If the contemporaneity of difference seems the most striking characteristic of contemporary life today, its conceptual structure continues to elude definition. The same lack of clarity attends a frequently evoked parameter for the most desired resolution of such volatile differences: a cohesive, consensual world picturing, sometimes named “planetarity.” My overall project is a close examination of these two concepts, aimed at finding productive connections between them. Previous attempts to think them, from the confessions of St Augustine to the New (...) York Times columns of Thomas Friedman, reveal a plethora of illuminating insights, but the overall record reveals that both concepts remain inadequately imagined for current circumstances. Temporality and world-being seems to constellate around these concepts: contemporaneity, history, decoloniality, connectivity, artworlds, and planetarity. How might the contemporaneity of difference and the embattled yet emergent planetary commons be imagined in terms appropriate to present need – that is, as contemporaneous, differential and convergent? While this question is obviously of the broadest relevance, my specific goal within the history and theory of art and architecture is to articulate the conceptual structure underlying my recent accounts of the relationships between contemporary art and architecture and contemporary life. (shrink)

Near the end of Practice in Christianity, Kierkegaard’s pseudonym Anti-Climacus denies that progress occurs within history. We are not getting better every day, in every way. According to Anti-Climacus, we are the same as we have always been. This essay sets Anti-Climacus’s denial of progress in its historical context, arguing that he develops a counter-philosophy of history which combats the prevailing Hegelianism of his age. The essay also draws connections between Anti-Climacus’s philosophy of history and the themes of imitation and (...) contemporaneity, showing how a denial of history’s progress enables contemporary humans to interact with the same world Christ faced. (shrink)

Arthur C. Danto is unique among philosophers for the breadth of his philosophical mind, his eloquent writing style, and the generous spirit embodied in all his work. Any collection of essays on his philosophy has to engage him on all these levels, because this is how he has always engaged the world, as a philosopher and person. In this volume, renowned philosophers and art historians revisit Danto's theories of art, action, and history, and the depth of his innovation as a (...) philosopher of culture. Essays explore the importance of Danto's philosophy and criticism for the contemporary art world, along with his theories of perception, action, historical knowledge, and, most importantly for Danto himself, the conceptual connections among these topics. Danto himself continues the conversation by adding his own commentary to each essay, extending the debate with characteristic insight, graciousness, and wit. Contributors include Frank Ankersmit, Hans Belting, Stanley Cavell, Donald Davidson, Lydia Goehr, Gregg Horowitz, Philip Kitcher, Daniel Immerwahr, Daniel Herwitz, and Michael Kelly, testifying to the far-reaching effects of Danto's thought. Danto brought to philosophy the artist's unfettered imagination, and his ideas about postmodern culture are virtual road maps of the present art world. This volume pays tribute to both Danto's brilliant capacity to move between philosophy and contemporary culture and his pathbreaking achievements in philosophy, art history, and art criticism. (shrink)

What do we mean when we describe the history of the Caribbean as traumatic? Is it possible to use the term ‘trauma’ here in a more technical sense, or should we give it the less strict connotation of an extreme form of an event in which the past no longer stays just in the past and the future never ceases to demand something from the present? In this paper I analyze the image of the abyss, used by Édouard Glissant to (...) evoke poetically one of the beginnings of the Caribbean, as leading to a paradox on the attitude toward history: Caribbean communities have been burdened with a non-history that feels, at the same time, like too much history. I show that this image resembles the paradoxical structure of trauma developed in the works of Cathy Caruth, according to whom trauma is a paradoxical structure of experience in which the subject (or a community) is painfully possessed by an image that they have barely perceived and that is so minimal that it cannot be controlled. However, I argue, there are limits to this resemblance. I focus on the question whether the (traumatic) paradox is escapable in this region of the world, that is, whether Caribbean communities can be de-traumatized, and what are the connections of this possibility with the question, central to Glissant, of decolonization. In order to answer these questions, I analyze a central feature of the Caribbean history according to Glissant, transversality, to show in what way the paradox of history can be loosened. (shrink)

This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all of (...) the formal elements that had previously characterized the visual arts; the result was “emptiness” or “nothingness” as art. The author refers to this process in terms of “vanishing acts” that allow for the formulation of an aesthetics of absence in connection to twentieth-century art (complementing the Ästhetik der Absenz, formulated in German art theory). The author also briefly addresses the consequences that these processes have for the way contemporary art, and art world operate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.3 (2001) 523-541 [Access article in PDF] Antiquarianism, the History of Objects, and the History of Art before Winckelmann Thomas DaCosta Kaufmann [Figures] To the Memory of Franklin LeVan Baumer. In light of postmodernist and poststructuralist trends in the humanities which have contested notions of originality and of authorship, it might seem surprising that one outstanding myth of the eighteenth century has not (...) yet been thoroughly challenged. This is the claim made by Johann Joachim Winckelmann in the foreword to the Geschichte der Kunst des Altertums, originally published in 1764, that he had created a new history of art which was distinct from a history of artists and also different from what had previously been written about antiquities (Altertümer): The history of the art of antiquity, which I have undertaken to write, is no mere account of the chronological order and change of art, but I take the word history in the wider sense, that it has in the Greek language, and my intention is to offer an attempt at a system.... But the essence of art is in every part the most eminent aim, in which the history of artists has little influence, and this [sort of history of artists], which has been compiled by others, is therefore not to be sought here... those who have treated antiquities, examine either only such where erudition was to be applied, or, if they speak of art, this happens in part with common eulogies, or their judgment is built on peculiar, false grounds. 1 [End Page 523]Wolf Lepenies once described this claim as one of the many foundational myths of the Enlightenment and presented instead some parallels between the writing of art history and natural history in the eighteenth century. 2 As interest in the historiography of art has revived, publications have continued to pour forth on Winckelmann. 3 Yet the critique suggested by Lepenies has largely not been followed. Winckelmann's claim to originality remains a starting or major turning point for most accounts of the history of the discipline of art history. 4 [End Page 524]It may be that Winckelmann's claim has remained largely unchallenged because his differentiation of his accomplishment from that of Gelehrsamkeit in particular coincides with and helps to support another distinction made at his time, that between "philosophy," or criticism, and erudition, the latter being at best necessary but inferior. 5 This distinction, which was fostered by the philosophes and their counterparts in other countries, has been frequently heard in scholarly debates, and it is echoed in current discussions where empirical scholarship is disparaged in favor of what is often now called Theory. 6 Thus while in the twentieth century the Enlightenment came in for heavy going starting with at least the critique of Max Horkheimer and Theodor W. Adorno, 7 this is one Enlightenment opinion which, despite the rise of critical theory among other trends in recent scholarship, has gained in fashion, especially in the English-speaking world.But the contrast between philosophy, or critique, and erudition makes a distinction that is ultimately untenable, even if it is also one that has continued to dominate many views of the history of eighteenth-century scholarship. The case at hand suggests that supposed innovations of the eighteenth century in the historiography of art, as in many other fields of study, are much more bound up with late humanism and encyclopedism than their promulgators might have wished to admit. Scholars of a number of disciplines have begun to revise interpretations of the role of the so-called antiquarians of the sixteenth to eighteenth centuries--those who dealt with Altertümer. 8 Some recent studies of the historiography of art have pointed to some connections between the antiquarian tradition and that of the historiography of art. 9 These approaches, however, have primarily dealt with Italian and French writers and, moreover, have left Winckelmann's position largely untouched. 10 Winckelmann's situation in the [End Page 525] broader European historical and geographical context also remains... (shrink)

This book features writing by 17 authors from Germany and from African and Latin American countries on highly diverse aesthetic phenomena as seen from their own different points of view. The texts in this volume all deal with the imperative of ‘decolonization’: they try to highlight aesthetic strategies for the (re)discovery of unthematized, misappropriated, transcultural and even transcontinental histories and memories and aesthetic practices that are absent from or too little perceived within national consciousnesses. Novels, poems and musical performances from (...) the East African region are analysed as intertwined histories of the Indian Ocean and its different languages. Artworks of the Black Atlantic and perceptions of Africa are discussed from, for example, Brazilian perspectives. Within the German context, decolonisation strategies in exhibition practices in ethnological or art museums developed by Nigerian artists are evaluated; new terms such as ‘dividuation’ are proposed to describe these contemporary composite-cultural entanglements, and so on. A stimulating, wide-ranging and heterogeneous portrait of contemporary interwoven world cultures! (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.4 (2002) 547-548 [Access article in PDF] Book Review Kant, Art and Art History: Moments of Discipline Mark A. Cheetham. Kant, Art and Art History: Moments of Discipline. New York: Cambridge University Press, 2001. Pp. x + 222. Cloth, $55.00. Mark Cheetham's thorough and insightful new work investigates Kant's continuing influence on the visual arts, both in practice and as defined by the (...) academic discipline of art history. Cheetham argues that until now the art world and art history proper have suppressed the importance of Kant, treating him as an intrusive outsider. He explains that this marginalization may have come about as a consequence of tendencies within Kant's own [End Page 547] work that threaten either to abolish disciplinary boundaries or reestablish them under the protective umbrella of philosophy. His close readings of Kant, therefore, address the way the Kantian system is based on the maintenance of boundaries between the pure and the impure, and how Kant's work continues to restructure institutional boundaries for precisely these reasons. With regard to both art and art history, Cheetham writes, "Kant is a perpetual boarder and the architect of borders" (22). Cheetham builds his study on such insights, drawn from Kant's own discussion of the parergon, or the boundaries between the essential and the inessential. From beginning to end, the work is well-considered and thoughtful, not only as an exploration of disciplinary boundaries, but as a book that brings out a number of still under-researched themes in Kant's oeuvre.The work's first close readings examine Kant's reception among a circle of German-speaking artists and writers in Rome shortly after 1800, including the painter Jakob Asmus Carstens and the artist-turned-critic Carl Ludwig Fernow. This chapter calls attention to connections between abstract and specifically political freedoms in Kant's system, casting light on Napoleon's effect on Europe. Those principally interested in aesthetic questions, however, may find this part of the text to be somewhat less dynamic than its subsequent sections. The following chapter is more engaging, exploring some well-known moments in Kant's twentieth-century reception. Cheetham brings out the ways that Erwin Panofsky shared affinities with Kant insofar as one might take humanism to have been the latent driving force in their work. Cheetham's most interesting insights come from his contention that the writings of Paul Crowther attempted to preserve and protect a "pure" Kant for disciplinary reasons, and that he therefore strictly controlled Kant's influence in the area of art history. The work here points in the direction of a social-historical exploration of the University, and he could certainly have expanded this section to develop a more overarching critique of contemporary disciplinary boundaries. Cheetham's attempt to review Clement Greenberg's relationship to Kant's work is also stimulating, particularly the section in which he reads Greenberg's efforts to combat kitsch in relation to Kant's "What is Enlightenment?"In his most engaging chapter, Cheetham deals with the contemporary discourse around sublimity, analyzing the way both Derrida and Kant are obsessed with the legislation of borders. He makes a brief, though studied comparison between Kant and Derrida on the role and function of limits, and here makes it clear that he takes substantial distance from Derrida's own project. The book's high point is Cheetham's study of a landscape painting by Joseph Anton Koch. It may indeed leave some readers wishing that Cheetham had done more close readings of Romantic art. He then looks at some sublime tendencies in art today, and the means by which contemporary artists obscure both the standpoint of the observer and the boundaries surrounding art itself. In one section, he looks at the work of the collective known as General Idea and that of the artist Sheila Ayearst. This is fascinating material, although some may find his definition of the sublime to have been too broad. It is made to hold the bulk of contemporary art. Cheetham might have done... (shrink)

