Aesthetic Representation

Video-objects are often discussed in terms of their ability to reflect upon the speed of our narcissistic culture, but less acknowledged is video’s agency to perform electronic events outside of human experience. This article engages in scholarship interested in the space of video operations where lived and imagined, real and virtual phenomena are experienced at the threshold of perception. Bringing into this conversation a discussion of The Waves (2003), an interactive installation by video pioneer and media critic Thierry Kuntzel, the (...) article moves away from the time/movement nexus grounded in a filmic understanding of the image to position video-memory as the emergence of a volume of time. Different from the time-image and movement-image of cinema, the volume-image of video defines a mode of engaging with multiple temporalities within the continuum of the video itself. Constituted progressively through layers of ever-changing signal processes, the volume-image of video technology is an open field, a transductive zone where multiple intensities create new representational rhythms, which disrupt the durational model of time so often attached to human experience. (shrink)

La réalité ne suffit plus, il faut l’augmenter ! Tel un slogan qui sonnerait le glas de l’ennui, cette phrase s’inscrit au cœur du spectacle de la plasticienne américaine Claudia Hart, figure centrale des nouvelles expérimentations entre scène interactive, computer-art et performance aux États-Unis. Dans The Alices (Walking), un spectacle créé en collaboration avec le compositeur Edmond Campion et présenté pour la première fois en 2014 au Eyebeam Center for Art + Technology de New York, il s’agit de questionner les (...) mutations du visuel et de l’écrit dans un monde de plus en plus perçu à travers le filtre des technologies digitales. Dans ce spectacle aux allures de défilé de mode, ces mutations prennent la forme de costumes « site internet » (website dresses). Cinq acteurs défilent sur le plateau et circulent entre porte-manteaux vides et chaises momentanément occupées par des spectateurs invités à venir décrypter les codes incrustés dans la matière plastique des costumes. Les spectateurs se connectent à une application via leur téléphone ou tablette et scannent les costumes lorsque les acteurs défilent devant eux. Ces costumes sont de formes sculpturales diverses, à géométrie et couleurs variables, dans lesquelles des codes informatiques ont été incrustés. Ces codes détiennent du contenu visuel (textes et images en mouvement) qui n’est accessible qu’à travers un écran programmé pour déchiffrer en réseau les codes numériques de ces robes du futur. (shrink)

Autant que de textes, la représentation théâtrale se compose aujourd’hui de corps, d’images, de sons, de matières. Documents de toute nature, témoignages enregistrés ou restitués, images filmiques, musique live, chorégraphies, figures circassiennes, installations plastiques : la scène actuelle fait usage de matériaux qui, dans leur diversité, la reconfigurent en permanence. Annulent-ils pour autant le drame ? Une autre dramaticité ne naît-elle pas plutôt de ces pratiques ? Qui proviendrait notamment de l’agencement et du traitement scénique de ces matériaux ? Pour (...) répondre à ces questions les études réunies dans ce volume s’organisent en trois grandes parties. La première concerne les nouveaux matériaux textuels : nombre d’auteurs cherchent un élargissement de leur pratique, en se faisant non plus seulement auteurs dramatiques mais auteurs de la représentation. La deuxième partie examine cet élargissement à travers la diversification de la notion même de matériau, du côté de la musique live et de trois importants créateurs scéniques de notre temps : Romeo Castellucci, Robert Lepage, Robert Wilson, à propos de son spectacle, 1914. La troisième partie regroupe des démarches artistiques où la place et le rôle de l’acteur se trouvent reconsidérés, où le statut du spectateur, est devenu constitutif du spectacle, et où le témoignage et l’archive ouvrent, en tant que matériaux privilégiés, une interrogation sur ce qui de l’Ancien peut faire parfois retour dans le Nouveau. (shrink)

Mostly essays on music ontology . Collected but not proofed -- left as-is for each . ToC : September 3, 2013 — “ Frege’s Aesthetics in ‘The Thought‘ “ With humility — “ The Musical Work as Sound and Experience “ September 17, 2014 — “ Argument Critique: Aristotle on Parmenides “ September 21, 2014 — “ Wollheim, Intent, and Correct Perception “ October 29, 2014 — “ When is a Painting a Painting? “ November 19, 2014 — “ Broad (...) and Prior; Time and Change “ December 12, 2014 — “ Beautiful Things: On Kantian Judgment and its Objects “. (shrink)

This book chapter analyzes the marketing of luxury consumer goods (in particular, cosmetics) in the context of questions pertaining to authenticity, simulation, and the self in meta-modernity. It is based on case studies from Germany and East Asia, where a luxury brand company had set up pop-up stores in the guise of convincing-looking record shops, cafés and club situations in which semi-fake vinyl discs (with glossy fantasy sleeves printed just for the occasion, and the vinyl grooves being either 'empty' or (...) containing royalty-free formulaic sounds) served as mere props for creating some notion of hipness and inviting visitors to take pictures of themselves. The article scrutinizes how high-priced cosmetics are marketed for urban, trend-oriented target groups, what role totemistic mock-up records and social media's image worlds - the "selfie culture" - play in this process, and what insights about the consumer self in modernity can be deduced from such simulations. (shrink)

