scholarly journals Beyond Representation and Signification: Toward a Sonic Materialism

2011 ◽  
Vol 10 (2) ◽  
pp. 145-161 ◽  
Author(s):  
Christoph Cox
Keyword(s):  
Theoretical Models ◽  
Theoretical Framework ◽  
Sound Art ◽  
Theoretical Account ◽  
The Arts ◽  
Critical Literature

Why does sound art remain so profoundly undertheorized, and why has it failed to generate a rich and compelling critical literature? It is because the prevailing theoretical models are inadequate to it. Developed to account for the textual and the visual, they fail to capture the nature of the sonic. In this article, the author proposes an alternative theoretical framework, a materialist account able to grasp the nature of sound and to enable analysis of the sonic arts. He suggests, moreover, that this theoretical account can provide a model for rethinking the arts in general and for avoiding the pitfalls encountered in theories of representation and signification.

Regarding the Pain of Women: Questions of Gender and the Arts of Holocaust Memory

PMLA ◽  
2009 ◽  
Vol 124 (5) ◽  
pp. 1778-1786 ◽  
Author(s):  
James E. Young
Keyword(s):  
The Public ◽  
War Photography ◽  
Holocaust Memory ◽  
The Arts ◽  
The Holocaust ◽  
Critical Literature

My Title, a variation on Susan Sontag's regarding the pain of others, is meant as an homage to sontag and as an extension of her searing critique of war photography and its reflexive objectification of suffering, its conversion of victims into objets d'art. But why, in particular, the pain of women Holocaust victims here? Because we have finally begun to amass a large and profound critical literature on gender and the Holocaust, which, alongside Sontag's work on photography, might help us look at how and why the public gaze of photographers, curators, historians, and museumgoers continues to turn women into objects of memory, idealized casts of perfect suffering and victimization, and even emblems of larger Jewish suffering during the Holocaust.

An Experimental Test of Cautela's Operant Explanation of Covert Conditioning Procedures

1986 ◽  
Vol 14 (3) ◽  
pp. 226-248 ◽  
Author(s):  
Michael J. Dougher ◽  
John R. Crossen ◽  
R. J. Garland
Keyword(s):  
College Students ◽  
Experimental Test ◽  
Theoretical Framework ◽  
Clinical Effects ◽  
Theoretical Account ◽  
Free Operant ◽  
Laboratory Analogue

Although covert conditioning procedures are widely employed by behavior therapists, the literature is marked by considerable procedural variability and inconsistent results. Part of the problem is attributable to the lack of a generally agreed upon and experimentally supported theoretical account of covert conditioning procedures. Inasmuch as the procedural arrangements of covert conditioning techniques depend upon the underlying theoretical framework, it is important that the framework be experimentally supported. One prominent theoretical account of covert conditioning is the operant account proposed by the main proponent of covert conditioning, Joseph Cautela. As an explanation of the clinical effects of covert conditioning, however, Cautela's account has not been adequately tested. Two experiments were conducted, the purpose of which were to conduct laboratory analogue tests of Cautela's account of covert conditioning by examining the effects of covert reinforcement and covert punishment procedures on the subsequent free-operant rate of selected target responses of college students. The results failed to support Cautela's operant explanation of covert conditioning.

scholarly journals PERSPEKTIF HUKUM ISLAM TENTANG SENI

2017 ◽  
Vol 2 (1) ◽  
pp. 47-59
Author(s):  
Darmiko Suhendra
Keyword(s):  
Islamic Law ◽  
Focal Point ◽  
Human Life ◽  
Sound Art ◽  
Three Dimensions ◽  
Cultural Phenomenon ◽  
The Arts ◽  
Work Atmosphere ◽  
The One ◽  
The Mind

Art is defined as the expertise to disclose or express ideas and thoughts a esthetics, including the ability and imagination to realize the creation of objects or the work atmosphere capable of inflicting a sense beautiful. Art is diverse and most of it always questionable in terms of Islamic law. In general, the art divided into two: first, sculpture, painting and drawing. And second, sound art. The main problem in sculpture, painting and drawing is if the object of animate beings, because on the one hand there are numbers of hadith that prohibit making images that are either raised or incurred and three dimensions. While on the other hand it has been commonly done in the community, especially in the natural environment that is fertile and rich with a variety of animals created by God as our State that inspired the artists. In addition, the sculpture on the side can be an expression of sheer beauty, it also has benefits for lessons and so on. Furthermore, sound art is a universal cultural phenomenon, practiced by many nations. In the time of the Prophet himself has been known to sing and play music. In terms of general principles of religious teachings that sound art including mu'amalat dunyawiyyah category. Restrictions on the arts (sculpture, painting, drawing, and sound) for their prudence of Muslims. Prudence was intended that they do not fall to the things that are contrary to the values of Islam which is the focal point at that time. Art as an aesthetic manifestation of the spirit of monotheism and not a waste of money but the art necessary for the improvement of human life, promotion of the dignity and the dignity and refining the soul and the mind. If so the purpose of art, then it is possible that the skill and sunnah favor, not against it.

