Visual Arts

One might naturally suppose that philosophers of art would take a strong interest in the idea of creation in the context of art. In fact, this has often not been the case. In analytic aesthetics, the issue tends to dwell on the sidelines and in continental aesthetics a shadow has sometimes been cast over the topic by the notion of the “death of the author” and by the claim, as Roland Barthes put it, that the author is only ever able (...) to “imitate a gesture that is always anterior, never original”. This paper explains the understanding of artistic creation developed by the French art theorist André Malraux in his well-known book The Voices of Silence. Malraux argues that the true artist is involved in a creative act in the full sense of the term – creation ex nihilo – despite the debt he or she often owes to other artists. The paper also comments briefly on possible reasons why traditional post-Enlightenment aesthetics has said so little about the topic in question. (shrink)

The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".

Abstract: The purpose of this essay is to explore the nature and role of art as a human phenomenon from a broadly cognitive perspective. Like science and religion, art serves to mediate the unknown, at once to embrace and to defend against the fundamental mystery of existence. Thus, it may challenge the status quo while generally serving to maintain it. Art tracks the individuation of subjectivity, serving the pleasure principle, yet is appropriated by the collective’s commitment to the reality principle. (...) While science and religion close in on serious answers to fundamental questions, art opens up possibilities toward playfulness, uselessness, imagination, and arbitrary whim. Though art has no unifying definition, meaning, or intent through time and across cultures, it remains important to people, both to do and to enjoy. It serves to counterbalance the naive realism of science, the “rationality” of modern society, and the literalism of text-based religion. While its allegiance is divided, its most worthy intent is to aid us to confront and negotiate the great mystery revealed to us in consciousness. (shrink)

-/- Letter to a friend : Creative Thinking and Intuition Letter to a friend about creative thinking and intuition (art, writing, philosophy, science, etc ) .

Carel Fabritius left behind few but important works of art. We are concerned here with the View in Delft, and attempt to make two points about it. The first is that this small painting manages to break away from the classical perception of perspective, an endeavor informed mostly by new findings in the field of optics of the time. The second point, theoretically related to the first, stresses compositional elements that would bring View in Delft closer to a meditation on (...) the fleetingness of life, making it a "town-scape" vanitas. (shrink)

An essay on non-discursive forms of knowledge that inhabit art photography. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 209-26.

Review of “The Mad Square: Modernity in German Art 1910-37”, National Gallery of Victoria, Melbourne, Australia, November 25, 2011-March 4, 2012. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 153-57.

Essay on the modern artistic ego as sponsored by the exhibition, "Gustav Courbet," February 27-May 18, 2008, Metropolitan Museum of Art, New York, New York, USA. A version of this essay appeared in Gavin Keeney, "Else-where": Essays on Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 191-98.

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...) (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video Games (2011) (...) - First Cause (2011) - Met Ladies (2011) - When Cam Girls Met Ladies (2011) / OUTTAKES (2007): 15 Questions About Editioned Art Photography (2007) - A Few Awkward Questions for Francesca Woodman (2007) - October Revolution (2007) . (shrink)

Recentes estudos em história da ciência têm apresentado indícios de que é impossível estabelecer uma clara distinção entre estudos de óptica e de perspectiva linear quando nos referimos aos séculos XVI e XVII. Embora a perspectiva linear lidasse com a representação geométrica do espaço numa superfície bidimensional, estava, entretanto, estreitamente ligada a questões relativas à natureza da visão humana. Devemos considerar que, naquela época, o termo perspectiva era a tradução latina da palavra grega optikè, denotando a visão direta e distinta (...) que, para os gregos, revelava as coisas. Seu significado coexistiu com outros que designavam a técnica pictórica e, para distingui-los, era comum opor a perspectiva "comum” ou “natural” à perspectiva artificialis dos pintores. Essas diferentes expressões de perspetiva relacionaram-se de diferentes maneiras, cobrindo um largo espectro de possibilidades. Contudo, à medida em que se encerrou o século XVI, essas duas expressões de conhecimento passaram, gradativamente, a se referir a diferentes disciplinas. Parte desse processo esteve ligado às novas práticas matemáticas em que a óptica, a geometria e as artes buscaram redefinir seus campos de investigação, considerando questões de ordem teórica ligadas à visualização e à representação do espaço. Neste artigo, apresentamos alguns aspectos da estreita conexão entre perspectiva naturalis e artificialis, tendo por base um conjunto de documentos relativos à óptica e à perspectiva linear publicado nos séculos XVI e XVII. (shrink)

Le film est un drame psychologique se déroulant à bord d'une station spatiale en orbite autour de la planète Solaris. Les trois membres de l'équipage ont des problèmes psychologiques. Le psychologue Kris Kelvin est envoyé là pour évaluer la situation, mais il fait face aux mêmes phénomènes mystérieux que les autres. Pour Tarkovsky, le conflit existentiel exposé par Lem n'était que le point de départ du développement de la vie intérieure des personnages. DOI: 10.13140/RG.2.2.11405.49129.

