Surprising artistic interventions in the landscape of the public everyday are psychologically, socially, and politically beneficial to individuals as well as their communities. Such interventions enable their audiences to access moments of surprising inspiration, self-reflection, and revitalization. These spontaneous moments may offer access to the experience of distance from the rational “self,” allowing the irrational and purely emotive that resides within all of us to assert itself. It is this sensual instinct that all we too frequently push aside, particularly (...) in the public realm, for the sake of our responsibilities. Urban communities in particular are persistently accosted by visual and aural advertisements and consumerist lures, that further discourage individuals from accessing their non-rational selves. Yet, I argue that it would improve the health and vibrancy of our communal lives if we encountered among others in public, even for a moment, the strong feelings of sudden elation or confusion that we generally consider to be private. I also argue that an addition could be made to the already diverse oeuvre of artistic approaches that comprise the realm of “sound art” and that it may be termed “musical intervention art” – or, simply put, music played in a circumscribed area in the form of an outdoor installation, that is designed to accost, surprise, overwhelm, and through this, actively engage. This article will describe an imaginary example of musical installation art. (shrink)

This article investigates the concept of sound, in relation to the new means and sciences from different perspectives, ultimately providing an analysis of the newborn artistic movement of bioart. It is divided into two parts. The first part of the study is based upon reference, investigating the interconnection between art and science. This mechanism is characterized by transformation processes in the interdisciplinary practices that are applied mainly by various artists and movements of the post-Second World War period. The expressive (...) element seeks an unworldly explanation through audio and visual conjunctions. This nature is obvious in Paul Klee’s reflections of musical elements in his paintings, and Rimmington’s attempts to marry audio-visual influences in his ‘colour organs’. The experimentations of composers such as Xenakis and Stockhausen at various locations with light and colour illustrate the continuous quest to render sound by the use of new means. Technology is a vital component of transformation as it enhances syncretic creativity for various art domains such as those that Fluxus deployed. Nam Jun Paik and Dick Higgins introduce radical techniques in their performances as they detach their selves from the parameters that define composition, and use the mind and power of sentiment in order to identify reality aurally and optically. Towards the end of the twentieth century, we witnessed the appearance of new art forms such as bioart. The human body, host of material and immaterial functions, comes to the forefront of art prac¬tice. Its relation to elements such as oscillations and vibrations that express the energy flow is analysed through the model of spiritualism that came from eastern thought. The notion of digital embodiment is presented as a reminder, highlight¬ing the importance of technology in biotechnology and genetics. The second part of the article involves an experiment. This describes how the concept of biomusic is applied with the use of electrocardiography (ECG) data from the MIT PhysioNet database. As sound penetrates the entire human body, it can be analysed in all of its phasma. Using this information, we attempt to translate/transform these biological sound phenomena into music. The sound produced by the elaboration of data that result from biological functions can be described as biomusic. It can be transformed into frequencies related to time and can be expressed in musical themes. Sonification plays an important role in this research as it constitutes a rapid and precise rendering of polymorphic information (in this case the ECG) in musical notes. This modelling and musical attribution leads to two distinguishable results, each concerning different clinical cases (all data belong to a normal heart function and a pathological one). The invention of this novel system is suggested for scientific as well as musical disciplines. It has the ability to be implemented in an experimental form and obtain an educational character. The transformation process avoids compensation throughout the matching process between ECG functions and music, while focusing on the aesthetic factor at the same time. Sound meets art in the world of biomusic as it takes shape through technology, constituting a new medium to further evolve the model of ‘biology into art’ transformation. (shrink)

This article presents an analysis of visual-acoustic dissonance in Raise The Red Lantern ( Dà Hóng Dēnglóng Gāogāo Guà , Zhang Yimou, 1991). Drawing upon Michel Foucault's discussion of the Panopticon, this study argues that the camera in this film represents a panoptic entity whose subversion can only be achieved by means outside the visual economy. Sound is that means; the aural regime works consistently to unhinge the balance of the optical machinery on both a thematic and cinematographic level. (...) By coding the optical as a totalising and oppressive force, and subverting that force through various forms of visual-acoustic dissonance, Raise The Red Lantern unseats the traditionally dominant camera-image dyad, and presents a powerful rejection of the camera as the only life-giving force in an artistic medium that so privileges the visual. (shrink)