Antoine-Chrysostome Quatremère de Quincy was widely regarded as the pre-eminent art theorist of his day and exerted tremendous influence over the development of the arts in nineteenth-century France, publishing over twenty books over his career. Translated into English for the first time by Michel-Antoine Xhignesse, this 1837 treatise on imitation in the arts represents one of his major theoretical works. Quatremère de Quincy argues, against the prevailing opinion of the day, that artistic imitation aims at communicating the essence of the (...) thing represented (ideal imitation), rather than merely faithfully reproducing its life appearance (real imitation). In order to communicate the essence, he argues, the artist must prioritize the contributions of her imagination over the choice and appearance of her model. This represented a significant departure from other accounts of ideal imitation, such as Batteux’s or Winckelmann’s, which instead advocated combining the best features of several different models. (shrink)

Conceptos generales en las historias del arte colombiano: historia, arte y nación, 1959-1985 pretende no solo hacer una búsqueda de los textos iniciales de la historia del arte en el país, específicamente de aquellos que iniciaron el proceso de consolidación del campo autónomo del arte en Colombia, sino también un análisis de los mismos desde los usos conceptuales de las ideas de historia, arte y nación. La selección de los textos responde al criterio específico de hablar de una historia general (...) del arte nacional, es decir, con delimitación temporal amplia que se vincule a las ideas de la larga y media duración de Fernand Braudel, y sin tener en cuenta la nacionalidad del autor, pues esto dejaría por fuera los casos de Juan de Garganta, Francisco Gil Tovar y Marta Traba. Asimismo, en términos temporales se ha seleccionado un margen de 26 años, comprendido entre 1959 y 1985, lapso en el cual fueron publicados los textos mencionados, así como el Manual de Historia de Colombia, la Enciclopedia de Salvat y los textos de Barney Cabrera, Álvaro Medina y Eduardo Serrano. (shrink)

In this paper I examine the thesis regarding the end of the history of art, through which Hans Belting frames the museum as a correlate of history, understood as framing art and the role of the museum within the development of a closed and outdated philosophy of history: the phi-losophy of Hegel. On the contrary, I believe that first He-gel and later Arthur Danto not only explain the changing roles of art and the museum but also argue for the need (...) for reflection on art in modern culture. Our reconstruc-tion of this debate through the work of these authors allow us to represent, for contemporary thought, a pro-ductive analysis of the history of art and its connection with philosophy, and offers us theoretical perspectives that remain relevant for our understanding of theory, the history of art, and various institutional spheres. (shrink)

Los intentos por situar e identificar históricamente la producción artística y su relación con la realidad fueron generalmente determinados por el concepto de mímesis o imitación, en tanto condición esencial de la actividad artística. Esta tesis puede apreciarse en la disciplina de la historia del arte cuando era estructurada como la historia de las diversas situaciones imitativas del arte, en la que predominó esta función como modo de afrontar la representación de lo real, al apelar a la acción de copiar (...) y reproducir un referente del mundo de la experiencia. Pero cuando se vinculó el término a la actividad del arte la mímesis adquirió un carácter relacional. Fue en este sentido que los filósofos antiguos delimitaron este concepto: es la actividad de copiar la apariencia de las cosas. La antigua teoría consideró que se correspondía con el acto de reproducir solo las cosas existentes y el arte; en este caso, debía imitar lo que el hombre veía con conocimiento. Resulta interesante que no se podía imitar en un nivel idéntico y, al contrario, el arte debía construir el parecido de las cosas. (shrink)

Con la frecuencia con que en la actualidad se dice que arte es o puede ser cualquier cosa, también puede decirse hoy que el arte debe ser político. Esa es al menos la impresión que da el auge reciente de las diversas prácticas en el arte: estéticas expandidas, de lo cotidiano, relacionales o imbricadas, los situacionismos, los colonialismos, entre otras. Todas ellas se presentan como teorías programáticas en favor del primado del mensaje político y social sobre el arte, y del (...) cubrimiento total de la experiencia por parte de la reflexión sobre los problemas acuciantes de la sociedad en conflicto, como si la experiencia ofrecida por la obra de arte se hubiera convertido en una directriz que reorienta la atención hacia nuevos objetos, actividades y situaciones: desde principios de la década de los noventa se amplió la red discursiva del arte, en la cual sobresalen los agentes y sujetos políticos de acción, el carácter cultural y político de la acción artística, ahora signada por la diferencia, los conflictos sociales y políticos, y el mapeo de una cultura precarizada. Y con ello, parece ser agenda del arte contemporáneo buscar, en el público y en las instancias institucionales, el carácter problemático para el ámbito de los espacios sociales en relación con acontecimientos en los que la sociedad tiene una responsabilidad que escapa a la posibilidad de individuación. (shrink)

The authors explore the works of a group of Colombian artists of the twentieth century who resort to the references of the Latin American pre-Hispanic world as a plastic strategy of a modern art with strong roots in their own culture. Thus, the Bachué group and the cases of Pedro Nel Gómez and Rómulo Rozo are analyzed as alternatives to the official and prevailing art, with an avant-garde tendency, from a nationalist and indigenist point of view.

