scholarly journals Passivity and leveling Husserl, Heidegger and Hugo Ball

2016 ◽  
Vol 27 (1) ◽  
pp. 225-236
Author(s):  
Dragan Prole
Keyword(s):  
Martin Heidegger ◽  
Work Of Art ◽  
Avant Garde ◽  
Passive Synthesis ◽  
The World ◽  
Average Work ◽  
Important Trait ◽  
The Common ◽  
Forms Of Knowledge

The first part of this paper explores the kinship in diagnosis of contemporaneity of Hugo Ball and Martin Heidegger. Both thinkers recognize leveling as an important trait of their age. In Ball?s terms, leveling is identified with the apocalyptic abolishment of humanity. That happens by equalizing all of human creation, which becomes possible only after the abolishment of the hierarchy of values, thanks to which it was previously possible to distinguish a work of art from an average work. With Heidegger, leveling is equated with the perverted forms of curiosity. Unlike the former forms of curiosity, coupled by the common desire for deeper insight, modern curiosity is fairly superficial, let loose with no boundaries to all the impressions which supersede the expected and already seen. In the second part of the paper, Husserl?s term of passive synthesis is examined, so we can observe the intervention of phenomenology from the perspective of deconstruction of the effects of leveling. I conclude with a warning that we cannot protect ourselves from the world to which we are exposed by natural subjectivity and conventional forms of knowledge. Which insight leads us to revert to the sources of subjectivity, the idea common to both the avant-garde and the phenomenologists.

scholarly journals The conjunction of art and life: Ontology of the site

2015 ◽  
Vol 7 (2) ◽  
pp. 223-230
Author(s):  
Bojana Matejić
Keyword(s):  
Common Denominator ◽  
Use Value ◽  
Political Theatre ◽  
Site Specific ◽  
Avant Garde ◽  
The World ◽  
The Common

Art becoming life and its relative convergence to the ideality of autarky (aὐtάrceia), implies a maxim which coincides with the emancipatory promise of Art. NEO-Marxist authors have prescribed this maxim to Marx's early works, particularly to the thesis from his Economic and Philosophic Manuscripts of 1844, and elaborated it further on these grounds. This maxim has been applied by many avant-garde movements up to the contemporary moment: Bertold Brecht's political theatre, Guy Debord's situationism, site-specific art, fluxus, Joseph Beuys's social sculpture, etc. The common denominator of all these avant-garde practices is the imperative of an affirmation of their use-value - their realisation at the site of their own production, as opposed to the abstractness of their placement in the world. The site of this production is the site of the very production of sociability. Accordingly, the aim of this paper is to examine the maxim art becoming life in the wake of Badiou's ontology of the site by using the example of the modality of site-specific works in the conditions of contemporaneity.

Metacinema

2021 ◽  
Keyword(s):  
Film Studies ◽  
Critical Study ◽  
Everyday Experience ◽  
Work Of Art ◽  
Avant Garde ◽  
Cultural Phenomenon ◽  
Global Cinema ◽  
The World ◽  
First Time ◽  
Selection Of

When a work of art shows an interest in its own status as a work of art—either by reference to itself or to other works—we have become accustomed to calling this move “meta.” While scholars and critics have, for decades, referred to reflexivity in films, it is only here, for the first time, that a group of leading and emerging film theorists joins to directly and systematically address with clarity and rigor the meanings and implications of the meta for cinema. In ten new essays and a selection of vital canonical works, contributors chart, explore, and advance the ways in which metacinema is at once a mode of filmmaking and a heuristic for studying cinematic attributes. What we have here, then, is not just an engagement with certain practices and concepts in widespread use in the movies (from Hollywood to global cinema, from documentary to the experimental and avant-garde), but also the development of a veritable and vital new genre of film studies. Since metacinema has become an increasingly prominent cultural phenomenon—a kind of art and logic familiar to everyday experience around the world—its abundance and pervasiveness draws our attention. With more and more films expressing reflexivity, recursion, reference to other films, mise en abîme, seriality, and exhibiting related intertextual traits, the time is overdue for the kind of capacious yet nuanced critical study now in hand.

Aspectos vanguardistas na música de John Cage * Vanguard aspects in John Cage’s music

2013 ◽  
Vol 2 (1) ◽  
pp. 120
Author(s):  
VINICIUS CRANEK GAGLIARDO
Keyword(s):  
Twentieth Century ◽  
John Cage ◽  
Work Of Art ◽  
Avant Garde ◽  
Theodor Adorno ◽  
American Composer ◽  
The Common

