Kunsten at pille et løg:

2012 ◽  
Vol 3 (2) ◽  
pp. 16-23
Author(s):  
Kasper Daugaard ◽  
Amalie Ørum
Keyword(s):  
Everyday Life ◽  
Creative Process ◽  
Theory And Practice ◽  
Aesthetic Theory ◽  
Artistic Work ◽  
The Aesthetic ◽  
The Relationship

Abstract To peel an onion, to grate a carrot, and to set a table, each has its own choreographic recipe. Culinary art/ cookery is choreographed everyday life, and cooking is a dance everyone knows. The Art of Peeling an Onion is based on the dance piece Gæst (Guest), choreographed by Kasper Daugaard. The piece is for five dancers, a female soloist and four choir dancers, and originates entirely from culinary actions. The purpose of the article is not to maintain theory and practice as two separate entities, but to show how they supply each other and offer each other content. We aim to create a balanced understanding of the relationship between the creative process, the audience experience, and the aesthetic theory related to both the content and the outcome of artistic work. We view theory and practice hand in hand, because we have strived to put into words that which can be experienced, to verbalise the spectator’s experiences, the physical as well as reflexive, with the ambition of formulating a quite tangible experience-based aesthetics.

Photography and the Perils of Automaticity: P. H. Emerson, Copyright, and the Agency of the Artist

2020 ◽  
Author(s):  
JiHae Koo
Keyword(s):  
Copyright Law ◽  
Aesthetic Theory ◽  
Medium Specificity ◽  
Cultural Imaginary ◽  
Before And After ◽  
Artistic Medium ◽  
The Aesthetic ◽  
Two Stages ◽  
The Relationship

Abstract The photographer Peter Henry Emerson (1856–1936) is known today for the splash he made on the Victorian photographic scene in the 1880s with his bold refusal to follow his fellow art photographers (collectively known as the Pictorialists) in latching the new medium on to the aesthetic conventions of painting. His conventional position within art history is thus as a precursor to the Modernist conception of photography’s medium-specificity. Yet even if Emerson’s work was ahead of its time in its proto-Modernist refusal of painterly conventions, it also has qualities that place it more squarely within late-Victorian discourses. In particular, I argue, Emerson’s ongoing efforts to secure his photographs via copyright law need to be understood as reflective of a distinctly nineteenth-century cultural imaginary. This essay addresses the relationship between Emerson’s aesthetic theory and copyright law by dividing Emerson’s career into two stages, before and after 1891, this being the year in which Emerson abruptly disavowed photography as an artistic medium in his short pamphlet ‘The Death of Naturalistic Photography’. Examining two photography books – Pictures of East Anglian Life (1888) and On English Lagoons (1893) – alongside late-Victorian debates about photographic copyright, I show that Emerson’s earlier belief in photographic copyright’s ability to retain the integrity of an artist’s vision breaks down after 1891. He loses faith in the ‘copyrightability’ of photography in 1891 when he recognizes the mechanical nature – or automaticity – of the camera. That is, Emerson realizes that the photograph is never purely the product of the artist. In sum, this case study shows that by the 1890s, photographic copyright was becoming detached from the notion of creativity and thus could no longer be the guarantee of a photographer’s claim to artistic individuality.

scholarly journals Compositional System of Osvaldas Balakauskas

2018 ◽  
Vol 54 (2) ◽  
pp. 45-95
Author(s):  
Gražina Daunoravičienė
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Creative Process ◽  
Cultural Context ◽  
Soviet Period ◽  
Aesthetic Value ◽  
Early 21St Century ◽  
The Aesthetic ◽  
Compositional System ◽  
The Relationship

