scholarly journals The Artist as Facilitator: Being present with & loving the unknown

2019 ◽  
Vol 5 (1) ◽  
pp. 149-157
Author(s):  
Meghan Moe Beitiks
Keyword(s):  
Creative Process ◽  
Object Oriented ◽  
Ethical Implications ◽  
The Third ◽  
Object Oriented Ontology

Object-Oriented Ontology presents stark implications for the process of the artist. If all matter is alive, then all things are co-performers, and all art becomes performance. How does one work with the presence of the non-human, and what are the ethical implications of attempting to attune to its needs? Beginning with the object of a table, and considering it within both Graham Harman's discussion of "The Third Table" and the thing as a performing object, Meghan Moe Beitiks analyzes the presence of the non-human in performance and asserts a need for awareness, consideration and love in the creative process.

scholarly journals Object-Oriented Ontology’s View of Relations: a Phenomenological Critique

2019 ◽  
Vol 2 (1) ◽  
pp. 566-581 ◽  
Author(s):  
Floriana Ferro
Keyword(s):  
Object Oriented ◽  
Contemporary Philosophy ◽  
Italian School ◽  
The Third ◽  
Specific Focus ◽  
Phenomenological Perspective ◽  
Object Oriented Ontology

AbstractThis paper is focused on the possibility of a dialogue between Object-Oriented Ontology (OOO) and phenomenology, a dialogue concerning the problem of objects and relations. In the first part, the author shows what is interesting in OOO from a phenomenological perspective and why it should be considered as a challenge for contemporary philosophy. The second part develops the phenomenological perspective of the author, a perspective based on Merleau-Ponty’s “carnal” phenomenology, as well as some suggestions coming from the Italian school of Gaetano Kanizsa. The third part is dedicated to the objections of the author to the OOO view regarding the separation between objects and relations: a separation which leads to Harman’s quadruple object. In the concluding portion, the author shows that, despite evident differences between phenomenological and OOO’s views of relations, OOO offers new starting points for phenomenological reflections, thanks to its specific focus on objects and its pluralistic view of reality.

Atopias

2017 ◽  
Author(s):  
Frédéric Neyrat
Keyword(s):  
Object Oriented ◽  
Global Studies ◽  
Speculative Realism ◽  
The Third ◽  
The World ◽  
Classical Philosophy ◽  
Self Differentiation ◽  
Object Oriented Ontology ◽  
Excluded Middle ◽  
Living Being

Atopias argues for a transcendence that is a relation between thought and the world, rather than an object or a substance that escapes the world. In doing so, Atopies intervenes within the fields of object-oriented ontology and speculative realism, as well as classical philosophy, psychoanalysis, structuralism, poststructuralism, ecology, and global studies. The book posits that existence must be thought prior to being. Neyrat’s radical existentialism becomes the basis for a new theory of being, understood as the self-differentiation of the existent. Such self-differentiation, or spacing, is fundamentally different than the “Grand Divides” that postructuralist theories have critiqued. The first part of the book develops a critique of saturated immanence, or a world that attempts to immunize itself by rejecting forms of transcendence. From here the book turns to an internal divergence at the heart of philosophy, offering a new reading of Socrates. The second part of the book is a theory of the “trans-ject,” or an existing living being that is formed from the outside. The third section of the book examines the creation of metaphysical propositions through the transgression of the law of the excluded middle. Elaborating a politics of existence, Atopias calls us to defend the eccentricity of the living against that which prevents the living from existing.

scholarly journals The Problem of Causality in Object-Oriented Ontology

2019 ◽  
Vol 2 (1) ◽  
pp. 98-107
Author(s):  
C.J. Davies
Keyword(s):  
Object Oriented ◽  
Direct Interaction ◽  
Cause And Effect ◽  
The Third ◽  
Direct View ◽  
Object Oriented Ontology ◽  
Methodological Aspects

AbstractObject-oriented ontologists understand relations of cause and effect to be sensory or aesthetic in nature, not involving direct interaction between objects. Four major arguments are used to defend an indirect view of causation: 1) that there are analogies between perception and causation, 2) that the indirect view can account for cases of causation which a direct view cannot, 3) an Occasionalist argument that direct interaction would make causation impossible, and 4) that the view simply fits better with object-oriented ontology’s own premises. However, each argument is fallacious or otherwise unconvincing. The first affirms the consequent. The second fails because the relevant cases can easily be accounted for with a direct view. The third makes false assumptions about the relation between parts and wholes. And the fourth can also be used to argue against object-oriented ontology. Many of these problems can be traced to the methodological aspects of object-oriented ontology and might be avoided by emphasizing the role of non-argumentative justification in metaphysics.