_This study probes into a comparative multimodal discourse analysis (MDA) of two influential Pakistani rap music videos ‘The Sibbi Song’ by Abid Brohi and ‘Karachi Chal’ performed by Young Stunners, a rap duo consisting of Talha Anjum and Talhah Yunus to explore their portrayal of societal hierarchies and individual identity. Drawing upon the theoretical framework of MDA the analysis has discovered the linguistic, visual, aural, spatial, and gestural elements of each video. The first video portrays the protagonist’s journey from (...) innocence to success, while the other highlights urban working-class struggles through nuanced examination. Major findings reveal themes of resilience, social change, and identity negotiation of urban life and cultural expression in Pakistan’s diverse societal fabric which individuals from distinct cultural backgrounds often use to express their norms and values through various forms of visual arts and entertainment. Furthermore, the global phenomenon of rap music has gained significant traction, offering a platform for contemporary rap music artists in Pakistan to articulate their unique identities, confrontations, and triumphs as a cultural shift towards self-expression._. (shrink)

This edited volume traces cultural appearances of disgust and investigates the varied forms and functions disgust takes and is given in both established and vernacular cultural practises. Contributors focus on the socio-cultural creation, consumption, reception and experiencing of disgust, a visceral emotion whose cultural situatedness and circulation has historically been overlooked in academic scholarship. Chapters challenge and supplement the biological understanding of disgust as a danger reaction and as a base emotion evoked by the lower senses, touch, taste and (...) smell, through a wealth of original case studies in which disgust is analyzed in its aesthetic qualities, and in its cultural and artistic appearances and uses, featuring visual and aural media. Because it is interdisciplinary, the book will be of interest to scholars in a wide range of fields, including visual studies, philosophy, aesthetics, sociology, history, literature, and musicology. (shrink)

_Humanesis_ critically examines central strains of posthumanism, searching out biases in the ways that human–technology coupling is explained. Specifically, it interrogates three approaches taken by posthumanist discourse: scientific, humanist, and organismic. David Cecchetto’s investigations reveal how each perspective continues to hold on to elements of the humanist tradition that it is ostensibly mobilized against. His study frontally desublimates the previously unseen presumptions that underlie each of the three thought lines and offers incisive appraisals of the work of three prominent thinkers: (...) Ollivier Dyens, Katherine Hayles, and Mark Hansen. To materially ground the problematic of posthumanism, _Humanesis_ interweaves its theoretical chapters with discussions of artworks. These highlight the topos of sound, demonstrating how aurality might produce new insights in a field that has been dominated by visualization. Cecchetto, a media artist, scrutinizes his own collaborative artistic practice in which he elucidates the variegated causal chains that compose human–technological coupling. _Humanesis_ advances the posthumanist conversation in several important ways. It proposes the term “technological posthumanism” to focus on the discourse as it relates to technology without neglecting its other disciplinary histories. It suggests that deconstruction remains relevant to the enterprise, especially with respect to the performative dimension of language. It analyzes artworks not yet considered in the light of posthumanism, with a particular emphasis on the role of aurality. And the form of the text introduces a reflexive component that exemplifies how the dialogue of posthumanism might progress without resorting to the types of unilateral narratives that the book critiques. (shrink)

Art and philosophy are the two major elements of the human world. The existence of art and philosophy can expand the spiritual world of human beings to a greater extent and enrich their spiritual life, thus supporting the construction of the material world. And music, as an aural art, has also been given a philosophical meaning in the evolution of history because of its birth and development. Therefore, when studying music, one should first study the history of music. The (...) philosophy of music history education is not only profound and contains world culture and philosophy, but also carries history and economy. Music history education is also a vivid art form of philosophy, where teachers create an artistic beauty to attract students and achieve the purpose of imparting knowledge by optimizing their educational philosophy. To develop the philosophy of education to its fullest extent, teachers must adhere to the concepts associated with the philosophy of art. To explain this process in greater depth, this paper provides a brief review of the aesthetic philosophy and historical evolution of Chinese. (shrink)

