scholarly journals When Art is Religion and Vice Versa. Six Perspectives on the Relationship between Art and Religion

Perichoresis ◽  
2020 ◽  
Vol 18 (3) ◽  
pp. 3-20
Author(s):  
Frank G. Bosman
Keyword(s):  
Case Studies ◽  
Religious Art ◽  
Complex Relationship ◽  
Digital Game ◽  
Work Of Art ◽  
Multiple Levels ◽  
The Relationship ◽  
Religion And Art

AbstractIn the discussion of religion and art, it is quite difficult to exactly define what makes art ‘religious’. In this article, the author suggest six different perspectives in which a work of art—any work of art—could be interpreted as ‘religious’, as an embodiment of the complex relationship between art and religion. These perspectives are not mutually exclusive: one and the same art work could be approached on multiple levels at once. Nor do they disqualify other methodologies of studying art and religion. These perspectives provide conceptual windows to understand what people (could) mean when they discuss religious art. The six perspectives are: (1) material, (2) contextual, (3) referential, (4) reflexive, (5) ritual, and (6) existential. They vary from the more or less objective to the more subjective, and as such from artist-intended to viewer/listener-perceived (with or without help of clues provided by the artist and/or the object itself). The author illustrates who these different perspectives can vary in defining certain pieces of art as religious by using three very different case studies: the Isenheimer Altarpiece, one of Hugo Ball’s famous sound poems, and the digital game Child of Light.

Images between Religion and Art

2017 ◽  
Keyword(s):  
Mass Media ◽  
Public Space ◽  
Contemporary Art ◽  
Religious Art ◽  
Critical Potential ◽  
The Public ◽  
The Past ◽  
The Relationship ◽  
Religion And Art ◽  
Contemporary Artists

This chapter discusses the different ways contemporary artists re-use religious motifs and the effects of such citations. In the majority of cases their artworks function as a context to turn that religion into a topic, and an object of discussion. The critical potential of contemporary artworks that deal with religious themes lies somewhere apart from art’s rejection or mocking of religion, as blasphemy retains its proximity to the specifically religious power of images. When contemporary artists reuse religious motifs they become counter-motifs. The interest in religion, in its various traditions and guises, indicates a desire for self-understanding by re-staging the past. The multifaceted relationship between contemporary art and religion is examined through a detailed discussion of twelve exhibitions organised between 1999 and 2010, which approach religion and religious art from a variety of perspectives. Many of the curators claim that they are emphatically not religious, nor trying to send a religious message. Including religion in the infrastructure of display associated with contemporary art creates a different visibility in the public space and asks questions concerning such visual practices as iconoclasm; the relationship between commercialism, mass media and religion, and the afterlife of religious art, among many others.

scholarly journals SEKULIARIZACIJA, MENAS IR RELIGIJA, ARBA – KAS YRA ŠV. SEBASTIJONAS?

2010 ◽  
Vol 7 (1-2) ◽  
pp. 91-108 ◽  
Author(s):  
Rita Šerpytytė
Keyword(s):  
Contemporary Art ◽  
Religious Art ◽  
Mutual Relationship ◽  
Contemporary World ◽  
Works Of Art ◽  
San Sebastian ◽  
Religious Meaning ◽  
The Relationship ◽  
Religion And Art

