scholarly journals Between Analogue and Digital Diagrams

2012 ◽  
Vol 5 (2) ◽  
Author(s):  
Zoltan Bun
Keyword(s):  
Lived Experience ◽  
Performing Arts ◽  
Gilles Deleuze ◽  
Human Beings ◽  
Literature And Philosophy ◽  
The Arts ◽  
It Architecture ◽  
Artistic Images ◽  
In The Beginning ◽  
Digital Processes

This essay is about the interstitial. About how the diagram, as a method of design, has lead fromthe analogue deconstruction of the eighties to the digital processes of the turn of the millennium.Specifically, the main topic of the text is the interpretation and the critique of folding (as a diagram)in the beginning of the nineties. It is necessary then to unfold its relationship with immediatelypreceding and following architectural trends, that is to say we have to look both backwards andforwards by about a decade. The question is the context of folding, the exchange of the analogueworld for the digital. To understand the process it is easier to investigate from the fields of artand culture, rather than from the intentionally perplicated1 thoughts of Gilles Deleuze. Both fieldsare relevant here because they can similarly be used as the yardstick against which the era itselfit measured. The cultural scene of the eighties and nineties, including performing arts, movies,literature and philosophy, is a wide milieu of architecture. Architecture responds parallel to itsera; it reacts to it, and changes with it and within it. Architecture is a medium, it has always beena medium, yet the relations are transformed. That’s not to say that technical progress, for exampleusing CAD-software and CNC-s, has led to the digital thinking of certain movements ofarchitecture, (it is at most an indirect tool). But the ‘up-to-dateness’ of the discipline, however,a kind of non-servile reading of an ‘applied culture’ or ‘used philosophy’2 could be the key.(We might recall here, parenthetically, the fortunes of the artistic in contemporary mass society.The proliferation of museums, the magnification of the figure of the artist, the existence of amassive consumption of printed and televised artistic images, the widespread appetite for informationabout the arts, all reflect, of course, an increasingly leisured society, but also relateprecisely to the fact that, faced with the tedium of everyday, real, lived experience, of the scientificillusion, of work and production, the world of art appears as a kind of last preserve of reality,where human beings can still find sustenance. Art is understood as being a space in whichthe fatigue of the contemporary subject can be salved away.)3

Literature and the Arts as a Basis for Curriculum in the Work of Maxine Greene

2021 ◽  
Author(s):  
Janet L. Miller
Keyword(s):  
Literary Criticism ◽  
Lived Experience ◽  
Performing Arts ◽  
Lived Experiences ◽  
Teacher Educators ◽  
Matter Content ◽  
The Arts ◽  
The World ◽  
Imaginative Literature ◽  
Maxine Greene