This article reflects on an ongoing artistic research practice that deals with sound, gender, power, spatiality, and human–nonhuman entanglement. Sparked by a sound design for a less crunchy “lady-friendly” crisp, the research inquires the relationship between gender and sound at human–nonhuman encounter through making and thinking. Drawing on queer theory, sound studies, and posthumanism, it aims to transcend essentialist, vision-focused, and anthropocentric conceptualisations of gender and, as an insight gained from working with low-frequency sound waves, it reflects on sound (...) as material-philosophically demonstrating human–nonhuman interconnectedness. The latter, as this article proposes, may encourage us to horizontalise hierarchies between the human and nonhuman. Finally, this text situates sonic thinking as a mode of trans*formative thinking: a process-oriented philosophy that aims to embrace the messy, queer ways of human–nonhuman relationality, which characterises a vibrant space from which this artistic research will further develop. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Boundaries: Writing and DrawingTom ConleyBoundaries: Writing and Drawing, edited by Martine Reid; Yale French Studies, iv & 268 pp. New Haven: Yale University Press, 1994, $15.95 paper.The fifteen articles of this issue of Yale French Studies discern the limits of meaning and legibility wherever writing and drawing become coextensive. In pondering the origins of writing Henry-Jean Martin (in Le pouvoir et l’histoire de l’écrit) has recently asked if (...) script and print have evolved from pictographic or hieroglyphic writing. If so, he implies, to what degree does visual force animate all writing? How does meaning, otherwise conveyed through writing, get complicated or subverted by the shape or motion of its form? When does the writer engage the illegible to call into question communication in general? Citing Michel Foucault, for whom calligraphy and drawing offer a glimpse of an “immense and unavowable teratology” (p. 12), the editor argues that the visible matter of discourse becomes its repressed or irrecuperable—hence supremely literary—worth.She organizes the contributions under three rubrics. Part one studies the history of the relation of writing to drawing through emphasis on psychogenesis. For Serge Tisseron an “inscriptive gesture” (p. 29), a memory of a manual pleasure, is relayed through the artist’s or writer’s labors. The written trace recalls originary separation, the page becoming a “metaphoric container of one’s own body and the mother’s body” (p. 41). Georges Roque shows how postcartesian ideology associates line with philosophy and relegates color to a lower order of sensation. In a Derridean turn he notes, “color is to drawing as [End Page 410] writing is to speech” (p. 57). Jean-Gérard Lapacherie argues that we are taught to exclude reading from the act of looking at a text, and that contemporary literature forcibly erodes that division.Part two is devoted to close analysis of writers who draw. Jacques Leenhardt brilliantly analyzes visual and aural displacements, even condensations, what he calls “monograms of sensation,” in the sketches and notes in Stendhal’s Journal de Paris. Alain Buisine traces the appeal that drawings of Rimbaud’s face had for the poet’s milieu. Claude Gandelman studies Proust’s manuscript drawings in light of the broader process of dreamwork in A la recherche du temps perdu. Looking at the Cahiers, 1894–1914, Serge Bourjea contends that for Paul Valéry the labors of intellection and writing are a “matter of sketching” (p. 137), or of perpetually “rough” drafting. Jacques Derrida’s “Maddening the Subjectile,” Mary Ann Caws’s limpid translation of an essay on Artaud’s textual drawings (“Forcener le subjectile”), defines a pictogram as what moves ceaselessly and inseparably between painting, drawing, and verbal expression.Part three moves toward artists who write. Bernard Vouilloux rehearses Derrida’s arguments about the “supplement” and the pictogram to themes of painting and painters in Rousseau’s early and later works. Michel Thévoz gives a dazzling reading of Jean Dubuffet’s art brut dans l’écriture, the explosive sketching of discourse that fractures the icons of elegance and control that project the myth of clear and classical French. Jan Baetens calls “latent violence” the marvelous areas where image, geometrical form, typography, and enunciation abut each other in M. C. Escher’s drawings, Régis Franc’s comic strips, and Martin Vaughn-James’s La Cage. Renée Riese Hubert sums up the volume with a study of the double binds that Derrida and Adami project in their collaborations of drawing and writing.This issue of Yale French Studies holds to the theme of writing as drawing. Martine Reid’s introduction and her two interviews with Michel Butor and Yves Bonnefoy map out an overall itinerary of vicious circularity. Literature is a continuing regression, fraught with pleasure and risk, that takes place when language, writing, and drawing are conflated. All of the essays are of high quality. Tisseron, Leenhardt, Derrida, and Thévoz set a standard to which the others conform. All adepts of art and literature will welcome this fabulous volume.Tom ConleyHarvard UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)

This article discusses listening that is appropriate to sound art and the associated changes in the paradigms, or thought patterns, that occur so often when we move from visual to aural perception. The distinction between historically accepted and rejected sounds is used to show how putting sounds in cages has fashioned a form of listening and of life. Twentieth-century experimental music and, especially, the music and the reflections of John Cage have opened these cages of sound and at the (...) same time weakened the visual paradigm for intellectual knowledge. This article examines sound art as a place where artistic practices coincide with certain theoretical issues centered on sound. The centrality of sound is approached first, and music and sound art are discussed in relation to space. Second, the attention to sound in the reception of prominent examples of sound art focuses on site-specific relationships with the city and with listening. The article concludes by affirming the need for an aesthetic reflection that takes into consideration the implications of these profound transformations. However, that is another cage yet to be opened. (shrink)

