scholarly journals Art: A brief history of absence (From the conception and birth, life and death, to the living deadness of art)

2015 ◽  
Vol 26 (3) ◽  
pp. 652-676
Author(s):  
Davor Dzalto
Keyword(s):  
Modern Concept ◽  
Art World ◽  
Art Theory ◽  
Conceptual Tool ◽  
Life And Death ◽  
German Art ◽  
Gradual Disappearance ◽  
History Of ◽  
The Aesthetic ◽  
The Way

This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of ?(fine) art(s).? The essay also examines the main developments in the history of the art of modernity which were initiated from the way the ?nature? of art was conceived in early modern aesthetics. The author claims that the formulation of the ?aesthetic nature? of art led to the process of the gradual disappearance of all of the formal elements that had previously characterized the visual arts; the result was ?emptiness? or ?nothingness? as art. The author refers to this process in terms of ?vanishing acts? that allow for the formulation of an aesthetics of absence in connection to twentieth-century art (complementing the ?sthetik der Absenz, formulated in German art theory). The author also briefly addresses the consequences that these processes have for the way contemporary art, and art world operate.

scholarly journals Remix in the age of ubiquitous remix

2021 ◽  
pp. 135485652199445
Author(s):  
Abby S. Waysdorf
Keyword(s):  
Point Of View ◽  
Archival Material ◽  
History Of ◽  
Accepted Part ◽  
The Media ◽  
Contemporary Media ◽  
The Aesthetic ◽  
The Way

What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.

Leitbild Lebensreform. Harry Graf Kessler und Karl Ernst Osthaus als Museumsgründer

2020 ◽  
Vol 83 (1) ◽  
pp. 49-90
Author(s):  
Tobias Kämpf
Keyword(s):  
Twentieth Century ◽  
Art World ◽  
Cultural Innovation ◽  
Intellectual Origins ◽  
German Art ◽  
Cultural Sphere ◽  
Historic Development ◽  
The Aesthetic ◽  
Architecture And Design ◽  
United Nation

AbstractAt the beginning of the twentieth century, Germany moved to the institutional forefront of the art world. Through the creation of two museums, in Hagen and in Weimar, dedicated to contemporary avant-gardes in art, architecture, and design, the recently united nation propagated its claim for international leadership in the cultural sphere. Both establishments were the result of private initiatives of collectors who possessed great literary talent and artistic distinction and who were strongly opposed to the aesthetic ideals of the main arbiter of German taste, Emperor William II. This essay is the first comparative study of the museums in Hagen and Weimar, whose founders disagreed with developments in Darmstadt but were inspired by those in Hamburg and, to a lesser degree, in Krefeld. Analyzing their intellectual origins and historic development, the essay provides a comprehensive chronology as well as an articulate topography of early-twentieth-century German art institutions promoting cultural innovation.

Theory of the Image

2019 ◽  
Author(s):  
Thomas Nail
Keyword(s):  
Philosophy Of Art ◽  
Western Art ◽  
Moving Images ◽  
Copernican Revolution ◽  
Systematic Philosophy ◽  
History Of ◽  
Image Production ◽  
The Aesthetic ◽  
Theory Of The Image ◽  
The Way

We live in the age of the mobile image. Our world is now saturated with moving images of all kinds, both analog and digital. This sea change in image production and circulation is nothing less than the Copernican revolution of our time. The centrality of the movement and mobility of the image has never been more dramatic. And just like the Copernican revolution, the aesthetic revolution of the image has consequences not only for the way we think about the contemporary image but also the way we think about all previous images. Theory of the Image offers a new and systematic philosophy of art and aesthetics from the perspective of movement—the first of its kind. Throughout history, the image has been understood in many ways, but rarely has it been understood to be, primarily and above all, in motion. Thus, Theory of the Image offers not only the first aesthetics of motion but also the first history of the mobility of the image in the Western art tradition, from prehistory to the present.

Color, Form, and Motion: Dimensions of a Musical Art of Light

Leonardo ◽  
2000 ◽  
Vol 33 (5) ◽  
pp. 355-360 ◽  
Author(s):  
Fred Collopy
Keyword(s):  
Art Theory ◽  
Visual Artists ◽  
Previous Time ◽  
Art Form ◽  
History Of Art ◽  
History Of ◽  
Color Form ◽  
Historical Tradition ◽  
Effective Use ◽  
The Way

Lumia are an art form that permits visual artists to play images in the way that musicians play with sounds. Though the idea of creating lumia has a long historical tradition, modern graphicallybased computers make it possible to design instruments for creating lumia that are more flexible and easier to play than at any previous time in the history of art. In designing and playing lumia, three principal dimensions require attention: color, form, and motion. By organizing the design of lumia and instruments for creating them along these dimensions, it is possible to learn a great deal from art theory and history, as guidelines have been devised for the effective use of each of these dimensions.

