scholarly journals The Ethical Anxiety of Remediation and Speculative Aesthetics in Landscape Film

2020 ◽  
Vol 18 (1) ◽  
pp. 73-87
Author(s):  
Zoltán Szabó
Keyword(s):  
Object Oriented ◽  
Theoretical Framework ◽  
The Other ◽  
Pictorial Representation ◽  
Avant Garde ◽  
Other Hand ◽  
Object Oriented Approach ◽  
The Aesthetic ◽  
The One ◽  
Oriented Approach

AbstractThe link between avant-garde cinema and painting has always been a conspicuous one but perhaps never as much as in the case of landscape films. However, not only repurposing or evoking specific paintings but constructing entire films with the intention of producing cinematic analogies to certain traditions of landscape painting presents a number of issues, especially when the films in question are inspired by the sensibilities of 19th-century Romanticism and explore similar topics, such as the works of Peter Hutton. The problem is essentially twofold: on the one hand, how to break away from the painterly roots and make an exclusively cinematic pictorial representation of landscape and, on the other hand, how to account for the complicit position of the filmmaker with regard to the nature–technology opposition they address. Within the theoretical framework of the recent speculative turn in philosophy and the implications of this with regard to aesthetics, I argue that an object-oriented approach to landscape filmmaking – as seen in the works of Chris Welsby –, by establishing pre-compositional rules within which landscape itself can intervene in the filmmaking process, provides a solution to both the aesthetic and the ethical anxiety that haunt landscape filmmakers.

scholarly journals Weimar Art: Between Tradition and Avant-Garde

2020 ◽  
Author(s):  
Maria Belikova
Keyword(s):  
Interwar Period ◽  
The Other ◽  
Distinctive Features ◽  
New Objectivity ◽  
Avant Garde ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

This study aims to analyse two art movements in Germany: Dada and New Objectivity, identifying their distinctive features in the context of the anti-modernist mood in the interwar period. A ‘call to order’, or return to tradition and classics, can even be found in some texts of the Berlin Dadaists. The aesthetic positions of New Objectivity representatives were also ambiguous. On the one hand, they shattered avant-garde foundations through an appeal to the national pictorial tradition. On the other hand, modernist means of expression can be traced in their works.

Vegan attendance: reading Gibbons’s animals

2020 ◽  
Vol 29 (3) ◽  
pp. 379-394
Author(s):  
Emelia Quinn
Keyword(s):  
The Other ◽  
Other Hand ◽  
Aesthetic Pleasure ◽  
Simone Weil ◽  
The Aesthetic ◽  
The One ◽  
Embodied Presence

When we encounter the work of Grinling Gibbons, we find ourselves in the presence of multiple non-human animals. However, it is unclear how one should address these presences. On the one hand, for ecofeminist scholars such as Josephine Donovan, the aestheticization of animal death is to be vehemently resisted and the embodied presence of animals recovered by looking beyond the surface: a mode of looking that Donovan terms ‘attentive love’. On the other hand, a re-reading of the philosophical ideas of Simone Weil, upon which Donovan premises her argument, suggests that attention to others requires a mode of radical detachment. These two positions speak in important ways to the dilemmas faced by a vegan spectator. Drawing on Jason Edwards’s previous work on ‘the vegan viewer’, this article seeks to reconcile a vegan resistance to Gibbons’s depictions of animal death, in their spontaneous falling under human dominion, with the aesthetic pleasure generated by Gibbons’s craftmanship. I therefore propose ‘vegan camp’ as a means of reconciling oneself to insufficiency and complicity in systems of violence without renouncing pleasure. Vegan camp is detailed as an aesthetics that acknowledges the violence of humanity and one’s inescapable place within it, dissolving the subjective idea of the beautiful vegan soul to pay attention to the pervasive presence of an anthropocentrism that, in the case of Gibbons, decoratively adorns the sites at which animals might be eaten, worn, or offered up for sacrifice.

scholarly journals Autonomy and Aesthetic Engagement

Mind ◽  
2019 ◽  
Vol 129 (516) ◽  
pp. 1127-1156 ◽  
Author(s):  
C Thi Nguyen
Keyword(s):  
The Other ◽  
Aesthetic Appreciation ◽  
Aesthetic Value ◽  
Aesthetic Object ◽  
Other Hand ◽  
Motivational Structure ◽  
The Aesthetic ◽  
The One ◽  
The Right ◽  
Aesthetic Judgments

Abstract There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. Our attempts at aesthetic judgments aim at correctness. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than through deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. How can we resolve this tension? The best explanation, I suggest, is that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. When one defers to aesthetic testimony, then, one makes the same mistake as when one looks up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments.

scholarly journals Concertante techniques in Trois images by Ivo Petrić

2001 ◽  
Vol 37 (1) ◽  
pp. 103-112
Author(s):  
Niall O'Loughlin
Keyword(s):  
20Th Century ◽  
Large Scale ◽  
The Other ◽  
Violin Concerto ◽  
Avant Garde ◽  
Other Hand ◽  
The One ◽  
The Individual ◽  
Frank Martin ◽  
Movement Structure

