His peripheral notices headlights coming into the parking lot which signals that it is time. He rushes to the counter, slides his hand cautiously into the front of his jeans and pulls out the cold weapon. He raises the gun and says, “Give me everything you have right now! Do as I say or you will regret not listening.” The woman, frightened, throws the magazine down and begins opening the cash register. She whispers with a crack in her voice, “Whatever you do, please don’t hurt me.” The man is just as nervous as his arm and gun are violently shaking. Just as the bag is being handed over the counter, the glass door creeks opens and in walks an older man. Time stands still. Out of nowhere the man begins stampeding like a heard of elephants towards him while yelling gibberish as he tries to tackle him to the ground. He outwits the man as his youthful body allows him to dodge out of the way while at the same time causing him to lose his balance as he hits the floor. Rising, he finds himself again and runs out of the door into the cool, brisk air with cash in hand.

Clerk’s Point of View

            Another boring evening working at the lame 7-11 past supper’s time. I would be the one who is stuck here on a cold, crappy night when clearly no one is going to venture outside any time soon. Daydreaming off into the darkness, a tall black figure is walking across the parking lot. Kind of strange that he is wearing all black with his hood up but I guess it is freezing out. Hope he doesn’t come in here, I don’t feel like dealing with any stupid customers. Plus, these makeup tips in this month’s Cosmo are so much better. Ugh, the door just opened and it’s that lanky dude from outside walking in. Peering above my Cosmo I see that he is awkwardly walking around the store bumping into almost everything in sight. What the hell is wrong with this dude? Is he drunk or something? “Hey, um can you please try not to knock stuff down, I don’t feel like cleaning tonight,” I say. What a prick, he doesn’t even acknowledge me. Whatever, my job does not entail babysitting. Next thing I know this creep is hovering above me screaming something I can’t comprehend as all I can focus on is the fact that a gun is being pointed at my head. What the hell! Now I am really freaking out. Oh my god, what should I do? I am shaking like a leaf and my thoughts are so jumbled.  "Whatever you do, please don't hurt me," I muster out. All I know is that I need to just give him whatever he wants so that he gets the hell out of here. I shove the money into a plastic bag and just as I am about to hand it over to him, I notice out of the corner of my eye that the door is opening. In walks Dusty, the off duty cop that frequently stops in after his shift. Thank God, perfect timing. Now this jerk is going to be locked up forever. As Dusty looks at me and then the gun, he jolts over to the robber and says, “Stop! Do not move! I am a cop!” The dude is too quick for old Dusty though and pushes his way past him, ramming himself into yet another shelf. Composing himself, he runs out the door and into the dark. Thankfully, that was last time I saw that ugly, undeserving piece of crap.

Video Surveillance Point of View

            Time: December 14^th at 9:01 p.m. Video recorder set for rotating at about 3 degrees every two minutes. Three hours of tape time left before needing to be replaced. Young female working behind the main counter for the past three hours and counting. No customers for the past half an hour. Parking lot is completely empty. No cars at the gas pumps. Female reading behind the counter looking down. Fast movement towards the far left of the store. Door opens. Customer walks in. Wearing all dark clothing, a dark navy blue sweatshirt with hood up and black jeans. Face is not visible. Customer walks around the store. Up and down aisle one and two. Customer constantly bumps into shelves, knocking things over. Female looks up from the counter, mouth is moving and is looking directly at customer. Customer looks away and continues walking up and down the aisles with no coordination. To the far left, headlights appear in the parking lot. Suddenly, there is movement at the center of the store. Video recorder shifts back and focuses on customer running towards the female at the counter. Customer reaches in the front of pants and pulls out a weapon. Points the weapon at the female. Female positions herself back and seems to be saying something. She begins opening cash register at 9:09 p.m. shoving its contents into a plastic bag. Hands bag to customer. Sudden movement to the far left again as older male walks in the front door. Male begins screaming at customer. Male then lunges at customer. Customer moves out of way, bumping into another shelf and falling. Customer gets up quickly and slides out the door at 9:11 p.m. with bag in hand. Video recorder shifts back and focuses on female and male in the store, continues filming. Female picks up phone and dials while male gets up off the floor and runs out of the store.

Week 6: Magic and the Margins

            In the book, The Hearing Trumpet, it is obvious that there are magical aspects throughout the story as there is a continual presence of unrealistic objects, concepts and stories. In the beginning of the story, we learn about the main character, Marian, who is deaf. This handicap essentially causes her to view the world as being distant and strange as she cannot understand it in its entity. Due to the fact that she cannot completely communicate with the world around her, she is said to be senile by her family causing them to make the decision that she needs to go to an institution. This institution essentially creates and brings alive the theme of magic as it allows and helps Marian to partake on the process of evolving into a completely new person. With this, Marian herself seems to reflect an image of magic as we see her transgression throughout the entire novel in which she eventually seems to become some sort of witch or magical figure near the end.  