<p><strong>Resumo:</strong> Este artigo tem por objetivo estabelecer algumas relações entre as vanguardas artísticas europeias, como o surrealismo e o dadaísmo, e as peças musicais de John Cage. De modo mais específico, procurarei apresentar algumas das características destes movimentos de vanguarda que ainda persistiram na obra do compositor norte-americano. Para isso, a partir do livro Teoria da Vanguarda, de Peter Bürger, e do estudo de Jorge de Almeida, Crítica dialética em Theodor Adorno, retomarei os ideais do Expressionismo – momento auge do esteticismo –, refletindo sobre sua relação com as manifestações vanguardistas subsequentes, no intuito de proporcionar uma melhor compreensão das características comuns aos movimentos de vanguarda da primeira metade do século XX. Nesta análise, discutirei os conceitos de vanguarda, instituição arte e obra de arte. Em seguida, mapearei alguns aspectos da obra de John Cage, relacionando-a com os ideais vanguardistas apresentados anteriormente. Em suma, pretendo evidenciar, ao final dessas reflexões, o projeto vanguardista para a arte no século XX e a manifestação de elementos deste projeto na poética de John Cage.</p><p><strong>Palavras-chave:</strong> John Cage – Vanguarda – Arte.</p><p> </p><p><strong>Abstract:</strong> This paper aims to establish some relations between the European artistic vanguards, such as Surrealism and Dadaism, and John Cage’s musical pieces. More specifically, I will try to present some of the characteristics of these vanguard movements that persisted in the work of the American composer. To do this, I will consider the ideals of Expressionism – height moment of aestheticism –, from the book Theory of Vanguard, by Peter Bürger, and the study of Jorge de Almeida, Crítica dialética em Theodor Adorno, reflecting on its relationship with subsequent vanguard manifestations in order to provide a better understanding of the common characteristics of the vanguard movements in the first half of the Twentieth Century. In this analysis, I will discuss the concepts of vanguard, art institution and work of art. Then, I will map some aspects of the John Cage’s work, relating it to the avant-garde ideas presented earlier. In short, I intend to demonstrate, at the end of these reflections, the avant-garde project for the art in the Twentieth Century and the manifestation of the elements of this project in the John Cage’s poetic.</p><p><strong>Keywords:</strong> John Cage – Vanguard – Art.</p>

REFLECTING THE TIME COORDINATE OF THE DIALECT LANGUAGE WORLD PICTURE IN V. I. BELOV’S WORKS AND THE POSSIBILITY OF ITS REPRESENTATION IN TRANSLATIONS INTO GERMAN

2020 ◽  
Vol 6 (99) ◽  
pp. 106-116
Author(s):  
ELENA N. ILYINA ◽  
NATALYA L. FISHER
Keyword(s):  
Work Of Art ◽  
Time Coordinate ◽  
World Picture ◽  
The World ◽  
Additional Comment ◽  
Text Information ◽  
The Common

This article examines the problem of reconstructing the dialectical language picture of the world by means of another language when translating a literature work of art. Particular attention is paid to the analysis related to the formation of the temporal coordinates of the artistic chronotope, which in Vasily Belov's prose contains both grammatical and lexical dialectical units. Analyzing Belov's translations into German, it is concluded that in the translation text, the dialect elements of the temporal component are leveled to the common colloquial ones and need additional comment by means of extra-text information.

scholarly journals Composer of the revolution: Scriabin’s idea of the Mysterium - the total work of art

Muzikologija ◽  
2019 ◽  
pp. 161-181
Author(s):  
Branislava Trifunovic
Keyword(s):  
20Th Century ◽  
Social Systems ◽  
Social Climate ◽  
Total Work ◽  
Work Of Art ◽  
Avant Garde ◽  
Political Reality ◽  
The World ◽  
Artistic Vision ◽  
Russian Intelligentsia

The purpose of this paper is to demonstrate that Alexander Scriabin with his conception of the total work of art, named Mysterium, unconsciously provided the artistic vision of revolutionary claims, anticipating the October Revolution of 1917. Since the first decade of the 20th century, the revolutionary conscience was a singular feature of the Russian intelligentsia, so the concept of Mysterium was, in such social climate, a concept of force that prompted the artist to seek a better world. Just like avant-garde artists - whose actions are an intervention in social systems - in his Mysterium Scriabin emphasized the need for a transformation of the world through art. Bearing this in mind, the musicological interpretation of Mysterium here is made with the aim of positioning Scriabin as a modernist subject. The insights into the composer?s responses to socio-political reality - both within Scriabin?s philosophical and creative narratives - refer to the demands of the revolutionaries for the collective/sobornost. This study shows that those demands were, in the case of Scriabin, shaped as the idea of the utopian function of art.

Signs of Non-Objectivity in Bulgarian Sculpture

2020 ◽  
Vol 4 (1) ◽  
Author(s):  
Ilko Nikolchev ◽  
Keyword(s):  
Real World ◽  
Creative Process ◽  
Urban Spaces ◽  
Land Art ◽  
Environmental Art ◽  
Work Of Art ◽  
Site Specific ◽  
Avant Garde ◽  
The World ◽  
The Mind

The non-objective work of art is unrelated to real-world objects. The essence of non-objective art is that the work completes in the mind of the viewer, and he creates his own interpretation. In this sense, the viewer is involved in the creative process and interacts with the work of art. The expressive means and techniques of nonobjective sculpture are at the heart of some of the most avant-garde art movements, such as minimalism, land-art, site-specific art and environmental art. Some examples of non-objective sculpture flow from symposium sculpture, which later evolves into urban spaces. The first international symposiums, where Bulgarian authors work with their foreign colleagues and get acquainted with various artistic practices, influence the Bulgarian sculpture. The non-objective sculpture has its manifestations in Bulgarian art, though later. The works of some Bulgarian authors play an important role in the changes in the Bulgarian sculpture and in the integration into the world processes.

