La exposición de arte visual novelada por Enrique Vila-Matas

2021 ◽  
Vol 66 (4) ◽  
pp. 223-238
Author(s):  
Sorina Dora Simion ◽  
Keyword(s):  
Literary Work ◽  
Literary Biography ◽  
New Rhetoric ◽  
Works Of Art ◽  
Starting Point ◽  
Art Works ◽  
The Future ◽  
Gerhard Richter ◽  
Aerial View ◽  
The Aesthetic

The Art Exhibition as a Novel by Enrique Vila-Matas. I set out to analyze, using the New Rhetoric methods, the book entitled Cabinet d`amateur, an oblique novel published by the contemporary Spanish writer Enrique Vila-Matas in 2019, at the same time as the opening of an exhibition whose curator he was in the Whitechapel Gallery in east London. Choosing the six visual art works, different in nature, concept, and aesthetics, from the collection of the “laCaixa” Foundation represents an occasion for the writer, led by curiosity, to investigate the works of art and to make a personal, purely subjective selection, on which he reflects in his heterogenic work as a genre: the catalogue of an exhibition, memoirs, essay (auto)biography, the skeleton of an oblique novel of the future. The selected works of art (I.G., the mysterious portrait of a woman by the painter Gerhard Richter; an installation, Petite, by Dominique Gonzalez-Foerster; a videoclip, La lección respiratoria, belonging to the artist Dora García; Milonga, Carlos Pazos’s self-portrait; a detailed scenery, Une poignée de terre, by Miquel Barceló and a photography of Theban by Andreas Gursky, in an overlap of an aerial view with one detailed figure) are included in the text as a starting point for meditations and reflections upon the nature of the art in general, because the metaphor of the literary work, the novel of the future, is precisely the building of Rem Koolhass, the library in Seattle, in which different styles overlap and whose shapes are imprecise, undetermined, incongruent, disharmonic and lacking in logic. Literature, visual arts, music, and architecture are associated, and different figures are used to point out the aesthetic of the negative and the idea that form and content are interchangeable. Keywords: Enrique Vila-Matas, Cabinet d´amateur, an oblique novel, general-rhetoric analysis, the exhibition as a novel, literary biography

Art works, ontology of

2018 ◽  
Author(s):  
Gregory Currie
Keyword(s):  
Standard View ◽  
Nelson Goodman ◽  
Works Of Art ◽  
Starting Point ◽  
Art Works ◽  
Musical Scores ◽  
Musical Works ◽  
History Of ◽  
Physical Objects ◽  
Ontology Of Art

In trying to decide what kinds of thing art works are, the most natural starting point is the hypothesis that they are physical objects. This is plausible only for certain works, such as paintings and sculptures; in such cases we say that the work is a certain marked canvas or piece of stone. Even for these apparently favourable cases, though, there is a metaphysical objection to this proposal: that works and the physical objects identified with them do not possess the same properties and so cannot be identical. There is also an aesthetic objection: that the plausibility of the thesis for painting and sculpture rests on the false view that the authentic object made by the artist possesses aesthetically relevant features which no copy could possibly exemplify. Once it is acknowledged that paintings and sculptures are, in principle, reproducible in the way that novels and musical scores are, the motivation for thinking of the authentic canvas or stone as the work itself collapses. For literary and musical works, the standard view is that they are structures: structures of word-types in the literary case and of sound-types in the musical case. This structuralist view is opposed by contextualism, which asserts that the identity conditions for works must take into account historical features involving their origin and modes of production. Contextualists claim that works with the same structure might have different historical features and ought, therefore, to count as distinct works. Nelson Goodman (1981) has proposed that we divide works into autographic and allographic kinds; for autographic works, such as paintings, genuineness is determined partly by history of production: for allographic works, such as novels, it is determined in some other way. Our examination of the hypothesis that certain works are physical objects and our discussion of the structuralist/contextualist controversy will indicate grounds for thinking that Goodman’s distinction does not provide an acceptable categorization of works. A wholly successful ontology of art works would tell us what things are art works and what things are not; failing that, it would give us identity conditions for them, enabling us to say under what conditions this work and that are the same work. Since the complexity of the issues to be discussed quickly ramifies, it will be appropriate after a certain point to consider only the question of identity conditions. For simplicity, this entry concentrates on works of art that exemplify written literature, scored music and the plastic and pictorial arts.