According to my entire understanding here, art is itself an emanation of the absolute. The history of art will show us most revealingly its immediate connections to the conditions of the universe and thereby to that absolute identity in which art is preordained. Only in the history of art does the essential and inner unity of all works of art reveal itself, a unity showing that all poetry is of the same spirit, a spirit that even in the antitheses of (...) ancient and modern art is merely showing its two different faces. §14. The indifference of the ideal and the real as indifference manifests itself in the ideal world through art, for art is in itself neither mere activity nor mere knowledge, but is rather an activity completely permeated by knowledge, or in a reverse fashion knowledge that has completely become activity. That is, it is the indifference of both. (shrink)

What do Albert Einstein and Pablo Picasso have in common? Can we learn about science by studying art? There are many connections just waiting to be discovered between the natural world and artistic techniques that have been used for centuries. Author and retired science educator Mary Kirsch Boehm systematically guides readers through a look at science with an artistic eye, introducing an integrated and often overlooked view of the two disciplines. By exploring the materials and techniques of art and the (...) science behind them, Boehm reveals just how interconnected our world really is. (shrink)

Trade treaties and legal agreements generally left Indigenous peoples and colonized communities out of negotiations that directly impacted them. Using Critical Discourse Analysis, informed by decolonial thinking and Nishnaabeg epistemology, this research study analyzed the language of five public documents, published by the World Intellectual Property Organization (WIPO) and the World Trade Organization (WTO), surrounding the protection of Traditional Knowledge (TK) through the _sui generis_ legal figure and its connection to the development of digitization TK. As TK is largely uncommodifiable, (...) the ability to identify and protect TK through Intellectual Property Rights within the WIPO and the WTO is encumbered. The research analyzed and explored how language and knowledge shape policy and ideology against historically marginalized people and communities through discourse enacted by the WIPO and the WTO. (shrink)

Illusion is a significant concept in philosophy, art history, literary theory and aesthetics. It has a concrete scientific basis in the perspective of modern cognitive neuroscience. Historically, it has been critically discussed by many philosophers, including Plato, Bacon, Descartes, Kant, and Nietzsche, who considered it to be a distortion of reality. Yet illusion is connected with so many basic aesthetic issues -- such as ambiguity, imagination, and imagery -- that it remains an indispensable concept in modern aesthetics. In the different (...) art media communication of creators with appreciators involves illusory imagery. Its importance is emphasized by Ernst Gombrich in his Art and Illusion, one of the most influential art history texts in the English-speaking world. The concept of illusion becomes the crossing point of classical philosophy and contemporary aesthetics. In this article, the philosophical, psychological and aesthetic bases of illusion will be introduced. In different fields, illusion has different content, but depends on the same psychological mechanisms. The neural mechanisms that underpin aesthetic illusion in contemporary artistic production also function in the modern ideology described by Adorno, Eagleton, and Williams. Not all aesthetic illusions have positive functions, which sometimes leads to distorted cognition and emotional complexity. When it deviates too far from reality, aesthetic illusion contains particular cognitive emotional qualities that conflict with artistic imagery in classical arts. As a bearer of modern aesthetic emotion, it is also shaped by special economic and political situations and always has a kind of ideological character. Thus aesthetic illusion often promotes new configurations of aesthetics and art history. (shrink)

This is the first book-length study of the relationship between Benedetto Croce, Giovanni Gentile, Guido de Ruggiero and Robin George Collingwood. Though the relationship between these highly influential philosophers has often been discussed, it has never been studied comprehensively.On the basis of published and unpublished writings this study carefully reconstructs their debate on the relationship between thought and action, following their explorations of art, history, philosophy and action in the context of the First World War and the rise of Fascism (...) and Nazism. This book unveils the hidden past of contemporary philosophy of history and divulges the last secret of Collingwood’s Italian connection. Dr Rik Peters is Senior Lecturer in the Department of History at the University of Groningen. (shrink)

In the article on material of seventeen texts, the problem of world outlook strategy in the American novel of the 21th century is studied. The most influential author’s models are considered: neodecadence, post-apocalyptic humanity, personal versions of social and psychological realism and existentialist consciousness. The main attention is paid to the description and interpretation of the general for modern American novels of a national picture of the world. The family history remains the stable level of a narration. At other level, (...) there is a depressive or protest word about a condition of life, about the absolute beginnings dooming the person to suffering. In the narrative center, there is a hero, who has to solve personal problems in the context of the opened emptiness capable to get metaphysical meanings or to replace them. Reducing dynamics of a plot and formation of character, the novel becomes a form of the image of a steady state. For this state, the complex combination of two literary archetypes is characteristic: Job and Hamlet. The love to the world is not provided, the problem of finding of arguments for continuation of life is perceived by writers as main. If the classical American novel has positioned itself between dream and the tragedy, the modern novel settles down between everyday life and emptiness. The key paradox of the studied art texts is connected with it: two forms of fatigue - not only from the Absolute responsible for weight of existence, but also from its absence connect in one complex. The hero does not know with whom he does not agree: God or with essentially subjectless life depriving any God of will, power and sense. Search of new moral rituals is represented in this situation quite natural. (shrink)

This text, touching on the problem of the ontology of the image from a political-theological perspective, focuses on Reiner Schürmann’s philosophical reading of the pictorial art of Louis Comtois. While placing it in the context of post-World War II modernism, he nevertheless underlines its special spiritual quality that, far from any theorization of messianic abstractionism or any affirmation of artistic sovereignty, shows all the anarchic simplicity of painting. It is a form of modernity still to be imagined but one that (...) is already in some way active in the unpredictable meeting of matter and light, which Comtois’s pictorial act and Schürmann’s thought contemplate in the inseparable connection between history and immortality. (shrink)

The article analyses the history of the Einfühlung concept. Theories of ‘feeling into’ Nature, works of art or feelings and behaviours of other persons by German philosophers of the second half of the nineteenth century Robert and Friedrich Vischer and Theodor Lipps are evoked, as well as similar theory of understanding (Verstehen) by Wilhelm Dilthey and Friedrich Schleiermacher, to which Dilthey refers. The meaning of the term Einfühlung within Edith Stein’s thought is also analysed. Both Einfühlung and Verstehen were criticized (...) as non-objective and naive methods consisting only in the identification of the subject with the object or the projection of feelings onto the object. The article refers to criticism by Georg Gadamer and Bertolt Brecht and proposes ways to restitute the concept of Einfühlung after this criticism, recalling the theory of empathy by Dominick Lacapra, in terms of its advantages for the historical enquiry, or the myth of Narcissus analyzed in the spirit of psychoanalysis by Julia Kristeva. The article proposes a reformulation of the concept of mimesis, connected to the Einfühlung, understood as the identification, analogy, imitation of feelings (as it was described by Lipss and Vischer). Mimesis does not necessarily mean a passive repetition and reconstruction of the feelings of the object, but serves only as a starting point for the interest of the subject for the outside world or for experiences of historical protagonists. Then there is no identification or projection of feelings, but the creative, active and critical reformulation of knowledge. It is stated that empathy is not a passive, uncritical process, but that it deals with the critical choice of the object of empathy and with an active approach to the perceived feelings and appearances. In addition to this cognitive aspect, empathy may also contribute to the analytical and valuable introspection. Furthermore empathy allows us to connect the analysis of the facts with a personal narrative and understanding of individual identity in historical knowledge. (shrink)

This e-book written in Hungarian seeks to reconstruct “the aesthetic” in the modern sense of the word, from the mid-17th century to the 1730s, through the texts of mainly British authors such as John Dennis, Lord Shaftesbury, Joseph Addison, Richard Steele, Francis Hutcheson, George Berkeley, sometimes using their Spanish and French predecessors for contextualization. It assumes that “the aesthetic” is an unprecedented type of experience that had to be discovered, or rather invented; it is therefore more than a discussion of (...) some old, always existing quality or sensibility in a new theoretical guise. If the words “(school) philosophy”, “art” and “criticism” can be associated with the mostly systematic theories of aesthetics that emerged in the wake of Alexander G. Baumgarten as a loose characterisation, then the words “(popular) theology”, “nature” and “exercise” are even more so with the earlier texts that are on the table here, which played a role in the formation of “the aesthetic”. It seems that in this period, “the aesthetic” is understood above all as a new and intimate link between the sensual and the supernatural or spiritual, in which the former is not just an apropos or disposable means to the latter, but an indispensable and ever-present component that provides a constitutive framework for experience. Its unprecedented modernity lies in its nisus to capture the divine in the sensual and to make it present as sensual. In this new experiential form, both the “nature” of the transcendence and the spiritual economics of the beholder are reconfigured. The new “aesthetic” is connected to and associated with the full experience of life, the joy of existence, the openness to the transcendent through the sensuality of the natural or everyday world, the interplay of external determination and internal spontaneity, the enchanted state of mind experienced in a waking dream, the reinterpretation of the relationship between reality and fiction, the intense existential experience of spiritual and emotional movement provided by walking, wandering, boating or cheerful imagination. (shrink)

