Filmmakers such as Sergei Eisenstein were explicitly indebted to the cosmological and philosophical systems rooted in Chinese culture for their embrace of modular and aleatory processes, such as the Nine Palaces, feng shui, the I Ching, and the character-based writing system.
The protocol of the museum as a site of calm contemplation might be traced back to the opening of the royal collection to the French public in the wake of the Revolution. This treasure horde of decadent monarchs excited a violently negative reaction until the painter Hubert Robert had the brilliant idea of adding didactic labels that repositioned these luxury items as objects of educational, “scientific,” and contemplative study. Emotions and feelings were too dangerous to countenance, so they were suppressed in favor of cool analysis.
Jean-Luc Godard’s exhibition “Voyage(s) en Utopie” at the Centre Pompidou in 2006 used montage as an organizational principle. Similarly, montage was cited as an influence on Georges Didi-Huberman and Arno Gisinger’s curation of “Nouvelles Histoires de Fantômes” at Palais de Tokyo, 2014.
Russian librarian, 1829–1903.
A system of physical training for movement on stage.