Introduction

2019 ◽  
pp. 1-16
Author(s):  
Thomas Baldwin
Keyword(s):  
Round Table ◽  
Literary Work ◽  
Round Table Discussion ◽  
Table Discussion ◽  
Starting Point ◽  
The Future ◽  
Diabelli Variations

The starting point for the book is a series of metaphors used by Barthes at a round table discussion on Proust in 1972. He suggests, for example, that À la recherche is comparable to Beethoven’s Diabelli Variations insofar as it is made of ‘variations without a theme’, and he observes that a novel constructed in this way requires readers and critics to ‘rewrite’ and to ‘operate variations’ on the literary work rather than to interpret it. By unpacking these (and other) figures and connecting them to others that appear in Barthes’s (and Proust’s) writing, the remaining chapters of the book provide answers to the following questions: Are the variations in Proust’s novel indeed themeless? What is it that makes Proust’s writing, for Barthes or generally, both endlessly seductive, productive and unamenable to more conventional, hermeneutical forms of criticism? What does Barthes do with À la recherche, and how, in his approach, is Barthes different from other critics who have written about Proust? What possibilities do Barthes’s Proust variations open up for the future of criticism more generally?

scholarly journals Holding Your Scream in Your Hand. 3D Printing as Inter-Dimensional Experience in Contemporary Artworks by Alicia Framis, Martin Erik Andersen and Hito Steyerl

2015 ◽  
Vol 10 (1) ◽  
pp. 25-45
Author(s):  
Lise Skytte Jakobsen
Keyword(s):  
3D Printing ◽  
Short Introduction ◽  
3D Images ◽  
Production Methods ◽  
Works Of Art ◽  
Art Works ◽  
The Aesthetic ◽  
2D And 3D ◽  
Contemporary Artists

Abstract During the last couple of years, 3D printing has been widely discussed as a technology with the potential to revolutionize production methods as we used to know them. However, hitherto not much has been written about the aesthetic| aspects of this new possibility of transferring bits to atoms. What kinds of (3D) images are awaiting us? This article focuses on how three contemporary artists are including 3D prints and the process of 3D printing in their work. The article offers a short introduction to the characteristics of 3D printing followed by indebt analysis of art works by Spanish installation artist Alicia Framis. Danish sculptor and professor at The Royal Danish Art Academy Martin Erik Andersen and German filmmaker and writer Hito Steyerl. The article points out how these, very different, works of art use 3D printing to offer the viewer a sense of inter-dimensionality. The central experience here lies somewhere between 2D and 3D.

scholarly journals THE ROLE OF ARTISTIC AND AESTHETIC INTERPRETATION OF ART WORKS IN THE FORMATION OF AESTHETIC CONSCIOUSNESS OF FUTURE DESIGNERS

2021 ◽  
pp. 109-116
Author(s):  
IVCHENKO IVCHENKO
Keyword(s):  
Environment Design ◽  
Design Environment ◽  
Book Design ◽  
Project Activity ◽  
Art Works ◽  
The Future ◽  
Aesthetic Consciousness ◽  
The Aesthetic ◽  
Optimal Approach ◽  
Domestic Design

The study is based on the problem of domestic design entering the international market and the development of competitive products by improving its aesthetic qualities. Although a considerable amount of research has been devoted to the problem artistic and aesthetic interpretation, few attempts have been made to investigate formation of the designer's interpretive competence. However, it’s a major component of project activity. The purpose of the article is to substantiate the concept of forming of aesthetic consciousness of the future designers by means of interpretive activity. To achieve the goal of the research the author uses the following scientific methods: the method of studying and generalizing theoretical and practical scientific experience, the method of comparison, the method of analysis, the method of synthesis, the method of artistic and aesthetic interpretation. The essence of the concept of “artistic and aesthetic interpretation” has been substantiated in the article. The author analyzes the object of orientation of the process of artistic and aesthetic interpretation, its result and the features of the interpretive activity. In the article the author highlights the positions on the interpretation of the concept of “aesthetic consciousness of personality” from the broad and narrow position of its understanding. The article describes the main components of the aesthetic consciousness of personality: aesthetic feeling, aesthetic taste and aesthetic ideal. In the article the author notes the shortcomings of the approaches of artistic conservatism and artistic progressiveness in the project activity. The author emphasizes that the only optimal approach to the development of the aesthetic in the present is the “compromise approach”. In the article the author analyzes the creativity of the Ukrainian domestic designers and graphic artists of the 21st century. In the following types of the project activities: graphic design, installation art (art design), book design, environment design (street art, supergraphics). The author reflects the level of implementation of the aesthetic component and the spiritual and semantic filling of the art works, as well as divides the art works by the rank of high and low artistic and aesthetic value. The article reveals the tendencies of development of the domestic art market and its positive and negative influences on the formation of the aesthetic consciousness of personality are grounded. The author argues that the degree of development of aesthetic consciousness and interpretive skills is an important factor in the professional development of the future designers.