scholarly journals TRADITIONS OF POLTAVA CARPET WEAVING IN THE ARTISTIC CULTURE OF UKRAINE

2021 ◽  
Vol 6 (42) ◽  
pp. 217
Author(s):  
Y. Harkovyna
Keyword(s):  
Art History ◽  
Design History ◽  
Art Theory ◽  
Western Asia ◽  
History Of ◽  
Baroque Era ◽  
The Subject ◽  
Historical Comparative ◽  
The Aesthetic ◽  
Ukrainian Society

The subject of the research is the traditions of making carpets from the Poltava region. The purpose of the work is to determine the artistic components of the development of Poltava carpet in the artistic culture of Ukraine of the XVIII – early XXI centuries. The methodology of work is based on a combination of the principle of scientific reliability and comprehensiveness, art history, cultural and design approaches, as well as axiological, ontological, hermeneutic, historical-genetic, comparative (historical-comparative), cultural, formal-stylistic and methodological analysis of art. The results of the work are designed to summarize the data on the traditional foundations of the classic Poltava carpet. Scope of results – today's artistic practices related to ethnic design, history of decorative and applied arts and art culture of Poltava region, art theory in the field of lordly, monastic and home carpets, creation of electronic courses for students and graduate students of creative specialties, development of educational sites and articles for encyclopedic and reference publications. Conclusions. It has been found that Poltava carpet weaving has ancient artistic traditions, rooted in the Baroque era. It is outlined that the techniques of making local carpets have not changed significantly during the last three hundred years, starting with the well-known carpet of Hetman Danylo Apostol. It is specified that the traditional lint-free carpets of Poltava began to be made not later than at the beginning of the XVIII century, when the aesthetic requirements of the then Ukrainian society appealed to the theory of Sarmatism with the corresponding vectors of oriental models to Western Asia and the Middle East. The connection of patterns of Poltava carpets of Ukraine of the XVIII – early XX centuries with ornamental and plot prototypes of European weaving centers in France of the Baroque-Empire period – Aubusson and Savoneri, which was in fashion for decor elements appealing to great European historical styles.Key words: carpet weaving, Poltava region, Reshetylivka, Ukraine, XVIII – beginning of XXI centuries.

Speculative Philosophy at the Berlin Academy

2020 ◽  
pp. 175-200
Author(s):  
Christian Leduc
Keyword(s):  
Major Change ◽  
Speculative Philosophy ◽  
Academic Scholarship ◽  
Berlin Academy ◽  
Gradual Disappearance ◽  
History Of ◽  
The Relationship ◽  
Intense Debate ◽  
The Way

This contribution focuses on the way in which the relationship between the fields of philosophy and science was the object of intense debate at the Berlin Academy. The contribution analyses some key papers in which members of the academy try to determine what they call the ‘academic spirit’. An important source is Maupertuis’s lecture, in which he explains his views, as president, about the division of classes and the advantages of carrying out research in an academy. But there are other important contributions; particularly that of Formey who, as secretary, wrote several papers on these questions, but also of Dieudonné Thiebault, Jakob Wegelin, and Christian Garve. These discussions took place at distinct periods and express different ways of conceiving of the production of academic scholarship. Most importantly, their representation of speculative philosophy changed, to the extent that some believed that this field should no longer be discussed in the context of the academy. Christian Garve maintains this view, which expresses a major change in the history of the institution. This position is also accompanied by a gradual disappearance of speculative reflections.

The Art and Philosophy of Balance at Constantin Brâncusi

1998 ◽  
pp. 127-132
Author(s):  
Stefan Munteanu
Keyword(s):  
Metaphorical Thinking ◽  
History Of Art ◽  
History Of ◽  
Symbolic Thinking ◽  
Constantin Brancusi ◽  
The Aesthetic ◽  
Outstanding Representative ◽  
The Way

Our paper intends to be an attempt of making evident the joining of the art and the philosophy of Constantin Brâncusi, the most outstanding representative of sculpture in our century. The way of approaching this topic was suggested to us by the great artist and thinker himself, who urges us that we should not make difficult what he expressed in a simple way. Of course, his multipurpose creation makes our job quite difficult, but we think the effort is worth doing, because in spite of all the limited commentaries, we succeeded in fiding out the coherence and the universality of his thinking as well as his capacity of placing himself above the cleatism—heraclitionism dispute which is considered as being fundamental for the whole history of art. That is because there exists, and we can speak about a unity of his works in all, based on the solidarity of the forms of his sculpture. As a result, mixing up the formal entities with the deviations from the principles of identity and noncontradiction in the discursive logic, we discover another type of logic in his creation. It is the logic of the metaphorical thinking, of the symbolic thinking based on the principle that anything can be something else in the same moment. This is why the aesthetic commentary, concerned with the modality of the suggestive expression, requires a complementarity of a hermeneutics of the symbol, capable of revealing the intention of the work in its complexity. Therefore, our attempt of considering the symbol of the ovoid as the keystone of Brâncusi’s philosophical conception, appears to be verisimilar. That is because, from the archetypal perspective, according to the arhaic Romanian philosophy, the egg is just the in-between shape (between en the spherical and hourglass, between geometric and biotic, between eleatic and heraclitian); it is the element by which the formal-aesthetic analysis can be unified; it is the synthesis of the opposites and the joy of the equilibrium.

