Denaturalizing Time: On Kris Verdonck's Performative Installation End

2014 ◽  
Vol 39 (1) ◽  
pp. 47-56 ◽  
Author(s):  
KATIA ARFARA
Keyword(s):  
Visual Arts ◽  
Installation Art ◽  
Single Point ◽  
Point Of View ◽  
Major Influence ◽  
Human Society ◽  
Work Of Art ◽  
The Spectator ◽  
The 1960S ◽  
Space Art

Originating from the avant-garde's attempt to supplant the structural limitations of perspective which ‘bound the spectator to a single point of view’, installation art emerged during the 1960s and the 1970s as a critique of the pure, self-referential work of art. Belgian artist Kris Verdonck integrates that modernist debate into his hybrid practice of performative installation. Trained in visual arts, architecture and theatre, Verdonck uses sophisticated technological devices in order to blur binary distinctions such as time- and space-art, inanimate and animate figures, and immateriality and materiality. This study focuses on End (Brussels 2008), which shows the possible final stages of a human society in ten scenes. I analyse End as an echo of the Futurists’ performance tactics, which prefigured a broadening of the formal aesthetic boundaries of performance art under the major influence of Henri Bergson's theory of time.

scholarly journals Abstraction and art

2003 ◽  
Vol 358 (1435) ◽  
pp. 1241-1249 ◽  
Author(s):  
Bernard Gortais
Keyword(s):  
Visual Arts ◽  
Science And Technology ◽  
Work Of Art ◽  
Digital Platforms ◽  
The Arts ◽  
Successful Work ◽  
The World ◽  
The Spectator ◽  
Definition Of ◽  
Generic Representation

In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man–machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music.

Meta-relativist agenda in contemporary visual arts theory and practice

2021 ◽  
Vol 6 (1) ◽  
pp. 39-53
Author(s):  
Marat Khassanov ◽  
Vera Petrova ◽  
Assiya Khassanova
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
New Technologies ◽  
Theory And Practice ◽  
Philosophy Of Art ◽  
Work Of Art ◽  
Relativist Approach ◽  
The Times ◽  
Definition Of ◽  
Space Art

The borders of visual art on the eve of the 20th-21st centuries are being extremely expanded both at the empirical and theoretical levels and so is the agenda of contemporary philosophy of art. Is the unprecedented polyphony of discourses a methodological drawback or is it a heuristic opportunity that can help to broaden our knowledge about the essence of art and the notion of a work of art? What is visual art and what is artwork speaking the 21st century language? The study examines the current trends and innovations in the visual arts field and how they can be interpreted. Authors come to conclusion that the times of normative or negativist approaches are over. The plethora of transformations is a value-in-itself and can be seen as a legitimate methodological situation, namely, as a meta-relativist turn. Examples that are presented in the paper deal with different sides of “a work of art formula”: span of discourse, artist, audience, art space, art market, new technologies, etc. Those cases demonstrate the ambivalence of current visual art practices that can be interpreted either as complete negation of the preceding standards or as new discourses that are equally legitimate with the older ones. Meta-relativist approach treats all existing discourses and practices as equally legitimate and thus provides the method to broaden our understanding of the essence of art and definition of an artwork. The study suggests that it is a contemporary tool for further intra- and inter-disciplinary dialogue.

Erotic art

2018 ◽  
Author(s):  
Jerrold Levinson
Keyword(s):  
Sexual Arousal ◽  
Visual Arts ◽  
Sexual Content ◽  
Specific Kind ◽  
Work Of Art ◽  
Intended Audience ◽  
Western Art ◽  
The Spectator ◽  
Erotic Art ◽  
In Virtue Of

Erotic art is art with a sexual content, which may be more or less overt. The presence of sexual content, however, is not sufficient for a work of art to be considered erotic. Although there is more than one sense in which a work can be said to be erotic, an erotic work of art must aim at and to some extent succeed in evoking sexual thoughts, feeling or desires in the spectator, in virtue of the nature of the sexual scene it represents and the manner in which it represents it. This aim, definitive of erotic art, may be a work’s principal aim, but need not be. Erotic art often tends to express the artist’s interest in and attitude towards sexuality; and whether or not it does, seeing it as expressing the artist’s sexuality is likely to contribute towards the spectator’s sexual arousal. An erotic work of art has an intended audience of a more or less specific kind, most frequently men. Erotic art is distinguished from pornography in at least two ways. First, pornography lacks any artistic intent. Second, its main aim is not only to stimulate the spectator sexually but to degrade, dominate and depersonalize its subject, usually women. This article is restricted in scope in at least two ways. First, it concerns exclusively the visual arts. Second, its focus is Western art, and primarily art from the Renaissance onwards.

scholarly journals The performative turn at Inhotim: installation art and Baudelairean modernity

