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Thus the realism of allegory has been displaced, has moved from the reader's "quickening," an internal recognition of signs through reading, to the reader's apprehension of an immediate environment that is nevertheless external and continually changing. The reader is in an observer's position, yet his or her vision remains partial because of this externality of time and space. The eschatological vision of allegory makes the reader the producer of the text in the sense that closure can be achieved only through conversion.

But the production of the eighteenth-century novel is divided between the author and his reader, and the reader's production is subsidiary to, and imitative of, the author's work. We may see the picaresque on the interface between these two forms, the picaro an outsider, a "reader" of a set of locations on the one hand, yet, on the other hand, simply another character, whose partial vision as an outsider makes him or her ridiculous.

In this generic progression, the convention of the "wandering viewpoint" has emerged, a convention whereby the reader is situated within the text, moving alongside a diversely coordinated set of textual time systems.

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Thus a new process of reading evolves from this new form of realism, a reading which gives the reader the status of a character. The reader comes to "identify with" the position of Tom Jones, Pamela, Joseph Andrews, with the "proper name" and not with a lesson, a signified. The reader becomes a character, a figure who looks for signs or clues—not a reader of signs and clues that fit together into a moral puzzle solved through the eschatology of closure, but a reader of signs for their own sake, a reader of correspondences between the signs of the world, the immediate environment of everyday life, and the signs of the novel.

Thus the sign in the realistic novel leads not to the revelation of a concealed meaning uncovered but to further signs, signs whose signified becomes their own interiority, and hence whose function is the production and reproduction of a particular form of subjectivity. In this productive mapping of sign upon sign, world upon world, reality upon reality, the criterion of exactness emerges as a value.

And exactness, always a matter of a concealed slippage between media, is moved from the abstract, the true-for-all-times-and-places of allegory, to the material, the looking-just-like, that sleight of hand which is the basis for this new realism. The allegorical figure who moves in a binary fashion within a world by means of correct and incorrect actions is replaced by a member looking for signs.

Exactness is a mirror, not of the world, but of the ideology of the world. And what is described exactly in the realistic novel is "personal space," the space of property, and the social relations that take place within that space.

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We must remember that Crusoe sees the social as a mark upon, a tainting of, his private space, and greets the trace of the human with "terror of mind": "Then terrible Thoughts rack'd my Imagination about their having found my Boat, and that there were People here; and that if so, I should certainly have them come again in greater Numbers, and devour me; that if it should happen so that they should not find me, yet they would find my Enclosure, destroy all my Corn, carry away all my Flock of tame Goats, and I should perish at last for meer Want. The movement from realism to modernism and postmodernism is a movement from the sign as material to the signifying process itself.

The reflexivity of the modernist use of language calls attention not to the material existence of a world lying beyond and outside language but to the world-making capacity of language, a capacity which points to the arbitrariness of the sign at the same time that it points to the world as a transient creation of language. Like the first juncture between pre- and post-eighteenth-century fiction, this shift toward the sign itself can be linked to the development of the political economy.

The exchange value of language, a value we see at work in oral genres even in modern society e. Literary discourse is performed not within the ongoingness of conversation but in the largely private production and apprehension of the text, and the relationship between literary production and consumption becomes one of increasing distance in time and space. The forms of alienation arising from preferences for difficulty and the exotic as qualities of the modernist text reflect an increasing distance between the forces of literary production and those of literature's general consumption.

On Longing

At the same time, they reveal the concentration of those productive forces resulting in and from the hegemony of mass culture. In his essay The Tourist: A New Theory of the Leisure Class, Dean MacCannell suggests that we see the relation between commodities as a "semiotic" one: "In Marx's treatment of it, the system of commodity production under capitalism resembles nothing so much as a language. A language is entirely social, entirely arbitrary and fully capable of generating meanings in itself. Hence the notion of a "pure semiotic" realm of exchange; a realm analogous to the most reductive accounts of a pure "poetic language" Hugo Ball, for example would find its locus in the gift shop and in the deliberate superfluousness of "tokens of affection.

If we consider the relation between commodity production and the organization of fictive forms as part of an entire semiotic system, we can posit an isomorphism between changes in genre and changes in other modes of production. Not the least important implication of this relation is the influence of generic changes upon the prevailing notion of history as narrative. In other words, the distances between audience and performer in a culture's genre repertoire outline the place of the self as agent, actor, and subject of history.

Just as genre may be defined as a set of textual expectations emergent in time and determined by and divergent from tradition, so history may be seen as a convention for the organization of experience in time. Yet historical and generic conventions cannot be mapped upon the real; rather, these conventions are emergent in the prevailing ideological formations that are the basis for the social construction of the real. Conceptually, I think aspects of the book fit well for this series, although I was not making the prints as a reference to the text. The title, and the association in my own mind, came after the series was finished.

On Longing Piano Cover by Lego Mindstorms EV3

Process I create shapes and design a variety of circular patterns with them in Adobe Illustrator. These are then laser cut into newsprint to create stencils for printing. Oil-based ink is rolled onto a large plexiglas sheet.

On Longing

Dampened Rives BFK printmaking paper is then laid on the press bed. The stencil is placed on top of the paper.

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The inked plexiglas is then placed on top of the stencil with the ink side down. I then flip this print sandwich so that the printing paper is on top.

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When ready I crank the handle of the press Takach etching so that pressure is evenly applied to the entire surface of the printing paper, transfering the ink from the plexi through the stencil to the paper. I then remove the printed paper from the press and hang it to dry. Oftentimes I will run a second paper through the press which creates a ghost image, or I will remove the stencil from the inked plexiglas and print what ink remains on the plexi. Desktop Google Chrome Windows 8. Plugin W.

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