scholarly journals Deleuze and Guattari’s Logic of Sensation in the Context of Contemporary Art

Problemos ◽  
2021 ◽  
Vol 100 ◽  
pp. 180-190
Author(s):  
Sigita Dackevičiūtė
Keyword(s):  
Contemporary Art ◽  
Sensory Perception ◽  
General Context ◽  
Main Concept ◽  
Work Of Art ◽  
The Aesthetic

Deleuze and Guattari’s concept of art (the logic of sensation) has been interpreted in the context of the opposition between modernism and contemporary art, and then it is either attributed only to modernism, which gives priority to the aesthetic dimension of art, or it is argued that we must see its potential to create “new connections.” These opposing views are expressed by Stephen Zepke and Simon O’Sullivan. However, Deleuze and Guattari’s artistic sensation is not a sensory perception, it is the main concept of their logic of sensation, encompassing both the sensory and the conceptual-virtual dimensions. In the article, I seek to demonstrate that Deleuze and Guattari’s artistic sensation, encompassing both of these dimensions, relates to the general context of Deleuze and Guattari’s philosophy and resonates with the aesthetic and semantic dimensions of contemporary art projects. Discussing Thomas Feuerstein’s installation Prometheus Delivered I demonstrate in what ways the notion of the logic of sensation expands the field of the interpretation of this work of art.

The Concept of Stratification of the Work of Art in the Aesthetic Thought of Roman Ingarden and Władysław Stróżewski in Relation to Contemporary Art On the Example of an Analysis and Interpretation of an Installation by Arthur Jafa

2021 ◽  
pp. 83-101
Author(s):  
Rafał Solewski
Keyword(s):  
Contemporary Art ◽  
Layered Structure ◽  
Installation Art ◽  
Work Of Art ◽  
The Aesthetic ◽  
The Relationship ◽  
Aesthetic Values ◽  
Do So

The text begins with an indication of the influence Roman Ingarden’s philosophy exerted on Władysław Stróżewski’s aesthetic thought. A particular emphasis is applied to the belief in the intentional nature of the work of art, as well as its multi-- layered structure and the location of the ‘aesthetically valuable qualities’ and ‘qualities of aesthetic values’ within such a structure. Next, selected topics discussed by Stróżewski in Dialectics of Creativity are presented. Finally, considerations regarding the relationship ‘was–is,’ ‘beginning–end,’ ‘top (content, idea)–bottom (material, technique)’, necessity and freedom, as well as necessity and possibility are applied to the contemporary ‘installation art.’ Arthur Jafa’s work The White Album (awarded the main trophy at the 2019 Biennial in Venice) is analyzed. Although the installation is constructed with the use of various media and materials, it has been shown that the reception of the whole gives it the character of an intentional work. The analysis also demonstrates a presence of a multi-layered structure and dialectical juxtapositions mentioned above. For installations using various materials and media, the multiplication of strata and the surprising transformation (through a unique ‘installation’) of the material-meaning-sense relationship is especially characteristic. The multiplication of strata and the transformation of material-meaning-sense relationship also highlight the issues raised in Dialectics of Creativity, yet they do so in an artistic way. The specific ‘aesthetically valuable’ qualities such as immersiveness, intensity, and poeticality are eventually described as revealing the values of beauty and truth.

II.—A Plea for the Study of Literature from the æsthetic Standpoint

PMLA ◽  
1891 ◽  
Vol 6 (1) ◽  
pp. 29-40
Author(s):  
John P. Fruit
Keyword(s):  
Divine Attributes ◽  
External Quality ◽  
Work Of Art ◽  
Divine Justice ◽  
The Aesthetic

That teacher of literature who has not comprehended the significance of a work of Art, has never been endued with the spirit and power of his high calling. He stands unwittingly in the place of an apostle of “that external quality of bodies which may be shown to be in some sort typical of the Divine attributes.”“Those qualities, or types,” according to Ruskin, “on whose combination is dependent the power of mere material loveliness” are:“Infinity, or the type of Divine Incomprehensibility; Unity, or the type of the Divine Comprehensibility; Repose, or the type of the Divine Permanence; Symmetry, or the type of the Divine Justice; Purity, or the type of the Divine Energy; Moderation, or the type of Government by Law.”

Contemporary Art: The Generative Role of Play

1959 ◽  
Vol 21 (2) ◽  
pp. 389-401
Author(s):  
James Johnson Sweeney
Keyword(s):  
Contemporary Art ◽  
Physical World ◽  
Work Of Art ◽  
Looking Glass

AllOfUs who have considered the problem of enjoying contemporary art are aware that the most serious barriers to it are the reluctance on the part of many painters and sculptors to put aside the notion that a work of art must mirror the physical world about us and their unwillingness to accept the fact that all true art must go “through the looking glass” — that is beyond the mirror.

scholarly journals Where is the authenticity of the contemporary art?

2017 ◽  
Vol 11 ◽  
pp. 214-218
Author(s):  
Carlota Santabárbara Morera
Keyword(s):  
Contemporary Art ◽  
Aesthetic Value ◽  
The Aesthetic ◽  
Historic Document

In the contemporary art, the conservation of the original matter is not as important as the conservation of the authenticity of the work, because of this it is very important to know the artist and his work, to be able to conserve the most important values. In this process it is very important the documentation and the research. Therefore the criteria of restoration has changed, we can not conserve the patina of the contemporary art as a historic document, if this means the loss of the aesthetic value of the work. Nowadays the art is different, and therefore its conservation is different too.