This book is a collection of essays written by a distinguished mathematician with a very long and successful career as a researcher and educator working in many areas of pure and applied mathematics. The author writes about everything he found exciting about math, its history, and its connections with art, and about how to explain it when so many smart people (and children) are turned off by it. The three longest essays touch upon the foundations of mathematics, upon quantum mechanics (...) and Schrödinger's cat phenomena, and upon whether robots will ever have consciousness. Each of these essays includes some unpublished material. The author also touches upon his involvement with and feelings about issues in the larger world. The author's main goal when preparing the book was to convey how much he loves math and its sister fields. (shrink)

This thoughtful, learned, well-written, extensively illustrated, and heavily documented study deserves to be regarded as a landmark in art history. Traditional art history has dealt for the most part with the “fine arts” (chiefly painting, drawing, sculpture, and architecture), whereas other human creations that take physical form (such as furniture, ceramics, textiles, and metal and glass items), whether utilitarian or decorative (or both at once), are considered “craft” or “applied art” and are studied by folklorists, anthropologists, and archaeologists and often (...) displayed in different museums. Cooke wishes to break down this “hierarchical taxonomy,” this “fragmented, hierarchical field,” that emerged from Western Europe's “misunderstanding of art,” which valued “the cerebral over the manual.” His goal, in other words, is to outline “a more inclusive human history of art”— “a connected art history.” This phrase from his subtitle refers not simply to connecting “fine art” with “applied art” but also to crossing temporal and regional boundaries. Still another act of connecting is to examine all parts of an object's life history, and thus the three main divisions of the book deal with the making of objects, their circulation from one person and place to another (and “their ability to transmit ideas” in the process), and their meaning for the persons who possessed or encountered them.Over the years I have repeatedly said that all objects made by human beings are worthy of preservation and study because they bring us into direct contact with the past and, as part of our surroundings, affect our thoughts in the present. Every object, I have argued, including copies of a single printed edition of a book (so-called duplicates), is an independent witness to the past. I am particularly pleased, therefore, to welcome a major book that explores in detail, with a wealth of examples from many centuries and cultures, the place of objects in human history. Cooke's pursuit is “object-driven,” beginning with the nature of the materials and finally coming to “the inherent power of the object itself to influence human thought and action.” (Compare the subtitle of Sherry Turkle's 2007 anthology Evocative Objects: Things We Think With.) Cooke's refusal to separate “materials” from “people,” or “technologies” from “values,” reminds me of John Szarkowski's approach to photographs. In Photography until Now (1989), Szarkowski points out that histories of photography generally treat technical matters separately from artistic ones—a split between the “empirical” and the “intuitive” that he finds indefensible, for “these two ways of knowing meet in the process of making things.” He adds, “The meeting can be cordially symbiotic or aggressively competitive, but its resolution defines the character and meaning of the thing that is made.” This statement has been a favorite of mine as an elegant characterization of the nature of art, and it is one that Cooke would clearly agree with.Cooke does not discuss photography, but he makes clear that he is not attempting a “comprehensive history that charts the complete ebb and flow of objects over time.” Rather, his book is meant to be a “suggestive guide” to the “principles of material literacy,” a “kit of tools for future complex constructions of history.” Even so, I find some of the omissions puzzling. Why, for example, are glass objects not taken up, when he so thoroughly deals with other common materials? More serious, in my opinion, is the exclusion of the fine arts. (Of the 215 illustrations, five are of oil paintings and one is of a Japanese print, but they are present only as the sources for information drawn from their pictorial content; one Hogarth engraving is shown because its image was often reproduced on punch bowls; and there is a very brief passage on the “uneasy relationship” between sculpture and material culture, but no sculptures are illustrated or used as examples for discussion.) Presumably Cooke felt it was unnecessary for his book to encompass the fine arts after demonstrating that functional objects are just as sophisticated artistically and culturally as products of the fine arts are. Yet those products also belong to the universe of “entangled objects” (How could they not?), and it would have been illuminating to see them adduced among the examples Cooke cites. One could argue that by excluding them—and by referring to the makers of the objects he does discuss as “artisans” and “craftspeople”—he comes close to reinforcing the division he wishes to eliminate.Less easy to explain is Cooke's omission of books, for they have been one of the largest and most widely circulated classes of utilitarian objects. Most people never think about books as objects, treating them only as disposable receptacles for transmitting verbal texts in tangible form (which is why so many books are destroyed when their texts supposedly become available in another form). Such people do not realize that texts have connections with their physical embodiments. (For example, books, whether manuscript or printed, often contain clues revealing how their texts were affected by the production process; and readers’ attitudes toward texts can be influenced by their presentation.) Cooke, however, with his deep understanding of the way objects function and his impressive knowledge of the scholarship, cannot be one of these uninformed people. He would obviously be aware of the vast literature devoted to leather and cloth bookbindings and their decoration, as well as to the myriad styles of letters and the varieties of paper and parchment; he would also know how letterforms and binding designs reflect a complex interplay of social, political, and artistic forces. Bibliographers have long studied books as Cooke advocates studying other objects: “working from the inside out,” beginning with the evidence in books themselves for reconstructing the routines that were followed in their creation. And book historians are recognizing the necessity for an international approach like Cooke's, since many of the books circulating in one country originated in other countries. Books would have been a prolific additional source for illustrating Cooke's analyses.My admiration for Cooke's book is not altered by these few disappointments. Even without discussions of paintings, sculptures, and books, it is still exhilarating in its scope and depth. One hopes that art and material-culture historians will pay attention to it. But it ought to have a wider audience, for the daily lives of all of us would be enriched by a greater appreciation of the objects that make up a significant part of our environment. (shrink)

What is the classic in history? What is a classic in historical writing? Very few historians and critics have addressed these questions, and when they have done so, it has been only in a cursory manner. These are queries that require some explanation regarding historical texts because of their peculiar ambivalence between science and art, content and form, sources and imagination, scientific and narrative language. Based on some examples of the Western historiographical tradition, I discuss in this article to what (...) extent historians should engage the concept of the classic – as has been done for literary texts. If one assumes that the historical text is not only a referential account but also a narrative analogous to literary texts, then the concept of the classic becomes one of the keys for understanding the historical text – and may improve our understanding not only of historiography, but of history itself. I will argue in this article that it is possible to identify a category of the classic text in some historical writings, precisely because of the literarity they possess without losing their specific historical condition. Because of their narrative condition, historical texts share some of the features assigned to literary texts – that is, endurance, timelessness, universal meaningfulness, resistance to historical criticism, susceptibility to multiple interpretations, and ability to function as models. Yet, since historical texts do not construct imaginary worlds but reflect external realities, they also have to achieve some specific features according to this referential content – that is, surplus of meaning, historical use of metaphors, effect of contemporaneity without damaging the pastness of the past, and a certain appropriation of literariness. Without seeking to be normative or systematic, this article focuses on some specific features of the historical classic, offering a series of reflections to open rather than try to close a debate on this complex topic. (shrink)

Stefan Jonsson uses three monumental works of art to build a provocative history of popular revolt: Jacques-Louis David's _The Tennis Court Oath_ (1791), James Ensor's _Christ's Entry into Brussels in 1889_ (1888), and Alfredo Jaar's _They Loved It So Much, the Revolution_ (1989). Addressing, respectively, the French Revolution of 1789, Belgium's proletarian messianism in the 1880s, and the worldwide rebellions and revolutions of 1968, these canonical images not only depict an alternative view of history but offer a new understanding of (...) the relationship between art and politics and the revolutionary nature of true democracy. Drawing on examples from literature, politics, philosophy, and other works of art, Jonsson carefully constructs his portrait, revealing surprising parallels between the political representation of "the people" in government and their aesthetic representation in painting. Both essentially "frame" the people, Jonsson argues, defining them as elites or masses, responsible citizens or angry mobs. Yet in the aesthetic fantasies of David, Ensor, and Jaar, Jonsson finds a different understanding of democracy-one in which human collectives break the frame and enter the picture. Connecting the achievements and failures of past revolutions to current political issues, Jonsson then situates our present moment in a long historical drama of popular unrest, making his book both a cultural history and a contemporary discussion about the fate of democracy in our globalized world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns representing specific (...) temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (shrink)

In this essay, I examine Hobbes’s interpretation of Scriptural passages that figure prominently in contemporaneous political debates. Hobbes’s interpretative practices affirm his major systematic aims but also contribute to his inventive reenvisioning of Hebraic and Christian political history. The privileged position Hobbes gives Hebraic forms of rule together with his treatment of I Samuel 8 are motivated, in part, by a need to counter Aristotle’s influence on an exegetical tradition that opposes monarchy-as-tyranny in connection with this central, much-debated text. Hobbes (...) conjoins his counter-revolutionary interpretation of 1 Samuel 8 with specific passages in the Christian New Testament that permit him to insert Jesus as “king of the Jews” into a startlingly unique conception of Hebraic and Christian history. This revisionary history and eschatology support Hobbes’s theorization of absolute sovereignty and undercut fantastical beliefs in an immaterial world. (shrink)

Before 1800 nothing was irrelevant. So argues Elisa Tamarkin's sweeping cultural history of a key shift in consciousness: the arrival, around 1800, of "relevance" as the means to grasp how something previously disregarded becomes important and interesting. At a time when so much makes claims to attention every day, how does one decide what is most valuable right now? This is not only a contemporary problem. For Ralph Waldo Emerson, the question for the nineteenth century was how, in the immensity (...) and "succession" of objects, anything becomes a proper object of experience. How that question was finally defined as one of relevance is the story of Apropos of Nothing. Relevance, Tamarkin shows, was primarily an Anglo-American concept. It engaged major intellectual figures, centrally the pragmatists-William James, Alain Locke, and John Dewey-and before them thinkers including Emerson and Alfred North Whitehead. Most of all, relevance was a problem for the worlds of art, literature, education, and criticism. These were fascinated by how old, boring, distant, or unfamiliar things get taken in; how they are admitted as meaningful; how they come home to us like the ludicrous raven comes to Edgar Allan Poe's student in the middle of the night in some obscure connection with himself. Many nineteenth-century American artists saw their paintings as pragmatic works that make relevance-that suggest versions of events that feel apropos of our world the moment we see them. (Tamarkin's book is richly illustrated, in color, with works by Winslow Homer, Abbott Handerson Thayer, Edgar Degas, and others.) Relevance remains a conundrum, especially for the humanities. It obliges us to say why we admit Poe's poem-or, say, a line of Emerson's-is interesting enough to study it, to dedicate ourselves to understanding it, to affirming that this effort is, in Emerson's words, "relevant to me and mine, to nature, and the hour that now passes.". (shrink)