Against the background of the Lithuanian professional music modernisation over the late Soviet period through to the early 21st century, the study focuses on the theoretical-compositional system of dodecatonics by the most consistent Lithuanian modernist Osvaldas Balakauskas (b. 1937). Based on it, the conceptualisation of the composer’s creative process, the modern expression construing specificity, the socio-political and cultural context, and the aesthetic value will be revealed. By interpreting the process of modernisation from the viewpoint of parataxical comparativism, the relationship between the dodecatonics and other 20th century ­stheoretical-compositional systems as well as the theoretical tradition will be examined. The issues of individualisation of the 12-tone technique and the implementation of the principles of the Dodecatonics in Balakauskas’’ compositions will be discussed. The system is contextualised in the milieu of the inculcation of “formalistic” modernist doctrines in Lithuania and the USSR and of the updating of composing systems and the development of new ones.

scholarly journals Let's get Physical: Supporting Arts Based Research through Haptic Learning

2018 ◽  
Vol 43 (3) ◽  
pp. 149-152
Author(s):  
Chris Jones
Keyword(s):  
Creative Process ◽  
Phenomenological Approach ◽  
Theory And Practice ◽  
Creative Arts ◽  
Arts Based Research ◽  
The World ◽  
Haptic Learning ◽  
The University ◽  
Relationship Of ◽  
The Relationship

What is a materials collection? Why is it in the library? The aim of this paper is to introduce the idea of a materials collection as a result of explorations in arts based research. This involved theorizing ideas of materiality, haptic engagement with objects and relating them to the creative process within a library environment. The collection is a response to a perceived gap between theory and creative practice expressed within the student cohort. The risk to the library comprises a possible erosion of value in the student experience, in that the service becomes marginalized in contrast to the studio based activities. The nature of the research undertaken by the student cohort at the University for the Creative Arts is considered, and the development of the materials collection is presented as a response to this inquiry. The collection forms the site of haptic learning: the sensual engagement with the world is combined with a phenomenological approach to create a space within which the relationship of theory and practice may be developed.

scholarly journals Open-air museums: digital cultures, aesthetics and everyday life

Vista ◽  
2021 ◽  
pp. e021003
Author(s):  
Vincenzo Susca
Keyword(s):  
Everyday Life ◽  
18Th Century ◽  
Cultural Industry ◽  
Work Of Art ◽  
Ordinary Life ◽  
The Public ◽  
History Of ◽  
The Aesthetic ◽  
Digital Cultures ◽  
The Relationship

At a time when everything becomes art, art no longer belongs to itself, to the point of overflowing from the frames that have enclosed it for several centuries – museums, galleries, churches – with unprecedented effects not only in the field of aesthetics, but above all in ordinary life. To understand this in depth, it is necessary to take into account the digital reproducibility of the work of art as a dynamic that upsets the relationship between work and spectator, subject and object, politics and everyday life. From the second half of the 18th century onwards, we saw a dynamic of "aestheticization of the public" parallel to the birth of the cultural industry and, therefore, the transformation of culture into merchandise. It is an ambiguous process, as it implies the emergence of the mass as the central subject of our culture, but also its definitive reification. What about aesthetics in such a condition? This study explores the genology and history of this process by updating Walter Benjamin's thinking in relation to the cultural emergencies of our time. In particular, it seems essential to understand what happens to the aura in the context of a condition in which the aesthetic object, the work of art and, more generally, the area that concerns beauty is available, used and consumed in everyday life, to the point of placing our cities as "open air museums".

scholarly journals The Geological Present: A Critique of the Aesthetic Anthropocene

2021 ◽  
Author(s):  
◽  
Lachlan Gregory Taylor
Keyword(s):  
Contemporary Art ◽  
Natural World ◽  
Aesthetic Theory ◽  
Art World ◽  
Art Making ◽  
Critical Methodology ◽  
Art Works ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