scholarly journals Diversity and (In)equality in the Global Art World: Global Development and Structure of Field-Configuring Events

2017 ◽  
Vol 11 (3) ◽  
Author(s):  
Christian Morgner
Keyword(s):  
Large Scale ◽  
Theoretical Framework ◽  
Second Order ◽  
Western Hemisphere ◽  
Art World ◽  
Global Development ◽  
Quantitative Survey ◽  
The Arts ◽  
Western Values ◽  
Global Art

AbstractThere is a boom of art historical studies on the globalisation of the arts or global art world. Sociological accounts are, despite the rise of cultural and art sociology in recent years, almost complete absent from this discussion. This paper makes a contribution to the globalisation of the arts, but from a sociological and quantitative perspective. The focus of this paper is on particular type of global institution – biennials and other types of art festivals or large-scale exhibitions. These institutions are seen being major places of exchange and formulation of norms and standards. They define what is hip and new. However, theories of globalisation, in combination with accounts from professionals of the field, claim that these institutions propagate only Western values or have a homogenising quality, because they only show caste works from artists of the Western hemisphere or that they repeat the same works and artists across the globe. However, based on a large-scale quantitative survey, this paper will demonstrate that picture is more complex and that we find tendencies to homogenisation and heterogenisation existing at the same time or that the locality of these events acts as a source of uniqueness and innovativeness. The paper proposes a new theoretical framework that interprets these findings as based on Niklas Luhmann’s idea of second-order observation and Bruno Latour’s and Harrison C. White’s conception of the network.

Materiality in Sound Art

2018 ◽  
Vol 23 (3) ◽  
pp. 225-234 ◽  
Author(s):  
Asbjørn Blokkum Flø
Keyword(s):  
Spectral Composition ◽  
Sound Art ◽  
Acoustic Properties ◽  
Western Art ◽  
The Arts ◽  
Art Forms ◽  
History Of ◽  
Surrounding Space ◽  
Sound Objects ◽  
The Relationship

This article investigates the recent resurgence of kinetic sound art in light of the relationship between art and material. It does this by studying the history of mechanical musical instruments and kinetic art, the role of immateriality in the history of Western art, and the renewed focus on materiality in the arts. Materiality is key to understanding the resurgence of kinetics in sound art. The first part of this article studies the historical narratives of materiality in sound art, while the second part investigates materiality in my own works as more contemporary examples. Here the text turns to exploration of the material and acoustic properties of metal rods and plates, and suggests that direct contact with sound-producing objects provides opportunities for new art forms where the morphology of sound can be developed in dialogue with the physical objects and the surrounding space. By examining the underlying acoustic principles of rods and plates, we get a deeper understanding of the relationship between mathematical models and the actual sounding objects. Using the acoustic model with basic input parameters enables us to explore the timbral possibilities of the sound objects. This allows us to shape the spectrum of acoustic sound objects with great attention to detail, and makes models from spectromorphology relevant during the construction of the objects. The physical production of sound objects becomes both spectral composition and shaping of spatial objects. This highlights the importance of knowledge of both materials and acoustic principles, and questions the traditional perception of sound art and music as immaterial art forms.

Decision support systems in manufacturing: a survey and future trends

2017 ◽  
Vol 12 (3) ◽  
pp. 432-454 ◽  
Author(s):  
Fentahun Moges Kasie ◽  
Glen Bright ◽  
Anthony Walker
Keyword(s):  
Decision Support ◽  
Decision Support Systems ◽  
Support Systems ◽  
Discrete Event ◽  
Theoretical Framework ◽  
Case Based Reasoning ◽  
Content Type ◽  
Event Simulation ◽  
The Arts ◽  
Simulation Based

Purpose This paper aims to propose a theoretical decision support framework, which integrates artificial intelligence (AI), discrete-event simulation (DES) and database management technologies so as to determine the steady state flow of items (e.g. fixtures, jigs, tools, etc.) in manufacturing. Design/methodology/approach The existing literature was carefully reviewed to address the state of the arts in decision support systems (DSS), the shortcomings of pure simulation-based and pure AI-based DSS. A conceptual example is illustrated to show the integrated application of AI, simulation and database components of the proposed DSS framework. Findings Recent DSS studies have revealed the limitations of pure simulation-based and pure AI-based DSS. A new DSS framework is required in manufacturing to address these limitations, taking into account the problems of flowing items. Research limitations/implications The theoretical DSS framework is proposed using simple rules and equations. This implies that it is not complex for software development and implementation. Practical data are not presented in this paper. A real DSS will be developed using the proposed theoretical framework and realistic results will be presented in the near future. Originality/value The proposed theoretical framework reveals how the integrated components of DSS can work together in manufacturing in order to determine the stable flow of items in a specific production period. Especially, the integrated performance of case-based reasoning (CBR) and DES is conceptually illustrated.

scholarly journals Transgression of Postindustrial Dissonance and Excess: (Re)valuation of Gothicism in Jim Jarmusch’s Only Lovers Left Alive