Maxine Greene, internationally renowned educator, never regarded her work as situated within the field of curriculum studies per se. Rather, she consistently spoke of herself as an existential phenomenological philosopher of education working across multidisciplinary perspectives. Simultaneously, however, Greene persistently and passionately argued for all conceptions and enactments of curriculum as necessarily engaging with literature and the arts. She regarded these as vital in addressing the complexities of “curriculum” conceptualized as lived experience. Specifically, Greene regarded the arts and imaginative literature as able to enliven curriculum as lived experience, as aspects of persons’ expansive and inclusive learnings. Such learnings, for Greene, included the taking of necessary actions toward the creating of just and humane living and learning contexts for all. In particular, Greene supported her contentions via her theorizing of “social imagination” and its accompanying requisite, “wide-awakeness.” Specifically, Greene refused curriculum conceived as totally “external” to persons who daily attempt to make sense of their life worlds. In rejecting any notion of curriculum as predetermined, decontextualized subject-matter content that could be simply and easily delivered by teachers and ingested by students, she consistently threaded examples from imaginative literature as well as from all manner of the visual and performing arts throughout her voluminous scholarship. She did so in support of her pleas for versions of curriculum that involve conscious acts of choosing to work in order not only to grasp “what is,” but also to envision persons, situations, and contexts as if they could be otherwise. Greene thus unfailingly contended that literature and the arts offer multiplicities of perspectives and contexts that could invite and even move individuals to engage in these active interpretations and constructions of meanings. Greene firmly believed that these interpretations and constructions not only involve persons’ lived experiences, but also can serve to prompt questions and the taking of actions to rectify contexts, circumstances, and conditions of those whose lived lives are constrained, muted, debased, or refused. In support of such contentions, Greene pointed out that persons’ necessarily dynamic engagements with interpreting works of art involved constant questionings. Such interrogations, she argued, could enable breaking with habitual assumptions and biases that dull willingness to imagine differently, to look at the world and its deleterious circumstances as able to be enacted otherwise. Greene’s ultimate rationale for such commitments hinged on her conviction that literature and the arts can serve to not only represent what “is” but also what “might be.” As such, then, literature and the arts as lived experiences of curriculum, writ large, too can impel desires to take action to repair myriad insufficiencies and injustices that saturate too many persons’ daily lives. To augment those chosen positionings, Greene drew extensively from both her personal and academic background and interests in philosophy, history, the arts, literature, and literary criticism. Indeed, Greene’s overarching challenge to educators, throughout her prolonged and eminent career, was to think of curriculum as requiring that persons “do philosophy,” to think philosophically about what they are doing. Greene’s challenges to “do philosophy” in ways that acknowledge contingencies, complexities, and differences—especially as these multiplicities are proliferated via sustained participation with myriad versions of literature and the arts—have influenced generations of educators, students, teaching artists, curriculum theorists, teacher educators, and artists around the world.

The Human-Machine: Possibilities for Expression in Robotic Dance

2018 ◽  
Author(s):  
Hannah M. Brown
Keyword(s):  
Performing Arts ◽  
Human Performance ◽  
Installation Art ◽  
Scientific Field ◽  
Point Of View ◽  
Human Beings ◽  
The Arts ◽  
Art Works ◽  
Social Applications ◽  
Insight Into

Robots have been a source of both intrigue and anxiety for artists and a lively apparatus for study by scientific researchers for several decades. Though many people view robots as being cold, unemotional, and frightening, there is a growing field in robotics specifically focused on social applications including therapy, elder care, and the arts. Robots have been utilized extensively in installation art works and sculpture, but the performing arts have been somewhat more resistant to them. Machines which have all the technical abilities to perform tasks, such as playing an instrument or executing choreography without fatiguing or making errors, can be threatening to human performers who have honed these abilities and rely upon them for creative expression and their livelihoods. By synthesizing studies in the scientific field of social robotics, philosophical insight into technology and the arts, and case studies of robots used in dance and other art forms, I seek to provide an alternative point of view of robotic integration into performance. Robots do not need to act only as avatars of human beings, they can be effectively utilized in dance to expand upon the capabilities of the human body, act as automatic ‘puppets’ for choreography, integrate into human performance, and be ‘autonomous’ performers in their own right. Robot dancers do not inherently replace or devalue human artists; instead, they can provide complex insight into the understanding of human bodies, emotions, and technology.

Emerging patterns of artistic organizations in Portugal: A three case studies analysis

2020 ◽  
pp. 84-107
Author(s):  
Vera Borges ◽  
Luísa Veloso
Keyword(s):  
Labour Market ◽  
Economic Crisis ◽  
Performing Arts ◽  
Work Organization ◽  
The Arts ◽  
Emerging Patterns ◽  
New Models ◽  
Organizational Patterns ◽  
New Forms Of Work ◽  
Anal Yses

In the wake of the 2008 global financial and economic crisis, new forms of work organization emerged in Europe. Following this trend, Portugal has undergone a reconfiguration of its artistic organizations. In the performing arts, some organiza-tions seem to have crystalized and others are reinventing their artistic mission. They follow a plurality of organizational patterns and resilient profiles framed by cyclical, structural and occupational changes. Artistic organizations have had to adopt new models of work and seek new opportunities to try out alternatives in order to deal, namely, with the constraints of the labour market. The article anal-yses some of the restructuring processes taking place in three Portuguese artistic organizations, focusing on their contexts, individual trajectories and collective missions for adapting to contemporary challenges of work in the arts. We conclude that organizations are a key domain for understanding the changes taking place.