MANY, PERHAPS MOST OF US, tend to connect art with the past. Faced with the art of our own time we become unsure: everything important seems to have been done, the vocabulary of art exhausted, and attempts to develop new vocabularies more interesting than convincing. Ours tends to be an autumnal view of art. The association of art and museum has come to replace such older associations as art and church, or art and palace. As we know it, the museum (...) is a comparatively recent institution, emerging only in the first half of the nineteenth century, thus lagging somewhat behind such related phenomena, as e.g., archeology, art-history, and neo-gothic architecture, all expressions of a museal [[sic]] attitude extending far beyond art to religion and even to nature. Consider the significance of setting aside a certain part of nature as a national monument. Monuments serve to commemorate, most often the dead. What do such natural monuments commemorate? Perhaps nature herself? But does nature need commemorating? Does it, too, lie behind us? Will future generations know nature only in the form of natural monuments? We do indeed live in an age which increasingly forces us to question whether nature still has a place in the modern world, whether it is not rather a relic from the past. By trying to preserve nature in specially created parks or monuments we show that this loss, although perhaps inevitable, is nevertheless felt to be serious. (shrink)

Historians and cultural critics face special challenges when treating the nonhuman natural world in the medieval and early modern periods. Their most daunting problem is that in both the visual and written records of the time, nature seems to be both everywhere and nowhere. In the broadest sense, nature was everywhere, for it was vital to human survival. Agriculture, animal husbandry, medicine, and the patterns of human settlement all have their basis in natural settings. Humans also marked personal, community, and (...) seasonal events by natural occurrences and built their cultural explanations around the workings of nature, which formed the unspoken backdrop for every historical event and document of the time. Yet in spite of the ubiquity of nature's continual presence in the physical surroundings and the artistic and literary cultures of these periods, overt discussion of nature is often hard to find. Until the sixteenth century, responses to nature were quite often recorded only in the course of investigating other subjects. In a very real sense, nature went without saying. As a result, modern scholars analyzing the concept of nature in the history of medieval and early modern Europe must often work in deeply interdisciplinary ways. This challenge is deftly handled by the contributors to Engaging with Nature, whose essays provide insights into such topics as concepts of animal/human relationships; environmental and ecological history; medieval hunting; early modern collections of natural objects; the relationship of religion and nature; the rise of science; and the artistic representations of exotic plants and animals produced by Europeans encountering the New World. "As scholars of medieval and early modern Europe increasingly embrace environmental perspectives and animal studies, Engaging with Nature will be recognized as a landmark collection in the field. Taken together, the essays in this volume provide a synthetic overview of critical developments in the many disciplines that are now incorporating the approaches of natural and environmental studies. Each essay represents a substantial advance in scholarship and thought in its particular field. This is an essential collection for literary and cultural historians, and for historians of economy and society, art and ideas." --Rita Copeland, University of Pennsylvania "Engaging with Nature vividly captures the breadth and depth of human interactions with the natural world in premodern Europe. Its multidisciplinary approach generates new questions about how Europeans understood and connected with nature and delves into issues that will interest the specialist and the general reader alike. The book challenges readers to rethink not just the history of human engagement with nature but also the many ways the past has influenced our modern conceptions of ecology and environment." --James Masschaele, Rutgers University "This substantial collection of articles is far more than a response to current obsessions with climate change. It is a thought-provoking demonstration of the inter-disciplinary character of research on medieval history and culture. Students of medieval and early-modern society and economy, literature, philosophy, and art, will find much that is new in these essays, and much to provoke their own thinking about the vexed relationship of human societies with their natural surroundings." --Fredric Cheyette, Emeritus professor of history, Amherst College "Engaging with Nature is a deeply pleasurable volume to read. Using an incredible range of primary and secondary sources, the authors richly realize the methodological promise inherent in the emergent field of medieval and pre-modern studies on the history of nature." --Kathleen Biddick, Temple University "Engaging with Nature is a collection of impeccable scholarship that will make a highly original contribution to the emergent field of medieval and pre-modern studies on the history of nature." --Claire Sponsler, University of Iowa. (shrink)

Excerpt from The Philosophy of Modernism (in Its Connection With Music) The prerequisite to immortality in the world of art is the capacity to create something new, or, in other words, the capacity to invent a style. Indeed, let any one but survey the past history of music, poetry and painting, and he will notice that each great name stands for a literary or musical invention: so that to talk of Keats or Shelley, Beethoven or Wagner, is not to talk (...) of men only, but also of very distinct styles of art. And this capacity to create something new proceeds from a certain divine discontent - divine, because it stimulates evolution, is mild and pleasant, yet just sufficient to prevent the man who possesses it from sinking into that unprogressive lassitude so often associated with a good glass of port wine, a widow's cruse of tobacco, and a rather soporific fireside. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 112-118 [Access article in PDF] Hong Kong Art: Culture and Decolonization, by David Clarke. Durham, North Carolina: Duke University Press, 2002, 240 pp. Paper. The issue of identity is a "vicious" circle in relation to Hong Kong's return to China in 1997. The more one talks about it, the more it is to be talked about as if it is a phenomenon (...) at a very special moment. But isn't not talking about Hong Kong identity in a certain period of time also a "vicious" circle, in which the lack of noise invites further silence?David Clarke's Hong Kong Art is, in a sense, an initiation of Hong Kong art as a "vicious" circle. In this sense, a concrete affinity between a text and its subject matter is significantly established. This is one of the ideals, potentials, and powers of all books written for the sake of being read and having actual effect. In this respect, this "vicious" circle is not vicious in a negative sense. It is through such interactivities that a book establishes a positive link with its subject matter.Hong Kong Art investigates "a particular historical moment in which HongKong art came into its own" (p. 10) and dwells upon the "local-ness of recent Hong Kong art" (p. 8). Nevertheless, Clarke deliberately avoids introducing a chronological survey of "Hong Kong art history as a whole" (p. 10). His solid research draws on the colloquial meanings of Hong Kong art in connection with the dynamics among different languages (Cantonese, Mandarin, and English), local receptions of art as reflected in local media, as well as backgrounds of artists, artworks, and political and cultural developments, among others. All this is necessary for a book that examines theemergence of Hong Kong identity. This is the case especiallyas "[n]o adequate survey exists of Hong Kong art as a whole," albeit surveying Hong Kong art as a whole is not the book's objective. Clarke's meta-survey about surveys on Hong Kong art is given in an endnote, which I also quote here in a note for the reader's reference. "The present author's Art and Place: Essays on Art from a Hong KongPerspective (Hong Kong, 1996) attempts to give a picture of the Hong Kong art world in the period immediately prior to the one covered by this text, and includes [End Page 112] some discussion of art from earlier periods as well. Petra Hinterthür'sModern Art in Hong Kong (Hong Kong, 1985) attempts a brief survey, but is of course unable to throw light on more recent developments. A chronology of Hong Kong art development from 1922 to 1994 is given in Hong Kong Artists. Volume 1 (Hong Kong, 1995), pp. 21-32. A rather patchy and sometimes imprecise chronology of Hong Kong artistic events from 1967 to 1998 isgiven in Gao Minglu, ed., Inside Out: New Chinese Art (Berkeley, 1998), pp. 207-11. The latter chronology also covers political and other broader historical events of the period. A valuable resource (in Chinese) for research on the early period of Hong Kong art is provided by Edwin Lai and Jack Lee, 'A Chronology of Visual Arts Activities in Hong Kong, 1900-1930,' in Besides: A Journal of Art History and Criticism 1 (1997): 135-230" (p. 211).With regard to the book's "ideal" link with its subject matter, I will now discuss the book's actualization of what it sets out to examine. The inadequacy of surveys on Hong Kong art (whether or not as a whole) manifests the relative tranquility in acknowledging that Hong Kong art is distinct. In view of this, the book itself is an intervention that (further) actualizes what it talks about. This is the case particularly in light of its predecessors' "vicious" circle of "silence," let alone those simplifications reducing Hong Kong art to either a Westernized product or a Chinese branch.The "Introduction" of Hong Kong Art begins with a critique of Western art history practices such as Gardner's... (shrink)

On November 11 and 12, 2011, a symposium held at the University of North Carolina in Chapel Hill honored John M. Headley, Emeritus Professor of History. The organizers, Professor MelissaBullard—Headley’s colleague in the department of history at that university—along with ProfessorsPaul Grendler (University of Toronto) and James Weiss (Boston College), as well as Nancy GraySchoonmaker, coordinator of the Program in Medieval and Early Modern Studies—assembled presenters, respondents, and dozens of other participants from Western Europe and North America to celebrate the (...) career of their prolific, versatile, and influential colleague whose publications challenged and often changed the ways scholars think about Martin Luther, Thomas More, the Habsburg empire,early modern Catholicism, globalization, and multiculturalism.This special issue contains the major papers delivered at the symposium, revised to take account of colleagues’ suggestions at the conference and thereafter.^John O’Malley studies the censorship ofsacred art with special reference to Michelangelo’s famed “Last Judgment” and the Council of Trent.John Martin sifts Montaigne’s skepticism about contemporaneous strategies for self-disclosure andself-discipline. Stressing the significance of grammar, Constantin Fasolt helps us recapture theRenaissance’s and the early modern religious reformations’ disagreements with antiquity. RonaldWitt’s reappraisal of humanist historiography probes Petrarch’s perspectives on ancient Rome. JohnMcManamon includes tales of theft and market manipulation in his study of the early moderncollection and circulation of books and manuscripts, the commodification of study. To “nuance” John Headley’s conclusions about “the Europeanization of the world,” Jerry Bentley repossesses the influence of other than European societies on several European theorists of human rights.^Kate Lowe’s remarks on the reconstruction of race in the Renaissance explores the effects of a critical mistranslation on what being black was taken to mean by Europeans. David Gilmartin introduces readers to the shape of democracy in nineteenth- and twentieth-century India, as well as to the understandings of popular sovereignty that affected elections, suggesting strides that scholars might take “toward a worldwide history of voting”.The remarkable range of these contributions comes close to reflecting the range of ProfessorHeadley’s interests and achievements, which James M. Weiss maps in his tribute, identifying“unifying themes” in Headley’s work. (shrink)

