scholarly journals Aesthetics in a Changing World—Reflecting the Anthropocene Condition through the Works of Jason deCaires Taylor and Robert Smithson

2021 ◽  
Vol 13 (2) ◽  
pp. 414-432
Author(s):  
Philip Hüpkes ◽  
Gabriele Dürbeck
Keyword(s):  
Double Bind ◽  
Robert Smithson ◽  
The World ◽  
Changing World

Abstract This article focuses on an important aspect of aesthetics in the context of the Anthropocene: the situatedness of aesthetic techniques and operations within earth’s (changing) materiality. Aesthetics is not only a way of making sensible but also contributes ontologically to the world it makes sensible. In this view aesthetics does not rely on a subject’s capacity to apprehend the world as a perceptually objectifiable entity. Focusing on works by Jason deCaires Taylor (Anthropocene and La Gardinera de la Esperanza) and Robert Smithson (Spiral Jetty), the authors interrogate how artistic engagements with anthropocenic materiality and temporality have the potential to articulate a double bind between aesthetics and ontology. Both artists not only allow recipients to be confronted with complex earthly entanglements but also have a material and aesthetic impact on their respective sites. Discussing deCaires Taylor’s and Smithson’s works, the authors argue that the artists’ aesthetics is not only a way of granting experiential access to an earth that resists objectification but also a manifestation of the processes through which earth’s materiality transforms throughout time.

The Grace of the Italian Renaissance

2020 ◽  
Author(s):  
Ita Mac Carthy
Keyword(s):  
Sixteenth Century ◽  
Visual Arts ◽  
Italian Renaissance ◽  
Social Harmony ◽  
Vittoria Colonna ◽  
The World ◽  
Changing World

‘Grace’ emerges as a keyword in the culture and society of sixteenth-century Italy. This book explores how it conveys and connects the most pressing ethical, social and aesthetic concerns of an age concerned with the reactivation of ancient ideas in a changing world. The book reassesses artists such as Francesco del Cossa, Raphael, and Michelangelo and explores anew writers like Castiglione, Ariosto, Tullia d'Aragona, and Vittoria Colonna. It shows how these artists and writers put grace at the heart of their work. The book argues that grace came to be as contested as it was prized across a range of Renaissance Italian contexts. It characterised emerging styles in literature and the visual arts, shaped ideas about how best to behave at court and sparked controversy about social harmony and human salvation. For all these reasons, grace abounded in the Italian Renaissance, yet it remained hard to define. The book explores what grace meant to theologians, artists, writers, and philosophers, showing how it influenced their thinking about themselves, each other and the world. It portrays grace not as a stable formula of expression but as a web of interventions in culture and society.

Mobile Perception and the Automotive Prosthetic

Transfers ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 73-96 ◽  
Author(s):  
Charissa N. Terranova
Keyword(s):  
Urban Sprawl ◽  
Human Body ◽  
Conceptual Art ◽  
Robert Smithson ◽  
Martha Rosler ◽  
The World ◽  
1960S And 1970S ◽  
The 1960S ◽  
And Linguistics

This essay focuses on a body of photoconceptual works from the 1960s and 1970s in which the automobile functions as a prosthetic-like aperture through which to view the world in motion. I argue that the logic of the “automotive prosthetic“ in works by Paul McCarthy, Dennis Hopper, Ed Ruscha, Jeff Wall, John Baldessari, Richard Prince, Martha Rosler, Robert Smithson, Ed Kienholz, Julian Opie, and Cory Arcangel reveals a techno-genetic understanding of conceptual art, functioning in addition and alternatively to semiotics and various philosophies of language usually associated with conceptual art. These artworks show how the automobile, movement on roads and highways, and the automotive landscape of urban sprawl have transformed the human sensorium. I surmise that the car has become a prosthetic of the human body and is a technological force in the maieusis of the posthuman subject. I offer a reading of specific works of photoconceptual art based on experience, perception, and a posthumanist subjectivity in contrast to solely understanding them according to semiotics and linguistics.

Platón, Einstein y el triunfo de la imaginatividad cosmológica

1998 ◽  
pp. 87-98
Author(s):  
T. M. Robinson
Keyword(s):  
Dynamic Model ◽  
Striking Similarity ◽  
Empirical World ◽  
The World ◽  
Modern Cosmology ◽  
Different Types ◽  
Physical Objects ◽  
Changing World