2013 ◽  
Vol 23 (3) ◽  
pp. 13-30
Author(s):  
Lauren S. Weingarden
Keyword(s):  
Aesthetic Experience ◽  
Installation Art ◽  
Charles Baudelaire ◽  
Art Museum ◽  
Transformative Experience ◽  
Work Of Art ◽  
Botanical Gardens ◽  
The Spectator ◽  
The Aesthetic ◽  
The Individual

This article explores the participatory turn in installation art as part of a trajectory from Baudelairean modernity to twentyfirst-century postmodernity, as represented at Inhotim, the outdoor contemporary art museum and botanical gardens in Brumadinho, MG. In his 1862 essay “The Painter of Modern Life,” Charles Baudelaire defined modernity as fleeting, transitory and fragmentary. Baudelairean modernity initiated a breakdown of boundaries between art and life and between high art aesthetics and popular culture, which continues in the work of installation artists. In the sites of installation art, the spectator is compelled to extend – rather than complete – the work of art in his/her own time, prior experiential encounters and transformative afterthoughts. The shift from the isolated work of art to the experiential one not only complicates how and where works of art are viewed, but also radicalizes the materials that constitute the work of art – whether those materials are extracted from the quotidian sphere or complex technologies, each undergoes a process of defamiliarization and reactivation to produce the transformative aesthetic experience. The individual installations in Inhotim’s “outdoor museum” engage the spectator in a dynamic/participatory experience with spatial, temporal and material relationships that define the very essence of art’s reciprocity, or contrast with the natural and man-made worlds. It is the rarefied setting of Inhotim’s botanical gardens that makes the participatory and transformative experience central to the aesthetic encounter with installation art.

Digital Art: The ’60s to the ’80s, from the Point of View of an Observactor

Leonardo ◽  
2018 ◽  
Vol 51 (2) ◽  
pp. 143-144
Author(s):  
Edmond Couchot
Keyword(s):  
Visual Arts ◽  
Point Of View ◽  
Digital Art ◽  
Aesthetic Perception ◽  
Art And Technology ◽  
Short Biography ◽  
The Creation ◽  
University Of Paris ◽  
The Spectator ◽  
The University

In this short biography, Edmond Couchot tells how, after having attempted a plastic-art synthesis between gestural painting and lumino-kineticism, he became interested in cybernetics and visual arts and the participation of the spectator in aesthetic perception. Then we learn how, in the early 1980s, he took part in the creation of a new degree course in art and technology of the image at the University of Paris-VIII.

A Futures Study on the Quality Of Life from the Point Of View of Iranian Youth

2017 ◽  
Vol 14 (2) ◽  
pp. 1
Author(s):  
Sina Saeedy ◽  
Mojtaba Amiri ◽  
Mohammad Mahdi Zolfagharzadeh ◽  
Mohammad Rahim Eyvazi
Keyword(s):  
Quality Of Life ◽  
Life Satisfaction ◽  
Mixed Model ◽  
Satisfaction With Life ◽  
Point Of View ◽  
Human Society ◽  
Futures Studies ◽  
The Social ◽  
The University

Quality of life and satisfaction with life as tightly interconnected concepts have become of much importance in the urbanism era. No doubt, it is one of the most important goals of every human society to enhance a citizen’s quality of life and to increase their satisfaction with life. However, there are many signs which demonstrate the low level of life satisfaction of Iranian citizens especially among the youth. Thus, considering the temporal concept of life satisfaction, this research aims to make a futures study in this field. Therefore, using a mixed model and employing research methods from futures studies, life satisfaction among the students of the University of Tehran were measured and their views on this subject investigated. Both quantitative and qualitative data were analysed together in order to test the hypotheses and to address the research questions on the youth discontentment with quality of life. Findings showed that the level of life satisfaction among students is relatively low and their image of the future is not positive and not optimistic. These views were elicited and discussed in the social, economic, political, environmental and technological perspectives. Keywords:  futures studies, quality of life, satisfaction with life, youth

POETIC FEATURES OF THE LITERARY TEXT

2020 ◽  
Vol 73 (3) ◽  
pp. 123-132
Author(s):  
G. Mukhamejanova ◽  
◽  
A. Mukhamejanova ◽  
Keyword(s):  
Literary Text ◽  
Point Of View ◽  
Work Of Art ◽  
The Subject ◽  
Language Literature ◽  
Study Development

Currently, due to linguistic personalities associated with culture, language, national existence, especially with literature, various aspects and aspects of linguistics are revealed in the development of literature in linguistics and linguoculturology. From this point of view, linguistics, first of all, reveals the essence of linguistic poetics, determines the degree of its residence in the language, literature, reveals the subject of study, development, teaching, and connections with other branches of science. This article examines the phonetic micropoetics of the language of a work of art, and also analyzes the nature of phonetic phenomena used in a work of art, using specific examples.