Tarkovsky recognizes these differences, saying that there is a contradiction with Lem's initial idea, because he was interested in the problems of inner life, spiritual problems, so to speak, and Lem was interested in the collision between man and Cosmos. In an ontological sense of the word, in the sense of the problem of knowing and the limits of this knowledge - it is about that. Lem even said that mankind was in danger, that there was a crisis of knowledge (...) when man did not feels ... This crisis is growing, a snowball, takes the form of various human tragedies, including scientists. (shrink)

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...) is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

All interpretations of the Portland Vase frieze to date have failed to see, much less explain, a crucial figural attribute in the frieze, one that proves to be both explicit and explicatory, and whose location and appearance secures the identification of not one but, indeed, three figures. Furthermore, the attribute lies at the heart of a distinct schema of figural grouping and arrangement which has also gone unheeded in previous treatments of the Portland Vase frieze. By dint of this previously (...) unknown attribute, one can straightforwardly read the opening scene of the frieze using the attributes therein provided, but the opening scene only. To complete the task, a second methodology–that which I laid out in Arion in 1992–is a categorical sine qua non. One can, as I have already shown, successfully navigate the entire frieze using the second methodology alone but, as so many others have shown, not contrariwise. These new findings–the attribute and figural plan–are clear proof that the artistic vision of the Portland Vase was purposefully executed in a two-part program. (shrink)

This cutting-edge handbook brings together an international roster of scholars to examine many facets of comics and graphic novels. Contributor essays provide authoritative, up-to-date overviewsof the major topics and questions within comic studies, offering readers a truly global approach to understanding the field.

Philosophy of art, reflective practice of art and painting, meta-philosophy, meta-philosophical methods.

Beginning with an unsolicited letter to Barnett Newman written by the Indian modernist F. N. Souza, this essay seeks to reframe our understanding of the decline of modernism. Art-historical consensus holds that, as the 1960s progressed, modernist art was swept aside by demands for political engagement to which it could not adapt. Souza's letter complicates this. On one hand, it criticizes Newman's latest paintings for expressing modernist values such as autonomy, transcendence, and universality, for amounting to the claim that ‘colour (...) is ethics’. But on the other, rather than abandoning such concepts, as did most advanced art in the 1960s, Souza demands another, political modernism, one capable of grounding itself in reflection on the movement's historical complicity with colonialism and racism. This was a difficult project, and I reject the view that it was inherently progressive; indeed, I draw out the reactionary attitudes to which it could all-too-easily lead. Souza's desire, by 1969, to move beyond these without abandoning the historicity of modernism positions him closer to Newman than his letter suggests. Both proceeded, in ways that refuse the schematic alternatives of traditional art history, by making work that addressed political reality through the reflexive critique of modernism itself. (shrink)

A review of the recent exhibition of Wassily Kandinsky's artworks at the Guggenheim Museum, with interest in Kandinsky's career-wide separation of form from content.

Video games aren't merely casual entertainment: they are the heart of one of the fastest-growing media industries in the world, and a cultural phenomenon in their own right. Gaming has evolved from a niche pastime into a global business that rivals film and television, creating, in the process, new art forms and social arenas and have become the subject of endless public debate. This book shows that games also provide a unique space in which to study economic behavior. Games, more (...) than any other form of media, demonstrate the power and creative potential of human choice - an idea that's also the foundation of economic thinking. Whether it's developing trade relations, or the use of money, or even complex legal institutions, virtual worlds provide a captivating and entertaining arena for studying economic behavior in its most dynamic forms. The overarching theme of the volume is the economic order that governs virtual worlds, and the many ways individuals work together, often without knowing it, to govern their social relations in digital space. (shrink)

