From Retrogradism to Post-Gravitational Art and Back

Maska ◽  
2016 ◽  
Vol 31 (177) ◽  
pp. 51-57
Author(s):  
Bojan Anđelković
Keyword(s):  
The Gaze ◽  
Works Of Art ◽  
The Spectator

Dragan Živadinov creates conceptual total works of art that are procedural and processual in nature. At the centre of interest of his art is the spectator, or the gaze, since the essence of this theatre is produced by a constant turning of the perspective. The project(ile) Noordung 1995-2045 has been conceived as a 50-year project to show the instability of the relation between body and technology. It stages itself and thus repeats the drama of the cosmos. A theatre of repetition that again finds the primary (ritual) sense of theatre.

Mobile objects in Sophie Calle’s Fantômes and Prenez soin de vous

2018 ◽  
Vol 29 (1) ◽  
pp. 70-78 ◽  
Author(s):  
Natalie Edwards
Keyword(s):  
Contemporary Culture ◽  
Work Of Art ◽  
Mobile Objects ◽  
Works Of Art ◽  
The Spectator ◽  
Contemporary Artist

The mobility of people and objects is a central motif in the work of contemporary artist Sophie Calle. In this article, I compare two of Calle’s exhibitions that take a particularly unusual approach to mobility. In Fantômes and Prenez soin de vous, the objects are an email and works of art and their mobility arises from their displacement. In both exhibitions, Calle obliges the spectator to look at other people looking at the artefacts, which I refer to as the ‘double look’. In this article, I analyse how this technique serves to question the notion of a unitary, individual artist behind each work of art, how it questions the parameters of spectatorship, and how it challenges understandings of intimacy in contemporary culture.

The Difficulty of Being Dead: Aleksandr Veledinskii’s Alive (2006)

2016 ◽  
Author(s):  
Vlad Strukov
Keyword(s):  
Political Agency ◽  
Life And Death ◽  
The Gaze ◽  
Spectral Effect ◽  
The Status ◽  
The Subject ◽  
The Dead ◽  
The Spectator

The dis/appearances of the characters in Veledinskii’s Alive denotes ruptures in continuity (including the continuity of the gaze). The role of the phantom is to overcome the complete break between the living and the dead as well as to overcome the ruptures in discourse. The persistent revenant is an epitome of the return: they become by coming back and in doing so they create a repetitive experience—teleological aporia, a certain inheritance. The phantom is a trace and also a differance (in Derridean terms) in that their spectral effect is in the ideological tendency and the promise of emancipation. In Alive, the phantom resists the totality of representation and so emerges as a method of paralogy: legitimacy of the subject is determined by a denial of the possibility of legitimation. The spectre as a mediation of discourse which lies in between, and in Alive—not between life and death but between death and death. In Alive political agency is the phantom’s expediency whereby the gaze onto the spectator—the pervasiveness of the ghostly experience problematizes the status of the spectator who—in the presence of the posthumous narrator—emerges as a posthumous spectator.

Frédéric Le Play and 19th-century vision machines

2016 ◽  
Vol 30 (1) ◽  
pp. 66-93 ◽  
Author(s):  
Harry Freemantle
Keyword(s):  
Social Sciences ◽  
19Th Century ◽  
Linear Time ◽  
Western Civilization ◽  
Late 19Th Century ◽  
The Gaze ◽  
The Social ◽  
History Of ◽  
The Spectator ◽  
Historical Moment

An early proponent of the social sciences, Frédéric Le Play, was the occupant of senior positions within the French state in the mid- to late 19th century. He was writing at a time when science was ascending. There was for him no doubt that scientific observation, correctly applied, would allow him unmediated access to the truth. It is significant that Le Play was the organizer of a number of universal expositions because these expositions were used as vehicles to demonstrate the ascendant position of western civilization. The fabrication of linear time is a history of progress requiring a vision of history analogous to the view offered the spectator at a diorama. Le Play employed the design principles and spirit of the diorama in his formulations for the social sciences, and L’Exposition Universelle of 1867 used the technology wherever it could. Both the gaze of the spectators and the objects viewed are part and products of the same particular and unique historical formation. Ideas of perception cannot be separated out from the conditions that make them possible. Vision and its effects are inseparable from the observing subject who is both a product of a particular historical moment and the site of certain practices.

scholarly journals Contemporary Art and Event-Based Social Theory

2021 ◽  
pp. 026327642110420
Author(s):  
Cornelia Bohn
Keyword(s):  
Empirical Evidence ◽  
Contemporary Art ◽  
Social Theory ◽  
Operative Time ◽  
Referential Process ◽  
The Gaze ◽  
Works Of Art ◽  
Social Theories ◽  
New Form ◽  
Event Based

In light of the sociological insight that it is left to the art system what counts as art, new artistic forms inevitably alter the prevailing concept of art. The article examines how artistic morphogenesis occurs in a twofold manner in the case of contemporary art: as self-referential process through new form combinatorics or asynchronous artistic operations whose artworks elude the gaze, and as other-referential relation. One of the main features of contemporary art lies in its strong reference to the present, based on a conception of operative time. Time is not understood as a sequence of past, present, future, but rather as the linking of respective presences. Contemporary art shares this understanding of time with event-based social theories. This is analysed as other-referential act of synchronization within the art system with its societal environment. Empirical evidence is provided by select works of art and by self-descriptions of the art system.