            Although Marian is already a unique character throughout the story for which she displays some sort of magical characteristics, I believe that not until towards the end of the story does her character portray her connection to the presence of profound magical beliefs and aspects. Throughout the story Marian wonders about the vacant tower and who lives there as her friend Christabel continually fosters the idea that knowing who lives there is an important thing to know while living in the institution. With not having much determination to learn about the tower throughout the novel, in the end, Marian decides that she now wants to find out the truth. With this, she begins thinking about the riddles that prevent her from discovering the truth for which she eventually deciphers thus giving her the ability to unlock the mystery behind who is living in the tower.

After Marian discloses her answers to Christabel, she is allowed into the tower and begins her decent down to the underworld. As she chooses to go down rather than up, it seems to allude to the idea that something profound is about to happen as this decision seems critical to Marian’s future. After descending down, she enters a chamber for which she lays eyes upon another woman who mimics almost the exact same physical characteristics as herself which implies that this other woman is another form of herself. With this, Marian explains that this form of herself seems to be wiser and more intelligent for which carries herself with ease. This explanation seems to suggest that this form of Marian may represent what Marian is about to transform into as the woman says, “You took a long time to get here. I was afraid you might never come.” (Carrington 172) I took this saying to suggest that Marian was always destined to be at this place and in this situation at some moment in time as the woman says she has been waiting for her. Furthermore, as Marian and the woman continue talking, the woman says that although in regards to terminology this place is considered hell, it is actually the “Womb of the World whence all things come.” This further implies the idea that Marian has finally reached her destination in which she will evolve into what she has been destined to become all along as this place is considered to be the spot where all things come and are thus created.

In thinking that this is the time when Marian will transform into some sort of magical figure seems even more reliable as she begins questioning who is actually real, herself or the woman. With this, something the woman says makes me believe that she is the new, magical form of Marian as she says, “Old as Moses, ugly as Seth, tough as a boot and no more sense than a skittle. However meat is scare so jump in” (Carrington 175). Considering this saying is very unusual and makes no sense, I believe that it may be a type of spell the woman is putting on Marian in order to start the transformation process to take place. This idea seems reliable as right after this, Marian is forced into a hot, boiling pot of stew for which a mighty rumbling sound followed by crashes consumes the place. After it goes quiet, Marian realizes that she has magically become an outsider looking in as she is not in the stew anymore but rather seems to be the one now stirring the pot of stew. This part was very confusing because of the fact that it is so unrealistic and strange making it difficult to decipher what actually just happened. Despite this, this part leads me to believe that some sort of magical thing just happened as moments before there was a conflict of who is the real Marian where as now it seems as if she has confirmed that she is actually the other woman.

The idea that Marian has transformed into something magical is even more reliable as she looks at herself in the mirror for which she sees a three-faced female as one face belongs to the Abbess and is black, one face mimics the Queen bee which is red and the third face who is of herself is white. This presence of colors seems to be very important to the transformation Marian just encountered as it reflects the theme of alchemy that is intertwined with the book. In learning that there are four stages in which someone undergoes while transgressing into something greater for which are represented by colors, it seems as if the presence of these colors ultimately do reflect Marian’s transformation into something greater. I gathered this idea from learning that black represents the stage in which the subject is confused and vague, red represents the stage in which the subject begins portraying clear signs that it is moving in the right direction of growth and that white represents the emerging product for which sheds confusion and vagueness. The fact that there are three different faces with three different colors further alludes to the idea that Marian has been unknowingly partaking on a transformation journey for which she has finally arrived at her destined form. I believe that she has arrived at the end of her journey because she sees her own face for which is white. This suggests that she has shed the confusion she has had throughout her life thus far and now is the product of the transformation process that has evolved her into the woman she was destined to always be.

The idea that Marian just finished her transgression into something greater is apparent even more as she says, “Ages seemed to have passed since somebody first hobbled down the steps, and now I was climbing to the upperworld as spry as a mountain goat. The darkness was no longer a hideous death trap where any moment I might be precipitated to my death” (Carrington 177). From this, it is apparent that Marian believes she has now transformed into a new person as well as she says “somebody” instead of I when she thinks back to her previous life before this occurrence. Also, it is obvious that she now sees herself as a new person as she feels like life has been bestowed within her again as darkness does not allude to the idea anymore that it can take her life from her at any time.  

In the end, although I am still not exactly sure what specific form Marian represents now in being that if it is something magical or supernatural, I do believe that she has transformed into something greater. In this, I believe that although Marian was forced into this institution by her family, this was always her destined path for which she would have arrived at no matter what.  

