![]() This reappraisal builds upon and extends revisionist studies of Smithson that have argued for the enduring relevance of Catholic iconography and source texts to the artist’s practice following his self-proclaimed abandonment of religious motifs in 1965 (see Roberts, 2004 Tsai, 1991). It confines itself, rather, to but one of many possible paths of approach. This article’s focus on film by no means purports to exhaust the Toronto School of Communication’s multivalent media explorations. 2 A shared discourse on film was generative of para-cinematic spaces, proposed by Lewis, McLuhan, and Smithson alike, as cosmopolitan, global alternatives to nostalgic nationalisms fuelled by Bergsonian ideology. ![]() The film apparatus emerges as the improbable locus of a spatial turn embraced by participants in this network of thinkers and practitioners, who were united in their rejection of the durational metaphysics vaunted by a generation of avant-garde artists galvanized by various populist “Bergsonisms” (see Antliff, 1993, p. Attending to nuances in the reception and dissemination of shared conceptual resources and vocabulary facilitates a mapping of relations between figures and arguments in their concrete specificity. Inevitably, the spiralling structure of this network shapes the presentation of discourses that were propagated but also subtly transformed by its participants. The networked form of this discursive space disrupts linear chronologies of “influence”: what emerges from its partial re-tracing here is, rather, a winding map of intergenerational dialogue marked by striking redundancies as well as significant points of tension and disagreement. ![]() It thereby advances the project of redefining the Toronto School itself as a global “discourse network” characterized by shared concepts and tools as well as a community of speakers organized around persistent questions related to the co-shaping of bodies, media, and perception (Kittler, 1990, p. 1 Although Smithson’s references to Lewis and McLuhan have been noted in passing by previous studies, this article advances the first systematic analysis of the postminimalist artist’s relationship to figures associated with the Toronto School of Communication. This article re-situates the American transdisciplinary artist Robert Smithson as a participant in the shared spatial discourse of Wyndham Lewis, a Canadian-born precursor of the Toronto School of Communication (see Cavell, 2002 Lamberti, 2012), and his protégé, Marshall McLuhan. Contexte Contexte l’auteur propose que l’on reconsidère la relation de Robert Smithson avec les discours spatiaux et les études proto-médiatiques de Wyndham Lewis et de son protégé canadien Marshall McLuhan.Īnalyse Au moyen d’une lecture comparative d’un texte relativement obscur de Lewis et d’essais photographiques de Smithson et de ses œuvres d’art qui s’y rapportent, l’auteur entreprend de réévaluer les « cartes terrestres » prétendument platoniques de cet artiste américain, y voyant la mobilisation de métaphores filmiques et spatiales empruntées aux récits de voyage satiriques de Lewis, particulièrement sonFilibusters in Barbary (1932) où ce dernier évoque, comme alternative à une modernité obsédée par le temps, des images puissantes d’un espace post-national.Ĭonclusion et implications Les géographies filmiques de Smithson, Lewis et McLuhan s’avèrent être des réponses complémentaires au discours sur le temps et les médias d’Henri Bergson ainsi que des remaniements radicaux de ce discours qui ensemble concrétisent une vision critique et une quête utopique partagées par les trois auteurs et suscitées par les conflits mondiaux dont l’impact se fait encore vivement ressentir à l’époque. ![]()
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