The National Frame

2021 ◽  
Author(s):  
Banu Karaca
Keyword(s):  
Joint Analysis ◽  
Art World ◽  
Cultural Encounters ◽  
German Art ◽  
History Of ◽  
State Governance ◽  
Islam And Christianity ◽  
Arts Patronage

Based on long-term ethnographic research in the art world of Istanbul and Berlin, The National Frame rethinks the role of art in state governance. It argues that artistic practices, arts patronage and sponsorship, collecting and curating art, and the modalities of censorship, just like official cultural policies, continue to be refracted through the conceptual lens of the nation-state—despite the intensified and much-studied globalization of art. By examining discussions on the civilizing function of art in Germany and Turkey and moments in which art is seen to cede this function, the book reveals the histories of violence on which the production, circulation, and presentation—indeed our very understanding—of art are predicated. It is in the process of disavowing this violence that contemporary art as a global practice keeps being called back into the national frame. Turkey and Germany occupy different places in dominant geopolitical and civilizational imaginaries that have construed the world in terms of “East” and “West,” and, more recently, “Islam” and “Christianity” as incommensurable entities. Unlike German art, art from Turkey is often seen as merging “traditional” and modern motifs, and expressive of “Turkish culture.” Working against this asymmetric perception the book fosters a comparative perspective by showing that Germany and Turkey share a long, troubling history of cultural encounters and political affiliation and similar struggles in claiming modern nationhood. The joint analysis of both cases reveals how art is configured politically and socially and why art has been at once vital and unwieldy for national projects.

Rorschach Assessment of Complex Trauma in Youth

2020 ◽  
Vol 41 (1) ◽  
pp. 19-41
Author(s):  
David Ephraim
Keyword(s):  
Psychological Assessment ◽  
Complex Trauma ◽  
Personality Development ◽  
Traumatic Events ◽  
History Of ◽  
The Way

Abstract. A history of complex trauma or exposure to multiple traumatic events of an interpersonal nature, such as abuse, neglect, and/or major attachment disruptions, is unfortunately common in youth referred for psychological assessment. The way these adolescents approach the Rorschach task and thematic contents they provide often reflect how such experiences have deeply affected their personality development. This article proposes a shift in perspective in the interpretation of protocols of adolescents who suffered complex trauma with reference to two aspects: (a) the diagnostic relevance of avoidant or emotionally constricted Rorschach protocols that may otherwise appear of little use, and (b) the importance of danger-related thematic contents reflecting the youth’s sense of threat, harm, and vulnerability. Regarding this last aspect, the article reintroduces the Preoccupation with Danger Index ( DI). Two cases are presented to illustrate the approach.

Migration and Modernities

2019 ◽  
Keyword(s):  
Native Americans ◽  
Literary History ◽  
Historical Study ◽  
Racial Categories ◽  
Geographic Boundaries ◽  
The Us ◽  
Technological Developments ◽  
History Of ◽  
The Aesthetic ◽  
Eighteenth And Nineteenth Centuries

Migration and Modernities recovers a comparative literary history of migration by bringing together scholars from the US and Europe to explore the connections between migrant experiences and the uneven emergence of modernity. The collection initiates transnational, transcultural and interdisciplinary conversations about migration in the eighteenth and nineteenth centuries, demonstrating how mobility unsettles the geographic boundaries, temporal periodization, and racial categories we often use to organize literary and historical study. Migrants are by definition liminal, and many have existed historically in the spaces between nations, regions or ethnicities. In exploring these spaces, Migration and Modernities also investigates the origins of current debates about belonging, rights, and citizenship. Its chapters traverse the globe, revealing the experiences — real or imagined — of eighteenth- and nineteenth-century migrants, from dispossessed Native Americans to soldiers in South America, Turkish refugees to Scottish settlers. They explore the aesthetic and rhetorical frameworks used to represent migrant experiences during a time when imperial expansion and technological developments made the fortunes of some migrants and made exiles out of others. These frameworks continue to influence the narratives we tell ourselves about migration today and were crucial in producing a distinctively modern subjectivity in which mobility and rootlessness have become normative.

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