What is the classic in history? What is a classic in historical writing? Very few historians and critics have addressed these questions, and when they have done so, it has been only in a cursory manner. These are queries that require some explanation regarding historical texts because of their peculiar ambivalence between science and art, content and form, sources and imagination, scientific and narrative language. Based on some examples of the Western historiographical tradition, I discuss in this article to what (...) extent historians should engage the concept of the classic – as has been done for literary texts. If one assumes that the historical text is not only a referential account but also a narrative analogous to literary texts, then the concept of the classic becomes one of the keys for understanding the historical text – and may improve our understanding not only of historiography, but of history itself. I will argue in this article that it is possible to identify a category of the classic text in some historical writings, precisely because of the literarity they possess without losing their specific historical condition. Because of their narrative condition, historical texts share some of the features assigned to literary texts – that is, endurance, timelessness, universal meaningfulness, resistance to historical criticism, susceptibility to multiple interpretations, and ability to function as models. Yet, since historical texts do not construct imaginary worlds but reflect external realities, they also have to achieve some specific features according to this referential content – that is, surplus of meaning, historical use of metaphors, effect of contemporaneity without damaging the pastness of the past, and a certain appropriation of literariness. Without seeking to be normative or systematic, this article focuses on some specific features of the historical classic, offering a series of reflections to open rather than try to close a debate on this complex topic. (shrink)

One of John Constable’s highest achievements, his “skying” campaign of the summers of 1821 and 1822 in Hampstead Heath, connects the seventeenth-century approach to landscape to the modernist vision of it in a singular manner. This is the starting point of my investigation of Constable’s cloudscapes, an investigation that aims to bring attention to their vanguard position in actually heralding the concept of “lifeworld,” a concept that was to prove crucial to the development of Modernism. In connecting the Dutch quotidian (...) approach to life with the impressionists’ search for immanence, Constable’s skies became an essential bridge in the history of modern art. His own very personal treatment of natural phenomena as manifestations of spiritual life represents the transition from the naturalist view of nature to a more human-focused – later to be called realist – view of the natural world. (shrink)

Hegel's reading of Hafez as part of his Berlin aesthetics lectures. The jargon of the prosaic world -/- This essay deals with Hegel's reading (Georg Wilhelm Friedrich Hegel, 1770 - 1831) of Hafez' poetry (Moḥammad Schams ad-Din Hafez Schirazi, around 1315 - 1390) during his lectures on the Aesthetics or Philosophy of Art at the University of Berlin (1820/21; 1823; 1826; 1828/29). Hegel's writings, Lectures on Aesthetics, were published from his remains by Heinrich Gustav Hotho (1802 - 1873) in three (...) volumes (1835 - 1838) and in a second edition from 1842 onwards. The posthumously published writings of Hegel are, considering the preserved archive material and the unreliable editing work by Hotho, a thoroughly complex research topic. Therefore, this problem area also forms the starting point of the present analysis of Hegel's reading of Hafez. -/- Within the framework of this essay, Hegel's categories of historical frameworks (Symbolic, Classical, and Romantic Art), especially that of the "Symbolic Art", are examined in his lectures on Aesthetics . This will do in three steps: starting with the current state of research, problematizing of Hegelian concepts in his Lectures on Aesthetics like "oriental Pantheism" or Vorkunst, ("the threshold of art" or "praeambula": T. M. Knox' translation, 1975, part I); extending the discussion by focusing on similarities and differences between Hegel's reading of Goethe (part II) and Hegel's reading of Hafez (part III) in his Berlin Aesthetics Lectures of the 1820's. For this purpose, material from Goethe's literary remains (II), as well as a masterpiece of Dutch painters van Eyck analyzed by Hegel (Ghent Altarpiece) during his lectures (III), will be included in the analysis and explored from an interdisciplinary and intercultural perspective. In doing so, Goethe's “Space of Experience and Horizon of Expectation” (Koselleck) in imitating Arabic script and calligraphy (II) is linked to Hegel's reading of Hafez during his Berlin lectures on aesthetics (III). Thus, a dialogue of cultures unfolds between poetry and philosophy. The main questions are: How does the German philosopher Hegel interpret and receive Hafiz's poetry in the context of German idealist philosophy as a topic of his lectures on aesthetics? What epistemological aspects can be gained from Hegel's reading of Hafez for a cultural studies analysis, especially regarding the history of the ideas? In addition to analyzing the historical aspects, the aim is also to uncover new perspectives in order to look with Hafez and Rumi at Hegel's problem child of ‘history’. Of particular interest are epistemological aspects and problems of reception and translation studies in sense of interdisciplinary and intercultural research (e. g. connected/entangled histories; boundary objects). Interculturality is understood in the context of the present essay as a cross-disciplinary theoretical framework in the sense of entangled histories research work interwoven with communication, aesthetic and cultural techniques approaches or resilience studies in a historical perspective. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cavellian Conversation and the Life of ArtDavid GoldblattThe issue of the death or end of art has led me think about its life. Although I will be writing about the life of art, it should be made clear that my use of that phrase is only tangentially related to the issue resurrected by Arthur Danto in his essay "The End of Art."1 In that essay and elsewhere Danto recognized (...) a new period of ahistorical art—an art without a progressive history and relieved of the burden of perpetual self-definition. After the end of art artworks cease to become the carriers of their own history. In a post-historical art world, happily he says, anything can happen. Artworks can engage in ways that are, in a limiting case, uniquely personal and so a work that instigates in this personal manner also may be art. A comparative glance at the art world, say of 1950 and the institutional practices of art today would seem to bear him out.Less ambitiously, however, this essay attempts to connect what I will call the life of artworks with the idea of conversation, a term of great interest, I want to show, in the writing of Stanley Cavell. It is this way of artworks being alive that is perfectly compatible with its death in the Dantonian sense of the term and perhaps, given the posthistorical world it has left as a residue, even lubricated by it. This essay has two points of embarkation: the act of the ventriloquist where conversational exchange between ventriloquist and dummy enlivens the latter for both the former and an audience. The second is the Wittgensteinian remark, [End Page 460] a question really, suggesting that the sign itself is dead, only in its use does it become alive. The ventriloqual analogy interests me, not because it draws bounds between artworks and non-artworks, but rather because of what I hope it will bring into prominence among artworks—that it will help to explain how some works gain a life in a culture while others are aesthetic dead-ends or mere taxidermies, to repeat a term used by Danto—how some art is resurrected, and some, as they say, stand the test of time. It is part of this story that whatever is needed to say about art in a culture it should include a relationship between persons and things that I dramatically refer to as conversational. And those conversations, by the artist with her own work and those by an audience with the artist's work, lie somewhere at the beginning of its cultural animation. What would follow on this perspective would be the conversations that are generated by artworks among their audience members, sometimes inviting or forcing our return to the works that were their cultural origins.If Wittgenstein is right that the relationship between meaning and use is, at least in a large number of cases, an intimate one, and if works of art are objects of meaning, then looking at their use may be a way of seeing their life, something like the way Wittgenstein in his later writings came to look at words in their life situations, often bringing them back from what he called metaphysics. Nelson Goodman, I believe, was on to something like this when he suggested in his essay "When Is Art?" that, "Just by virtue of functioning as a symbol in a certain way does an object become, while functioning, a work of art... a Rembrandt painting may cease to function as a work of art when used to replace a broken window or as a blanket."2 Although I am suggesting here that we should tend to the ways artworks are used, unlike Goodman, I am not interested in their cessation as artworks. I am hoping to draw out one way artworks function, one way we do art without necessarily making artworks. But I am not here interested in the borders between art and the rest of the world.The idea of conversation extends or annexes the notion of interpretation, of saying what artworks say, but allowing for a more personal, less rigid domain of discourse that takes as... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Drama in Aesthetic Education:An Invitation to Imagine the World as if It Could Be OtherwiseFlorence Samson (bio)Maxine Greene, philosopher-in-residence for the Lincoln Center Institute (LCI), suggests that through aesthetic education "new connections are made in experience: new patterns are formed, new vistas are opened. Persons see differently, resonate differently." As Rilke wrote in one of his poems, and as quoted by Greene, "they are enabled to pay heed when (...) a work of art tells them, 'You must change your life.'"1 Greene interprets Rilke's words to mean that "a work [of art], when fully perceived and carefully attended to, makes a demand upon beholders—a demand that they change, look with new eyes, hear with new ears, become something they have not been before."2 Greene believes that "the perceiving, the noticing [about which Rilke spoke] are enhanced," for in the process of "[o]pening ourselves as perceivers to the work, entering into it kinaesthetically, we free ourselves to grasp it in its vital fullness and complexity."3This life change, to which Rilke refers, occurs as we take into our own being the experiences of others and realize that not everyone sees the world as we do. As we look critically at ourselves and our complicity in situations that position people as "other," we are moved to imagine that the world could be otherwise.Curriculum, Change, and Aesthetic EducationAesthetic education, an inquiry-driven engagement with a work of art, can be a catalyst to bringing about change. The aesthetic education experience consists of a number of components. LCI agrees upon a repertoire of "works of art" deemed likely to fulfill the requirements of engagement and inquiry. These may include, but are not limited to, music, drama, and opera performances, and mask, photo, and art exhibits. For each work of art, the LCI [End Page 70] researchers and other staff prepare a resource binder, entitled Windows on the Work. The teacher educator has several meetings with the teaching artist assigned to that work to develop the questions that will power the inquiry process, determine the structure and activities of the pre- and sometimes post-performance classes, and guide the students in their engagement with the work of art.I have included an aesthetic education experience program each term in my graduate and undergraduate elementary and early childhood education courses. My course outlines describe this component and the related student assignments. For the fall 2004 course, I chose Ping Chong's Secret History: Journeys Abroad, Journeys Within.4 This drama documentary, written and directed by Ping Chong and Leyla Mordirzadeh in collaboration with Sara Zatz, was directly related to one of my course goals—teaching for equity and social justice. This involves providing teachers with opportunities to "engage in productive dialogues about both inequities and possibilities for social reconstruction in the communities within which they and their students are developing."5Ping Chong & Company was founded thirty years ago "to create innovative works of theatre and art that explore the intersection of race, history, culture, and technology in the modern world."6Ping Chong, Insider/Outsider, and His Approach to TheatreCanadian-born and New York-reared Chong—theatre director, choreographer, and video and installation artist—is "fascinated and disturbed by the position of the outsider, the person made to feel 'other' in a society" and "probe[s] the drama of those pushed from one culture to another."7 He has done extensive research on both immigrants and refugees and recognizes that there is a psychological difference in the trauma experienced by members of both groups in the transition from one culture to the other.Chong's unique "talk, reveal, and seek to understand" approach to theatre "moves us toward unification, toward diminishing the barriers between peoples, and thus toward embracing all that is good in civilization."8 His work is grounded in his experience of sharing a common ethnicity and language with his community in Chinatown and occupying the position of "other" as the only Chinese student in his high school. Because of his experience of being "other," Chong has "a real kind of empathy and connection" with his projects.9 He considers... (shrink)