Spectator View: Enabling Asymmetric Interaction between HMD Wearers and Spectators with a Large Display

2021 ◽  
Vol 5 (ISS) ◽  
pp. 1-17
Author(s):  
Finn Welsford-Ackroyd ◽  
Andrew Chalmers ◽  
Rafael Kuffner dos Anjos ◽  
Daniel Medeiros ◽  
Hyejin Kim ◽  
...  
Keyword(s):  
Virtual World ◽  
Large Scale ◽  
User Study ◽  
Point Of View ◽  
Virtual Camera ◽  
Head Mounted Display ◽  
Joint Task ◽  
Reference Space ◽  
Collaborative Interaction ◽  
The Spectator

In this paper, we present a system that allows a user with a head-mounted display (HMD) to communicate and collaborate with spectators outside of the headset. We evaluate its impact on task performance, immersion, and collaborative interaction. Our solution targets scenarios like live presentations or multi-user collaborative systems, where it is not convenient to develop a VR multiplayer experience and supply each user (and spectator) with an HMD. The spectator views the virtual world on a large-scale tiled video wall and is given the ability to control the orientation of their own virtual camera. This allows spectators to stay focused on the immersed user's point of view or freely look around the environment. To improve collaboration between users, we implemented a pointing system where a spectator can point at objects on the screen, which maps an indicator directly onto the objects in the virtual world. We conducted a user study to investigate the influence of rotational camera decoupling and pointing gestures in the context of HMD-immersed and non-immersed users utilizing a large-scale display. Our results indicate that camera decoupling and pointing positively impacts collaboration. A decoupled view is preferable in situations where both users need to indicate objects of interest in the scene, such as presentations and joint-task scenarios, as it requires a shared reference space. A coupled view, on the other hand, is preferable in synchronous interactions such as remote-assistant scenarios.

Media-Bodies: Choreography as Intermedial Thinking Through in the Work of William Forsythe

2010 ◽  
Vol 42 (1) ◽  
pp. 61-72 ◽  
Author(s):  
Sabine Huschka
Keyword(s):  
Installation Art ◽  
Art Practice ◽  
Public Performance ◽  
Open Spaces ◽  
Movement Perception ◽  
Movement Performance ◽  
Interactive Relationship ◽  
The Media ◽  
The Spectator

Since Ballet Frankfurt was reconstituted as the Forsythe Company in 2004, William Forsythe has increasingly explored formats of installation art practice. Works such as Human Writes (in collaboration with Kendall Thomas, 2005) and You made me a monster (2005) develop within an interactive and intermedial space and experiment with new ways to experience the production and perception of movement. “Performance installation” is the new term for this intertwined process of movement production and movement perception. The choreographic composition itself grows out of procedures of performative sensing by the dancers, which spreads to onlookers. This multiplex awareness of movement for which the dancer's body is the medium constitutes what I shall call the “media-body” as an essential moment of performance installation as choreographic event. Compared to earlier Forsythe installations—which he called “choreographic objects”—like White Bouncy Castle (1997), City of Abstracts (2000), or Scattered Crowd (2002), with their accessible spaces of movement (in White Bouncy Castle the spectator was a visitor moving about freely inside a white inflatable castle, and City of Abstracts featured choreographic projections of movement on large screens in open spaces) performance installations take place squarely in the theatrical context: in theater lobbies, exhibit halls, or accessible public performance spaces where dancers and the audience come together in a mutually shared yet operationally divided space that leads them into an interactive relationship.

scholarly journals Conditions for the physical realizability of a typical component z(y)-matrix of a matching quadrupole of a general form in a concentrated elemental basis

2020 ◽  
pp. 13-20
Author(s):  
Gennady Devyatkov ◽  
Keyword(s):  
Half Plane ◽  
Single Point ◽  
Sufficient Conditions ◽  
Point Of View ◽  
Signal Source ◽  
Left Half ◽  
Left Half Plane ◽  
Broadband Matching ◽  
Typical Component ◽  
Physical Realizability

When solving problems of broadband matching, very often there is a need for a certain form of the amplitude-frequency characteristic. In connection with this, the problem comes up of synthesizing broadband matching devices that simultaneously have correcting properties, i.e. having a given frequency dependence of the power conversion coefficient in the operating frequency band. The use of broadband reactive matching - correcting circuits in most practical cases is difficult because of the reflected power. This leads to the problem of the synthesis of broadband matching-correcting circuits with arbitrary immittances of the signal source and load in an elemental basis of a general form, containing along with reactive and active elements, which has not been adequately solved. Therefore, it becomes necessary to find the conditions for the physical realizability of a typical component of the immitance matrix of a two-port network of general form containing poles in the left half-plane of complex frequencies. In this paper the necessary and sufficient conditions are defined for the physical realizability of the immitance matrix of a typical component of a subclass of two-terminal networks of general form in a lumped elemental electric basis, when the poles of the Eigen functions in the Foster representation can be in the left half-plane of complex frequencies, excluding the imaginary and real axes. This allows to synthesis of broadband dissipative matching, matching-correcting circuits and matched attenuators in an elemental basis of a general form with arbitrary immitances of the signal source and load from a single point of view.

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