Revaluations through Dance: Friedrich Nietzsche's Thought in Isadora Duncan's Speech The Dance of the Future

2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Eternal Recurrence ◽  
Early Twentieth Century ◽  
Starting Point ◽  
The Future ◽  
The Mind

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.

Facts Between Pictographs and Photographs in Lester Beall's Rural Electrification Posters, 1937-1941

2015 ◽  
Vol 60 (1) ◽  
pp. 17-38
Author(s):  
Michael J. Golec
Keyword(s):  
Social Reality ◽  
Rural Electrification ◽  
Art And Design ◽  
Photographic Images ◽  
Governmental Agencies ◽  
Works Of Art ◽  
The Future ◽  
The U.S

In analysing Lester Beall's posters for the U.S. government between 1937-1941, Michael Golec demonstrates the twofold character of facts in art and design appearing even when they are applied to guarantee distinct messages. Commissioned by the governmental agencies to develop a series of posters to increase the electrification of rural farms, Beall introduces pictograms in his first series to represent electrification as “facts of the future.” Its simple forms facilitate the travelling of this facts without loss of their integrity. The same holds true for the use of photographic images for the second campaign of 1939. Following the revaluation of photography as a means for the documentation of social reality, as represented by the FSA photographers under the guidance of Roy Stryker, the medium served here as the authentication of facts. Golec holds, that Beall by reducing the complexity of the photographic images, to create a pictorial integrity of his posters, even despite of the use of a seemingly documentary medium, reinforces the ambivalent factual character of the pictures. So, paradoxically by heightening the communicative character of the design and hence stressing the idea of facts as integral realities outside of artworks, Beall's posters reveal the ambiguous character of pictorial facts creating their own specific qualities. Golec concludes, that facts in works of art and design have a twofold character resulting from their belonging to different spaces, which although meant to accomplish and address different facts, inevitably travel, overlap and bleed into each other. Thus oddly these facts refer or represent reality and simultaneously are a thing made (factum) that present and hold their own pictorial reality.

‘I AM’: Indigenous consciousness for authenticity and leadership

Leadership ◽  
2021 ◽  
pp. 174271502199959
Author(s):  
Chellie Spiller
Keyword(s):  
True Self ◽  
The Past ◽  
Starting Point ◽  
The Future

This article encourages a move away from the excessively inward gaze of ‘to thine own self be true’ and explores ‘I AM’ consciousness as a starting point. An I AM approach encourages a move from the measurable self to the immeasurable expansiveness and mystery of our own becoming. It is to step beyond the lines drawn around the ‘true self’ or the lines that others would have us draw. I AM consciousness reflects an ancient Indigenous thread that echoes through millennia and reminds humans that we are a movement through time, and each person is a present link to the past and the future, woven into a fabric of belonging.

scholarly journals Risk factors and mechanisms of stroke in young adults: The FUTURE study

2017 ◽  
Vol 38 (9) ◽  
pp. 1631-1641 ◽  
Author(s):  
Mayte E van Alebeek ◽  
Renate M Arntz ◽  
Merel S Ekker ◽  
Nathalie E Synhaeve ◽  
Noortje AMM Maaijwee ◽  
...  
Keyword(s):  
Risk Factors ◽  
Young Adults ◽  
Future Study ◽  
The Elderly ◽  
Classification Systems ◽  
Unknown Etiology ◽  
Stroke Patients ◽  
Young Stroke ◽  
Starting Point ◽  
The Future