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

‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists

2015 ◽  
Vol 20 (6) ◽  
pp. 567-584 ◽  
Author(s):  
Lin Zhang ◽  
Taj Frazier
Keyword(s):  
Contemporary Art ◽  
Chinese Identity ◽  
Chinese Contemporary Art ◽  
Western Art ◽  
Chinese State ◽  
The Aesthetic ◽  
And Control ◽  
Art Industry ◽  
Contemporary Chinese ◽  
Contemporary Artists

This article examines the art and travels of two contemporary Chinese artists – Ai Weiwei and Cai Guo-Qiang – to explore how each of them successfully navigates the rapidly shifting terrains and interests of the Chinese state and the global high art industry while simultaneously articulating a distinct politics and practice of creative ambivalence. We argue that these two artists’ creative productions and strategies: (1) refute various western critics’ critique of Chinese artists as inauthentic imitators of western art who produce exotic representations of China and Chinese identity for western consumption; (2) call into question the Chinese government’s numerous efforts to simultaneously promote and control Chinese contemporary art for nationalist/statist purposes. Furthermore, we unpack how both artists deploy various resources to produce complex works that interrogate and demonstrate the clashes of power, culture and identity in global spaces of encounter.

Introduction: almost nothing

2017 ◽  
Author(s):  
Anna Dezeuze
Keyword(s):  
Contemporary Art ◽  
Human Condition ◽  
Work Of Art ◽  
Art Object ◽  
New Perspective ◽  
The 1960S ◽  
Definition Of ◽  
The Human Condition

This introduction introduces the term ‘precariousness’ by contrasting it with the ‘ephemeral’. Precarious practices that explore the ‘almost nothing’ are situated in the context of studies of ‘nothingness’ and empty exhibitions in contemporary art. Such debates focus on the ‘dematerialisation’ of the art object since the 1960s, which will be addressed from a new perspective following Lawrence Alloway’s 1969 definition of ‘an expanding and disappearing’ work of art. Re-readings of the materiality of contemporary art since the 1960s are related to continental debates concerning ‘precarity’ in the 1990s, and traced back to Hannah Arendt’s 1958 remarks on The Human Condition. Two different philosophical books — Vladimir Jankélévitch’s 1957 Le Je-ne-sais-quoi et le presque rien, and Simon Critchley’s 1997 Very little, almost nothing — point to some of the questions and methods raised by the study of precarious practices.

The Medieval Image, I

2019 ◽  
pp. 196-223
Author(s):  
Thomas Nail
Keyword(s):  
Middle Ages ◽  
Work Of Art ◽  
Works Of Art ◽  
Aesthetic Field ◽  
The Aesthetic ◽  
The Church ◽  
The Middle Ages

Chapter 10 presents a realist aesthetics (versus constructivist) and a kinetic materialism (versus formal idealism) that focuses on the material kinetic structure of the work of art itself, inclusive of milieu and viewer. What the author calls “kinesthetics” is a return to the works of art themselves as fields of images, affects, and sensations. The chapter more specifically offers a focused study of the material kinetic conditions of the dominant aesthetic field of relation during the Middle Ages. The argument here and in the next chapter is that during the Middle Ages, the aesthetic field is defined by a tensional and relational regime of motion. This idea is supported by looking closely at three major arts of the Middle Ages: glassworks, the church, and distillation. The next chapter likewise considers perspective, the keyboard, and epistolography.

Philosophical Aspects of Literary Objectiveness

1998 ◽  
pp. 77-84
Author(s):  
Endre Kiss
Keyword(s):  
Literary Work ◽  
Philosophy Of Art ◽  
Crucial Importance ◽  
Work Of Art ◽  
Artistic Experience ◽  
Scientific Analysis ◽  
The Status ◽  
The Aesthetic ◽  
Definition Of ◽  
General Fact

Gadamer’s hermeneutic philosophy avoids the problem of literary objectiveness altogether. His approach witnesses the general fact that an indifference towards literary objectiveness in particular, leads to a peculiar neglect of par excellence literariness as such. It seems obvious, however, that the constitutive aspects of the crisis of literary objectiveness cannot be shown to contain the underlying intention of bringing about this situation. At this point, one can identify what could probably be the most important element in a definition of literary objectiveness. In contrast to ‘natural’ objectiveness and objectiveness based on various societal conventions, the legitimacy of a literary work is solely guaranteed by its elements being organized in accordance with the rules of literary objectiveness. Thus when the crisis of literary objectiveness intensifies, literariness will also find itself in a crisis. This crisis detaches new, quasi-literary formations from various definitions of literariness. When literary objectiveness ceases, however, to be understood as a system constituted by various objective formations aiming to correspond in one way or another to the ‘world’, scientific analysis of literary objectiveness will be rendered impossible. The crisis of literary objectiveness thus brings about the crisis of the theory of literature and the philosophy of art. Gadamer explicitly argues that the scientific approach proves to be inadequate in the analysis of artistic experience. This attitude results in the categorical rejection of a scientific orientation (and so in a complete indifference towards literary objectiveness), but he seems to overemphasize an otherwise correct thesis on the non-reflexive character of artistic experience. It is the anti-mimetic and Platonic character of Gadamer’s aesthetic hermeneutics that determines the status of literary (artistic) objectiveness in his system of thought. What is of crucial importance, however, is to point out that this aesthetics entails a fundamental reduction of the significance of literary objectiveness. As soon as the essence of aesthetic object-constitution is taken to be re-cognition (plus the emanating aesthetic possibilities), the absolutely natural interest in the original object represented by a work of art.Undoubtedly, Gadamer’s conception answers a number of questions that tend to be ignored by other theories. It is just as obvious, however, that Gadamer completes here the aesthetic devaluation of the objective domain. It is not the characteristics of the ‘original’ that constitute the image, but in effect the image turns the original into an original. Paraphrasing this claim one arrives at a near paradox: not objectiveness makes a work of art possible, but a work of art lends objects their objectiveness.

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