This book present interdisciplinary research in the social sciences and humanities by connecting seemingly disparate sources through a sensitivity to endangered human values. It links reflections on the contemporary relationship between art and technology in a post-modern context, seeing art in terms of crossing boundaries and exploring virtuality. It deals with the consequences of economics colonising other disciplines, in terms of the processes by which the social becomes the economic. Using Jantsch''s evolutionary paradigm, the concept of self-transcendence is seen as (...) crucial for the understanding of human beings and their social systems. Incorporating recent thinking from the natural sciences, the learning process can be conceived as the life and activity of all complex systems, including those once conceived as organisms, machines, cultures or economies. Without the societal embrace of scientific and technological development no collective or individual meaning can be assigned to the production of new knowledge. The book seeks to recognise the point where a collective learning process becomes the heart of productivity, and where the shift from the hegemony of material labour to immaterial labour becomes fundamental. The author brings new understandings of art, the social, and technology together, based on the idea that history is not a story told in separate physical, social and spiritual spaces and that the most fundamental problem of today is how to find some shared meaning in a fractured world. The author analyses, at a global level, the process of the co-production of scientific and social order, of culture and technology, of life sciences and economic and political regimes. It rightly identifies the rise of the role of knowledge and the move of capital into life sciences as a new stage in the history of capitalism: what we can qualify as cognitive capitalism or biocapitalism. In this new era of capitalism, what is being manufactured and sold are not just tangible and non-tangible goods, whose increasing importance, as the author shows, poses unsurmountable theoretical problems to the theoretical apparatus of economic science. The increasing mercantilisation of the world appears at the same time as a bio-power, i.e. a set of instruments creating and controlling different forms of life, forms of communication, standards of socialisation, education, the individual and collective imaginary, etc. More fundamentally, the encounter of life sciences and the information technology integrates and subjects the most essential mechanisms of biological and social reproduction to the logic of capital valorization. To understand the complexity of these changes and the ethical and philosophical questions that the development of technology and sciences poses to the future of mankind one must break through the disciplinary barriers delineating different disciplines in social sciences and those separating social sciences from natural sciences. Professor Matko Mestrovic manages to tackle this challenge not only because of his impressive and masterful knowledge of different disciplines in the social and natural sciences, but he does it also owing to his capacity for theoretical elaboration that allows him to lay the foundations of a new transdisciplinary paradigm. This is why his work can raise the awareness of the general public on two issues: on a global and profound vision of the challenges posed by the new millennium; and on the need for a radical theoretical innovation bringing into question the disciplinary certitudes in develop a social science able to better understand the movement and the ambiguity of history. - Carlo Vercellone, Universite de Paris 1, Pantheon-Sorbonne Mestrovic provides a unique insight into the often forgotten relation between economics on the one hand and arts and culture on the other, demonstrating that these adomains function as a total social facticity and not as separate, entirely independent elements thereof. In doing so he is dispelling the illusions about the disciplinary self-containdness of individual forms of knowledge and is relying on those paradigms of contemporary scientific thought whose aepistemiological programs are based on close cooperation and aopening up and not on the persuasion about one''s own positions and dispositions. - Prof. dr. Rade Kalanj, Redovni profesor na Odjelu za sociologiju. (shrink)

We reflect on our experience co-teaching a medical humanities elective, “Pandemics and Plagues,” which was offered to undergraduates during the Spring 2021 semester, and discuss student reactions to studying epidemic disease from multidisciplinary medical humanities perspectives while living through the world Covid-19 pandemic. The course incorporated basic microbiology and epidemiology into discussions of how epidemics from the Black Death to HIV/AIDS have been portrayed in history, literature, art, music, and journalism. Students self-assessed their learning gains and offered their insights using (...) the SALG, describing how the course enhanced their understanding of the current pandemic. In class discussions and written assignments, students paid particular attention to issues of social justice, political context, and connections between past pandemics and Covid-19. Student responses indicate enhanced understanding of the scientific and medical aspects of epidemics and also increased appreciation of the insights to be gained from the medical humanities. We discuss co-teaching the class during a real-time, twenty-four-hour-news-cycle pandemic, and the ways in which that experience underlines the value of a “critical medical humanities” approach for undergraduates. (shrink)

This book highlights the emergence of a new mathematical rationality and the beginning of the mathematisation of physics in Classical Islam. Exchanges between mathematics, physics, linguistics, arts and music were a factor of creativity and progress in the mathematical, the physical and the social sciences. Goods and ideas travelled on a world-scale, mainly through the trade routes connecting East and Southern Asia with the Near East, allowing the transmission of Greek-Arabic medicine to Yuan Muslim China. The development of science, first (...) centred in the Near East, would gradually move to the Western side of the Mediterranean, as a result of Europe's appropriation of the Arab and Hellenistic heritage. Contributors are Paul Buell, Anas Ghrab, Hossein Masoumi Hamedani, Zeinab Karimian, Giovanna Lelli, Marouane ben Miled, Patricia Radelet-de Grave, and Roshdi Rashed. (shrink)

Body, Soul and Cyberspace explores how recent science-fiction cinema addresses questions about the connections between body and soul, virtuality, and the ways in which we engage with spirituality in the digital age. The book investigates notions of love, life and death, taking an interdisciplinary approach by combining cinematic themes with religious, philosophical and ethical ideas. Magerstädt argues how even the most spectacle-driven mainstream films such as Avatar, The Matrix and Terminator can raise interesting and important questions about the human self (...) and our interaction with the world. Apart from these well-known science fiction epics, her analysis also draws on recent works, such as Inception, The Thirteenth Floor, eXistenZ, Aeon Flux, Total Recall (2012), Transcendence and TRON: Legacy. These films stimulate an engaging discussion on what makes us human, the role memory plays in understanding ourselves, and how virtual realities challenge the moral concepts that govern human relationships. (shrink)

At first sight, classical architecture, with its continuous revivals and reworking of the forms of Greek and Roman building, would appear to offer a privileged field in which to apply Warburg's central notion of the survival of classical forms and his view of art history's unfolding as a process of remembrance. Yet Warburg himself did not write on architecture. The topic has also largely vanished from the pages of the Journal of the Warburg and Courtauld Institutes, though in the past (...) the journal has been the venue for influential publications on classical architecture. By comparing two Warburg circle publications from 1949 — Fritz Saxl and Rudolf Wittkower's British Art and the Mediterranean World and Wittkower's Architectural Principles in the Age of Humanism — this article shows that architectural history of this kind, developed in the context of the Warburg Institute, is connected not only to Aby Warburg's ideas on Nachleben der Antike and Mnemosyne, but also to the organization and holdings of the Warburg Institute Library. Working in the Warburg Library gives architectural historians the intellectual space to think about architecture in terms of design issues, but moreover as an actor shaping society and culture. This article concludes that Warburg's thought offers important, and thus far hardly explored, starting points for new investigations of the built classical heritage. (shrink)

This research paper proceeds in three parts. After a brief presentation of Bernard Palissy, the first part examines his panpsychic ideas, the second part his ideas on art, which I connect in the third part to some of his remaining works and projects.