The ideas I suggest and will attempt to explore can be expressed and conceptualized in many ways. -/- Wittgenstein suggested that there are things that cannot be talked about. -/- I suggest that we most likely have ideas, attitudes, words, conceptions, notions, values, standards, opinions, etc when we approach any work of art or perceive anything as art or aesthetic. Just as we have notions, ideas etc concerning spirituality and spiritual phenomena. -/- But during the interaction with those things, when (...) having a direct experience or consciousness, an awareness of them we do not employ words, ideas or concepts. -/- Of course we can and most likely will reflect on those experiences and the things we have or had experiences of. At that stage we will use concepts in those contexts we will use notions and verbalize things - after the experiences, after the event. We will also, most likely, reflect on those phenomena and experiences. -/- I then continue to place this state or stage of pre- or non- or not yet conceptual/ity in the larger contexts of consciousness, anthropocentered socio-cultural practices and the universe or multiverse. (shrink)

A VISUAL GUIDE TO THE WORKS OF THE ULRICH DE BALBIAN FINE ART FOUNDATION au natural I am/was hardly known in my life time, apart from a few thousand on Linkedin, my 2 blogs, Facebook, Instagram - because I live as a hermit, removed from all social life, so that I can just paint, paint and paint - and reflect and write (philosophy and sociology of life, existence, culture, art). I create, as I live, as if there is no human (...) being who interferes, intervenes, creates (paints) - as if every- thing just happens, ‘just is’ - like water flows, the ocean, a tree grows (or dies) in the forest, like light creates colours, gravity and other natural forces. Like Zen Buddhists, Christian and other mystics, Jains, Sufis - we just leave everything as we find it. This is what all arts have ever attempted to do. But, especially and more specifically so-called modern, contemporary and (post-) post-modern art, Critical Theory, (post) deconstruction attempt to, and all philosophy tried to depict by means of reflection on first order existence - as if, it merely mirrors and reflects what it comes across. Nowadays many artist are aware of this, previously few reflected on this. All creatives are/were aware of this attitude, the state of mind, this style of conscious awareness, this way of 'just being', all mystics knew that - realizing the Buddha mind, being oned with Eckhart's Godhead, the one real self of Vedan- ta, the Father of Jesus, etc, etc. The human mind treats smaller paintings as if it is looking AT an object or a thing such as a table or chair , but larger works are experienced (like installations) as if one is part of them and participate in them. Now that you know this please do not treat these images as if they are just more objects or things you look AT, but experience and participate in them. (shrink)

Review of Gerhard Richter's work on randomness in his recent abstract art paintings, compared with John Cage's work on randomness; the review asks about what randomness in representation qua art amounts to.

Images of jumpers represent an emotionally charged symbol of 9/11, yet just after 9/11 their circulation was quickly and dramatically censored. Yet twenty years later, the 9/11 archive continues to be curated in this way. As the 9/11 archive particularly supports the justification of many military tactics and international interventions, it becomes important to look at what has been excluded and why, including photographs and video. This paper will turn to representations of jumpers in three forms – in photography, in (...) literature, and in film. It will address Richard Drew’s famous ‘Falling Man’ photo, literary representations of the photo in Don DeLillo’s novel Falling Man, and film of jumpers in Alejandro González Iñárritu’s short film from the collection 11ʹ09”01: September 11th. This article thinks through how narratives surrounding jumpers serve to maintain governmental support for international intervention, while very few representations seek to propel another story. (shrink)

Onur Karamercan, Heidegger'de Sanat Eserinin Yeri: Sanal Müzeler Çağında Sanat ve Mekân adlı yazısında, iki yıldır yaşamakta olduğumuz salgınla birlikte çok daha sık biçimde görülmeye başlayan “sanal müze” veya “elektronik müze” uygulamalarına yakından bakar. Dünyanın en meşhur müzelerinin ve sanat galerilerinin sanatsal ve kültürel etkinliklerden mahrum kalmak istemeyen ziyaretçilerine "kapılarını" elektronik ortamda açtığı ve birçok müzenin de koleksiyonlarını tamamen ya da kısmen dijitalleştirdiği bu ortamda, şu iki soruyu yanıtlamayı amaçlar: 1) Bir mekân olarak bir müzeyi uzaktan ziyaret etmek ve bir (...) müzede sergilenen sanat eserlerini internet üzerinden “deneyimlemek” ne anlama gelmektedir ve 2) bu estetik-dijital “deneyim” (Erlebnis) insanın sanat ve mekân ile olan ilişkisi ve sanat eserinin “tecrübesine” (Erfahrung) dair ne söylemektedir? (shrink)

During that time, the neighborhood was a combination of dirt, sand, and asphalt. Big trees were still common, and kids could run around freely. Nowadays, asphalt roads have replaced the dirt roads, skyscrapers and housing complexes were erected in the large empty ground, and big trees have been cut down. The kids now sit safely inside their parents' cars, and once they go out, the parks offer an uninterrupted experience of artificial grass.