scholarly journals Fenomenologi Imaji dalam Seni: Sebuah Pergeseran Peran Subjek menuju Saksi

MELINTAS ◽  
2018 ◽  
Vol 33 (2) ◽  
pp. 130-156
Author(s):  
Hadrianus Tedjoworo
Keyword(s):  
Works Of Art ◽  
The World ◽  
The Subject ◽  
The Spectator

Art seems to always deal with subjects, both the artist and the spectator. The awareness that an image is not a concept may provoke those doing and experiencing art to reposition themselves as appreciators of the image. This article shifts the focus from concept to image. Art event is a sort of lectio imaginem, an experience of reading and not merely interpreting the image. Each artwork is transcendent, since every time it will speak differently when reencountered. Yet it might even frightfully reinterpret the audience differently, recreating the identity as a different figure in its eyes. Phenomenologically, the spectators are looked upon by the image through the works of art. The subject is assessed and transformed from I into me, that it becomes a witness in the presence of an image revealing itself. This article is an invitation to maintain the equilibrium between critical and appreciative atitudes, between theory and image, within the world of art. All individuals, without exception, are assessed by art. Perhaps they only need to forbear, to let themselves deluged in the surface, to become the witnesses fascinated before and moved by the saturation of the image.

Entrando al cinema. Il ritmo come segreto del mondo

2019 ◽  
Vol 21 ◽  
pp. 239-251
Author(s):  
Gianluca Solla ◽  
Keyword(s):  
Actual Usage ◽  
The Gaze ◽  
Collège De France ◽  
The World ◽  
The Spectator ◽  
Cette Notion

Nella conferenza su Le cinéma et la nouvelle psychologie Merleau-Ponty introduce una singolare, ma decisiva notazione sull’arte filmica, legandola alla nozione di “ritmo”. Tale nozione dà avvio a una riflessione sull’immagine e sul rapporto tra l’immagine e lo sguardo dello spettatore al cinema. Nel presente articolo, l’uso che Merleau-Ponty ne fa e il senso di questa operazione saranno letti in riferimento alla riflessione di Émile Benveniste sul ritmo e ad alcune annotazioni contenute nei corsi di Merleau-Ponty al Collège de France, di qualche anno successivi alla conferenza, su Le monde sensible et le monde de l’expression e quello sulle Recherches sur l’usage littéraire du langage. Dans le texte de sa conférence sur Le cinéma et la nouvelle psychologie, Merleau-Ponty introduit une lecture, singulière mais décisive, de l’art filmique, en la rapprochant de la notion de « rythme ». Cette notion engage une réflexion sur l’image et sur le rapport entre l’image et le regard du spectateur au cinéma. Dans cet article, l’utilisation que Merleau-Ponty en fait et le sens de cette opération seront lus à partir de la réflexion d’Émile Benveniste sur le rythme et à partir de certaines notes présentes dans les cours de Merleau-Ponty au Collège de France sur Le monde sensible et le monde de l’expression et sur les Recherches sur l’usage littéraire du langage, qui suivent de quelques années la conférence.In the text of his lecture on “Film and the new psychology,” Merleau-Ponty introduces a singular and decisive reading of filmic art, approaching the notion of “rhythm.” This notion engages in a reflection on image and on the relation between the image and the gaze of the spectator at the cinema. In this article, Merleau-Ponty’s actual usage of this notion and the meaning of this operation will be read starting from the reflection of Émile Benveniste on rhythm as well as certain notes presented in Merleau-Ponty’s courses at the Collège de France on The sensible world and the world of expression and Research on the literary usages of language, that follow some years after the lecture.

Introduction

2019 ◽  
pp. 1-22
Author(s):  
James Phillips
Keyword(s):  
Ethical Dimension ◽  
Human Face ◽  
Silent Cinema ◽  
Sound Film ◽  
The Gaze ◽  
The Face ◽  
The Spectator ◽  
The Moviegoer ◽  
The Way

Sternberg’s films are famous for their close-ups of the female face. This Introduction discusses the way in which Dietrich’s face functions in his early sound films. Whereas silent cinema charged the human face with carrying the plot or at least with taking up the narrative slack between intertitles, sound film with its additional resources for expounding the narrative opens a space for a face that is inscrutable. Sternberg’s films release the face for spectacle without thereby surrendering it to the gaze of the moviegoer: in its independence of the enclosed world of a narrative, Dietrich’s face is in a position to look out and back at the spectator. Contrasting Morocco with An American Tragedy (in which Dietrich does not appear), the Introduction argues that there is thus an image of autonomy that Sternberg and Dietrich construct and that contributes an (often overlooked) ethical dimension to their cinema of spectacle.

scholarly journals Pamięć Włoch Wojciecha Karpińskiego w perspektywie teorii neuroestetycznej Semira Zekiego

2019 ◽  
pp. 107-120
Author(s):  
Barbara Trygar
Keyword(s):  
Works Of Art ◽  
The Spectator

The aim of this article is to analyse Memory of Italy by Wojchech Karpinski in the in the prospect of the neuroaesthetic Semira Zeki theory. A works of art is an appropriately fabricated stimulus which is aimed at reprimanding the recipient. Evoking emotions at the spectator defined is included in nature of the works of art. The travel to Italy lets the hero experience the beauty, to find out the truth about world and about oneself, as well as to commune with the transcendental dimension.

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