continent. 2.3 (2012): 218–223 Vijay Prashad. Arab Spring, Libyan Winter . Oakland: AK Press. 2012. 271pp, pbk. $14.95 ISBN-13: 978-1849351126. Nearly a decade ago, I sat in a class entitled, quite simply, “Corporations,” taught by Vijay Prashad at Trinity College. Over the course of the semester, I was amazed at the extent of Prashad’s knowledge, and the complexity and erudition of his style. He has since authored a number of classic books that have gained recognition throughout the world. The Darker (...) Nations , a peoples’ history of the Third World, sent defibrillating shockwaves through an academic world that had almost forgotten the epic scope and historic dignity of the non-aligned movement and post-colonial struggles. In his recent, award-winning work, Arab Spring, Libyan Winter , Prashad delves into his capacious knowledge of the Third World to excavate the discourses and narratives surrounding the upheavals of 2011. “Revolutions have no specific timetable,” states Prashad in the opening line of this exciting and provocative look at contemporary events. Instantly, an atmosphere of suspense emerges. The reader is alerted to the problem of history. Does the making of history then involve a suspension of historical time, or is it a continuous narrative structure into which events must eventually be integrated? Arab Spring, Libyan Winter shows that the answer to the question, “How is history made?” lies just as easily in the asking. The first half of the book works through the events that transpired to bring about the explosive popular uprisings of Arab Spring: Tunisia and Egypt, Yemen and Bahrain. But the events are not put together in a cohesive, chronological fashion. Using an uncommonly gripping style more akin to the folk-story motif of the djeli than to traditionally Orientalist academia, Prashad suspends a given situation, points out its components, and traces back the characters and genealogies that define each link before resuming a narrative. Every moment is an end to itself, and an origin of something different. Thus, the making of history becomes the suspension of its own progress, it’s catastrophic 'stability,' in a process of differentiation through inclusion. Empirically, one might suggest that history is a condition of time, and by extension, of the subject, but history is also an eminent producer of the Subject and her concept of time through memory and narrative. Hence, history is often overdetermined by a dominant narrative of the sovereign. The apparently chaotic composition of Prashad’s historicity is, then, an interstitial morphology of resistance. It illustrates that the time to act for the revolutionary lies in the gaps within the dominant historical realities. It points out the sorties of signifiers constituting nothing in the obliterated ruins of history. Through such illuminations, Arab Spring, Libyan Winter breaks through “the surface of history” to elaborate revolution’s snapping synapses, exploding interruptions and breaches, connecting flows. Messianic Politics It is tempting to think, 'History is either singular, or it is diffuse. It is either one coherent factual narrative, or it is comprised of the aletheia of the multitude.' Yet the reader finds Prashad examining the structure of history on multiple levels. For Prashad, world history is shaped by geographically defined political movements, such as communism or national liberation, with historical agents like the working class for the former and the nationalist militant for the latter. Religion, however, is another matter: “Religion has an unshakable eschatology which a post-utopian secular politics lacks.” Within the telos of religion, there appears on the horizon the image of Benjamin’s thoughts on messianic time—time as “a small fissure in the continuous catastrophe,” a break with history, may contain an ultimate redemption of the human beyond the political power struggle. Succoring the split between geo-political and utopian-religious (messianic) time in the context of Arab Spring, Prashad indicates that the base of “the deep desire and commitment to some form of democracy” is forged by the affinity between eschatological Islamist politics with the People. To think about the Subject of messianic time in the context of the lack of a “coherent timetable” for emancipatory politics, it is perhaps best to return to the modern tradition of Martin Luther King, Jr., whose prefigurative blending of liberation theology and emancipatory politics became most important during his works of 1963, the climactic year of “The Letter from a Birmingham Jail,” the March on Washington, and the bombing of the 16th Street Baptist Church. In “The Letter,” King states the point bluntly: Frankly, I have yet to engage in a direct-action campaign that was “well timed” in view of those who have not suffered unduly from the disease of segregation. For years now I have heard the word “wait!” It rings in the ear of every Negro with piercing familiarity. This “Wait” has almost always meant ‘Never.” We must come to see, with one of our distinguished jurists, that “justice too long delayed is justice denied.” The timing of rebellious action must not be a part of history. It must change history. The kairos appears spontaneous and untimely in its convulsive, shocking presence, yet it is, deeper still, a path, a longue durée , forged through diligent and rigorous praxis. King put a finer point on the path of historic liberation in his declaration in his 1963 speech at Western Michigan University: “[T]ime is neutral.... Somewhere along the way we must see that time will never solve the problem alone but that we must help time. Somewhere we must see that human progress never rolls in on the wheels on inevitability. It comes through the tireless efforts and the persistent work of dedicated individuals who are willing to be co-workers with God. Without this hard work, time itself becomes an ally of the insurgent and primitive forces of irrational emotionalism and social stagnation. We must always help time and realize that the time is always right to do right.” Time, then, exists in “the neutral,” while action must turn to the kairos , not only of taking time, but taking the right time. By turning our relation to time into kairos , we move time from its context within history to a duration between histories—the longue dure?e of Messianic time. The implementation of neutrality in this context suggests a broad space of time to extend through the valley of positive and negative. In Roland Barthes’s lectures from 1978, the neutral takes place in this minimal distance of non-conflict that exists outside of two extremes. It is, in the words of Maurice Blanchot, “the non-general, the non-generic, as well as the non-specific.” For Blanchot, the neutrality of time permeates life as death, impassive and beyond control; such is the neutrality of messianic time, which permeates the charge of history, changing the "I" into the "one." The neutrality of time therefore implicates history in a case against extremism, showing that the work of the radical is not to tend to any particular side, but to have the time to navigate through the terrible terrain of history by altering its course, its patterns and rhythms of movement, connection, sociality. Hence, one does not simply “make history,” one alters the course of history in accordance to “the right time.” The historical path toward emerging power is transmitted as a gesture to the outside of history, against history; a gesture as simple as reaching out. Thus a counterhistory, to use Foucault’s term, is brought forward as the guide of time past a point of no return, a Rubicon, the point where the normal path of history falls to the past. The subject, who must be the only true agent of history, facilitates time through helpfulness, and both the Subject and her history become decentered in relation to one another. Yet history negates the neutrality of time. As Barthes discloses, although the neutral is the “thought and practice of the nonconflictual, it is nevertheless bound to assertion, to conflict, in order to make itself heard.” Engaged with history, time is charged with a destiny, and becomes an opposition. As Prashad insists, “For Arab lands, the events of early 2011 were not the inauguration of a new history, but the continuation of an unfinished struggle that is a hundred years old.” The emergence of the Subject during Arab Spring did not conceive of a new history, but changed the path of history toward a different destiny. “Historical grievances combined with inflationary pressures now met with the subjective sense that victory might be at hand—this was not simply a protest to scream into the wind, but a protest to actually remove autocrats from their positions of authority. The facts of resistance had given way to the expectation of revolutionary change.” The negativity of this charge toward “revolutionary destiny” rendered control, as a positive force, seriously lacking. The lack of control lies in the problem that the Subject is not totally detemporalized or timeless, but untimely in her presence. The Subject is untimely, because her work is visionary, and it is only through such visionary work that the Rubicon can be crossed. Still, the crossing of this border is haunted by anxiety over an impending disaster that lays in wait. It is only through the form of what Benjamin calls divine violence, captivated not with the justice of the means, but the ends—the transformation of history—that a revelation of history’s traumatic foundations can be liberated, and patterns and rhythms of time developed throughout obscured traditions awakened. In this situation, the Subject appears to be outside of right, but setting the state to rights. Because her position is correct, in-so-far as the rebelling subject rebels due to a lack of recognition, her representation appears outside of the norm, which is mistaken as right. Therefore, such visionary work must be carried out through obscured traditions, underground, away from the surveillance of empire. Explaining his method from the start along the lines of Marx’s metaphor of the mole, Prashad insists, “It is the burrowing that is essential, not simply the emergence onto the surface of history.” Arab Spring, Libyan Winter is a book on uncharted networks of time, spread out over the 252 pages like an elaborate spider’s web of passages intertwining with and overwhelming the machinery of the state. Although untimely, Arab Spring was not a flash in the pan, or a Facebook or Twitter revolution. Prashad notes that the government’s suspension of these tools led to further radicalism by furthering communications through face-to-face encounters. In existential terms, Arab Spring might be thought of as a revolution of Being over techne , an uprising of the unchartable, infinite potential of the Other. The name of this Other is found in Chance. The faith of the revolution lies in the proper decentering of the subject, its giving to the Other of time, for only with respect to time does history actually appear on the horizon of the subject, rather than as an imposition. This time of historical agency appears as a moment when anything can happen—a revolutionary truth event where everything comes into question while being realized in its Otherness as a community of the people begins anew in the streets amidst discourse, friendship, reconfigurations of hegemony, and a becoming of a constituent power. Throwing a wrench into the gears of the “cobwebbed tradition” of Orientalism, the decentering of history in Arab Spring, Libyan Winter is a defining quality of its impassioned revolutionary cry. But perhaps the most paradigmatic points of the book emerge from the unexpected voices. To make the connection between the particular manifestations of revolutionary demands to the general historic terms of revolution, Prashad quotes an anonymous young Egyptian in Tahrir Square, who reminds us, “[T]he French Revolution took a very long time so the people could eventually get their rights.” Far from timelessness, the historicization of Arab Spring must exist precisely within the most uncanny appearance of time, as something that does not appear to come from the natural state of time as we know it, but in arriving has completely transformed the way that we understand time. Strange Monsters Revolution is never as simple as a revolt from below against a rusting structure of elites trying to remain in power. As with the French Revolution, Arab Spring consisted of complex familial ties, outside interests, and religious factions fighting alongside, often in awkward juxtaposition to, liberals, working class parties, farmers, and students. It is perhaps because of this historically difficult and incongruous composition that the Arabic word for revolution is thawra , referring to the image of the bull, or thawr , which has religious significance as a pagan deity for the Ancient Semitic tribes and Cartheginians. If Daniel Guérin was correct in saying, “Anarchism and Marxism drink from the same spring,” then it is quite a different oasis that drove the thirsty beast of revolution through what Prashad calls, “the Libyan labyrinth.” Recalling Bataille’s Acéphale, the intestinal labyrinth gains significance as the mode of metabolism and rumination in which, “(the Acephale) has lost himself, loses me with him, and in which I discover myself as him, in other words, as a monster.” Unraveling the discourse of the revolution, the flows of power and hegemony—from Qaddafi’s nationalist coup in 1969 to the wars with Chad from 1978 to 1987, the neoliberal reforms of the 1990s to, finally, the War on Terror—we find that the metabolic process of Libyan Winter ends in the production of oil. In a process of what Prashad calls “involution,” Qaddafi’s bellicose policies, along with his attempts to nationalize Islam together with oil, mutated the source of his power, turning his house against itself. Already a divided nation, with its two major cities on opposite geographic sides of the country, Libya became split between two opposed political powers—liberal reformists and staunch nationalists—as Qaddafi’s political disengagement manifested through what can only be described in psychoanalytic terms as a recursive passage a l’act (mysteriously calling Wikipedia “Kleenex,” declaring that opponents drank hallucinogens with their instant coffee, and so on). Prashad declares, “The mercurial style that Qaddafi adopted was not about his personality alone, but also a leader’s natural response to a system that relied upon power brokers whose own loyalty… did not have any ideological commitment to the system.” As in the case of other nations during Arab Spring, the true expression of revolt was an outward exposition of what had inwardly been happening in microcosmic societies throughout the realm—from indigenous tribes to political parties, for a century, the people, partly motivated by (and in resistance to) economic impositions of development, had been changing the traditional social compositions and participating in what Ruth Wilson Gilmore calls, “the relative autonomy of the movement from the leaders.” It was this empowerment of political reconfigurations taking place under the context of new democratic assemblages that shocked the elites and evoked such a powerful response. Unlike Qaddafi’s awkward policy choices and rants, real acts of power from the West were clear and decisive. Prashad sets the stages of war and diplomacy, far removed from the deserts, mountains, and cities that forged the backdrop of popular politics. Taking place under the now-classic architecture of the “four pillars” of US interests—oil, the War on Terror, Israel, and the circumvention of Iranian hegemony—we find elites rubbing elbows in “Heliopolist cocktail parties and hushed conferences in Kasr al-Ittihadiya” as well as the Concorde-Lafayette hotel in Paris, which provides the setting for a meeting of anti-Qaddafi figures consolidating their power. These scenes are buttressed with the careful portraiture of key historical actors. As Prashad brings the stage of history to life, we find the diplomats and liberals like Frank Wisner, whose career has brought him from Enron in the late 1990s to the Obama Administration, under the aegis of which he was meeting with Mubarak about military support during Arab Spring. We spy the provocateurs, for instance, gauche cavalier , Bernard Henri-Levy, who telephones Sarkozy from Benghazi about the need for more NATO air strikes. We follow the rebel military establishment as it suffers mysterious deaths and even more mysterious assents (like that of apparent CIA cohort, Khalifa Hifter). In each of these intriguing characters, we find different representations of the security state biopolitique: an oil-injected reification that drives Arab Spring from the resentment of rising food prices to the brink of implosion in Libyan Winter. Reminiscent of the scenes of Cold War soirées represented in old Bond films, the aristocratic fight for oil against democracy that was Libyan Winter presents a harsh truth that the new global crisis is simply the continuation of the old history: the global exploitation of capitalism waged against the imagination of the people. As Benjamin laments, “The labyrinth is the right path for the person who always arrives early enough at his destination. This destination is the marketplace.” Yet, “(t)he labyrinth is the habitat of… a humanity (a class) which does not want to know where its destiny is taking it.” Thus, the labyrinth leads, like the desert, only further into itself. As Blanchot explains, “The desert is even less certain than the world; it is never anything but the approach to the desert.” Only the visionary can take time out of the involution toward oblivion. It is here, in this approach to and escape from history, that we find ourselves within Benjamin’s Golgotha, Blanchot’s desert: A space of indeterminate uncertainty where we become familiar only with our own exile. Blanchot writes, “For the moderated and moderate man, the room, the desert, and the world are strictly determined places. For the man of the desert and the labyrinth, devoted to the error of a journey necessarily a little longer than his life, the same space will be truly infinite, even if he knows that it is not, all the more so since he knows it.” The desert, as allegory, provides an eschatology, a mortality in the destiny of Arab Spring. But any allegory of nature might lead to a labyrinthine eschatology (for example, in Bachelard, the forest presents "a limitless world"); the prescience of the untimely is always an uncanny acceptance of the infinite within the finite—the outside of what is understood. Transgenerational and occupied with the image of the future, the untimely makes otherness its home as it proceeds toward liberation. In the work of helping time navigate this dangerous passage of history, Prashad illustrates that the more violent break with history may have occurred in the peaceable struggles of Tahrir Square, and not in the military clashes of Qaddafi with his former Generals who defected to the CIA and NATO countries. It might be possible to suggest, then, that in the case of Tunisia and Egypt, the historical subject of the people was drawn together in a Dionysian dance of different rhythms in the marvelous realm of the ancients, while we fear that the case of Libya suggests an Apollonian future where time, itself, may lay dying under the machinic hand of history. The properly Nietzschean inversion would follow: time is dead, for history has killed it. Yet, if time is dead, struck down in Golgotha, exposed in the desert, mauled by the thawra , it is only in the present sense that it is rendered impossible outside of the context into which the untimely has thrown us. Thus, if history becomes an art of revolution, life as being-towards-death (death as the provocation of the neutrality of time) becomes what Benjamin calls “the allegory of resurrection” through the glorious ruins of history. Prashad ends his work with a rousing finale: “The time of the impossible has presented itself. In Egypt, where the appetite for the possibilities of the future are greatest, the people continue to assert themselves into Tahrir Square and other places, pushing to reinvigorate a Revolution that must not die… For them the slogan is simple: Down with the Present. Long live the Future. May it be so.&rdquo. (shrink)