As the planet’s largest ecosystem, oceans stabilise climate, produce oxygen, store CO2 and host unfathomable biodiversity at a deep time-scale. In recent decades, scientific assessments have indicated that the oceans are seriously degraded to the detriment of most near-future societies. Human-induced impacts range from climate change, ocean acidification, loss of biodiversity, eutrophication and marine pollution to local degradation of marine and coastal environments. Such environmental violence takes form of both ‘spectacular’ events, like oil spills and ‘slow violence’, occurring gradually and (...) out of sight. The purpose of this paper is to show four cases of coastal and marine forms of slow violence and to provide counter-accounts of how to reinvent our consumer imaginary at such locations, as well as to develop what is here referred to as ‘low-trophic theory,’ a situated ethical stance that attends to entanglements of consumption, food, violence, environmental adaptability and more-than-human care from the co-existential perspective of multispecies ethics. We combine field-philosophical case studies with insights from marine science, environmental art and cultural practices in the Baltic and North Sea region and feminist posthumanities. The paper shows that the oceanic imaginary is not a unified place, but rather, a set of forces, which requires renewed ethical approaches, conceptual inventiveness and practical creativity. Based on the case studies and examples presented, the authors conclude that the consideration of more-than-human ethical perspectives, provided by environmental arts and humanities is crucial for both research on nature and space, and for the flourishing of local multispecies communities. This paper thus inaugurates thinking and practice along the proposed here ethical stance of low-trophic theory, developed it along the methodological lines of feminist environmental posthumanities. (shrink)

The ongoing global pandemic of Covid-19 has exposed SARS-CoV-2 as a potent non-human actant that resists the joint scientific, public health and socio-political efforts to contain and understand both the virus and the illness. Yet, such a narrative appears to conceal more than it reveals. The seeming agentiality of the novel coronavirus is itself but one manifestation of the continuous destruction of biodiversity, climate change, socio-economic inequalities, neocolonialism, overconsumption and the anthropogenic degradation of nature. Furthermore, focusing on the virus – (...) an entity that holds an ambiguous status between the ‘living’ and ‘non-living’ – brings into question the issue of the agentiality of non/living matter. While the story of viral potency seems to get centre stage, overshadowing the complex and perverse entanglement of processes and phenomena which activated these potentials in the first place, the Covid-19 pandemic also becomes a prism that sheds light on the issues of environmental violence; social and environmental injustices; more-than-human agentiality; and ethico-political responses that the present situation may mobilise. -/- This article serves as a written record of joint conversations between artists and researchers in the working group ‘Non/Living Queerings’ that formed part of the online series of events ‘Braiding Friction’ organised by the research project Biofriction. The article strives to capture the collective effort of braiding and weaving a variety of situated perspectives, theoretical toolboxes, knowledges and experiences against the background of the ongoing Covid-19 pandemic. In particular, the text focuses on the issues of crisis, ‘amplification effect’, viral agency and the changing notions of humanity. (shrink)

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

The book Theory and Practice of Contrast completes, corrects and integrates the foundations of science and humanities, which include: theory of art, philosophy (aesthetics, epistemology, ontology, axiology), cognitive science, theory of information, theory of complexity and physics. Through the integration of these distant disciplines, many unresolved issues in contemporary science have been clarified or better understood, among others: defining impact (contrast) and using this definition in different fields of knowledge; understanding what beauty/art is and what our aesthetic preferences depend on; (...) deeper understanding of what complexity and information are in essence, and providing their general definitions. Complexity means integration, value and goodness - concepts that seem to be neglected today. The book also has a high degree of integration/complexity, although each chapter introduces a new issue. The last chapter: "Binary Model of the Universe" draws attention to the need for including in physics the analysis of our mind and the resulting new possibilities, which include the mentioned (digital) model of the universe. Despite the difficult issues raised here, this study is written in accessible language and may be interesting not only for scientists and academics. (shrink)

This essay explores the nihilistic nature of the idea of postmodern aesthetics in the Western world by highlighting its historical and cultural specificity in contrast with non-Western postmodernities, in particular in East Asia, and this in spite of their formal similarities. We then have to question the nature, possibility and implication of Western postmodern aesthetics overcoming itself within the context of globalisation.