The large-scale romantic concerto has been reevaluated by many composers of the 20th century. These have included Stravinsky, Honegger and Frank Martin, who have all tended to compose on a much smaller scale. One such work is Ivo Petrić's Trois images, a violin concerto dating from 1972-73. It displays an ambiguous approach to form, the relationships between the soloist and orchestra, the use of musical motives and the idea of the concerto. On the one hand, it has links with tradition in that it uses the title and three-movement structure of the concerto, the traditional relationships of dialogue, solo and accompaniment, development of motives and virtuoso techniques. On the other hand, it breaks with tradition by disguising the contrasts and separation of the individual movements, and transforming traditional concerto techniques for use in the freely coordinated idiom that the composer was using at the time. It proves to be an excellent example of how concerto techniques can be combined with the techniques of the avant-garde.

scholarly journals El género narrativo de Testo yonqui. Aproximación a la deriva ensayística de Paul B. Preciado

2020 ◽  
pp. 191-214
Author(s):  
Pau Conde Arroyo
Keyword(s):  
Guinea Pig ◽  
Theoretical Framework ◽  
The Self ◽  
The Other ◽  
Other Hand ◽  
The One ◽  
Definition Of ◽  
The Relationship

Este artículo trata de problematizar la definición taxonómica de Testo yonqui desde una óptica literaria que atiende a su faceta narrativa para dilucidar los cauces por los que se manifiesta en tanto que ensayo queer. Dicha problematización es abordada desde dos lugares: por un lado, desde la propia obra, atendiendo a las autodefiniciones presentes en el texto, que son examinadas a partir del marco teórico de la autobiografía; y, por otro lado, desde la recepción crítica de Testo yonqui. En último lugar, a la luz de lo anterior, se exponen una serie de tensiones relativas a la relación entre narración, referente y representación en la propuesta experimental del principio autocobaya.   This article aims to question the taxonomical definition of Testo Junkie from a literary perspective that considers its narrative aspect in order to elucidate the ways in which it can be regarded as a queer essay. Such questioning is approached from two angles: on the one hand, from the work itself, examining the self-definitions found in the text, which are studied on the basis of the theoretical framework of autobiography; and, on the other hand, from Testo Junkie’s critic reception. Lastly, the principle of the auto-guinea pig is also explored, in reference to the series of tensions arising from the relationship between narration, referent and representation.

scholarly journals Stanislav Krakov: Phenomenology of the inner consciousness of combat

2014 ◽  
Vol 25 (3) ◽  
pp. 323-342
Author(s):  
Caslav Koprivica
Keyword(s):  
The Other ◽  
Philosophical Tradition ◽  
Philosophical Significance ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

In this text, the work of Serbian writer Stanislav Krakov, between the two world wars, the famous, and later, due to ideological divisions, repressed and forgotten figure, is ovserverd through the lens of philosophy of existence and phenomenology. The ?philosophical? significance of Krakov?s autobiographical war prose, which in the aesthetic, especially formal-innovative aspect, represented the pinnacle of the genre of that time Serbian literature, is that it can be viewed as a first-class document of phenomenological introspection of a man in situation of mortal combat; and the ragne his prose of his prose is, in some respects, without exaggeration, comparable to war prose of Ernst J?nger. But besides his authentic documentality, Krakov?s writing is characterized by brilliant insights. So, on the one hand, Krakov can be viewed as a thinker of war and corporeality avant lettre, and, on the other hand, the interpretative contextualization of his prose within the aforementioned philosophical tradition helps us to better understand his literature.

scholarly journals The Cantatas by Pierre Boulez in the Context of the Main Trends in the Development of Choral Composition of the 20th Century

2021 ◽  
Vol 11 (1) ◽  
pp. 21-38
Author(s):  
Aleksandr S. Ryzhinskii ◽  
Keyword(s):  
20Th Century ◽  
The Other ◽  
Important Place ◽  
Choral Works ◽  
Avant Garde ◽  
Work In Progress ◽  
Pierre Boulez ◽  
Other Hand ◽  
Choral Composition ◽  
The One