Resumo: O objetivo deste artigo é discutir a evolução das formas de embalagens de mercadorias sob a perspectiva da evolução da mídia e da filosofia da arte. Primeiramente, analisamos a evolução histórica das embalagens de mercadorias, no processo de evolução dos meios, do design artesanal ao digital, revelando as mudanças dos meios de embalagem em diferentes períodos. Posteriormente, na perspectiva da filosofia da arte, tratamos da conotação da embalagem commodity, como forma de arte, e discutimos o uso de elementos artísticos (...) no design de embalagens e seu papel na transmissão de emoções e conceitos. Neste contexto, adotamos a evolução da filosofia da mídia e da arte como ponto de entrada para analisar a evolução das formas de embalagem de mercadorias. (shrink)

Artists, art critics, art historians, and cognitive psychologists have asserted that visual artists perceive the world differently than nonartists and that these perceptual abilities are the product of knowledge of techniques for working in an artistic medium. In support of these claims, Kozbelt (2001) found that artists outperform nonartists in visual analysis tasks and that these perceptual advantages are statistically correlated with drawing skill. We propose a model to explain these results that is derived from a diagnostic framework for (...) object recognition and recent research in cognitive neuroscience on selective visual attention. This research demonstrates that endogenous shifts of visual attention enhance the encoding of expected features in the visual field and inhibit the perception of potential distracters. Moreover, it demonstrates complementary roles for spatial schemata and motor plans in visual attention. We argue that artists develop novel spatial schemata, which enable them to recognize and reproduce stimulus features sufficient for adequate artistic production in a medium, and that these schemata become encoded as motor plans as artists develop technical proficiency in a medium. We hypothesize that artists' perceptual advantages can therefore, be explained by the role spatial schemata and motor plans play in selective attention. (shrink)

The subject of the study is the works of contemporary St. Petersburg artists of different generations and creative trends, as well as the forms and features of their communication with each other and with the general as well as professional public. The trends of artistic communication in the city are determined by the activities of such institutions as art and non-art museums, art galleries and exhibition centers, which are a classic form of presentation of contemporary art; alternative venues (...) such as creative spaces and art clusters. The field of attention also includes the attraction of St. Petersburg authors to the organization of small artistic associations, mainly art groups, for example, "Unconquered", "North-7", "Parasites", etc. In addition to works of art, theoretical works and reflections by researchers of contemporary art in St. Petersburg and the spaces of its public presentation are involved. The methodological basis is the analysis of the works of St. Petersburg masters of the beginning of the XXI century in the context of the development of urban institutions of artistic communication. The research is based on theoretical works devoted to the problem of artistic communication and trends in the current art process. Comparative-interpretative and typological methods are used to compare the works of artists and forms of artistic communication. The problem of artistic communication in the field of fine art in St. Petersburg is becoming the subject of a separate study. This area of city life is currently developing quite dynamically, as new art associations, curatorial practices and alternative classical platforms for the presentation of the work of authors belonging to different generations and art movements are emerging. Traditional museums and galleries, as well as creative spaces, art clusters and other often non-core institutions, such as libraries and cafes, are involved in this process. Against this background, the features of St. Petersburg artistic communication crystallize, which is characterized by a desire to organize communities, to fuse realistic traditions and current trends, to escapism and symbolism, as well as an interest in oriental themes and stylistics. (shrink)

This paper aims to outline the importance of Valéry with respect to some cornerstones of Adorno’s aesthetic theory as a negative-dialectical thought. Adorno’s concept of aesthetic experience finds in Valéry as an “Artist” (not simply as a “Künstler”) a sort of lieutenant: he helps to specify notions like “apparition”, “form”, “configuration”, and above all the idea of the aesthetic as a relation by which something happens in the field of human experience without being a determinate, or determinable, content of it.

An artistic discussion on the critical potential of African American expressive culture In a major reassessment of African American culture, Phillip Brian Harper intervenes in the ongoing debate about the “proper” depiction of black people. He advocates for African American aesthetic abstractionism—a representational mode whereby an artwork, rather than striving for realist verisimilitude, vigorously asserts its essentially artificial character. Maintaining that realist representation reaffirms the very social facts that it might have been understood to challenge, Harper contends that abstractionism (...) shows up the actual constructedness of those facts, thereby subjecting them to critical scrutiny and making them amenable to transformation. Arguing against the need for “positive” representations, Abstractionist Aesthetics displaces realism as the primary mode of African American representational aesthetics, re-centers literature as a principal site of African American cultural politics, and elevates experimental prose within the domain of African American literature. Drawing on examples across a variety of artistic production, including the visual work of Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the prose and verse writings of Ntozake Shange, Alice Walker, and John Keene, this book poses urgent questions about how racial blackness is made to assume certain social meanings. In the process, African American aesthetics are upended, rendering abstractionism as the most powerful modality for Black representation. (shrink)