DRAMATURGI KESENIAN TRADISIONAL DALUPA PRODUKSI SANGGAR SENI DATOK RIMBA DI WOYLA ACEH BARAT

2021 ◽  
Vol 10 (1) ◽  
pp. 15
Author(s):  
Susandro Susandro ◽  
Rika Wirandi ◽  
Hatmi Negria Taruan
Keyword(s):  
New York ◽  
Creative Process ◽  
Creation Process ◽  
Folk Tale ◽  
The Third ◽  
The People ◽  
Third Stage ◽  
Three Stages ◽  
Banda Aceh

Dalupa art emerged from the creative process of the people of West Aceh which can be stretched into three stages. First, Dalupa was originally a folk tale or folklore that was narrated from generation to generation. Second, the Dalupa then manifests (a person wearing the costume of a Dalupa character) so that it can be witnessed in person. At this stage, the Dalupa character does not manifest itself in the form of theater or dance. Its presence is only intended to entertain or enliven an event, such as weddings, processions, campaigns and so on. Third, the Dalupa character is presented by considering the dramatic element; arrangement of a series of events that tell the beginning of the appearance to the end of the Dalupa story. This study aims to record and describe how the process of creating the Dalupa art, as mentioned in the third stage. The method used is qualitative with the dramaturgy approach. This study shows the results that the art of Dalupa presents a story about the origin of the appearance of Dalupa with the manifestation of organized events. On this basis, it can be concluded that Dalupa art can be categorized as dramatic or theater art.Keywords: dalupa, creation process, dramatic, dramaturgy.AbstrakKesenian Dalupa muncul dari proses kreatif masyarakat Aceh Barat yang dapat direntangkan menjadi tiga tahap. Pertama, Dalupa mulanya merupakan cerita rakyat atau folklor yang dinarasikan secara turun-temurun. Kedua, Dalupa kemudian mewujud (seseorang yang mengenakan kostum tokoh Dalupa) sehingga dapat disaksikan secara langsung. Pada tahap ini, tokoh Dalupa mewujud tidaklah dalam bentuk kesenian teater atau tari. Kehadirannya hanya bertujuan untuk menghibur atau meramaikan suatu acara, seperti pernikahan, arak-arakan, kampanye dan sebagainya. Ketiga, tokoh Dalupa dihadirkan dengan mempertimbangkan unsur dramatika; penataan rangkaian peristiwa yang menceritakan awal kemunculan hingga akhir kisah Dalupa. Penelitian ini bertujuan mencatat serta memaparkan bagaimana proses penciptaan kesenian Dalupa, sebagaimana disebut pada tahap ketiga. Metode yang dilaksanakan yaitu kualitatif dengan pendekatan dramaturgi. Penelitian ini menunjukkan hasil bahwa kesenian Dalupa menyajikan cerita tentang asal mula kemunculan Dalupa dengan perwujudan peristiwa-peristiwa yang tertata. Atas dasar tersebut, dapat dismpulkan bahwa kesenian Dalupa dapat dikategorikan sebagai seni dramatik atau teater.  Kata Kunci: dalupa, proses penciptaan, dramatika, dramaturgi. Authors: Susandro : Institut Seni Budaya Indonesia Aceh Rika Wirandi : Institut Seni Budaya Indonesia Aceh Hatmi Negria Taruan : Institut Seni Budaya Indonesia Aceh References:Barba, Eugenio. (2010). On Directing and Dramaturgy: Burning the House. New York: Routledge.Harymawan. (1993). Dramaturgi. Bandung: Rosdakarya.Herman, RN. (2016). Dalupa: Teater Tradisional Pantai Barat. Buletin Tuhoe edisi XVII. Banda Aceh: JKMA Aceh.Koster, G.L. (1998). Kacamata Hitam Pak Mahmud Wahid Atau Bagaimanakah Meneliti Puitika Sebuah Sastra Lisan?, dalam Pudentia MPSS (Ed.), Metodologi Kajian Tradisi Lisan. Jakarta: Yayasan Obor Indonesia dan Yayasan Asosiasi Tradisi Lisan.Moleong, Lexy J. (2005). Metodologi Penelitian Kualitatif, Ed. Revisi cetakan keduapuluhsatu. Bandung: Rosdakarya.Pramayoza, Dede. (2013). Dramaturgi Sandiwara: Potret Teater Populer Dalam Masyarakat Poskolonial. Yogyakarta: Penerbit Ombak.Soedarsono, R.M. (2001). Metodologi Penelitian Seni Pertunjukan dan Seni Rupa. Bandung: MSPI (Masyarakat Seni Pertunjukan Indonesia).SSDR. (2019). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.Stokes, Jane. (2007). How to do Media and Kultural Studies: Panduan Untuk Melaksanakan Penelitian dalam Kajian Media dan Budaya. Terj. Santi Indra Astuti. Yogyakarta: Bentang.Taruan, H.N. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.  Wirandi, R. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.

scholarly journals Słabe, chrome i skołowaciałe. O praktycznych wymiarach teorii ekokrytycznych.