Week 5: Objects of Desire

In reading Dark Spring by Unica Zürn, it is obvious that the theme of eroticism is woven within the entire book as it takes over the main character, a young girl whose name is withheld. With this young girl being at the center of this story as she narrates the events, it is shocking that erotic behavior is associated with someone that in reality, should still be naïve. Over the course of the book, it is obvious that this young girl is exiting her childhood early and entering the adult world for which this erotic behavior consumes her as she continually has the desire to experiment with and test the sexual knowledge she is gaining throughout.  

            It is apparent throughout much of this story that this young girl is constantly experimenting with different sexual things as her imagination and quest for sexual knowledge drives her to find new ways to pleasure herself. Although it does seem a bit taboo for a young girl to be engaging in sexual pleasure at this age, it portrays the erotic theme as the quest for sexual pleasure consumes her life. As the young girl seeks out different ways to pleasure herself, these sexual encounters make the story at times very uncomfortable to read. With this, I prefer to not focus on the erotic scenes but rather find more interest in analyzing the fetish theme that is also prevalent throughout much of this book as it illustrates a different type of desire and quest for the young girl.

            Towards the end of the book, the young girl comes across a very attractive young man while swimming at the pool one day. In laying eyes upon him, she instantly becomes attached to him and develops a crazy fetish desire for which everything about him consumes her entirely. As she returns to the pool daily and idealizes him, her obsession for him only begins to grow which ultimately results in the emotional breakdown she experiences when she believes he may be sick and upon his death bed. In thinking this, she finds the courage to go and visit him at his home further illustrating the strange fetish she has for him as her actions during this encounter are very uncommon.

In reading this specific scene, it is obvious that the young girl’s first action greatly portrays her fetish for this man as she offers him a peach to eat for which after the young girl takes the leftover pit and places it in the pocket of her dress saying, “To remember you.” Considering the young girl wants to keep something as strange as a peach pit, shows that she will go to any means in order to savor this moment with the man she adores. Also, after she makes the comment that this will allow her to remember him, she begins thinking of all of the possible ways she can keep this memento with her forever as she thinks about drilling a hole in it to make a necklace as well as creating a drawer in her room that is specifically designated for him. Another action of hers that alludes to the fetish desire she has is when she asks, “Would it be possible for you to please give me just a single hair of yours?” At this point, it becomes obvious that her fondness for this man extends further beyond than just liking him as her desire for a piece of his hair illustrates her complete obsession with every aspect of him. Since right after asking this question she says that all of her happiness depends on whether or not he can give her a piece of his hair, shows that her life has now become devoted to him. The fact that she believes her happiness is dependent on this man’s existence alludes to the idea that her fetish with him has now evolved into something beyond normal as it has consumed her in every aspect such as emotionally, mentally and physically. This strange fetish is further depicted in this same encounter as she then asks him to give her a picture of him for which he abides and tells her to keep it a secret. Although it may not seem too uncommon for one to ask for a picture, her thoughts that are revealed after the fact portray the strangeness of it. It reading that she says, “Now I can die in peace,” is very interesting as it shows how her obsession for him has been the only reason as to why she believes she exists thus far while at the same time also foreshadowing her future as this fetish may play a part into deciding what her fate is.

As the young girl returns home, her obsession is further portrayed as she consumes herself with the mementos she received as she contemplates what she should do with her prized possessions. As she realizes it is important to hide her mementos, it is apparent that she wants to keep this a secret for which only the man and her share. As she puts the picture of him in her mouth and swallows it, her desire to keep this secret from everyone is what also may keep them connected. This idea is apparent as the text says, “Now she has united herself with him.” The fact that the young girl believes that by swallowing this man’s picture means they are united is very interesting as it may allude to the idea that she realizes this is perhaps the only way the two will ever be together. Also, as she contemplates what to do with his strand of hair for which she decides to seal in red sealing wax and then make a necklace out of, shows that she desperately depends on these possessions to keep her happy. With the young girl making a necklace out of his hair leads me to believe that by doing so, she may think that he will be closer to her heart when she partakes on the final step of her life.

With the final pages discussing the young girl’s suicide, it makes me believe that this decision results in part from her fetish desire and obsession with this man. Considering it is apparent that throughout the encounter with this man there are subtle hints that the girl’s life will end soon, I believe that her fetish for him may have been one of the direct catalysts into her decision to take her own life. Apart from the negative things that are happening in her life, it seems that now because the girl has met the man she idealized for a long time and has received prized possessions from him, she can die. I believe that she feels she can die now because the man was the only thing that seemed to have kept her going towards the end as her anticipation to meet him and be around him was what kept her desire to live alive.