This text takes as an excuse the homonymous exhibition at the Museo de Antioquia, to address the history and political gestures in contemporary art. By addressing some curatorial approaches of the exhibition, it explores the cultural functions of the museum as a place of localization of descriptive and communicative processes about culture, and how the exhibition reveals the negative effects of these functions on cultural processes. The text highlights the presence of the artist Jorge Marín, who in his works questions (...) the influence of the notion of progress in the territory. He recovers what has been discarded by history to stage what has been rejected and repudiated. Marín's works are presented as a survival strategy that illuminates other ways of thinking about the territory of culture and questions the concept of history as a fixed representation. In this way, it highlights the importance of addressing history and political gestures in the production of contemporary art, and how the exhibition "El Jardín de los senderos que se bifurcan" and the work of Jorge Marín are examples of how art can question and subvert the hegemonic narratives of history and culture. (shrink)

The authors reflect on the conceptual slippage of the Baroque from the philosophy and history of Latin American art. They appreciate the use and appropriation of its formal and aesthetic strategies in some artists of contemporary art, from which we can think about the current historical processes of the region. -/- Keywords: Latin American Baroque, Contemporary art, appropriation, theatricalization, philosophy and art history.

Cet article part d’un constat retenu par un certain art « politique » : la nécessité de visibiliser les corps minorisés. On y interroge le mot d’ordre suivant, celui d’après lequel l’enjeu principal d’une esthétique de l’émancipation est la représentation. Plus largement, il s’agira de voir comment les discours de libération en art s’empèsent de contraintes rigoristes à l’opposé de l’agenda politique qu’ils annoncent. Méthodologiquement, il est fait recours à une symptomatologie nietzschéenne du langage : une étude des énoncés qui (...) cherche à faire remonter à la surface un système de morale grégaire dont ces énoncés sont solidaires. (shrink)

How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in (...) person, for workshops, seminars and discussions. The aim was to find ways to create resilience and concrete actions on how to live through the change in culture, economy and the environment and to find concrete, hands-on methods to deal with the Anthropocene and the environmental crisis. As an outcome of this process, this publication takes a closer look at how we as practising artists, researchers and cultural actors can create elements for critical thinking and doing which can assist us in navigating the complexities of the present. -/- Edited for the State Of The Art Network by Erich Berger, Mari Keski-Korsu, Marietta Radomska and Line Thastum. -/- Produced and published by Bioart Society 2023. (shrink)

This paper defends a theory of fictional truth. According to this theory, there is a fact of the matter concerning the number of hairs on Sherlock Holmes' head, and likewise for any other meaningful question one could ask about what's true in a work of fiction. We argue that a theory of this form is needed to account for the patterns in our judgments about attitude reports that embed fictional claims. We contrast our view with one of the dominant approaches (...) to fictional truth, which originates with David Lewis. Along the way we explore the relationship between fiction, counterfactuals, and vagueness. (shrink)

Cinema and Death: on Image and Immortality (سینما و مرگ: درباره نامیرایی و تصویر / Sīnimā va marg : darbārah-ʼi nāmīrāyī va taṣvīr) is a Persian book on philosophy of film, written by Milad Roshani Payan. in February 2020, the book won the highest award in the most prestigious book award in Iran, called Iran's Book of the Year Awards, in dramatic arts category. The book is divided into six chapters, and in each chapter, the relationship between cinema and death (...) is examined. -/- . (shrink)

Why is painting unique among the visual arts? And why in the late sixteenth century did Cesare Ripa in his landmark Iconologia choose to create a distinctly female template for the act of painting? Moreover, why would a woman ever choose to paint herself as La Pittura (The Allegory of Painting)? This essay offers the thoughts of a painter-philosopher on the historic significance of the choice of topic, iconography, and gender of the most recognized allegory of Painting, namely the original (...) textual description of the Italian writer Cesare Ripa on Pittura (1593) which was later illustrated by various artists (1603 and following). This pattern stands in contrast to an erosion of women’s influence in favor of men’s art: a norm that has internalized male privilege and power for centuries. Yet painting remains a medium that emphasizes women’s talents, particularly as they are embodied in Pittura. (shrink)