Artists’ books are challenging to photograph. They function as a unit of tightly conceptually-bound visual, textual and material elements in addition to a heightened self-awareness of the work's booksness. Binding, size, weight, and shape of the book, translucency, texture, thickness of paper, placement of images and/or text on the page or off the page interact with other graphic elements; they control, and direct the reader towards the expressive components of meaning which arise from pace, haptic experience, and visual or structural (...) stylistic choices. Most of such information gets sacrificed in the process of documentation. Here I discuss some of such issues of photographing artists books for this journal and my solutions to replicating each artists’ book within the physical and thematic constraints of this publication: I tried not only to visualize the books’ content but also to translate some of the experience of how that content makes itself meaningful to the reader. (shrink)

Entrevista com Júlia Rebouças, curadora, pesquisadora e crítica de arte.

This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...) about cinema and modernism, where film at least provides us a symbol of relief from concerns about medium specificity. In the second part of the essay I argue that something close to Cavell's and Fried's thoughts (about using the figure of theater to remind us of cinema's specificity, but also of cinema in its character as a symbol of relief from medium-specific concerns) takes on a certain urgency in questions about what cinema is in the digital age, manifested in representations of theater in the digitally photographed "Shakespeariadas" series by the contemporary Argentine filmmaker Matías Piñeiro. (shrink)

Traditionally galleries and museums were one-dimensional, visually.These curators, critics, artists and gallerists developed multi-sensory art galleries, involving all senses. as well as living installations such as bees producing honey their books published. This is far beyond traditional installations and exhibitions. Night tours by torchlight, education, accommodation, therapy, participation, exploration, local community involvement and more are available.

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. (...) The functions of relevant art works are explained more detailed than usual in such histories. The second edition for the Book on Demand (Lulu Press, 2020) includes an update of chapter II.1.1 (first edition 2014). (shrink)

In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project (...) does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only masters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. (shrink)

This dissertation addresses issues with regard to veracity in situations where dynamic environments are observed with the intention to make static documentation. An increasingly internet-driven society may give more weight to Derrida's attestation in Archive fever that, regardless of our drive to trace everything back to its inception, you cannot find the root of all roots. I will argue that this inability may inhibit the attainment of a status of veracity for a slice of information, and use examples of my (...) own documentation to come to a better understanding of what the problems are. I conclude by suggesting that, while actual objectivity in documentation may be improbable, excusing it on the basis of that improbability may appear an avoidance of responsibility. (shrink)

Arts Entrepreneurship is a comparatively new concept in arts management however, it is inevitable for the arts, especially classical music to adapt the concept for its survival. This article investigates how arts entrepreneurship is executed through strategic collaboration in three different cases of classical music organizations in Seoul, Korea: Yellow Lounge Seoul, Ensemble Ditto and The New Baroque Company. By providing vivid examples of how to apply arts entrepreneurship in classical music products, it will better help to understand the concept. (...) The study conducted a focused group interview (FGI) with concert with classical music marketing specialists and their strategic collaborators. The framework of entrepreneurial orientation (EO) was applied to analyze identify arts entrepreneurship in each organization. The entrepreneurial approaches of these organizations are identified by how their entrepreneurial orientation (EO) is executed in their innovativeness, risk-taking, and proactiveness. The results of this empirical study are demonstrated in three aspects: 1) Strategic collaboration with an unconventional partner resulted in realization of entrepreneurial orientation. 2) Entrepreneurship through strategic collaboration resulted in reducing production costs, sourcing new funds, increasing the audience base and performance opportunities 3) Arts entrepreneurship was designed to maintain the core value that the quality of music would not be compromised or altered. (shrink)