Text Matters ◽  
2016 ◽  
pp. 213-226
Author(s):  
Justyna Stępień
Keyword(s):  
Critical Theory ◽  
Theoretical Framework ◽  
Global Scale ◽  
Contemporary Culture ◽  
Adam And Eve ◽  
The Arts ◽  
Advanced Capitalism ◽  
Cultural Texts ◽  
And Performance ◽  
Insight Into

The paper gives insight into the revaluation of popular Gothic aesthetics in Jim Jarmusch’s 2014 production Only Lovers Left Alive. Drawing on critical theory and the postmodern theoretical framework, the article suggests that the film transgresses contemporary culture immersed in a “culture of death” that has produced a vast amount of cultural texts under the rubric of “Gothicism.” By considering Jean Baudrillard’s concept of transaesthetics and Judith Halberstam’s writings on contemporary monstrosity, the paper shows that a commodified Gothic mode has lost its older deconstructive functions that operated on the margins of the mainstream. Now entirely focused on the duplication of the same aesthetic codes and signs, Gothic productions conform to the rules of postindustrial culture, enriching entertainment imagery with the neutralized concept of “otherness.” Hence, the article engages primarily with Jarmusch’s indie aesthetics that goes beyond easily recognizable patterns and generic conventions and allows the director to emphasize that the arts are rejuvenating forces, the antidote to a commoditized environment. Then, the focus is on the construction of main characters—Adam and Eve, ageless vampires and spouses—who thanks to nostalgic theatricality and performance reconfigure the mainstream monstrosity. Ultimately, the article emphasizes that Jarmusch’s film, to a large extent, becomes a warning against the inevitable results of advanced capitalism practiced on a global scale.

scholarly journals Officina: experiments in engaging with the arts

Modern Italy ◽  
2016 ◽  
Vol 21 (2) ◽  
pp. 199-214
Author(s):  
Francesca Billiani
Keyword(s):  
Critical Analysis ◽  
Political Engagement ◽  
Theoretical Framework ◽  
Capitalist Society ◽  
Pivotal Role ◽  
Political Debate ◽  
The Arts ◽  
Organic Intellectual ◽  
The Aesthetic

This article is primarily concerned with interconnections between forms of impegno (political engagement) and aesthetic choices, as they were articulated in the literary and cultural journal Officina. In order to reassess the role of Officina within the Italian cultural and political debate of the day, this article considers two main narratives unfolding in the journal: the aesthetic rejection of Novecentismo, understood as the epitome of artistic autonomy, and the articulation of a form of Marxist impegno suitable for a neo-capitalist society and stemming from the class-based idea of the organic intellectual. Using published and unpublished correspondence, we argue that Officina had a pivotal role in producing a theoretical framework for the conceptualisation of a post-neorealist idea of Marxist critical analysis as well as of intellectual, aesthetic and political engagement.

Proximity in marketing: An integrating theoretical framework and research agenda

2020 ◽  
Vol 35 (4) ◽  
pp. 99-124
Author(s):  
François Lenglet ◽  
Rémi Mencarelli
Keyword(s):  
Research Agenda ◽  
Theoretical Models ◽  
Theoretical Framework ◽  
Depth Analysis

Academics and practitioners increasingly focus on the concept of proximity, but the growing literature features a confusing diversity of approaches. This article offers a macro-analytical and conceptually unified vision of proximity. Based on an in-depth analysis of literature, this integrative synthesis offers a fourfold contribution: characterize and classify approaches to proximity, understand the place occupied by proximity in theoretical models in marketing, consider the managerial interest of proximity, and develop propositions for continued research into proximity topics.

Michels and his Critics

1981 ◽  
Vol 22 (1) ◽  
pp. 80-99 ◽  
Author(s):  
David Beetham
Keyword(s):  
Theoretical Approach ◽  
Intellectual Development ◽  
Historical Analysis ◽  
Theoretical Framework ◽  
Right Wing ◽  
Left Wing ◽  
Elite Theory ◽  
Starting Point ◽  
Critical Literature

Ipropose in this paper to develop a theme from an earlier article I wrote on Michels: namely, that Zur Soziologie des Parteiwesens is to be understood as the work of someone who had passed over from revolutionary Marxism into the camp of elite theory; more precisely, it is a work which takes as its starting point a problem posed within a revolutionary tradition and proceeds to answer it from within a quite different theoretical framework. We could say that it offers a Right-wing answer to a Left-wing question. It is in this conjunction that lie both the strengths and weaknesses of the work (1). One failing of much of the critical literature on Zur soziologie des Parteiwesens is that it treats the conceptual and other inadequacies in its argument as a series of isolated errors, of separate points to be challenged, rather than as arising systematically out of the particular intellectual conjunction I have indicated (2). I propose, however, to go further in this paper than simply present a historical analysis of the intellectual development of an individual thinker. I want to ask the question: How far can the inadequacies of Michels' argument be overcome from within the framework of elite theory itself, and how far can they only be overcome by breaking with some of the central assumptions of that perspective? In other words, I want to broaden out the enquiry to consider what are the limitations of an elite-theoretical approach to the study of parties and elites, particularly parties of the Left.

Sign in / Sign up

Export Citation Format

Share Document