I wonder why women philosophers, once recognized, too often seem to drop from the intellectual radar screen or, at least, to drop mainly to the land of footnotes and bibliographies. I consider one distinguished moral philosopher, Elizabeth Lane Beardsley, both to highlight her philosophical contributions and as a case study that suggests more widespread problems in recognizing t5he work of female philosophers and ensuring their rightful place in our professional dialogue. I consider sociological and professional factors which might partially explain (...) why work by women philosophers has not always received the attention in the professional dialogue it seems to deserve. I conclude with some modest suggestions about the efforts that we can make to address these problems, including the organization of readings for our own courses, the sources consulted for our own research and writing, and the preservation of rec rods of meetings and other public gatherings that recognize women philosophers. (shrink)

This first-ever article of cultural criticism on the black female body was to prove germinal and continues to be widely referenced in scholarly and other works. Occasionally, controversial, it has been frequently anthologized, most recently in Amelia Jones, ed., The Feminism and Visual Cultural Reader, 2nd edition (Routledge, 2010). The first part of this article--delivered in a panel of the College Art Association early in 1992--was published in Afterimage 20:1 (Summer 1992). The revised version, including "Postscript," originally appeared in the (...) work cited here: Freueh, Langer and Raven, eds., New Feminist Criticism: Art, Identity, Action (1994). (shrink)

This revelatory study investigates how changing modes of representing the black female figure were foundational to the development of modern art. Posing Modernity examines the legacy of Edouard Manet's Olympia (1863), arguing that this radical painting marked a fitfully evolving shift toward modernist portrayals of the black figure as an active participant in everyday life rather than as an exotic "other." Denise Murrell explores the little-known interfaces between the avant-gardists of nineteenth-century Paris and the post-abolition community of free black Parisians. (...) She traces the impact of Manet's reconsideration of the black model into the twentieth century and across the Atlantic, where Henri Matisse visited Harlem jazz clubs and later produced transformative portraits of black dancers as icons of modern beauty. These and other works by the artist are set in dialogue with the urbane "New Negro" portraiture style with which Harlem Renaissance artists including Charles Alston and Laura Wheeler Waring defied racial stereotypes. The book concludes with a look at how Manet's and Matisse's depictions influenced Romare Bearden and continue to reverberate in the work of such global contemporary artists as Faith Ringgold, Aime Mpane, Maud Sulter, and Mickalene thomas, who draw on art history to explore its multiple voices. Featuring over 175 illustrations and profiles of several models, Posing Modernity illuminates long-obscured figures and proposes that a history of modernism cannot be complete until it examines the vital role of the black female muse within it. Published in association with the Miriam and Ira D. Wallach Art Gallery, Columbia University in the City of New York. Exhibition schedule: Wallach Art Gallery (10/24/2018-02/1019); Musee d'Orsay (3/26/2019-07/14/2019). (shrink)

Referring back the question of an identity of African films to the notions of hybridization and nomadism, this chapter describes the articulation between what African films are and discourses on those films as well as the historical evolution of this articulation. We thus place ourselves in the perspective of a history of discourses on African films, not in a history of these cinemas as such or in the framework of a normative, critical perspective. In so doing, we are neither on (...) the ideological plane of an out-of-reach gaze that has sometimes become the source of a unclear discourse in the name of the defense of an “other”, nor on a formalist plane that incautiously would not be taking into account the historicity of African cinematic practices. Rather, it is a question of arriving, both politically and ethically, at the point where a recognition of African films is at stake, and insofar as the very history of these films remains opaque until we understand that what is at stake stands mostly at the level of such recognition. (shrink)

The global economy has an impact on female beauty today, regardless of the multicultural and historical factors in its formation and construction, resulting in monolithic crazes in women's fashion and appearance. but female beauty in china has been greatly contested with China's turbulent modern history, and this contestation deserves serious consideration, together with the politics by which the Chinese state apparatus has promoted and regulated female beauty. I argue that certain factors have been constant in contemporary discourses of female beauty. (...) Ideal bodies, in all their specifics, are defined by physical standards very few women can attain. These standards are accompanied by demeaning characterizations of women who fail to achieve them, and who are therefore destined to be discontent. It is now necessary for feminist theorists to examine the social and cultural roles of the body in terms of gender, power, the established patriarchy, and its oppression of women. (shrink)

"Orientalism" is a term made prominent by critic Edward Said in his 1978 book of that title. . . . Said specifically used the term to designate a field of self-constituted experts who proposed to explain the Orient to the West. . . . This essay explores the visual artwork of Soody Sharifi who left Iran before the Islamic Revolution of 1979, but returns to photograph women and girls. After a trip back to Iran in 1999, she began a self-portrait (...) series exploring how she felt about being a Muslim woman in a hijab for the first time. (shrink)

Beauty, disability, and gender crossing: The first two, though provocative, are not an altogether unexpected pair. Disability can be an object of beauty, as Anita Silvers has shown, just as it can be fetishized. Yet one more often thinks of beauty and disability as opposites. But what is gender crossing doing in this mix? Sometimes, apparently, when beauty is conjugated with disability in an atmosphere of glamour and celebrity, games with gender result. this is certainly the case with the representation (...) of the Mexican female artist Frida Kahlo, especially as seen in a book of paper dolls for children. (shrink)