In the contemporary context of environmental crises and the degradation of resources, certain habitats become unliveable, leading to the death of individuals and species extinction. Whilst bioscience emphasises interdependency and relationality as crucial characteristics of life shared by all organisms, Western cultural imaginaries tend to draw a thick dividing line between humans and nonhumans, particularly evident in the context of death. On the one hand, death appears as a process common to all forms of life; on the other, as an (...) event that distinguishes human from other organisms. Against this background, this article explores how contemporary art—in particular, the series of works The Absence of Alice by Australian new-media and bioartist Svenja Kratz—challenges the normative and human-exceptionalist concept of death. By employing queerfeminist biophilosophy as a strategy that focuses on relations, processes and transformations instead of ‘essences’, the article examines the ways Kratz’s works deterritorialise the conventional concept of death. In this way, it hopes to attend to the intimacies between materialities of a human and nonhuman kind that form part of the processes of death and dying, and what follows, to reframe ethico-ontology of death as material and processual ecologies of the non/living. (shrink)

In this chapter we argue for biophilosophy as a queerfeminist and posthumanities methodology that attends to the question of life by focusing on multiple differences and transformations, materiality and processuality, as well as relations, intra-actions, and disconnections. By combining both the ontological and ethical concerns that go beyond what is conventionally seen as “life”, biophilosophy offers a critical and innovative approach to the issues of death, extinction, (un) liveability, terminality, and toxicity, among others, which all form the backbone of the (...) environmental crises and changing conditions of life on Earth, often framed as the Anthropocene. In what follows, we first discuss select theorisations and implications of the “life/death” coupling as an ethico-political question; subsequently we elaborate the concept of biophilosophy as a methodology; and finally, we propose two examples where we test biophilosophy as a framework that allows us: (1) to engage with the enmeshment of life and death through the concept of the non/living, and (2) to explore the concept of toxic embodiment as an onto-ethical condition we all (human and non-human) are differentially immersed in. (shrink)

Elämä tavataan nähdä kuoleman vastakohtana. Tällaisen kahtiajaon ulkopuolelle mahtuu kuitenkin paljon ontologisia ja eettisiä kysymyksiä, joita on lähdettävä purkamaan toisesta suunnasta. Marietta Radomska ja Cecilia Åsberg ehdottavat suunnaksi biofilosofiaa, jossa elämistä ja kuolemista tarkastellaan yhteen kietoutuneina ja yhdessä muuttuvina.

What is reality? It is postmodern or poststructuralist philosophers like Roland Barthes, who realized that it only seems that the media present reality in the form of facts, because they actually spread myths. Accordingly, Jacques Derrida made it clear that communication via media is not based on logic, but is characterized by a significant “différance” between a “marque” (trace) of the past and the expectations of the future. Both agreed, that the initial misunderstanding of the concept of reality must be (...) uncovered or "deconstructed". This is more than necessary for them, because media, be it pictures or language, in truth convey values that are culturally and socially significant. They ‘iterate’ these values subliminally, because what shows up are only placeholders and thus mere forms (“structures of graphematic”) that are superficially realised as facts (“stereotypes”). In this way, according to Barthes, we all accept without question the values hidden behind them, so that they can gain a normative power that unconsciously guides our thinking, our decisions and our actions. Afterwards, it is Judith Butler who critically asked: How can we ever escape from this? Given the power of the subliminal dominant discourses, she saw the only effective solution “im Umdeuten” (in reinterpretation) of their subliminal values. In order to finally escape this “parasitic existence at the ritual”, the media philosopher Walter Benjamin already suggested to trigger "Chockwirkungen” (shock effects) in the viewer. It is the German painter Karin Kneffel, so it shall be shown, who has realized this with her series Fruits and Interiors in the most beautiful photorealistic strategy. (shrink)

What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...) research focused on our perceptual engagement with artworks. Recent breakthroughs in cognitive science and behavioral science can explain how we recognize artworks and how we differentiate them from more quotidian artifacts. Seeley pushes this line of reasoning, showing how cognitive science can help reveal the way artworks function as a unique source of value. Cognitive systems integrate this information into our experience of art, guiding attention and shaping what we perceive. Our understanding and appreciation of artworks is therefore carried in our perceptual experience of them. -/- Attentional Engines explores the pitfalls and potential of this interdisciplinary strategy for understanding art. It articulates a cognitivist theory of art grounded in perceptual psychology and neuroscience and demonstrates its application to a range of puzzles in the philosophy of the arts. This includes questions about the nature of depiction, the role played by metakinesis in dance appreciation, the nature of musical expression, and the power of movies. The provocative interdisciplinary theories Seeley presents will appeal to scholars and students interested in aesthetics, philosophy of mind, philosophy of art, cognitive science, and anyone with a burning curiosity about how artworks work. (shrink)

