Gunnar Aagaard Andersen – Commercial Design and Experimental Art

2016 ◽  
pp. 701-726
Keyword(s):  
Experimental Art

Screening Statues

2017 ◽  
Author(s):  
Steven Jacobs ◽  
Susan Felleman ◽  
Vito Adriaensens ◽  
Lisa Colpaert
Keyword(s):  
Contemporary Art ◽  
Three Dimensional ◽  
Interdisciplinary Approach ◽  
Film History ◽  
Two Dimensional ◽  
Artistic Practice ◽  
Experimental Art ◽  
Broad Scope ◽  
Art Practices ◽  
Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

Digital Uncanny

2019 ◽  
Author(s):  
Kriss Ravetto-Biagioli
Keyword(s):  
Feedback Loop ◽  
Aesthetic Experience ◽  
Software Systems ◽  
Repressed Memories ◽  
Experimental Art ◽  
The Uncanny ◽  
Art Works ◽  
Data Flows ◽  
Human Gestures ◽  
New Type

We are confronted with a new type of uncanny experience, an uncanny evoked by parallel processing, aggregate data, and cloud-computing. The digital uncanny does not erase the uncanny feeling we experience as déjà vu or when confronted with robots that are too lifelike. Today’s uncanny refers to how nonhuman devices (surveillance technologies, algorithms, feedback, and data flows) anticipate human gestures, emotions, actions, and interactions, intimating we are machines and our behavior is predicable because we are machinic. It adds another dimension to those feelings we get when we question whether our responses are subjective or automated—automated as in reducing one’s subjectivity to patterns of data and using those patterns to present objects or ideas that would then elicit one’s genuinely subjective—yet effectively preset—response. This anticipation of our responses is a feedback loop we have produced by designing software that studies our traces, inputs, and moves. Digital Uncanny explores how digital technologies, particularly software systems working through massive amounts of data, are transforming the meaning of the uncanny that Freud tied to a return of repressed memories, desires, and experiences to their anticipation. Through a close reading of interactive and experimental art works of Rafael Lozano-Hemmer, Bill Viola, Simon Biggs, Sue Hawksley, and Garth Paine, this book is designed to explore how the digital uncanny unsettles and estranges concepts of “self,” “affect,” “feedback,” and “aesthetic experience,” forcing us to reflect on our relationship with computational media and our relationship to others and our experience of the world.

scholarly journals Fragments Over Experimental Film: Liminal Zones of Cinema, Art and Theory

2018 ◽  
Author(s):  
Miško Šuvaković
Keyword(s):  
Experimental Music ◽  
Experimental Film ◽  
Experimental Theater ◽  
Avant Garde ◽  
Experimental Art ◽  
Institutional Power ◽  
Starting Point ◽  
Singular Event ◽  
Unknown Control ◽  
Second World

In what follows, I will point to theorization of concept of the experimental film. My main thesis is that experimental art is based on the project, research practice, innovation and open transgressive or subversive artworks. Art focused on subversion of institutional power features as a singular event performed within a particular social relationship, as a critical actionist, engaged, or activist practice. Transgression – literally – refers to: infraction, violation of a law or an order, while in geological terms it implies penetration and expansion of the sea over the mainland. The notion of transgression relates to excess, overrunning or, more precisely, departing the familiar for the unknown, control for freedom. Experimental art was created in different disciplines such as experimental music, experimental film, experimental theater, etc. John Cage’s concept of ‘experimental music’ has been the starting point for new experimental art and artistic practices since 1950. Experimental film (experimental, new, avant-garde or neo-avant-garde cinema) has featured since the Second World War. The concept and term describe a range of filmmaking styles which are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking and entertainment-oriented cinematography. In the second and third part of the essay, I will present an analysis of the experimental films of the artists the OHO group and Neša Paripović. Article received: December 2, 2017; Article accepted: December 18, 2017; Published online: April 15, 2018; Original scholarly paper How to cite this article: Šuvaković, Miško. "Fragments Over Experimental Film: Liminal Zones of Cinema, Art and Theory." AM Journal of Art and Media Studies no 15 (2018): . doi: 10.25038/am.v0i15.225

Academic Realism, Korean

2018 ◽  
Author(s):  
Kwon Heangga
Keyword(s):  
Art Education ◽  
Fine Arts ◽  
Representative Government ◽  
Art Exhibition ◽  
The West ◽  
Colonial Era ◽  
Experimental Art ◽  
Conservative Nature ◽  
Art Forms ◽  
Japanese Colonial

Academic Realism refers to the mainstream style of Western painting from the Japanese colonial era (1910–45), as exemplified by works shown at the Joseon Art Exhibition (1922–44), the representative government exhibition in Korea. In the West, Academism is characterized by classical features, but Korean Academism was marked by a somewhat compromised blend of Realism and Impressionism. The style is "compromised" because the Korean artists making Western paintings at the time had mostly received Academism through their art education in Japan. Two of the movement’s representative artists are Lee Ma-dong (1906–81) and Kim In-seung (1911–2001), both of whom graduated from the Tokyo School of Fine Arts and became the major artists of the Joseon Art Exhibition. After Korean independence in 1945, Modernism and various experimental art forms emerged, and Academic Realism was heavily criticized for its conservative nature. However, it continued to exert its influence as the preferred style of the National Art Exhibition of Korea (Gukjeon) (1949–81), and as a necessary skill for students hoping to enter art school.

