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By Gary Shapiro

While many recognize that Friedrich Nietzsche and Michel Foucault have redefined our notions of time and background, few realize the the most important function that "the countless relation" among seeing and announcing (as Foucault placed it) performs of their paintings. Gary Shapiro unearths, for the 1st time, the complete volume of Nietzsche and Foucault's trouble with the visual.

Shapiro explores the total diversity of Foucault's writings on visible paintings, together with the idea of visible resistance, the idea that of the illusion or simulacrum, and his interrogation of the relation of portray, language, and tool in artists from Bosch to Warhol. Shapiro additionally exhibits via an excavation of little-known writings that the visible is an important subject in Nietzsche's idea. as well as explaining the importance of Nietzsche's research of Raphael, Dürer, and Claude Lorrain, he examines the philosopher's figuring out of the visible measurement of Greek theater and Wagnerian opera and gives a strong new analyzing of Thus Spoke Zarathustra.

Archaeologies of Vision could be a landmark paintings for all students of visible tradition in addition to for these engaged with continental philosophy.

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Extra resources for Archaeologies of Vision: Foucault and Nietzsche on Seeing and Saying

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108-9) . Here it is not immediately dear to what extent seeing functions as a name for a general dimension of all education and culture and to wha t extent it is modeled on the specific experience of ocular vision. It may be useful to know, however, that drawing had a rather strong position in the Swiss educational system with which Nietzsche became familiar in Basel. As a recent historian of the period observes: " Drawing was not an idle supplement to education in the Basel of Burckhardt's day.

MovI n trodu c t i o n : The Abyss of V i s i o n 29 ing away from things until there is a good deal that one no longer sees and there is much that our eye has to add if we are still to see them at all; or seeing things around a corner and as cut out and framed; or to place them so that they partially conceal each other and grant us only glimpses of perspectives; or looking at them through tinted glass or in the light of the sunset; or giving them a surface and skin that is not fully transparent-all this we should learn from artists while being wiser than they are in other matters.

He is an archaeologist of the visual who is alert to the dif­ ferential character of various visual regimes and to the disparate and pos sibly conflicting visual practices of a single era. But it is thought­ provoking that Jay and other critics see Foucault and other recent Fren ch thinkers-Derrida, Lacan, and others-as antivisual thinkers in a time that increasingly is thought of as highly visual. 16 In contrast, Gilles Deleuze, perhaps the most insightful commentator on Foucault, says that his friend's thought must be understood as hav­ ing substituted a binary of visibility and discursivity for the nine­ teenth century's transcendental aesthetic of space and time (sec.

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