In recent pragmatist-leaning philosophy and ethics, the Jamesian notion of the cries of the wounded has reemerged as a method of evoking moral progress. Philosophers like Philip Kitcher have argued that a surefooted approach to the complaints of those harmed by given social moral arrangements may lead to an improvement of moral thought, practices and institutions. Yet, at the same time, it has been acknowledged that this comprises a most evident problem: many wounded stakeholders do not cry out about their (...) sorrow, not at last because they may not be capable of doing so. In this paper, we aim at providing a more detailed account on the communicative range of social unrest, capable of overcoming the reductive vision of some possibly harmed as being silent. Some moral philosophers have highlighted the role of the arts and the humanities in the fostering of a more empathetic imagination. With the aid of continental aesthetics (T. W. Adorno and M. Beistegui), we acknowledge the value of artistic imagination as a communicative faculty extending beyond the limits of discursive reason through non-conceptual tools. Taking it into account in moral inquiry effectively expands and provides a more detailed account on the wounded that are apparently silent, as it includes a variety of forms of communication as moral standpoints and conversational apostrophes. This finally leads us to reread James’ take on the notion of the cries of the wounded, to emphasize the necessity to understand it as a fruitful stance about inclusive moral inquiry exceeding the limits of a conceptual-discursive focus. (shrink)

In reading all the theoretical contributions to this book, an essentially common idea of the social can be observed which is of fundamental importance for a new definition of artistic production: a process-related order of institutionalized actions, including the linguistic actions to which individuals are exposed. For here, in the repetition of such institutionalized acts, is where subjects first emerge at all. Objects, whether they be objects of everyday use or whole architectures, are like moulds which provide for the (...) institutionalization of actions. The artist emerges as a social figure, as the product of a society and the agent of political interests. From this point of view, the status of objects, the status of the “work” is not the expression of a circumscribed meaning, but the instrument of forming a subject. The opposition of theory and practice becomes obsolete. Subject and object are meaning written into actions. (shrink)

The field of artistic works is witnessing continuous changes and developments in new sciences and modern technologies. This is due to the community’s need for these works of art, and as a result of the colored papers remaining from paper manufacturing factories that are not used. The idea of the research was to use these remains to enrich the artwork and give it a contemporary appearance by using colored paper draping techniques to enrich the aesthetic aspect of the artwork.The (...) research aims to achieve three basic axes: an axis to demonstrate the plastic possibilities of the art of colored paper quilling in its various forms, an axis to show the aesthetics of contemporary artwork from the remains of colored paper, and an axis concerned with the implementation of innovative artistic works that achieve sustainable development by linking them to create contemporary designs for use in the artistic work.. Collage style to enrich the field of artistic works among home economics students.Through these entries, the concept of collage art, its types, and its various plastic possibilities were clarified, and the different plastic possibilities of this art were identified. The research also relied on the experimental descriptive approach, through the experiment on fifth-level female students in home economics at King Khalid University. One of the most important results we reached. The hypotheses have been verified and it has been proven that experimenting with the remains of colored paper used in paper mills can achieve various plastic and tangible artistic values that enrich the artistic work of home economics students and achieve sustainable development. The current research recommends experimenting with the aesthetics of collage art using other materials. (shrink)

The Contemporary Artist and the Consciousness of His/Her Era. We examine the changed conditions under which artists accomplish their work, and the consciousness they now have of their work, and of the forms which it takes. If the ideal of a revolutionary consciousness is no longer part of the artistic agenda, this does not necessarily imply that artists have abandoned the aim of opening up the reality of the current moment to a space where the intimation of something (...) other is preserved. (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are (...) there limits on what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

As one of Mozart's classic works, the tenor aria of the opera “Idomeneo” has unique artistic characteristics and singing form, which profoundly expresses the character's inner emotions. In order to be able to explore the singing characteristics and artistic features of the tenor in the aria, this paper firstly analyzes the creative background and plot of the opera “Idomeneo”. Secondly, it analyzes the singing characteristics of the opera and discusses the characteristics of tenors in different versions. Finally, it (...) discusses the skills that need to be emphasized when singing in the opera, as well as the pitch problems of the singers in the singing process. The analysis of the artistic characteristics of the opera “Idomeneo” concludes that the opera “Idomeneo” has high artistic characteristics and cultural value, and the melody and logic of the opera is more compact, which attracts a large number of audiences. The chorus part of the opera is more satisfactory scoring 8.6 points, and the emotional expression aspect of the opera is 7.3 points. The chorus part of the opera scored 7.5, which concluded that the opera is innovative and can resonate with the audience, and the way of singing is more delicate, which can deeply express the emotion of the opera. (shrink)