3. Critical theory and modernism

2017 ◽  
pp. 30-38
Author(s):  
Stephen Eric Bronner
Keyword(s):  
Nineteenth Century ◽  
Critical Theory ◽  
Social Norms ◽  
Mass Culture ◽  
Frankfurt School ◽  
Cultural Resistance ◽  
Avant Garde ◽  
Experimental Art ◽  
Mass Society ◽  
The Individual

The end of the nineteenth century witnessed the birth of an international avant-garde that focused upon alienation, standardization, and the liberation of the individual from constrictive social norms. Impressionists, Cubists, Expressionists, Futurists, Dadaists, Surrealists, and representatives from many other styles provided a blizzard of philosophical–aesthetic manifestos that blended political with cultural resistance to mass society. The Frankfurt School’s inner circle was sympathetic from the start; modernism provided a response to the ontology of false conditions and, indeed, an avant-garde opposition to mass culture provided inspiration and cohesion. ‘Critical theory and modernism’ explains how the unflinching support of modernism and experimental art by the Frankfurt School confirmed both its cultural radicalism and contempt for totalitarianism.

Twentieth-Century Pathological Writers and Their Creativity

2019 ◽  
pp. 277-295
Author(s):  
Suzette Henke
Keyword(s):  
Twentieth Century ◽  
James Joyce ◽  
Virginia Woolf ◽  
Cultural Factors ◽  
Personal History ◽  
Psychiatric History ◽  
Traumatic Loss ◽  
Experimental Fiction ◽  
Experimental Art ◽  
History Of

Culturally constructed pathologies exhibited by three authors of the modernist period: Virginia Woolf, James Joyce, and D. H. Lawrence, reveal an emotional trajectory from paralyzing depressive or obsessive behavior to explosions of creative genius channeled into experimental fiction. Each of these authors struggled with a personal history of psychological distress evinced by genetic, experiential, or cultural factors and exacerbated by traumatic events in childhood or adolescence. All three sought to handle posttraumatic stress through complex gestures of aesthetic reenactment in a process that might be described as scriptotherapy. Woolf epitomizes the tortured artist grappling with so-called madness. Throughout her canon, she self-consciously struggles with irreconcilable issues of gender, abjection, and mourning. What appears to have been bipolar disorder in Woolf’s own psychiatric history might well have engendered a lifetime of creativity punctuated by severe bouts of debilitating depression. Joyce struggled with a pathological fear of erotic betrayal that spurred an obsessional fascination with adultery and with the enigma of spousal complicity, a drama whose erotic perversities were later played out in his twentieth-century epic novel, Ulysses. D. H. Lawrence proved somewhat notorious for his pathological obsessions with sexual desire, homosocial bonding, erotic loss, and conjugal betrayal. These authors worked through pathological symptoms to convert the seeds of incipient madness into burgeoning works of literary genius. They incorporated the pain of traumatic loss into the triumph of aesthetic integration via the creation of radically innovative and experimental art.

Toward a Total Work of Art

Art Scents ◽  
2020 ◽  
pp. 158-177
Author(s):  
Larry Shiner
Keyword(s):  
Electronic Music ◽  
Total Work ◽  
Work Of Art ◽  
Experimental Art ◽  
Music Score ◽  
Theater Production ◽  
The 1950S ◽  
Successful Integration

Chapter 9 begins with the idea of the total work of art (Gesamtkunstwerk) and considers examples of odors in theater from the Renaissance to the present, arguing that the inclusion of odors in some types of theater production is appropriate. In the case of film, the chapter discusses the difficulties faced by the first serious attempts in the 1950s and the handful of recent efforts, arguing that the combination of images with sound is able to suggests odors, whereas actual odors are likely to create more puzzles than they are worth, except in the case of highly experimental “art house” films. In the case of music, the chapter focuses on Green Aria: A Scent Opera, presented at the Guggenheim in 2009, a work that combined narrative, odors, and an electronic music score and marked a decisive step toward the successful integration of actual smells with music and narrative.

scholarly journals The Call to Play: New Work and Labor at Artsadmin

2020 ◽  
Vol 61 (2) ◽  
pp. 252-271
Author(s):  
Elyssa Livergant
Keyword(s):  
Sound Art ◽  
The Other ◽  
Visual Performance ◽  
New Work ◽  
Central Figure ◽  
Experimental Art ◽  
The Core ◽  
Labor Practices ◽  
And Performance

February 2010. The lights are off. As I adjust to the dark I can make out shapes of others scattered around the room. Disoriented and uncertain I wait for some sign or direction of what to do. The air is thick with anticipation, but as time drags it becomes clear that no instructions are coming. Then it begins all around me. Sat in the dark in a workshop in the courtroom studio of Toynbee Studios, I begin to feel anxious. I see the outline of another body in front of me and I panic. I should do something. I reach for anything that might keep things working, that might keep play going. Does anyone want to dance, I ask. I waltz. I sense someone dancing behind me.In what follows I think through my participation in a 2010 workshop led by Anne Bean, recounted in part above, to understand better the role of play in the conditions of production for theatre and performance under capital. Bean is an interdisciplinary artist, belonging to (or claimed by) multiple experimental art scenes, including visual, performance, and sound art, who has been a central figure of European live art since the 1970s. The workshop, which was conducted largely in the dark and focused on the aestheticization of cooperation through an emphasis on its participants doing play was held at Artsadmin's Toynbee Studios, the influential UK arts producing organization's home in East London. This article puts my account of Bean's workshop in conversation with Victorian economist Arnold Toynbee's demand for a new capitalist morality. Toynbee's appeal was, of course, not directed at me or the other workshop participants disoriented and uncertain in the dark. But, I argue, the situation of play that arose in Bean's workshop is a contemporary iteration of what Toynbee called a gospel of life, a term referring to a commitment to self and civic betterment at the core of a burgeoning capitalist morality. The connection between the shaping of Victorian labor practices and the staging of cooperation between participants in Bean's contemporary workshop is the basis for this essay's core assertion: that the value of play as a counterpoint to work within practices and discourses of theatre and performance needs considerable rethinking.

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