The modern conception of race is often thought by philosophers to have developed during the eighteenth and nineteenth centuries in response to a unique confluence of scientific, philosophical, and imperial forces; and in recent decades some impressive work has been done to excavate the details of its construction during this period. . . . I will argue, however, that an analysis of the visual images created by Europeans during the first half-century after 1492 reveals that the essential elements of the (...) late modern conception of race are put into place during that period. In brief, the tremendous social, economic, and political pressures that culminate in this comparatively brief moment yield the modern notion of "the savage." I will suggest that from its inception this notion is an inherently radicalized one, and that it is the nodal point for the more familiar eighteenth- and nineteenth-century understandings of non-European races. Moreover, I will argue that the modern notion of the savage is synthesized, not directly from the Noachic legends, but from images drawn, sometimes literally, on the margins of medieval understandings of humanity: powerful and deeply entrenched images of the Wild Man and the monstrous races. (shrink)

For the generation of feminists who emerged in the 1960s and 1970s, female beauty was suspect, for it simply pandered to male desire. And for the modernist artists of that period, beauty in art had long since been banished. but for Armitage's generation, already empowered by the political gains of feminism on the one hand, and engaged in a postmodernist challenge to the values of artistic modernism on the other, beauty in art and in the female body could once again (...) be appreciated. If Armitage was drawn, as a child, to the beauty and glamour of ballet, her own interventions into the history of the art form have given that beauty a new, more complex face. Her unabashed love of ballet's beauty (especially its female beauty) and its erotic display, combined with her intelligent interrogation of the grounds for that beauty, her historical references, and her witty irreverence, wickedly and triumphantly reclaim the art form for our post-feminist times. (shrink)

The "Actresses" series by Yasumasa Morimura brutally exposes the position, attitude, or stance we assume when we see this body of work. The viewer's one-sided gaze, inflicted upon the women Morimura has impersonated, is repelled and hurled back to the viewer as the point questions: "Who are you?" and "What is your position?" You yourself, not an abstract human being, are being interrogated here. It is easy to speak lofty ideas while casting ourselves as objective transparent beings: disappearing borders, the (...) self in flux, anti-essentialism. . . . However, it is not an abstract narrator who manipulates language but an actual you defined by your sex, gender, and sexuality who is being questioned in front of Morimura's "Actresses.". (shrink)

Putting classical art to the side for the moment, the naked and near-naked female body became an object of mainstream consumption first in Playboy and its imitators, then in movies, and only then in fashion photographs. With the male body, the trajectory has been different. Fashion has taken the lead, the movies have followed. Hollywood may have been a chest-fest in the fifties, but it was male clothing designers [e.g., Calvin Klein] who went south and violated the really powerful taboos--not (...) just against the explicit depiction of penises and male bottoms but against the admission of all sorts of forbidden "feminine" qualities into mainstream conceptions of manliness. . . . Images of masculinity that will do double (or triple or quadruple) duty with a variety of consumers, straight and gay, male and female, are not difficult to create in a culture like ours, in which the muscular, male body has a long and glorious aesthetic history. (shrink)

In this essay I want to consider how Penola's (character in Toni Morrison's novel, The Bluest Eye) circumstance es motivate her petition--"asking for beauty"--and two others, after which I will offer my own petition concerning the practice of aesthetics.

Possibly the most celebrated artist of all time, Leonardo da vinci has been examined from every conceivable perspective except a feminist one. A feminist perspective seeks, of course, not only to include women in history but also to expose gender-based conceptual biases that have distorted scholarship. Such a bias has led scholars to ignore an important dimension of Leonardo's art and thought: his unusual valorization of the feminine in a period when the female sex was disparaged, both socially and philosophically. (...) . . . I speak of the metaphysical "female," understood as a creative and powerful force in the universe. In this essay, I shall show that Leonardo presented through art a view of the female sex that was culturally abnormal in the patriarchy of his day: woman understood individually as an intelligent being, biologically as an equal half of the human species, and philosophically as the ascendent principle in the cosmos. His position deserves our attention, for it was distinctive in a period when women were neither politically nor socially empowered to make such a case for themselves. This essay is adapted from a longer article that appeared in The Expanding Discourse: Feminism and Art History, edited by Norma Broad and Mary D. Garrard (HarperCollins, 1992), Chapter 3. (shrink)

Editor's note: Adrian Piper is a conceptual artist whose work from the past twenty-five years has included performances, graphic art, and installation pieces. Always provocative, Piper seeks to challenge viewers' assumptions about the nature of art, aesthetic response, and modes of evaluating by creating art that involves issues of gender and race. Piper uses political art to confront viewers with emotionally charged environments that preclude our maintaining a safe, aesthetically distanced stance toward the subject matter. being forced to confront our (...) own prejudices, both emotionally and aesthetic ally, we undergo a process of change that is both cognitive (evidenced by how our interpretations of the work change and evolve) and affective (resulting in a higher level of social awareness and sensitivity). Thus, according to Piper, political art has "the potential for furnishing a forceful antidote to racism." The following two statements consist of text written by Piper and recorded on audiotapes for two installation pieces, "Four Intruders Plus Alarm Systems" (1980) and "Safe" (1990). (shrink)

