Quick – Which Is The Parody?
By Mitch Berg
No fair peeking…
Is it A):
The dialectic of Christo’s “Gates” is a reflection of the post-9/11 zeitgeist, absent the schadenfreude qua nervousness that has gripped the American populace in this world of “now-more-than-ever.” The semiotics of the saffron (en)robes serves an ontological function in re-animating and re-introducing the humanity of New New York to their perceptions of the orange joy of being – the being you felt as a child, vis a vis a pinata. The Gestalt bespeaks a Foucauldian Weltschmerz, a sumptuous feast of post-Derridian brio-cum-angst. It’s in this context that “The Gates” covers, even metastasizes, over Central Park like a vast dollop of neo-maternalistic, neo-Marxian mayonnaise.
The panels, a touchstone of familiarity to the bourgeoisie (nursing at the paps of American Idol), emanate as immense labia beckoning, even taunting the onlooker to become, to be the phallus penetrating into Mother Nature – the maternal yin imprisoned in the mechanistic yang of the city and yet floating above the concept of restraint – the “Gates” welcome yet repel; they silently ululate like a shtetl of schmatte-clad yentas and yet remain silent with the deafening-yet-voiceless torment of the ur-mensch; metaphysical yet material (or rather neo-material), smug in its tangibility yet internally, silently, futilely screaming in horror at its immateriality. The “Gates” are, in short, of a piece with and yet utterly discontiguous from the fundamental leitmotifs of our age.
Or is it B):
“Pedagogy requires a hermeneutic ability to make interpretive sense of the phenomena of the lifeworld in order to see the pedagogic significance of situations and relations of living with children.”
OK. You may peek.
OK, OK; B is “real” – in a sense. A is merely a fiendish parody of such writing.
I regret not going to graduate school so rarely…