David Roberts meets the switchman: A footnote to the total work of art in European modernism

Thesis Eleven ◽  
2019 ◽  
Vol 152 (1) ◽  
pp. 69-75
Author(s):  
Peter Beilharz
Keyword(s):  
French Revolution ◽  
Total Work ◽  
Work Of Art ◽  
Italian Fascism ◽  
Avant Garde ◽  
The Sublime ◽  
The World ◽  
Leon Trotsky ◽  
The French Revolution ◽  
European Modernism

The scope of David Roberts’ book on the Total Work of Art is daunting. It stretches from the French Revolution through to the modernist avant-garde and its dissolution in totalitarianism. If Wagner is its chief leader and artistic animator, it also echoes back to Robespierre, Napoleon and Saint-Simon, and through at least to Bolshevism and Futurism, Stalinism and Italian Fascism. The total work of art totalizes the world of the artwork, but it also adds in the politics of the sublime, turns politics into art and negates both as independent spheres of existence at the same time. In this piece I offer some observations on the thinking of a key switchman in this story: Leon Trotsky.

Being Numerous

2011 ◽  
Author(s):  
Oren Izenberg
Keyword(s):  
Twentieth Century ◽  
Social Life ◽  
Avant Garde ◽  
Literary Life ◽  
Aesthetic Politics ◽  
The Face ◽  
The Common ◽  
Century Poetry ◽  
Practical Question ◽  
Language Poets

This book offers a new way to understand the divisions that organize twentieth-century poetry. It argues that the most important conflict is not between styles or aesthetic politics, but between poets who seek to preserve or produce the incommensurable particularity of experience by making powerful objects, and poets whose radical commitment to abstract personhood seems altogether incompatible with experience—and with poems. Reading across the apparent gulf that separates traditional and avant-garde poets, the book reveals the common philosophical urgency that lies behind diverse forms of poetic difficulty—from William Butler Yeats's esoteric symbolism and George Oppen's minimalism and silence to Frank O'Hara's joyful slightness and the Language poets' rejection of traditional aesthetic satisfactions. For these poets, what begins as a practical question about the conduct of literary life—what distinguishes a poet or group of poets?—ends up as an ontological inquiry about social life: What is a person and how is a community possible? In the face of the violence and dislocation of the twentieth century, these poets resist their will to mastery, shy away from the sensual richness of their strongest work, and undermine the particularity of their imaginative and moral visions—all in an effort to allow personhood itself to emerge as an undeniable fact making an unrefusable claim.

Between High Culture and Low Culture; and also The Difference Between Popular Culture and Folk Culture

2019 ◽  
Vol 7 (8) ◽  
pp. 12
Author(s):  
Kunal Debnath
Keyword(s):  
Popular Culture ◽  
Folk Culture ◽  
Common People ◽  
High Culture ◽  
The World ◽  
The Common ◽  
The Difference ◽  
Low Culture

High culture is a collection of ideologies, beliefs, thoughts, trends, practices and works-- intellectual or creative-- that is intended for refined, cultured and educated elite people. Low culture is the culture of the common people and the mass. Popular culture is something that is always, most importantly, related to everyday average people and their experiences of the world; it is urban, changing and consumeristic in nature. Folk culture is the culture of preindustrial (premarket, precommodity) communities.

Current updates on COVID-19 - A review

2020 ◽  
Vol 10 (1) ◽  
pp. 1-8
Author(s):  
Ghotekar D S ◽  
Vishal N Kushare ◽  
Sagar V Ghotekar
Keyword(s):  
World Health Organization ◽  
Common Cold ◽  
Respiratory Diseases ◽  
Gastrointestinal Diseases ◽  
Hubei Province ◽  
World Health ◽  
The World ◽  
The Common ◽  
Novel Coronavirus ◽  
Health Organization

Coronaviruses are a family of viruses that cause illness such as respiratory diseases or gastrointestinal diseases. Respiratory diseases can range from the common cold to more severe diseases. A novel coronavirus outbreak was first documented in Wuhan, Hubei Province, China in December 2019. The World Health Organization (WHO) has declared the coronavirus disease 2019 (COVID-19) a pandemic. A global coordinated effort is needed to stop the further spread of the virus. A novel coronavirus (nCoV) is a new strain that has not been identified in humans previously. Once scientists determine exactly what coronavirus it is, they give it a name (as in the case of COVID-19, the virus causing it is SARS-CoV-2).

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