: This paper critiques enlightenment notions of representation and rehearses an alternative model of mapping that is grounded in performance. Working from her own practice as a landscape painter, Bolt argues that the particular experience of the "glare" of Australian light fractures the nexus between light, form, knowledge, and subjectivity. This rupture prompts a move from shedding light ON the matter to shedding light FOR the matter and suggests an emergent rather than a representational practice.

This paper critiques enlightenment notions of representation and rehearses an alternative model of mapping that is grounded in performance. Working from her own practice as a landscape painter, Bolt argues that the particular experience of the “glare” of Australian light fractures the nexus between light, form, knowledge, and subjectivity. This rupture prompts a move from shedding light ON the matter to shedding light FOR the matter and suggests an emergent rather than a representational practice.

In this article, presented as the Second Annual Thesis Eleven Centre Lecture in 2003, Bernard Smith discusses the practice of writing art history in, and about, Australia and Europe. Smith defends periodization, and argues for the necessity of henceforth viewing what is typically called modernism as what he calls the formalesque. Further discussion includes problems of classification, the role of theory, and the place of Aboriginal art in white art history. The article thus surveys the condition of art history in (...) Australia, its emergence and consolidation as a discipline, and its present situation as part of contemporary world culture. (shrink)

This paper proposes that pictures are functional objects which figure in norm‐governed practices of usage yet whose specific function is to present the world as it looks to acculturated perceivers. Pictorial content presents the way the world looks to a subject's acculturated perceptual grasp. Hence, pictorial content needs to be explained in terms of a theory of perceptual content, but a novel theory which departs from the two‐stage sensation‐based approach to perception and the polarization between naturalism and conventionalism that it (...) engenders. Following a diagnosis of this polarization, I invoke a novel theory of perception that explains perceptual content as conceptually articulated and determinate in character. I show that (1) pictures present content of the same distinctive determinate type as perceptual content; and that (2) pictures do so by invoking perceptual experience and perceptual processes that are of the same kind as those invoked by actual scenes. This perceptualist approach considers and explains the role of norms as well as of the nature of our visual processes, allowing us to allocate the insights of both conventionalism and naturalism to their proper theoretical roles. (shrink)

The theoretical debate on the nature of narrative has been mainly concerned with literary narratives, whereas forms of non-literary and especially pictorial narrativity have been somewhat neglected. In this paper, however, I shall discuss narrativity specifically with regard to pictorial objects in order to clarify how pictorial storytelling may be based on the activation of mentally stored action and scene schemas. Approaches from cognitive psychology, such as the work of Schank, Roger C. & Robert P. Abelson. 1977. Scripts, plans, goals (...) and understanding. Hillsdale, NJ: Lawrence Erlbaum; Mandler, Jean Matter. 1984. Stories, scripts, and scenes: Aspects of schema theory. London/hillsdale, NJ: Lawrence Erlbaum; Schank, Roger C. 1995. Tell me a story: Narrative and intelligence. Evanston, IL: Northwestern University Press, suggest that cognition crucially depends on the storage and retrieval of action scripts or schemata, that is, narrative structures, which may occur at various levels of abstraction. These schemas incorporate generalized knowledge about event sequences, such as the order in which specific events will take place; causal, enabling, or conventionalized relations between these events, and what kind of events occur in certain action sequences. There also are scene schemas that are characterized by spatial rather than temporal relations. Further kinds of schemas seem also to play a decisive role. Drawing upon considerations from schema and script theory, I will focus on some concrete examples of pictorial narration, more specifically depictions of the Annunciation of the Virgin Mary, where narrative schema structures become involved and, indeed, the comprehensibility of the pictures as such presuppose mental script representations. (shrink)

This article is primarily concerned with the philosophical problems that arise out of a consideration of painting. By painting I mean of course not any kind of application of paint to a surface – house painting for instance – but painting as an art, to use Richard Wollheim's phrase. Since Plato, philosophy has intermittently been concerned with these problems, and over the past 30 years, painting has come under a new focus as philosophy of art has increasingly turned its attention (...) to the issues that arise from particular art forms. I will also draw on some ideas developed in art history and theory, which have a suitably philosophical, that is, general or foundational, character. There are many philosophical issues that arise equally from painting and other art forms, but for just this reason, they are best addressed in a broader cross-art-form context, and I will mostly avoid dealing with them here. Instead, I will focus on issues that arise solely or with a special force from a consideration of painting. It will be helpful to roughly arrange these in two categories. The first is representation; the second is form. We shall see that these categories are difficult to keep separate with regard to painting and overlap at various points. (shrink)

