Seeing Depicted Space (Or Not)

2018 ◽  
Author(s):  
Mikael Pettersson
Keyword(s):  
Empty Space ◽  
Material Objects ◽  
Pictorial Perception ◽  
The Aesthetic ◽  
Pictorial Experience ◽  
The Way

What is it to see something in a picture? Most accounts of pictorial experience—or, to use Richard Wollheim's term, ‘seeing-in’—seek, in various ways, to explain it in terms of how pictures somehow display the looks of things. However, some ‘things’ that we apparently see in pictures do not display any ‘look’. In particular, most pictures depict empty space, but empty space does not seem to display any ‘look’—at least not in the way material objects do. How do we see it in pictures, if we do? This chapter offers an account of pictorial perception of empty space by elaborating on Wollheim's claim that ‘seeing-in’ is permeable to thought. It ends by pointing to the aesthetic relevance of seeing—or not seeing—empty space in pictures.

The Beginnings of the Cult of Relics

2018 ◽  
Author(s):  
Robert Wiśniewski
Keyword(s):  
Essential Element ◽  
Fourth Century ◽  
Material Objects ◽  
Long Time ◽  
Hidden Knowledge ◽  
Physical Diseases ◽  
The Dead ◽  
The Way

Christians always admired and venerated martyrs who died for their faith, but for a long time thought that the bodies of martyrs should remain undisturbed in their graves. Initially, the Christian attitude toward the bones of the dead, whether a saint’s or not, was that of respectful distance. This book tells how, in the mid-fourth century, this attitude started to change, swiftly and dramatically. The first chapters show the rise of new beliefs. They study how, when, and why Christians began to believe in the power of relics, first, over demons, then over physical diseases and enemies; how they sought to reveal hidden knowledge at the tombs of saints and why they buried the dead close to them. An essential element of this new belief was a strong conviction that the power of relics was transferred in a physical way and so subsequent chapters study relics as material objects. The book seeks to show what the contact with relics looked like and how close it was. Did people touch, kiss, or look at the very bones, or just at reliquaries which contained them? When did the custom of dividing relics appear? Finally, the book deals with discussions and polemics concerning relics and tries to find out how strong was the opposition which this new phenomenon had to face, both within and outside Christianity on the way to relics becoming an essential element of medieval religiosity.

scholarly journals Remix in the age of ubiquitous remix

2021 ◽  
pp. 135485652199445
Author(s):  
Abby S. Waysdorf
Keyword(s):  
Point Of View ◽  
Archival Material ◽  
History Of ◽  
Accepted Part ◽  
The Media ◽  
Contemporary Media ◽  
The Aesthetic ◽  
The Way

What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.

scholarly journals Aesthetics and Creativity. Identity Configurations

2022 ◽  
Author(s):  
Livia Durac ◽  
Keyword(s):  
Cultural Evolution ◽  
Human Action ◽  
Two Dimensions ◽  
The Other ◽  
Mutual Understanding ◽  
State Of Mind ◽  
Human Attitude ◽  
The Aesthetic ◽  
Nature And Society ◽  
The Way

Reflecting on human attitude towards reality, together with deciphering the emotional code that accompanies it, has configured - in time – the aesthetic universe, open to human reflection, creation, and evaluation. Aesthetics appears through the way in which consciousness reacts and capitalises upon things in nature and society, or which belong to human subjectivity, including on artistic work, which have an effect on sensitiveness due to their harmony, balance and grandeur. As a fundamental attribute of the human being, creativity is the engine of cultural evolution, meaning the degree of novelty that man brings in his ideas, actions, and creations. Aesthetical values, together with the other types of values, contribute to what society represents and to what it can become, hence motivating human action and creation. Their role is to create a state of mind that encourages the cohesion, cooperation, and mutual understanding of the society. Integrating a chronological succession of the evolution of the concepts that objectify its structure, its aesthetics and creativity, this article stresses the synergetic nature of the two dimensions of human personality, paving the way to beauty, as a form of enchantment of the human spirit.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

scholarly journals Computer Gameplay and the Aesthetic Practices of the Self: Game Studies and the Late Work of Michel Foucault

2018 ◽  
Vol 3 (3) ◽  
Author(s):  
Feng Zhu
Keyword(s):  
Michel Foucault ◽  
Computer Games ◽  
The Self ◽  
Game Studies ◽  
The Other ◽  
Late Work ◽  
Practices Of The Self ◽  
The Aesthetic ◽  
The One ◽  
The Way

This paper aims to critically introduce the applicability of Foucault’s late work, on the practices of the self, to the scholarship of contemporary computer games. I argue that the gameplay tasks that we set ourselves, and the patterns of action that they produce, can be understood as a form of ‘work on the self’, and that this work is ambivalent between, on the one hand, an aesthetic transformation of the self – as articulated by Foucault in relation to the care or practices of the self – in which we break from the dominant subjectivities imposed upon us, and on the other, a closer tethering of ourselves through our own playful impulses, to a neoliberal subjectivity centred around instrumentally-driven selfimprovement. Game studies’ concern with the effects that computer games have on us stands to gain from an examination of Foucault’s late work for the purposes of analysing and disambiguating between the nature of the transformations at stake. Further, Foucault’s tripartite analysis of ‘power-knowledge-subject’, which might be applied here as ‘game-discourse-player’, foregrounds the imbrication of our gameplay practices – the extent to which they are due to us and the way in which our own volitions make us subject to power, which is particularly pertinent in the domain of play.