2019 ◽  
Vol 32 (2) ◽  
pp. 129-149
Author(s):  
Tymon Adamczewski
Keyword(s):  
Object Oriented ◽  
Object Oriented Ontology

Autor omawia w artykule współczesne osiągnięcia dyskursów ekokrytyki, próbując odczytać je przez pryzmat słabej myśli. Główna uwaga poświęcona jest intrygującym propozycjom teoretycznym Timothy‟ego Mortona dotyczącym hiperobiektów, które ukazane zostają w kontekście OOO (object-oriented ontology), a które uznać można za przykłady innego sposobu uprawiania teorii i praktyki akademickiej. Wykorzystując pojęcie veering (skołowacenia) Nicholasa Royle‟a, autor wskazuje zalety osadzenia rozważań w „osłabionej”, nieantropocentrycznej perspektywie, która stanowi alternatywę dla bardziej dydaktycznych i opartych na poczuciu winy dyskursów krytycznych.

scholarly journals TRADUCCIÓN POST-HUMANA EN LA CUARTA FASE DEL CAPITALISMO GLOBAL: TECNOLOGÍAS DIGITALES, LENGUAJES SENSORIALES Y BIG DATA. UN ACERCAMIENTO CRÍTICO DESDE EL ARTE

2019 ◽  
Vol 6 ◽  
pp. 215-234
Author(s):  
Federica Matelli
Keyword(s):  
Big Data ◽  
Mobile Phone ◽  
Digital Technologies ◽  
Object Oriented ◽  
Global Capitalism ◽  
Digital Culture ◽  
Digital Objects ◽  
Object Oriented Ontology ◽  
Different Cultures ◽  
Aesthetic Concepts

A partir del concepto de traducción y de comunidad de humanos y no – humanos de Bruno Latour, y retomando algunos conceptos estéticos centrales en la OOO (Ontología Orientada a los Objetos), este articulo expone un tipo de traducción post-humana estrechamente relacionada con la situación global del capitalismo computacional. En este orden extremo del capitalismo global, que está gobernado por algoritmos y condicionado por techno - políticas, la difusión transnacional de las tecnologías digitales instaura un lenguaje sensorial único que traduce, uniformándolas, culturas distintas y al mismo tiempo garantiza el control sobre el presente y el futuro por medio del Big Data, así como nos advierte Armen Avanessian. Su máximo agente es el design de objetos tecnológicos y servicios. A partir de esta constatación se aporta el ejemplo de un proyecto artístico que, trabajando con la traducción de datos por medio de un diseño alternativo, desvela este estado de la cultura digital actual, traduciendo y explicitando las funciones ocultas de algunos objetos digitales de uso cotidiano –como el teléfono móvil– en una instalación con objetos tecnológicos y mapas de datos. Based on the Bruno Latour’s concept of translation and community of humans and non - humans, and retaking some central aesthetic concepts in the OOO (Object Oriented Ontology), this article exposes a type of post-human translation closely related to the global situation of computational capitalism. In this extreme order of global capitalism, which is governed by algorithms and conditioned by techno - policies, the transnational diffusion of digital technologies establishes a unique sensory language that translates, unifying them, different cultures and at the same time guarantees control over the present and the future through Big Data, as Armen Avanessian warns us. Its maximum agent is the design of technological objects and services. From this finding, the example of an artistic project is provided that, working with the translation of data through an alternative design, reveals this state of the current digital culture, translating and explaining the hidden functions of some digital objects for everyday use –Like the mobile phone– in an installation with technological objects and data maps.

scholarly journals Growing in the dark: algorithmic books and possibilities for the contemporary manuscript

2021 ◽  
Author(s):  
Reg Beatty
Keyword(s):  
Object Oriented ◽  
Artist's Book ◽  
Object Oriented Ontology ◽  
Dark Ecology

This essay documents a generative bookwork of mine called Growing in the Dark. It responds to the challenges of current thought including object-oriented ontology (Levi Bryant and Ian Bogost), the dark ecology of Timothy Morton, and the vibrant materialism of Jane Bennett. It also asks how the contemporary artist's book might be studied as a set of procedures, and then "grown" from that code.

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