When interpreting works of art, there are many available le theoretical perspectives to which one can appeal. One factor that may influence the choice is what issues are present in the work on wishes to address. In discussing the artwork of Nancy Spiro, I shall illustrate how all three frameworks of sexual difference--experiential difference, positional difference in discourse, and difference as psychoanalysis--can be employed in critiquing works of art. After discussing Spero's work, I shall show how the perspectives can be (...) theoretically compatible. (shrink)

Marlene van Niekerk's 1994 Triomf is a plaasroman, or farm novel, without the farm; it formally resembles a nostalgic pastoral genre initiated by the collapse of Southern African agricultural economy around the time of the Great Depression, but removes even the symbol of the farm as aesthetic compensation for material loss. In the process, van Niekerk composes a post-apartheid tragicomedy of a lumpenproletariat white supremacist family coming into long-belated class consciousness, an epiphany which, surprisingly, survives the novel's translations from Afrikaans (...) to South African English to 'international' English. Crucially, this understanding is mediated by a critical tendency to appraise Triomf in the context of Faulkner and the Southern Gothic, a generic comparison which gets a lot wrong but is ultimately very revealing, less about Triomf than about the imperial world-system through which it circulates and is consecrated. Consequently, the novel stages globally what seems at first to be a parochial question: how is one supposed to imagine democratic reconciliation and integration after apartheid, when one of the classes to be reconciled lacks historical self-consciousness and has no obvious place in either the apartheid regime or the post-apartheid dispensation? By analyzing van Niekerk's novel and the institutions which consecrate it, the paper fleshes out critiques of world-literary hermeneutics, specifically for its naive handling of genre and context, and of post-apartheid 'reconciliation' under capital. (shrink)

During the early part of the classic Hollywood sound period (1930–60), filmmakers sharpened a standardized way to portray Native American characters in Westerns. Such figures were depicted as disgusting by virtue of being beyond the pale in terms of their “acceptable” moral behavior, as measured by common white sensibilities of the era. This behavior was attributed to their nonwhiteness and therefore presumptively stemmed from their allegedly subhuman, “savage” nature. This stock depiction of Native American characters became one of creatures who (...) communicated by means of silence, war whoops, animal sounds, or unintelligible language, and committed grievous moral transgressions without qualm. In this article I analyze the theoretical structure of such depictions and how these depictions work in terms of typical audience reaction, using recent work in philosophy of film, philosophy of emotion, and cognitive film theory. (shrink)

Why is it commonplace for us to contemplate distorted depictions of faces with eagerness and enjoyment, but to be repelled by real people whose physiognomies resemble the depicted ones? More generally, what makes perceiving pictured physically anomalous individuals so different from perceiving physically anomalous people themselves? . . . I will suggest how we can theorize human beauty, as we do beauty in art, so as to savor, rather than rebuff, novelty, disproportionateness, and even crookedness in the human shape. For (...) anomaly to present as originality rather than deviance requires a context in which we theorize the connectedness of successors with their heritage. (shrink)

This paper analyzes the role of the viewers of photographs of violence. The main argument is that due to the characteristic of the medium, both the photographer and the photographed subjects shape the image. The customary overlooking of the photographed subjects’ agency is conceptualized as epistemic injustice first committed by the photographer and then by the viewer. A method of interpreting war photographs influenced by critical fabulation and listening to images is proposed to overcome it. Even though every case of (...) the photography of violence is different due to its particular context, issues concerning the documentation of atrocities have been raised for many years, especially by those researching colonial or Holo- caust archives. Authoritarian regimes often leave behind many files, among them photographs (Maliszewska 2022). The following generation faces doubts as to how to read those archives and give justice to the dead. Furthermore, today—in the era of photographs immediately spreading around the globe via social media—questions about viewers’ attitudes to the photography of violence seem even more pressing. Those issues are raised, among others, from feminist and postcolonial perspectives. This paper focuses on how the theory of epistemic injustice and the two methods of interpreting—“listening to images” and “critical fabulation”—can be applied to at least some cases of violent photography to better understand the role of its viewers (p. 90). (shrink)

In the article, we advance the notion of an affective atmosphere for analyzing the works of art by two contemporary Latvian photographers—Aija Bley (b. 1967) and Arnis Balčus (b. 1978). The spatial relations of bodies and environments and the photographed sub- jects’ facial expressions and postures negotiate a sense of postsocialist affectivity that we describe as forgetful and drowsy. In the selected images, the affective atmospheres enact the ambiguities of the Soviet legacies, along with the challenges of neoliberal rationality affecting (...) today’s Latvian society. . . By claiming that affective moods are conditioned by the relations of power (colonial pasts and neoliberal futures), we expand the idea of personal being political, offering this feminist mantra a visceral reading (p. 58). (shrink)