The article focuses on Pierre Boulez’s choral style in the cantatas “Le visage nuptial” and “Le soleil des eaux”. The versions of these works, created over the course of almost 40 years (from 1951 to 1989), represent a complex of techniques in regard to texture and timbre, which, on the one hand, are a continuation of experiments by composers of the New Vienna School (A. Schönberg, A. Webern), and on the other hand, they preface a number of innovations in the choral style of Boulez’s contemporaries (L. Nono, L. Berio, K. Stockhausen, I. Xenakis). Evidence is provided in favor of the idea that Boulez’s choral works were the logical link between the vocal and choral opuses of the composers of the first and second Western European avant-garde. The article examines the peculiarities of the interaction between the verbal and musical series, the specifics of the textural organization of Boulez’s works, and systematizes the information about the timbre techniques used. Links are identified between the heterophonic presentation typical of Boulez’s choral works and the use of quarter tone notation, glissando reception, and various variants of speech singing (Sprechgesang). The connections between stereophonic effects in the music of Boulez and Nono are traced. An important place is occupied by the study of vocal sound recovery or “vocal emission” technologies (as defined by Boulez). The significance of Schönberg and Webern’s experience in the formulation of the technical foundations of Boulez’s choral timbres is stressed. Special attention is paid to the problem of “work in progress” as one of the defining features of the composer’s choral heritage. Comparing the works by Nono, Maderna, and Bulez, the author concludes the different reasons for which composers came to the concept of “opera aperta” (U. Eco).

scholarly journals Le Système D’information Comptable Des PME Marocaines : Observation Des Pratiques

2017 ◽  
Vol 13 (31) ◽  
pp. 222
Author(s):  
Younes El Bakirdi ◽  
Said Radi
Keyword(s):  
Theoretical Framework ◽  
The Other ◽  
Accounting Data ◽  
Individual Interviews ◽  
Other Hand ◽  
Système D’Information ◽  
The One

By mobilizing the theoretical framework of the specificity of SMEs, this work tries, through the observation of accounting practices, to answer the question of the relevance (production and use) of the accounting data for the managers of Moroccan SMEs. Indeed, through semi-structured individual interviews with SME managers, accounting and financial directors of SMEs and accountants, it is about to describe the different accounting practices of SMEs on the one hand, and to highlight potential determinants that may explain the differentiation of these practices on the other hand.

Ready for the unexpected: theoretical framework and empirical findings on communication consulting

2020 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Olaf Hoffjann ◽  
Karina Hoffstedde ◽  
Franziska Jaworek
Keyword(s):  
Active Role ◽  
Theoretical Framework ◽  
The Other ◽  
Content Type ◽  
Theoretical Concepts ◽  
Process Consulting ◽  
Other Hand ◽  
Starting Point ◽  
The One ◽  
First Time

PurposeAlthough the market for communication consultancies has been booming worldwide for many years now, there are still only a handful of theoretical concepts and empirical findings pertaining to communication consulting. This is the fundamental starting point for this paper, which sets out to answer the following research questions: What is the function of communication consulting? What are the differences between consultants' expectations of consulting and those of clients? How do consultants and clients deal with the contradiction between proximity and distance? What are the potential threats to the autonomy of consulting?Design/methodology/approachThe paper combines a theoretical framework of communication consulting with a survey of German communication consultants and clients.FindingsFirst, a theoretical framework is developed in which communication consulting is defined as follows: First, it opens up decision-related contingency and thus produces additional options for managing communicative relationships with internal and external target groups, before helping to close decision-related contingency. The results of the survey show that the expectations of clients and consultants for communication consulting are largely similar. In the closing dimension especially, most clients share the active role of self-conception of most consultants. On the other hand, in some opening activities, clients wish for more critical, independent and courageous consulting.Research limitations/implicationsThe scope of the empirical material is limited to communication consultants and clients in Germany and may therefore not be valid in other cultural contexts.Originality/valueThe paper closes a gap in both theory building and empirical research in communication consulting. The theory presented conceives of communication consulting as a hybrid of management consulting and process consulting and, in addition to the opening dimension, also takes the closing dimension of consulting into consideration for the first time. The study reveals a certain schizophrenia in clients: on the one hand, clients demand more critical consultants and thus call for more distance; on the other hand, clients prefer to be close to their consultants, particularly if they wish to work with them for the long-term.

scholarly journals Schiller after Kant: The “Unexpected Science” of theBriefe über die ästhetische Erziehung des Menschen

Kant-Studien ◽  
2020 ◽  
Vol 111 (2) ◽  
pp. 285-302
Author(s):  
Tim Mehigan
Keyword(s):  
The Other ◽  
Aesthetic Theory ◽  
Human Being ◽  
Future State ◽  
Alternative Path ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

AbstractIn the Briefe über die Ästhetische Erziehung des Menschen, the focus of this article, Schiller’s ostensible aim – to complete Kant’s aesthetic theory – is progressively abandoned. The article examines the reasons for this abandonment. On the one hand, Schiller’s original purpose was overtaken by events in France. Schiller found that he could no longer sustain confidence in reason’s capacity to build a durable political republic. On the other hand, the alternative path he favours involves him in the expounding of an anthropology he did not set out to undertake. The Ästhetische Briefe, for this reason, finds itself adumbrating an “unexpected science” with little remaining reference to Kant – an account of the human being whose desirable future state, that of morality, can only be made secure by passage through the aesthetic state. A by-product of this argument, and perhaps its chief consequence, is that it finally settles the quarrel of the ancients and the moderns (in favour of the moderns).

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