Artists have been one of the occupational categories that has suffered the most from the economic crisis due to COVID-19. Artists’ “portfolio careers”, generally based on freelancing and self-employment not protected by regulations and welfare, are one of the main reasons of this financial emergency. Their odd forms of employment are rooted – among other things – in a peculiar understanding of artistic work, which I call artistic work exceptionalism (AWE). AWE sees artistic work as essentially (...) different from regular jobs. It finds its conceptual source in Western philosophical aesthetics, which presents the making of art in contrast with regular jobs. In this paper, I take issue with AWE and show its limits and negative implications. By placing emphasis on the heretofore neglected relationship between art and work, I argue that, in principle, creating art is (or should be regarded as) in continuity with other forms of employment, and therefore there is much to be learned from other professions at the level of artistic labor reforms. I call this view artistic work normalism (AWN). In defending AWN, my goal is not to desecrate artists’ occupation. Quite the contrary, my theoretical framework stems from a desire to recognize the social value of the arts. I propose two different approaches to the economics of art promoting artists’ well-being and the exercise of creativity: strengthened public art funding and the financialization of art. (shrink)

Is it appropriate to honor artists who have created great works but who have also acted immorally? In this article, after arguing that honoring involves identifying a person as someone we ought to admire, we present three moral reasons against honoring immoral artists. First, we argue that honoring can serve to condone their behavior, through the mediums of emotional prioritization and exemplar identification. Second, we argue that honoring immoral artists can generate undue epistemic credibility for the artists, which can lead (...) to an indirect form of testimonial injustice for the artists’ victims. Third, we argue, building on the first two reasons, that honoring immoral artists can also serve to silence their victims. We end by considering how we might respond to these reasons. (shrink)

This article addresses cultural memory’s ability to address past and present injustices by focusing on the artistic-political practices displayed by the professional actresses of Roma descent from the independent theater the Giuvlipen in Bucharest. The founders of this Romani women-centered theater also have ‘invented’ the word ‘Giuvlipen’ – ‘feminism’ in the Romani language – because there had previously been no word to connote both the forms of oppression and the consciousness raising politics performed by Romani women. By applying (...) the lens of intersectional feminism, the argument this article aims to put forth is that Giuvlipen’s artistic performances can foster the awareness raising of the Romani women’s ‘double jeopardy’. At the same time, the artistic performances displayed by the Giuvlipen Theater challenge the habits of historical remembering and its politics of oblivion, which can in turn promote experiential forms of knowledge and new structures and archives of feelings. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in order (...) to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...) blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)

Résumé Comment s’est-il autonomisé de la fonctionnalité sociale pour devenir l’institution dominante du capitalisme contemporain? Cet article examine deux performances. La première est celle de l’artiste australien Michael Goldberg : installé dans une galerie de Sydney pendant trois semaines, il spécule artistiquement sur des produits dérivés de News Corp., l’empire médiatique de Rupert Murdoch. La deuxième est un projet du collectif ephemera — theory & politics in organization : après avoir identifié le « pouvoir arbitraire » du capitalisme financier, environ (...) quarante participants tentent de créer collectivement un autre imaginaire, via une conférence / événement artistique organisée dans le Transsibérien. L’article emprunte à la sociologie lacanienne de Karin Knorr Cetina pour décrire le « rapport postsocial » des courtiers de bourse aux « objets en cours de déroulement » qui prennent forme sur leurs écrans. Il fait ensuite appel aux Cartographies schizoanalytiques de Guattari pour cerner la manière dont les éléments matériels et discursifs d’un imaginaire extériorisé peuvent se recombiner pour créer le miroir déroulant, à multiples facettes, où une subjectivité se réfléchit en mouvement. (shrink)

Increasingly, artists describe the feeling of creating images with generative AI systems as like working with a “collaborator”—a term that is also common in the scholarly literature on AI image-generation. If it is appropriate to describe these dynamics in terms of collaboration, as I demonstrate, it is important to determine the form and nature of these joint efforts, given the appreciative relevance of different types of contribution to the production of an artwork. Accordingly, I examine three kinds of collaboration that (...) can be found in the philosophical literature on artistic authorship—collective authorship, co-creatorship, and co-production—to determine whether human-AI interactions comprise joint efforts as per such kinds. As I find, collaboration is a concept that invokes rich psychological terms and so one to used be with care in relation to generative AI, which does not yet meet the conditions to count as an artistic collaborator in the senses derived from the literature. To progress discussions on ethical and legal issues that are raised by image-making practices involving generative AI, and further research into the distinctive qualities afforded by interactions with these systems, I argue that we ought to frame their contributions to the production of visual artworks in terms of a “generative” contribution and describe the interactions between humans and generative AI systems as “AI-assisted production”. (shrink)