Steinman indicates that his ability to understand beauty is limited by his imagination. Beauty, as it has been traditionally defined, is an ultimate value, an ideal on same level as truth and goodness. Many of the ancient Greeks believed that symmetry represented order, and order was beautiful because it revealed a type of cosmic justice and truth that no person could deny. So, when Steinman's application of beauty comes into play, he is definitely emphasizing the order and justice that beauty (...) provides. The player of BioShock is introduced to a world quite familiar to ours, not necessarily in sense of Rapture, underwater cities, or vintage décor, but rather in the form of worldview. The vending machines are not coincidentally called Circus of Values. As players, one have value in surviving (intrinsic) so one will do whatever one can to survive, including buying or hacking vending machines with supplies (extrinsic value). (shrink)

Vivian Maier’s street photography shows us a sudden transfiguration of reality, by which persons, scenes and things become faerical (neologism that also receives one of the senses of the French féerie , a play where supernatural, or, in this case, also infranatural creatures appear). We propose that this transfiguration is an apparition – a faerical epiphany (always earthy and fleshy) that follows two ways, one sunny and luminous, the other obscure and subterranean. We will examine Maier’s body, reflected in her (...) self-portraits in order to propose that her sight (therefore her photography) is a daemonic one, an intermediary between our and other worlds. -/- La fotografía callejera de Vivian Maier nos hace ver una súbita transfiguración de la realidad por la cual las personas, las escenas y las cosas devienen féricas , neologismo que nos permitimos para recoger del inglés el universo de las faeries y traducir a la vez uno de los sentidos del francés féerie , pieza de teatro en la que aparecen seres sobrenaturales (o, en este caso, infranaturales). Esa transfiguración, proponemos, es en rigor una verdadera aparición: una epifanía feérica (siempre carnal) que se despliega en dos direcciones, solar y subterránea. Nos detendremos en el cuerpo de Maier, reflejado en sus autorretratos, para proponer, finalmente, que su mirada es un daimon, intermediaria entre éste y otros mundos. (shrink)

El artículo explora la forma estética de las ruinas como una poética del tiempo donde se articulan fuerzas contrapuestas que configuran una singular vivencia de la historicidad humana. Orientándose por las indicaciones de Martin Heidegger y Georg Simmel, reflexiona acerca de valor estético-existencial de las ruinas y su réplica subjetiva en el sentimiento de nostalgia, así como su importancia para el reconocimiento de la unidad narrativa de la existencia humana.

A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...) valores (cognitivismo). Este artigo gira, sobretudo, em torno da apresentação crítica das várias respostas a este desafio ao cognitivismo. Apresenta, também, o paradoxo da música triste, isto é, a questão do motivo pelo qual apreciamos música triste. -/- Music can induce strong emotions. How are we to understand affective responses to music? This article presents the main philosophical puzzles pertaining to musical emotions. The chief problem concerns so-called "contagion": listeners perceive music as expressive of some emotion (say, sadness), and the music elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotion, according to which emotions are experiences of values (cognitivism). This article mostly revolves around the critical presentation of the various responses to this challenge to cognitivism. It also presents the paradox of sad music, i.e. the question of why we enjoy sad music. (shrink)

Why is painting unique among the visual arts? And why in the late sixteenth century did Cesare Ripa in his landmark Iconologia choose to create a distinctly female template for the act of painting? Moreover, why would a woman ever choose to paint herself as La Pittura (The Allegory of Painting)? This essay offers the thoughts of a painter-philosopher on the historic significance of the choice of topic, iconography, and gender of the most recognized allegory of Painting, namely the original (...) textual description of the Italian writer Cesare Ripa on Pittura (1593) which was later illustrated by various artists (1603 and following). This pattern stands in contrast to an erosion of women’s influence in favor of men’s art: a norm that has internalized male privilege and power for centuries. Yet painting remains a medium that emphasizes women’s talents, particularly as they are embodied in Pittura. (shrink)

Why is painting unique among the visual arts? And why in the late sixteenth century did Cesare Ripa in his landmark Iconologia choose to create a distinctly female template for the act of painting? Moreover, why would a woman ever choose to paint herself as La Pittura (The Allegory of Painting)? This essay offers the thoughts of a painter-philosopher on the historic significance of the choice of topic, iconography, and gender of the most recognized allegory of Painting, namely the original (...) textual description of the Italian writer Cesare Ripa on Pittura (1593) which was later illustrated by various artists (1603 and following). This pattern stands in contrast to an erosion of women’s influence in favor of men’s art: a norm that has internalized male privilege and power for centuries. Yet painting remains a medium that emphasizes women’s talents, particularly as they are embodied in Pittura. (shrink)