This article argues the following five claims: 1. Plato’s description of the origins of cosmos in the Timaeus is not a myth, nor something unlikely: when he called it an eikos mythos or eikos logos, he meant a likely or trustworthy account on this very subject. 2. Among the details in this account, the following are prominent and surprising: a) the world was fashioned in time, in that precise point that was the beginning of time; b) several kinds of duration can be distinguished in cosmology (mainly eternity, sempiternity, perpetuity and time); and c) space is an entity characterized by movement and tension. 3. In the Statesman, Plato repeats much the same thing, adding this time the strange notion that the universe’s circular movement is periodically reversed. 4. In spite of the important differences in detail, there is a striking similarity between Plato’s account of the origins of the world and the explanation adopted by much of modern cosmology. 5. What Plato shares with so many instances of recent thought is here termed “cosmological imaginativity”. A first section of the paper deals exclusively with the Timaeus. Claims 1 and 2a are supported by a revision of the meanings of mythos and logos, followed by brief reference and discussion of the argument at Timaeus 27d, leading to the conclusion that Plato affirms that the ever-changing world has indeed had a beginning in time. Claim 2b describes five different types of duration, corresponding to Forms, the Demiurge, Space, the [empirical] world and its contents, physical objects. The second section is concerned with the myth in the Statesman, discussing it as a parallel and describing its peculiar turn to the Timaeus’ cosmology and cosmogony, a complex spheric and dynamic model. After digressing into some important ideas in modern cosmology, touching especially on affinities of some of Einstein’s ideas with of Plato’s own, the paper closes with a discussion of cosmological imaginativity, oriented to recover and recognize fully Plato’s greatness as a cosmologist.

scholarly journals Book Review: The Design Way. Intentional Change in an Unpredictable World (second edition)

2014 ◽  
Vol 7 (4) ◽  
Author(s):  
Salvatore Cucchiara
Keyword(s):  
Intellectual Traditions ◽  
The World ◽  
Intentional Change ◽  
Changing World

The premise of The Design Way is that in today’s rapidly changing world, current intellectual traditions are becoming increasingly inadequate – if still important – approaches to managing human affairs.  For example, hard and soft sciences can help us understand how the world works, but generally offer little guidance on intentionally changing it.  To address this shortcoming, the authors advance design as a distinct tradition that finds its key feature in making a novel idea concrete.

Our Changing World

2022 ◽  
pp. 13-63
Keyword(s):  
Employee Engagement ◽  
Qualitative Interviews ◽  
Work Hours ◽  
The World ◽  
The Future ◽  
Family And Work ◽  
Shed Light ◽  
The Way ◽  
Changing World

COVID-19 has dramatically changed our world in terms of telework specifically and remote life in general. We are still learning new things about balancing family and work; trustworthiness, performance, and accountability issues; important changes and discoveries about the way the world goes to work; and discussions of the dynamic ways people communicate. This chapter examines reasons for resistance to telework to shed light on how COVID-19 has changed us. The discussion that follows centers on qualitative interviews concerning telework, an evaluation of employee engagement now and in the future, and ideas and actions that should prove helpful to organizations. Analyzing the interviews reveals several common threads: distractions, fatigue, accountability, communication, productivity, technology, coping, work hours, resources, and plan approaches.

HAC Arethusa TENUS (Met. 5.642)

2020 ◽  
pp. 84-103
Author(s):  
Eleni Ntanou
Keyword(s):  
Cultural Context ◽  
Spatial Context ◽  
Pastoral Poetry ◽  
The World ◽  
Changing World

Arethusa is a symbol who in Ovid’s Metamorphoses is transferred from Elis to Sicily and transformed into a Romanized figure. This chapter demonstrates how Ovid uses Arethusa’s geographical transition to thematize her transposition into a different cultural context—that of Italy, as well as a new generic frame—that of epic. The chapter explores how the delineation of space in the Arethusa story and the altering of her identity contribute to the narrative of Met. 5, as well as to the broader poetic mapping of the ever-changing world in the Metamorphoses. Ovid activates in the spatial context of Arethusa’s story the possibilities offered by Arethusa’s past in colonial myths and in pastoral poetry in order to renew the poetics of epic. The story of Arethusa’s and Alpheus’ travel was traditionally deployed in ancient geographical treatises and in the mapping of the world stemming from colonialism. Ovid picks up Arethusa’s association with migration and her metapoetic symbolism to renew the epic genre, by systematically mapping out Arethusa’s travel.

On Universal History

1957 ◽  
Vol 9 (2) ◽  
pp. 260-266
Author(s):  
E. Harris Harbison
Keyword(s):  
Modern World ◽  
Historical Writing ◽  
The West ◽  
Universal History ◽  
The World ◽  
Changing World

The problem of how to conceive and write “universal history” A is increasingly haunting the imaginations and troubling the consciences of historians in the West. We live in one world, but our historiography is still national, or at most regional. We no longer really believe that piling the known historical facts higher and higher will save us, but we still hopefully support antiquarianism and monographic research. Professional historical writing has thus lost all power to influence the man in the street because its thought-frame is parochial, myopic, and so irrelevant to the modern world. It cannot prepare us to understand the world we live in unless it casts off Leopold von Ranke's Europe-centered mentality and becomes truly “universal” in attitude and perspective. Or so it seems to one particularly articulate British historian, Geoffrey Barraclough, in History in a Changing World, a volume of essays recently published.

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