Place, Meaning, Comunity, and In-Betweenness

2017 ◽  
Author(s):  
Lee Bidgood
Keyword(s):  
Motivating Factors ◽  
Place Meaning ◽  
Master Musician ◽  
The Aesthetic ◽  
The Way

The author presents bluegrass as a practice of in-betweenness, a way of dealing with authenticity, place, and genre. Scenes from a bluegrass workshop, a Prague pub jam, and an analysis of the the way musicians talk about their musical goals shows that Czech bluegrassers' projects are rooted in reality, nostalgia, imagination, and a mix of all three. The frame of musical pragmatics provides a way to consider these motivating factors, and how they play out socially. The author explains the methodology bi-musicality gained not as the disciple of a master musician, but as a student of the aesthetic, interpersonal, and transnational aspects of Czech bluegrass.

On Empty Spaces, Silence, and the Pause

2021 ◽  
Author(s):  
Rebecca Amato
Keyword(s):  
New York ◽  
Urban Renewal ◽  
York City ◽  
Settler Colonialism ◽  
Community Gardens ◽  
Empty Space ◽  
World City ◽  
Growth Machine ◽  
The Aesthetic ◽  
The City

Before there is an aesthetic of gentrification, there is disinvestment. In between both is the production – and perception – of empty space ready to be filled. The production of empty space has a long history in New York City, from settler colonialism to urban renewal to gentrification under the neoliberal regime of today. Techniques such as filtering, investing in the aesthetic potential of aging neighbourhoods, and declaring vacancy, have helped fuel the process of gentrification. More recently, that process has accelerated to insure New York’s world city status by promising that every underutilized parcel will be filled with the tallest buildings, the greenest construction, and the densest use of land. Yet the city still has room for alternative visions that embrace a pause in the growth machine, such as cooperative centres and community gardens. These efforts, threatened though they are, provide models for inclusive cities where neoliberalism does not.

Painting, aesthetics of

2018 ◽  
Author(s):  
Robert Hopkins
Keyword(s):  
Picture Plane ◽  
Essential Elements ◽  
Two Dimensional ◽  
Art Forms ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Dimensional Picture ◽  
Do So ◽  
The Way

Why care about painting as an art? Does it offer to engage our aesthetic interest in ways that other art forms do not, or does it merely reproduce the aesthetic satisfactions they provide? Most paintings involve both marks on a surface, and something represented by those marks. Some attempts to say what is distinctive about painting concentrate on the former feature, understanding the art as an exploration of the two-dimensional picture plane. Others concentrate on the representational aspect, seeking to find something special about the things painting can represent, or the way in which it achieves this. The most promising approaches acknowledge both aspects, and do so as essential elements in the experiencewe have of painting. One such approach turns on the idea that the configurational aspect ‘inflects’ the representational, so that what we see in the picture itself somehow involves the marks from which the painting is composed. Another sees painting as offering aesthetic values found elsewhere, but in a distinctive form. Taking seriously the idea of our experience of painting also helps us to say something about a set of paintings we are otherwise in danger of ignoring - abstract works.

Painting, aesthetics of

2018 ◽  
Author(s):  
Robert Hopkins
Keyword(s):  
Picture Plane ◽  
Essential Elements ◽  
Two Dimensional ◽  
Art Forms ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Dimensional Picture ◽  
The Way

Why care about painting as an art? Does it offer to engage our aesthetic interest in ways that other art forms do not, or does it merely reproduce the aesthetic satisfactions they provide? Most paintings involve both marks on a surface, and something represented by those marks. Some attempts to say what is distinctive about painting concentrate on the former feature, understanding the art as an exploration of the two-dimensional picture plane. Others concentrate on the representational aspect, seeking to find something special about the things painting can represent, or the way in which it achieves this. The most promising approach acknowledges both aspects, and does so as essential elements in the experience we have of painting. If successful, this allows us to see painting as offering aesthetic values found elsewhere, but in a distinctive form. It also helps us to say something about a set of paintings we are otherwise in danger of ignoring – abstract works.

A Queer Sequence: Comics as a Disruptive Medium

PMLA ◽  
2019 ◽  
Vol 134 (3) ◽  
pp. 588-594 ◽  
Author(s):  
Ramzi Fawaz
Keyword(s):  
Family History ◽  
Physical Disability ◽  
Visual Art ◽  
First Century ◽  
Art Spiegelman ◽  
Graphic Narratives ◽  
Long Form ◽  
The Aesthetic ◽  
Teenage Sexuality ◽  
The Way

At first glance, Hillary Chute's Why Comics? presents itself as a chronicle of the heroic deeds of a Pantheon of creative gods. Across ten chapters, Chute tracks the aesthetic achievements of more than twelve world-renowned comics artists whose innovations in sequential visual art represent a range of human experiences, from wartime violence to teenage sexuality to queer family history to living with cognitive and physical disability. In Chute's narrative, such luminaries as Alison Bechdel, Art Spiegelman, Daniel Clowes, Joe Sacco, Lynda Barry, and Marjane Satrapi rise up from the vast landscape of comics production as artists whose bodies of work testify to comics's aesthetic diversity and sophistication. These typically erudite cartoonists work at a distance from mainstream comics and produce adult-oriented, long-form graphic narratives considered aesthetic masterpieces. “Although comics of all kinds are flourishing in the twenty-first century,” Chute explains early on in Why Comics?, “there has been a dramatic uptick” in the kind of “auteurist comics” produced by these cartoonists (18), who relish, in Clowes's words, the way the medium allows them to “control absolutely everything and make it … exactly what you're seeing in your own head” (qtd. in Why? 18). For Chute, it is this “singular intimacy of one person's vision”—best displayed in comics produced by sophisticated adult cartoonists writing and drawing for other adults–that underscores that comics are also for grown-ups (18). By now, we all should know this, but we have not learned the lesson well enough (or perhaps some just refuse to listen).

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