This text attempts to analyze and inquire the relationship between virtuality and imagination in Susanne Langer’s art theory. One of my main purposes is to know whether the “actual-virtual” binomial can be applied, without any theoretical concern, to artistic objects and art in general. Since, in Langer, the symbol theory is directly connected with a theory of perception, it remains to scrutinize how aesthetic experiences mediated by the several artistic modalities imply the transformation of works of art into (...) virtual objects. That such a transformation carries the effective power of imagination is a capital condition inherent to all artistic symbolization processes. That these latter, however, do not always express a linear dynamic of the “actual-virtual” binomial is, as will be seen, a critical point of view that must be applied to the aesthetic formulations and concepts developed by Langer. (shrink)

L’œuvre de Bruno Goosse Classement diagonal exemplifie la tendance qui consiste, pour certains artistes contemporains, à entreprendre des enquêtes proches des recherches menées en sciences humaines, et particulièrement en histoire. Au travers d’une démarche spécifique, Classement diagonal questionne les processus de valorisation, de conservation et de patrimonialisation diversifiés qui ont affecté le champ de bataille de Waterloo, depuis 1815. L’exploration minutieuse conduite par Bruno Goosse pendant près de trois années a autorisé trois formes de présentation – une installation, un livre, (...) une conférence – qui, chacune à leur manière et non sans humour, font progresser la réflexion sur les mécanismes et les enjeux de la patrimonialisation, comme sur le régime d’historicité qui est celui de notre époque. L’artiste belge, s’il s’attelle à une étude historique, ne le fait pas en savant, affublé d’une autorité institutionnelle ou d’une accréditation universitaire, mais en amateur. Cette situation inconfortable lui permet d’interroger les idées reçues quant aux délimitations des arts et de la science, de la raison et de l’imagination, de la forme et du fond…. (shrink)

This research investigates flow experiences and explores meaning construction for artistic practices that differ in haptic nature. In addition to the phenomenological analysis of interviews, videos of artistic practice and practice-based research were employed to obtain both retrospective and real-time records of the physicality of artistic practice. Drawing on authors who emphasise the automatisation of actions in flow and heightened body awareness flow is reconceptualised in non-representational terms as optimal precognitive engagement with the world. In this light (...) meaning in flow results not from bringing order to the mind as Csikszentmihalyi proposed, but through its embodied construction in activity. Analyses revealed that the sources of enjoyment and meaning, the relationship between artist, tools and artwork, and the nature and extent of self-differentiation differ between artists who work in two and three dimensions, and whose physical actions differ in the production of their artwork. 2D artists derive enjoyment from their creative process and meaning from capturing an atmosphere or place, and attribute artistic control to their artwork. 3D artists derive more enjoyment from the product of their artistic activity and meaning from the recreation of the self in material form, and do not attribute artistic control to the artwork. Consequently, embodied physicality of activity appears fundamental to similarities in flow experiences and meaning-making: accounts of flow and the meanings generated in activity differ between activities that differ in their haptic or performative nature but are similar among haptically similar activities. (shrink)

Abstract:Making works in isolation often in very remote or isolated environments, Jarvis's intimate series of landscape embodiment rituals raise the dichotomy of site-specific practice as potential platform for increased environmental awareness. Reviewing her recent environmental works in a framework of deconstructive ecopsychology, Beatrice will address through theoretical and practice based models how far the artist and landscape form a dynamic synthesis within the collaborative experience of landscape. Jarvis will debate how far site specific performance and the practice of long distance (...) walking offers an embodied landscape narrative. This paper raises the seminal question how can the body can become mirror to its surroundings, asking through embodied practice, photography, film and writing; how does the body become a living archive? (shrink)

We present an analysis of work completion couched in terms of an effective completion decision identified by its characteristic contents and functions. In our proposal, the artist's completion decision can take a number of distinct forms, including a procedural variety referred to as an ‘extended completion decision’. In the second part of this essay, we address ourselves to the question of whether collaborative art-making projects stand as counterexamples to the proposed analysis of work completion.