Simone de Beauvoir's Philosophy of Individuation

2017 ◽  
Author(s):  
Laura Hengehold
Keyword(s):  
Lived Experience ◽  
20Th Century ◽  
Sexual Difference ◽  
Gilles Deleuze ◽  
The Other ◽  
Simone De Beauvoir ◽  
Second Sex ◽  
Other Hand ◽  
The World

Most studies of Simone de Beauvoir situate her with respect to Hegel and the tradition of 20th-century phenomenology begun by Husserl, Heidegger, and Merleau-Ponty. This book analyzes The Second Sex in light of the concepts of becoming, problematization, and the Other found in Gilles Deleuze. Reading Beauvoir through a Deleuzian lens allows more emphasis to be placed on Beauvoir's early interest in Bergson and Leibniz, and on the individuation of consciousness, a puzzle of continuing interest to both phenomenologists and Deleuzians. By engaging with the philosophical issues in her novels and student diaries, this book rethinks Beauvoir’s focus on recognition in The Second Sex in terms of women’s struggle to individuate themselves despite sexist forms of representation. It shows how specific forms of women’s “lived experience” can be understood as the result of habits conforming to and resisting this sexist “sense.” Later feminists put forward important criticisms regarding Beauvoir’s claims not to be a philosopher, as well as the value of sexual difference and the supposedly Eurocentric universalism of her thought. Deleuzians, on the other hand, might well object to her ideas about recognition. This book attempts to address those criticisms, while challenging the historicist assumptions behind many efforts to establish Beauvoir’s significance as a philosopher and feminist thinker. As a result, readers can establish a productive relationship between Beauvoir’s “problems” and those of women around the world who read her work under very different circumstances.

Rouse’s Conception of Practice Theory and Existential Phenomenology

2017 ◽  
Vol 2017 (2) ◽  
pp. 93-112
Author(s):  
Jo-Jo Koo
Keyword(s):  
Lived Experience ◽  
Practice Theory ◽  
Existential Phenomenology ◽  
Human Beings ◽  
Normative Conception ◽  
Copernican Revolution

Joseph Rouse is one of the most distinctive and innovative proponents of practice theory today. This article focuses in section I on two extended elaborations with systematic intent from Rouse’s corpus over the last two decades regarding the nature of practices, highlighting in particular the concept of normativity. Toward this end, this article explains why Rouse argues that we need to bring about something like a Copernican revolution in our understanding of the intrinsic normativity of practices as an essentially interactive, temporal, contestable, and open-ended process. In section II, this article then examines some commonalities and apparent divergences of Rouse’s practice theory from the existential phenomenology of the early Heidegger and Merleau-Ponty. The article draws to a close by considering two apparent divergences between Rouse’s conception of practices and existential phenomenology: (1) the degree of compatibility between the claim of existential phenomenology to reveal necessary enabling background conditions of our lived experience and Rouse’s normative conception of practices; and (2) the compatibility of “quasi-transcendental” constitution, as this is at work according to existential phenomenology, and Rouse’s argument that it is wrong to understand practices as exclusively centered on the activities of human beings.

Allegories of Creativity and Territory

PMLA ◽  
2003 ◽  
Vol 118 (1) ◽  
pp. 114-119 ◽  
Author(s):  
Roger Bartra
Keyword(s):  
Aggressive Behavior ◽  
Ecological Niche ◽  
Gilles Deleuze ◽  
Social Groups ◽  
Modern Society ◽  
Felix Guattari ◽  
Human Beings ◽  
Death Of God