Ces dernières années, des musées d’art contemporain sont apparus partout dans le monde occidental et au-delà. Le nombre de ce genre de musées augmente en permanence. Le touriste d’aujourd’hui, qui se rend dans une grande ville, s’attend à y trouver un musée d’art contemporain, de la même manière qu’il s’attend à y trouver un restaurant italien ou un cinéma. Dans la plupart des cas, ces attentes sont confirmées. Dans le pire des cas, le touriste va apprendre que le musée d’art (...) contemporain est encore en construction et qu’il sera ouvert l’année suivante. Quoi qu’il en soit, cette acceptation si facile de la notion de « musée d’art contemporain » par la culture d’aujourd’hui n’est pas sans importance. Traditionnellement, le musée d’art constituait un endroit dans lequel l’art du passé était collecté, conservé et montré au beau milieu de la vie contemporaine. Mais que signifie construire un musée d’art contemporain ? Que signifie « muséographier » la contemporanéité elle-même?Museums of contemporary art have appeared everywhere in the Western world and beyond in recent years, and they are constantly increasing in number. Any tourist visiting a major city today expects to find a museum of contemporary art, just as they expect to find an Italian restaurant or a cinema. In most cases, this is indeed what they find. At the very least, tourists will find that the city’s museum of contemporary art is still under construction and will open the following year. Whatever the case, the ready acceptance of the “museum of contemporary art” in today’s culture is significant. Traditionally, an art museum was a place where the art of the past could be collected, curated and displayed right in the heart of the contemporary world. But what does creating a museum of contemporary art really mean? In other words, what does it mean “to make a museum exhibit” of contemporaneity itself? (shrink)

This essay interrogates ignored works of art as a special kind of object that can shed some light on the nature of contemporary art worlds, as well as on wider social processes regarding our relationship with things and with our past. It provides a materialist perspective focused on discarded objects as an alternative to a mystifying view of the artworld that takes artistic autonomy for granted and obliterates the social conditions of creativity and success. Ignored works are normally outside the (...) reach of art history and the sociology of art, yet the increasingly bigger realm of unrecognized and unvalued art provides, after the failure of the historical avant-garde, a space where critical autonomy can still develop. This essay attempts to illuminate this mostly invisible realm by relating it to other similar categories such as waste and forgetting. Finally, ignored works’ connection to notions of authenticity is pointed out. (shrink)

Darwin's art collection : the prints, drawings, and photographs Darwin collected in the 1860s and 70s -- Illustrations and illusion : strategies Darwin used in illustrating his books -- Art, experience, and observation : Darwin's knowledge of art history and use of illustration in his books -- Darwin and the passions : how passion manuals informed Darwin's research -- Photography and evolution meet : connections between photography and biology in the 1860s -- Method to their madness : how photography in (...) mental hospitals influenced Darwin -- Laughing and crying : Darwin's quest for pictures of expressive babies -- Darwin's eyes and ears : the artists who guided Darwin's search for pictures -- Darwin's art photographer : Oscar Rejlander, Darwin's favorite photographer -- Rejlander's performances : posing for Darwin's pictures -- Alice, eugenics, and the spirit world : the aftermath of Darwin's experiments. (shrink)

Visual culture can be considered from semiotic point of view as a system of visual codes. Several of them have natural routs. So the perceptual code is formed already on biological level mediating translation of sensory data into perceptual images of the spatial world. The means of natural perceptual code are transformed in culture, where they are involved in communication by depictions. The depiction on the flat performs the function of a “perceptogram”, which, on one hand, is an external record (...) of an internal perceptual image or an idea, and, on the other hand, serves as a program for a spectator’s visual perception. The means of this “perceptography” form an artificial code, which is, on the contrary to the perceptual code, communicative, deliberately used and transformed in various ways at different periods of time in diverse kinds of practical and artistic activity. Not all perceptograms become pieces of art, but all history of pictorial arts can be considered as a process of development and mastering with the different versions of this perceptographic code. The changes of this code in visual culture are connected with the intrinsic development of “vision forms” as well with invention of external means of communication. (shrink)

Susanne Langer is mainly known as the American philosopher who, starting from her famous Philosophy in a New Key, worked in aesthetics and famously saw art as the product of the human mind’s most important, distinctive and remarkable ability, i.e., the ability to symbolise. But Langer’s later consideration of the connection between art and symbol is propagated by an early interest in the logic of symbols themselves. This rather neglected early part of Langer’s thought and her early interests and lines (...) of reasoning, which she somehow abandoned later on to dedicate herself exclusively to the study of art, are the topic of this paper. (shrink)

Gregory Conniff's large-scale black and white pastoral images evoke the sensuality of nineteenth century photographic materials. In his affectionate and intelligent work, there is a visible connection to the history of landscape art, reaching back as far as Claude Lorrain and seventeenth-century Dutch drawing. Conniff is also a leading practitioner of a new pastoralism that is casting a contemporary eye on the current state of America's open land. Postmodern in the best sense, Conniff's pictures address the timeless human need to (...) see beauty in the world that shapes our lives. A resident of Wisconsin for more than thirty years, Conniff has focused much of his artistic energy on the rural Midwest, exploring the interdependent relationship between land and people. For the past fifteen years, Conniff has also been making pictures of rural Mississippi, again focusing on elements of the landscape that resonate with a universal sense of aesthetic familiarity. As he explains, "I am interested in work that defines and protects the vanishing, commonplace beauties that let us know we're home.". (shrink)

As the international art market globalizes the indigenous image, it changes its identity, status, value, and purpose in local and larger contexts. Focusing on a school of Australian Aboriginal painting that has become popular in the contemporary art world, Robyn Ferrell traces the influence of cultural exchanges on art, the self, and attitudes toward the other. Aboriginal acrylic painting, produced by indigenous women artists of the Australian Desert, bears a superficial resemblance to abstract expressionism and is often read as such (...) by viewers. Yet to see this art only through a Western lens is to miss its unique ontology, logics of sensation, and rich politics and religion. Ferrell explores the culture that produces these paintings and connects its aesthetic to the brutal environmental and economic realities of its people. From here, she travels to urban locales, observing museums and department stores as they traffic interchangeably in art and commodities. Ferrell ties the history of these desert works to global acts of genocide and dispossession. Rethinking the value of the artistic image in the global market and different interpretations of the sacred, she considers photojournalism, ecotourism, and other sacred sites of the western subject, investigating the intersection of modern art and postmodern culture. She ultimately challenges the primacy of the "European gaze" and its fascination with sacred cultures, constructing a more balanced intercultural dialogue that deemphasizes the aesthetic of the real championed by western philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching TV, (...) as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)