Incidence of ischemic stroke and transient ischemic attack in young adults is rising. However, etiology remains unknown in 30–40% of these patients when current classification systems designed for the elderly are used. Our aim was to identify risk factors according to a pediatric approach, which might lead to both better identification of risk factors and provide a stepping stone for the understanding of disease mechanism, particularly in patients currently classified as “unknown etiology”. Risk factors of 656 young stroke patients (aged 18–50) of the FUTURE study were categorized according to the “International Pediatric Stroke Study” (IPSS), with stratification on gender, age and stroke of “unknown etiology”. Categorization of risk factors into ≥1 IPSS category was possible in 94% of young stroke patients. Chronic systemic conditions were more present in patients aged <35 compared to patients ≥35 (32.6% vs. 15.6%, p < 0.05). Among 226 patients classified as “stroke of unknown etiology” using TOAST, we found risk factors in 199 patients (88%) with the IPSS approach. We identified multiple risk factors linked to other mechanisms of stroke in the young than in the elderly . This can be a valuable starting point to develop an etiologic classification system specifically designed for young stroke patients.

scholarly journals The aesthetics of political resistance: On silent politics

Thesis Eleven ◽  
2021 ◽  
pp. 072551362110351
Author(s):  
Katariina Kaura-aho
Keyword(s):  
Political Action ◽  
Effective Resistance ◽  
Representative Democracy ◽  
Political Resistance ◽  
Starting Point ◽  
The Aesthetic ◽  
Aesthetic Meaning ◽  
Political Subversion

This article analyses the aesthetics of silent political resistance by focusing on refugees’ silent political action. The starting point for the analysis is Jacques Rancière’s philosophy and his theorisation of the aesthetics of politics. The article enquires into the aesthetic meaning of silent refugee activism and interprets how refugees’ silent acts of resistance can constitute aesthetically effective resistance to what can be called the ‘speech system’ of statist, representative democracy. The article analyses silence as a political tactic and interprets the emancipatory meaning of silent politics for refugees. It argues that refugees’ silent acts of political resistance can powerfully affect aesthetic, political subversion in prevailing legal-political contexts.

The Attraction of Literary Local Lore Material and Information from the Native Literature of Students in the Study of A.M. Gorky

2021 ◽  
pp. 137-141
Author(s):  
Zinaida Kh. Tedtoeva
Keyword(s):  
Russian Literature ◽  
Literary Work ◽  
Young Person ◽  
Native People ◽  
Culture History ◽  
Teacher Needs ◽  
Special Area ◽  
History Of ◽  
History Of Culture ◽  
The Aesthetic

The problem of perceiving fiction has aesthetic, sociological, historical and psychological aspects. In this regard, in the methodology of teaching Russian literature to the national audience, special attention is paid to the deep, faithful and subtle reproduction of the literary works of writers, the development of the reader’s talent. Fiction as a form of art is a special area of the aesthetic. In a truly fictional work, all its elements are subordinate to the expression of a certain content, expressive, figurative, therefore, the reader’s understanding of a literary work is not only aesthetic, but also evaluative in nature. There are three stages of students’ perception of the writer’s creation: 1) recreation and experience of images of the work, with the leading process of imagination; 2) understanding of the ideological content; V.G. Belinsky called this stage “true pleasure”; 3) the influence of fiction on the personality of the reader as a result of the perception of the work. Fiction affects the worldview, speech, moral behavior in society, aesthetic and artistic development, in general, the formation of a person’s personality. The teacher tries to ensure that students have the necessary knowledge, developed, recreational imagination, emotional sensitivity, a sense of the poetic word, observation, the ability to make comparisons, comparisons, generalizations, conclusions. Their perception of a work of art is a difficult process that directly depends on previous knowledge of literature, facts of the history of culture, history of society. The complexity of the spiritual world of a modern young person is due to the development of personality in the context of the rapid progress of society. All this poses a difficult task for methodological science - to diversify the means of analysis, its types and techniques, effective ways of influencing art on students. In the national audience, the main problem of studying Russian literature - the teacher needs to reveal Russian-national literary ties with specific examples, based on certain historical conditions, national specifics, use translations of the works of the Russian writer into the native language of students, literary local history material, highlight the attitude of cultural figures of the native people to the work of the Russian writer, to his personality.

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