<p>This thesis is a response to an emergent discourse on the relationship between the visual arts and the Anthropocene. The latter—the stratigraphic designation for a new geological epoch—has accrued a popularity within the contemporary art-world that is rarely afforded to a concept from the earth sciences. The uptake in Anthropocene-themed exhibitions, publications, and think-pieces reflects the concept’s promise of an art-making and art-critical methodology that may foster a revised relationship to nature in the age of climate change.   Despite the new-found fashionability of the term, this relationship between art and the Anthropocene has neither been comprehensively demonstrated, nor disproved. Consequently, the purpose of this thesis is to undertake this necessary interrogation.   Firstly, this is an engagement with the competing philosophies and intentions that have attached themselves to the Anthropocene label as it progressed from a straightforward geological statement, into a profound suite of assertions regarding the relationship of humanity to our planet. The influence of the posthumanist ecological philosopher, Timothy Morton, is a particular focus for understanding what the aesthetic theory of the Anthropocene consists of. Taken together, this theory is a promise of a new relationship with the natural world through the jettisoning of Romantic fantasies of nature in favour of an engagement with a sub-discursive, material world.   Secondly, this theory is read against ecologically conscious contemporary art works. The practices of Pierre Huyghe, Simon Starling, and Conor Clarke speak to the same concerns as the aesthetic Anthropocene. Reading these works through the lens offered by the stratigraphic concept investigates and tests the capability of the aesthetic Anthropocene for delivering its promises of an art without nature, and a new engagement with our environments.   Ultimately, the innovations of the aesthetic Anthropocene are novel, plentiful, but unconvincing. As a theory, it is beset by flaws and contradictions which undermine its applicability and critical potential. Consequently, ecologically conscious art does little to reflect the aims and aspirations of the aesthetic Anthropocene, rendering it an unhelpful tool for understanding the geological present.</p>

scholarly journals The Geological Present: A Critique of the Aesthetic Anthropocene

2021 ◽  
Author(s):  
◽  
Lachlan Gregory Taylor
Keyword(s):  
Contemporary Art ◽  
Natural World ◽  
Aesthetic Theory ◽  
Art World ◽  
Art Making ◽  
Critical Methodology ◽  
Art Works ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

<p>This thesis is a response to an emergent discourse on the relationship between the visual arts and the Anthropocene. The latter—the stratigraphic designation for a new geological epoch—has accrued a popularity within the contemporary art-world that is rarely afforded to a concept from the earth sciences. The uptake in Anthropocene-themed exhibitions, publications, and think-pieces reflects the concept’s promise of an art-making and art-critical methodology that may foster a revised relationship to nature in the age of climate change.   Despite the new-found fashionability of the term, this relationship between art and the Anthropocene has neither been comprehensively demonstrated, nor disproved. Consequently, the purpose of this thesis is to undertake this necessary interrogation.   Firstly, this is an engagement with the competing philosophies and intentions that have attached themselves to the Anthropocene label as it progressed from a straightforward geological statement, into a profound suite of assertions regarding the relationship of humanity to our planet. The influence of the posthumanist ecological philosopher, Timothy Morton, is a particular focus for understanding what the aesthetic theory of the Anthropocene consists of. Taken together, this theory is a promise of a new relationship with the natural world through the jettisoning of Romantic fantasies of nature in favour of an engagement with a sub-discursive, material world.   Secondly, this theory is read against ecologically conscious contemporary art works. The practices of Pierre Huyghe, Simon Starling, and Conor Clarke speak to the same concerns as the aesthetic Anthropocene. Reading these works through the lens offered by the stratigraphic concept investigates and tests the capability of the aesthetic Anthropocene for delivering its promises of an art without nature, and a new engagement with our environments.   Ultimately, the innovations of the aesthetic Anthropocene are novel, plentiful, but unconvincing. As a theory, it is beset by flaws and contradictions which undermine its applicability and critical potential. Consequently, ecologically conscious art does little to reflect the aims and aspirations of the aesthetic Anthropocene, rendering it an unhelpful tool for understanding the geological present.</p>

scholarly journals Concerning Some Marrano Threads in The Aesthetic Theory of Theodor W. Adorno

Religions ◽  
2019 ◽  
Vol 10 (3) ◽  
pp. 173
Author(s):  
Jakub Górski
Keyword(s):  
Art Criticism ◽  
Modern Art ◽  
Aesthetic Theory ◽  
Main Question ◽  
Jewish Thought ◽  
Universal Domain ◽  
Magnum Opus ◽  
The Common ◽  
The Aesthetic ◽  
The Relationship