The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to further a philosophical move aiming at the very logical core of the question of art. In conclusion, the idea of Singular Rule is offered as capturing the defining logic of art. In so doing, the logical structure of a singular rule is uncovered and in that also the sense in which the idea of singular rule both explains and justifies the role that art (...) plays in our life. In his Kitsch and Art Tomas Kulka extends Karl Popper's refutation principle in science to the arts. He asks of a true work of art to be open to “refutation” by way of evaluating it against its own admissible alterations or variations. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt”. In considering alterations that are aesthetically better, worse or neutral with respect to the original picture, Kulka offers us a rational reconstruction of key aesthetics concepts such as unity, complexity and intensity. His reconstruction will show that a work of kitsch does not qualify as art in direct analogy to a proposition that cannot qualify as scientific if it is not refutable. Kitsch cannot be “refuted” by any of its possible alterations as they are all of equal aesthetic value. This explains the aura of empty perfectionism that accompanies the experience of kitsch since the work of kitsch does not carry any promise for improvement nor does it show itself superior to any of its possible alterations. Notwithstanding Kulka’s novel analysis, its premise we must note is grounded in the work of art impressing on us a single basic perceptual gestalt with respect to which an alteration can qualify as admissible. But in acknowledging the possibility of a gestalt-switch or the fact that the work of art can impress on us a variety of mutually-exclusive perceptual gestalts, Kulka's analysis loses the logical anchor necessary for it to work. However, in what might look at first sight as an unrecoverable logical deficiency, we find an anchor to a novel analysis to the question of art. This is our analysis to the idea of art as a singular rule. Indeed, the concept of a singular rule - a rule onto itself which has exclusively itself as its own argument - must strike us as paradoxical. But in offering to reconstruct the work of art through the complementary concepts of background and figure - to match respectively the how and the what of the work - we are able to provide a structural resolution to the idea of singular rule as what defines art. In this we believe we deliver a definitive answer to the question of art. (shrink)

The post-conflict societies of Bosnia and Kosovo continue to be plagued by the deleterious effects of ethno-nationalism and ethnic enclaves. Unfortunately, this mix impedes both democracy and peace building within these Balkan countries. One way to promote such building is for these enclaves to collapse, thereby allowing multiethnic societies to develop. This essay proposes that enclaves be dealt with physically by ridding them of those evocative objects that help to create and maintain enclaves. By getting physical in this way, however, (...) we find ourselves in a dilemma, caught on the horns of legality and expediency. Yet there is a promising path between the horns that involves civic design. This essay offers a physicalist theory of managing these impediments to democracy and peace building, beginning with four hypotheses, followed by an abstraction and mathematization in the form of a matrix, a dilemma arising from these hypotheses, and possible solutions. (shrink)

How can artists create works of computer art or Internet art in which audience members become genuine artists and collaborate with the original artists on the self-same work that they began? To answer this question, this essay will reflect on the work of philosophers who focus on questions concerning art completion and the ontology of computer art. This essay will also reflect on the artistic work of the trio LaBeouf, Rönkkö & Turner, whose artwork can serve as a model for (...) creating collaborative, digital art. (shrink)

This paper explores how Mexico’s population has been faced with the polemics of class and race. This division continues today through the Mexican ruling class’s appropriation of advertising. I am interested in the functions and systems in place that allow this to propagate and how meaning is being reproduced unperceived by the audience. My thesis question asks, What are the visual representations of the power relationships in Mexico’s political economy as reflected through the appropriation of advertising? To answer this question, (...) I perform a semiotic analysis of branded advertising messages created by the companies Bimbo, Palacio de Hierro and FEMSA, owned by the Mexican ruling families Servitje, Baillares and Garza respectively. Each television commercial is examined for signs, cultural codes, gestures, gaze and word tracks. These signs are decoded, and the conclusion is expressed through “An Exhibition of Visual Messaging”, designed to inform the Mexican public of how messages are constructed and received, empowering the viewer to interpret and challenge the meaning behind the communications they are receiving through the metamedia. (shrink)

Can provocative sculptural aesthetics alter our perception of history? This article focuses on the sensational effect caused by the 2015 exhibition of Anish Kapoor's monumental Dirty Corner in Versailles. Does the reception of such contextual art rely on the ability to collate different aesthetic experiences on the artwork's surface? The Indo-British sculptor's divisive use of ethics has opposed the supporters of a vision of art based on the quest for the sublime to those who opt for an artistic adventure pulling (...) down ethical and aesthetic norms. (shrink)