Ecology defines territory as an area defended by an organism or a group of similar organisms with the purpose of pairing off, nesting, resting, and feeding. The defense of this space frequently brings about an aggressive behavior toward intruders and the marking of boundaries by means of repulsive chemical odors. Human beings, though they lack a precise ecological niche and are capable of adapting themselves to diverse spaces, also define territorial limits, from which emanate particular aromas that identify certain social groups. This is a question not of chemical perfumes but rather of codified cultural effusions that fill these groups with pride, even though they may, on occasion, strike others as repulsive. Many years ago, theories established that modern society impels a relentless process of deterritorialization and decodification, a process that tends to be ill regarded by ecologists, the populist left, fundamentalists, and conservatives. The proponents of this idea in the 1970s, Gilles Deleuze and Félix Guattari, stated in their renowned but forgotten book Anti-Oedipus (1972) that this process would end in the liberation of “desiring machines” and the dismantling of the oppressive state, in the same way that the death of God announced by Nietzsche was to be a liberating catastrophe. It is curious that these theories should end up hermetically codified and entombed beneath the seven seals of postmodernism and deconstruction, in the territory of an insufferable and unnecessary jargon.

Christian Feminist Theology and the Arts

2021 ◽  
Author(s):  
Elizabeth Ursic
Keyword(s):  
Performing Arts ◽  
Feminist Theology ◽  
Christian Theology ◽  
Female Leaders ◽  
Christian Women ◽  
The Bible ◽  
Inclusive Language ◽  
The Arts ◽  
In Christ ◽  
The 1960S

Christian theology is the study of God and religious belief based on the Christian Bible and tradition. For over 2,000 years, Christian theologians have been primarily men writing from men’s perspectives and experiences. In the 1960s, women began to study to become theologians when the women’s rights movement opened doors to higher education for women. Beginning in the 1970s and 1980s, female theologians developed Christian feminist theology with a focus on women’s perspectives and experiences. Christian feminist theology seeks to empower women through their Christian faith and supports the equality of women and men based on Christian scripture. “There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus” (Galatians 3:28). The arts have an important role in Christian feminist theology because a significant way Christians learn about their faith is through the arts, and Christians engage the arts in the practice of their faith. Christian feminist theology in the visual arts can be found in paintings, sculptures, icons, and liturgical items such as processional crosses. Themes in visual expression include female and feminine imagery of God from the Bible as well as female leaders in the scriptures. Christian feminist theology in performing arts can be found in hymns, prayers, music, liturgies, and rituals. Performative expressions include inclusive language for humanity and God as well as expressions that celebrate Christian women and address women’s life experiences. The field of Christian feminist theology and the arts is vast in terms of types of arts represented and the variety of ways Christianity is practiced around the world. Representing Christian feminist theology with art serves to communicate both visually and performatively that all are one in Christ.

Why Psychoanalysis Matters to Law

2017 ◽  
Author(s):  
Anne C. Dailey
Keyword(s):  
Lived Experience ◽  
Criminal Law ◽  
Legal Theory ◽  
Practical Knowledge ◽  
Individual Freedom ◽  
Human Beings ◽  
Legal Doctrine ◽  
Legal Rules ◽  
The Law ◽  
Theoretical Foundations

This chapter describes the contribution contemporary psychoanalysis has to make in three specific areas: legal theory, legal doctrine, and adjudication in the courtroom. Psychoanalysis improves the law’s theoretical foundations by modifying its foundational presumption of rationality. Psychoanalysis also helps to reform legal doctrine by identifying those particular subject matter areas, primarily family law and criminal law, where the law’s presumption of rationality leads to unjust legal rules. With domestic violence as its example, this chapter shows how psychoanalysis offers a body of practical knowledge that humanizes the law by bringing legal rules into line with actual, everyday lived experience. And finally, psychoanalysis reveals the deep tension between the law’s focus on individual moral responsibility for behavior and the law’s objective methods of proof in the courtroom. Psychoanalytic insights into the art of proving what really happened in a case can move law in the direction of a more empathic and forgiving model of judging. Overall, the psychoanalytic study of the law unveils the damaging consequences of the law’s rationalist assumptions about who we are as human beings, and offers an alternative, humanistic perspective in line with law’s foundational ideals of individual freedom and systemic justice.

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