In The Use of Pleasure, Michel Foucault suggests that it is possible to read Walter Benjamin’s writings on Baudelaire as a contribution to a genealogy of ethics. This article experiments with reading Benjamin in this way. It shows that a distinctive analysis of each of the four elements of Foucauldian ethics (ethical substance, mode of subjectivation, ethical practice and telos) can be found in Benjamin’s work on Baudelaire and the Paris arcades. Specifically, the article makes the case for reading Benjamin (...) in terms of his valuable contribution to understandings of the role played by art in modern forms of ‘parrhesia’, or courageous truth-telling. However, whereas Foucault’s notion of ‘arts of living’ focuses on challenging actual relations of power, Benjamin’s focuses on activating potential forms of power. In this way, Benjamin’s ethical framework tests the limits of Foucault’s conceptualization of the government of self and others. (shrink)

The form of Western mainstream film is the crux of its ideological efficiency: by using established formal techniques, films ensure audiences un- derstand that aesthetic decisions support and clarify the narrative to ensure maximum spectatorial satisfaction. However, some films exploit their formal aesthetics in order to prevent clarification, thwarting satisfaction in favour of viewing practices that can be considered perverse in that they withhold, suspend or obstruct immediate pleasure. Contemporary Western filmmaking in the mid-1990s witnessed the emergence of a distinct (...) group of filmmakers and films that, in the popular discourse of cinematic criticism, were together coded as “difficult” or “perverse.” These films were, as a result of the characteristics we identify below, situated obliquely in relation to the larger economic and artistic struc- tures of a commercially oriented “mainstream” cinema. Included in this new form of cinematic production were films from directors such as Tim Burton: Edward Scissorhands ; David Cronenberg: eXistenZ ; David Fincher: Se7en ; Peter Greenaway: The Baby of Maçon ; David Lynch: Lost Highway ; Quentin Tarantino: Pulp Fiction and Lars von Trier: Breaking the Waves . Whilst Western cinema as a whole has a long history of exploring “difficult” or “perverse” material within the overt or covert content of narrative, plot and story, such films demonstrate a particular relationship between the content being explored and the specific formal characteristics utilised in the delivery of that content. Thus where previous examples would utilise standardised formal techniques as a way of both delivering and containing the difficult or objectionable material, the films instead offer instances where the material of the narrative content seems to bleed backwards, affecting the form and rendering the very materiality of the film itself suspect and problematic. (shrink)

This paper focuses on how the social, dialogical and collaborative strategies and practices of The Artists Village openly intervened in the public spaces of Singapore at various times in the city-state’s history from 1989 to 2015. The objective of this paper is to draw out how the artists collective used social situations to openly produce relational, participatory and socially engaged art in public spaces with specific functions, history and importance. These various forms of artistic interventions took place on (...) a farm, in shopping malls, on public transport networks and at national monuments during different moments in Singapore’s rapid urban transformation. From these examples, one is able to understand why The Artists Village openly intervened in the public spaces of Singapore and how these interventions functioned in their limited scope. Through this study we are able to assess how the varying levels of collaboration, openness and criticality present in their public art projects enabled them to grow outside the centralised system of the nation-state in inserting their practice into the public sphere and engaging the masses. (shrink)

From ancient Greece to Renaissance Italy to the Modern period, the classical ideal, with its elusive goal of perfecting nature, has held a tenacious grip on Western culture. Nowhere has its hold on the artistic imagination been more pervasive than in France between the seventeenth and nineteenth centuries. The art and life of Raphael formed the bedrock of the classical tradition in French art, yet no comprehensive study of Raphael's impact on the art theory, criticism, and practice of classicism (...) exists. This book fills that gap. Transcending limited notions of artistic influence, the book demonstrates that Raphael had as much impact as a symbol as he did as a paradigm of the classical tradition. Focusing on French art and theory from the classical to the Romantic era, _Raphael and France_ is part of the ongoing revision of views of that period which has been taking place for the last twenty years. The book demonstrates that the shifts from classical to Rococo to neoclassical aesthetics were not as abrupt or as all-encompassing as has been assumed. By tracing the continuity and transformation of the classical ideal, with Raphael's art and image as central paradigms, Rosenberg achieves a broader, more accurate, and comprehensive view of French artistic developments during this period. Rosenberg draws on careful readings of primary sources, including the correspondence and lectures of the French Academy, some of which are unpublished; most of the major theoretical treatises by French and foreign authors; and contemporary criticism and works of art. In the process, he strikes a methodological balance between traditional art-historical approaches and insights provided by more contemporary approaches, such as semiotics and post-structuralism. As the notion of isolated genius as the prime force in art has given way to a broader, more contextual view of art and history, interest in past traditions once regarded as outmoded or dead has grown tremendously. This book makes a timely contribution to this widening area of inquiry. (shrink)