This essay considers the beginnings of the journal October's critical practice and the significance of a work by Michel Foucault: “Ceci n'est pas une pipe”.1 The theoretical issues/problematics raised by this essay became key to future debates in and around October; the essay becoming something of an emblematic means by which October might be distinguishing from other visual art critical practices. The importance of Foucault's text in relation to October was revealed during correspondences with Rosalind Krauss in August 2001. Foucault's (...) self-referential essay can be seen as crucial not only to Rosalind Krauss's intellectual development, but also to the continuing debate on the nature of text and image in which the journal would be involved. The spiralling interplay of Foucault's narrative, combined with Magritte's picture, might be interpreted as a metaphor for the mediations of post-structural visual criticism itself as its practitioners sought to institute language into the visual sign, a project that attempted to produce a theoretical rationale – and perhaps a justification – for images being treated as if they were texts; thus, paraphrasing Foucault, introducing into the plenitude of the image a certain disorder. Such a weaving together of representation and discourse is interpreted as the formation of a destabilizing dialectic, a dialectic that can be linked to the writings of October as it shifts its rhetorical locations in an attempt to break down the normative pictorial and discursive frames of reference; becoming in essence a dedisciplinary and de-formative critical practice. This essay provides an outline of the determining conditions that led to the development of this “linguistic turn” and an associated reflection on Foucault's text that seeks to direct attention specifically towards its semiotic and discursive implications in relation to the developing oeuvre of criticism exemplified by the magazine. The essay is supported by interviews with Rosalind Krauss and Douglas Crimp conducted by the author in March 2002. (shrink)

Over the past 10 years two concepts of central significance in the social sciences have come up for rediscussion: ‘space’ and ‘gender’. Today the two concepts are seen as relational, as a production process based on relation and demarcation. Gender and space alike are a provisional result of an – invariably temporal – process of attribution and arrangement that both forms and reproduces structures. This article takes a microsociological look at the construction of the local, seeking to trace the genderization (...) of spaces. For this purpose, it discusses the organization of perceptions, in particular of glances and corresponding body technologies. Referring to the example of beach life, the article shows that the genderization of perception leads, in the sense of an embodiment of social order, to a practice of localization that reproduces the structural principles of society. In other words, gender may be seen as inscribed, via body practices, in the production of spaces. (shrink)

It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret and make raised‐line drawings through touch. (...) This shows that pictures are not essentially visual representations. The view that pictures are essentially visual follows from influential views of the nature of depiction and of the nature of vision that are mistaken. By rooting out the mistake, we learn something about pictures, something about vision, and something about the doctrine that art media are individuated by the sense modalities. (shrink)

How do we define Black politics conceptually? What is the conceptual jurisdiction from which it is framed as distinct from other political concepts? The concept of Black politics, I argue, operates as a force of refusal of the inevitability of liberalism as the ‘end of history.’ It repudiates what liberal politics routinely represents as pacific, universal, rational and inclusive to the field of politics. The concept of Black politics, then, is an anamorphic signifier that destabilises dominant conceptions of liberal politics (...) as inevitable. I make two arguments in this article: first, that liberalism is an anaemic singularity that excludes the imperial and racial assemblages in which it is implicated, and second, that the concept of Black politics is anamorphic in so far as it creates the possibility for emancipation that transcends this liberal obligation in its imperial and racial assemblages. (shrink)

In analogy with Rousseau's concept of ?civil religion? as a system of ?positive dogmas?, ?without which?, as he observed, ?a man cannot be a good citizen?, this paper advances the concept of ?civil epistemology? as the positive dogmas without which the agents of government actions cannot be held accountable by democratic citizens. The civil epistemology of democracy shapes the citizen's views on the nature of political reality, on how the facts of political reality can be known and by whom. Modern (...) liberal democratic politics assumes that the exercise of political power can be manifest in a visible domain of publicly accessible facts. It rests on the Enlightenment faith in the powers of light and visibility to demystify political power, render political actors more exposed and therefore more honestly accountable and enlist the sense of sight as a vehicle of universal political participation. It is, in this context, that technology has come to play such an important symbolic role in the construction of the particular democratic genre of public action as a political spectacle. Democratic civil epistemology, and technology ? in the widest sense of the word ? as the prototype of action which can be observed in the field of visual perception, uphold the democratic conception of politics as a view. Together they define political actors as visible performers, journalists as observers (who translate actual seeing into virtual seeing) and the citizens as witnesses. (shrink)