This article is an attempt to re-read the magnum opus of Adorno’s philosophy, namely Aesthetic Theory, using an interpretative key offered by Agata Bielik-Robson’s book entitled Jewish Cryptotheologies of Late Modernity: Philosophical Marranos. This interpretative key, called by the Author The Marrano Strategy implemented to Adorno’s late philosophy allows us to investigate the common points of Adorno’s theory of art criticism and modern Jewish thought. Therefore the main question of this text concerns the characteristics of Jewishness and messianicity (Scholem, Derrida) in Adorno’s Aesthetic Theory. The thesis that I am attempting to justify is as follows: the implementation of Marrano strategy to the modern art criticism redefines and reverses the relationship between the particular element and the universal domain. Consequently, this dialectical ‘appreciation’ of the particular establishes a common conceptual field for critical thinking and traditional, religious motifs.

Dionysius, Lucian, and the Prejudice against Rhetoric in History

2001 ◽  
Vol 91 ◽  
pp. 76-93 ◽  
Author(s):  
Matthew Fox
Keyword(s):  
Rhetorical Theory ◽  
Close Reading ◽  
Aesthetic Theory ◽  
Moral Issues ◽  
Dionysius Of Halicarnassus ◽  
The Subject ◽  
The Aesthetic ◽  
The Relationship ◽  
Do So ◽  
Historical Theory

This article will explore the familiar polarity between history and rhetoric by comparing two rather different accounts from the early Empire. The treatment of history in the rhetorical theory of Dionysius of Halicarnassus and the curious work of historical theory by Lucian will be contrasted to open up some new areas of debate. Although the relationship between rhetoric and history has been the subject of numerous studies, none have given much weight to one central aspect of the juxtaposition: the dialectic between rhetoric and aesthetics, and the place of that dialectic in ancient historical theory. Since scholars generally agree that ancient historiography exists, like all other forms of ancient writing, within a culture where rhetoric provides all educational resources, and thus acts as a substitute for aesthetic theory, this is not in itself surprising. A close reading of these particular texts, however, produces a more differentiated view of what rhetoric might mean to those seeking to define historiography. Dionysius and Lucian are both concerned with the relationship between rhetoric and wider issues of moral and social education. But because rhetoric is not philosophy, but rather a system concerned above all with the formal qualities of spoken utterance, these moral issues become closely implicated with aesthetic concerns. More startlingly, they do so in each author in a significantly different way. The interweaving of moral and aesthetic may at first sight seem strange; we are accustomed to think of the aesthetic and the moral as operating in rather different spheres, at least when it comes to literary production.

The Germans and their Jewish Neighbors on the Ukrainian Areas at the Second Half of the 19th Century

2020 ◽  
pp. 17-27
Author(s):  
D. Meshkov
Keyword(s):  
Everyday Life ◽  
19Th Century ◽  
Russian Empire ◽  
Early Years ◽  
Criminal Cases ◽  
South West ◽  
Multiethnic Population ◽  
The Russian Empire ◽  
The 19Th Century ◽  
The Relationship

The article presents some of the author’s research results that has got while elaboration of the theme “Everyday life in the mirror of conflicts: Germans and their neighbors on the Southern and South-West periphery of the Russian Empire 1861–1914”. The relationship between Germans and Jews is studied in the context of the growing confrontation in Southern cities that resulted in a wave of pogroms. Sources are information provided by the police and court archival funds. The German colonists Ludwig Koenig and Alexandra Kirchner (the resident of Odessa) were involved into Odessa pogrom (1871), in particular. While Koenig with other rioters was arrested by the police, Kirchner led a crowd of rioters to the shop of her Jewish neighbor, whom she had a conflict with. The second part of the article is devoted to the analyses of unty-Jewish violence causes and history in Ak-Kerman at the second half of the 19th and early years of 20th centuries. Akkerman was one of the southern Bessarabia cities, where multiethnic population, including the Jews, grew rapidly. It was one of the reasons of the pogroms in 1865 and 1905. The author uses criminal cases` papers to analyze the reasons of the Germans participation in the civilian squads that had been organized to protect the population and their property in Ackerman and Shabo in 1905.

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