The paper explores Burke’s twofold solution to the paradox of negative emotions. His Philosophical Enquiry (1757/59) employs two models that stand on different anthropological principles: the Exercise Argument borrowed from authors like the Abbé Du Bos, guided by the principle of self-preservation, and the Sympathy Argument, propageted by notable men of lettres such as Lord Kames, ruled by the principle of sociability. Burke interlocks these two arguments through a teleologically-ordered physiology, in which the natural laws of the human body and (...) mind, secretly working in the depth of the nerve fibres, ensure both self-preservation and sociability. Utilizing both efficient and final causes throughout his Enquiry, Burke argues that the experiences of pain and terror – under certain conditions – are made agreeable (delight) by providence,so that the physiological mechanisms underlying these experiences could ensure the health and strenuousness of the nerve fibres amidst the corrupting pleasures of commercial society (Exercise Argument). Furthermore, due to the ambiguous character of this delight annexed to such experiences, they also function as exercises for our social passions (Sympathy Argument). Te 'egoistic' anthropological drive to remove the visceral uneasiness that dominates these experiences facilitates moral action when it is needed the most: when others in pain need our help. In accordance with the anthropocentric providentialism of the moderate Enlightenment, it is the design of the human frame that ensures the activities essential to our health (self-preservation) and moral conduct (sociability), a design that not only guarantees that pleasure, if exclusive and excessive, is 'inconvenient', and pain, if mitigated and harmless, is aesthetically agreeable, but also that our 'egoistic' drive to self-preservation ultimately improves sociability. (shrink)

György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both British criticism and German (...) aesthetics, the paper traces the development of Szerdahely's concept of beauty from beauty as form (uniformity amidst variety) to beauty in motion (sensibility). Initially, Szerdahely argues for unity and variety as the two main constituents of a beautiful object, evoking disinterested contemplation, but he then turns to sensibility as the third necessary condition of beauty: an object becomes aesthetically beautiful only if it has the power to strike the senses (Lux) and stir the affections (Vivacitas), enlivening the whole embodied person. The paper argues that this third principle of sensibility proves to be more emphatic than the first two, leading to (1) the aesthetic conception of beauty as an experiential quality; but more interestingly to (2) the incorporation of the element of self-preservation and self-love into aesthetic experience. The reason for the latter development lies in Szerdahely’s anthropological argument, which traces back every affection to the instantaneous apprehension of good or evil concerning ourselves, implying desire (Adpetitus) or aversion (Auersi) in our reactions. (shrink)

We support the idea of applying cultural evolution theory to the study of storytelling, and fiction in particular. However, we suggest that a more plausible link between real and imaginary worlds is the feeling of “presence” we can experience in both of them: we feel present when we are able to correctly and intuitively enact our embodied predictions.

Current crises give new urgency to the question of speaking and acting for others. How does one advocate for those whose voices are not heard? For stateless people, future generations, non-human actors, environments? The question of the possibilities and limits of representation arises anew against this backdrop and can be turned differently through the technique of "representation by proxy" (Stellvertretung) that steps in here. This technique does not prove to be a mere exception for supposed borderline cases. Rather, as this (...) book shows, substitution is inherent in all speech and action. The history of theatrical, theological, juridical, and narrative scenes of substitution reveals the constitutive ambivalence of this technique: Substitution can bring to the fore precisely those who are otherwise not heard; however, it simultaneously doubles and divides the position of the represented and threatens to displace the very ones it represents. -/- In readings from Aeschylus to Shakespeare and Hobbes, from Kleist and Kant to Kafka and the "ecopoetics," Katrin Trüstedt unfolds the multi-layered archaeology of substitution. In the process, a different history of the person also emerges. Against the attempt of the overcoming and internalization of substitution in the subject, this book wants to unfold the interpersonal technique of representation by proxy in all its complexity in order to open a more dynamic scene of the person and representation. (shrink)

In nature validation for physiological and emotional bonding becomes a mode for supporting social connectivity. Similarly, in the blockchain ecosystem, cryptographic validation becomes the substrate for all interactions. In the dialogue between human and artificial intelligence (AI) agents, between the real and the virtual, one can distinguish threads of physical or mental entanglements allowing different modes of participation. One could even suggest that in all types of realities there exist frameworks that are to some extent equivalent and act as validation (...) mechanisms for behavioural interweaving. Relevant to our own experience as an Editorial Organism, in this issue of Technoetic Arts we explore modes of participation and collaboration through different lenses by including guest-edited sections and stand-alone articles. (shrink)

As two concepts that are both distinct and intertwined, creativity and mimesis have their own history of development. In the visual arts, both refer primarily to the principles, methods, and procedures of image production. The production of images is neither entirely arbitrary nor entirely plannable, but has its own logic, which lies between work and reality, the inner world and the outer world as well as tradition and innovation. The relevant discourses are influenced by the respective cultural-historical frameworks. Due to (...) this fact, it is of significance to consider the tension between creativity and mimesis in image practices from an intercultural perspective. (shrink)