Straipsnis skirtas sekuliarizacijos kaip šiuolaikinio pasaulio iššūkio prasmės aptarimui. Svarstomos skirtingos sekuliarizacijos prasmės sampratos, išryškinant jų ontologinę perspektyvą. Grindžiamas požiūris, kad tik sekuliarizacijos ontologinės prasmės akcentavimas įgalina paaiškinti sekuliarizaciją kaip šiuolaikinio pasaulio iššūkį. Pasiremiant šia perspektyva, analizuojamas ir interpretuojamas religijos ir meno santykis šiuolaikiniame pasaulyje. Straipsnyje taip pat susitelkiama į vieną iš šiuolaikinio meno tendencijų – konceptualizavimo tendenciją. Ne tik interpretuojant atskirus meno kūrinius, bet ir išryškinant skirtingas šiuolaikinio meno startegijas, atskleidžiama „religinio“ meno religinės prasmės „mutacija“. Analizė parodo, jog meno sekuliarizuota prasmė tarpsta „gyvoje“, „aktyvioje“ religinėje prasmėje. Daroma išvada, kad šiuolaikinio religijos ir meno santykio analizė įgalina atskleisti sekuliarizacijos ambivalentiškumą – jos sakraliąją ir profaniškąją prasmes, tam tikrą sekuliarizacijos proceso dialektiką.Pagrindiniai žodžiai: sekuliarizacija, menas, religija, nihilizmas, Ch. Tayloras, Vattimo.SECULARIZATION, ART AND RELIGION OR – WHAT IT IS – SAN SEBASTIAN?Rita Šerpytytė SummaryThe article deals with the meaning of secularization as the challenge for contemporary world and considers the ways that secularization affects religion and art as well as their mutual relationship. Different concepts of the meaning of secularization are discussed and their ontological perspectives are highlighted. The attitude, that it is namely the ontological emphasis of the meaning of secularization that enables us to explain its challenge for contemporary world, is being justified. Based on this perspective, the relationship between religion and art in the contemporary world is analyzed and interpreted. The article also focuses on one of the tendencies of contemporary art, i.e. the tendency of conceptualization. Not only by interpreting certain works of art, but also elucidating different strategies of contemporary art, the “mutation” of the religious sense of “religious” art is disclosed. The analysis shows that the secularized meaning of art flourishes through its “alive” and “active” religious meaning. The conclusion is drawn that the analysis of the contemporary relationship between religion and art enables us to disclose the ambiguity of secularization – its sacral and profane sense, a certain dialectics of the process of secularization.Keywords: secularization, art, religion, nihilism, Ch. Taylor, Vattimo.

Flesh Searches in China

Asian Survey ◽  
2016 ◽  
Vol 56 (2) ◽  
pp. 325-347 ◽  
Author(s):  
Patrick Gorman
Keyword(s):  
Case Studies ◽  
Communist Party ◽  
Chinese Communist Party ◽  
Social Space ◽  
Contemporary China ◽  
Chinese State ◽  
The Chinese Communist Party ◽  
The Relationship

This article explores the relationship between netizens and the Chinese Communist Party by investigating examples of “flesh searches” targeting corrupt officials. Case studies link the initiative of netizens and the reaction of the Chinese state to the pattern of management of social space in contemporary China.

Anti-Politics, Depoliticization, and Governance

2017 ◽  
Keyword(s):  
Case Studies ◽  
Political Process ◽  
Common Interest ◽  
Collective Agency ◽  
Nation State ◽  
Growing Body ◽  
Varied Range ◽  
The Relationship

There is a growing body of evidence pointing towards rising levels of public dissatisfaction with the formal political process. Depoliticization refers to a more discrete range of contemporary strategies politicians employ that tend to remove or displace the potential for choice, collective agency, and deliberation. This book examines the relationship between these trends of dissatisfaction and displacement, as understood within the broader shift towards governance. It brings together a number of contributions from scholars who have a varied range of concerns but who nevertheless share a common interest in developing the concept of depoliticization through their engagement with a set of theoretical, conceptual, methodological, and empirical questions. The contributions in this volume explore these questions from a variety of different perspectives by using a number of different empirical examples and case studies from both within the nation state and from other regional, global, and multilevel arenas. In this context, this volume examines the limits and potential of depoliticization as a concept and its contribution to the larger and more established literatures on governance and anti-politics.

Humanism and Music

2020 ◽  
Author(s):  
Christopher M. Driscoll
Keyword(s):  
Artificial Intelligence ◽  
Popular Culture ◽  
Popular Music ◽  
Case Studies ◽  
Contemporary Music ◽  
Theoretical Relationship ◽  
Rock Band ◽  
Historical Developments ◽  
The Relationship

This chapter explores the relationship between humanism and music, giving attention to important theoretical and historical developments, before focusing on four brief case studies rooted in popular culture. The first turns to rock band Modest Mouse as an example of music as a space of humanist expression. Next, the chapter explores Austin-based Rock band Quiet Company and Westcoast rapper Ras Kass and their use of music to critique religion. Last, the chapter discusses contemporary popular music created by artificial intelligence and considers what non-human production of music suggests about the category of the human and, resultantly, humanism. These case studies give attention to the historical and theoretical relationship between humanism and music, and they offer examples of that relationship as it plays out in contemporary music.

Fixing Improvisation

2014 ◽  
Author(s):  
Anthea Kraut
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Intellectual Property ◽  
Case Studies ◽  
Copyright Law ◽  
Property Law ◽  
Intellectual Property Law ◽  
Tap Dance ◽  
American Vernacular ◽  
The Relationship

This chapter juxtaposes brief case studies of African American vernacular dancers from the first half of the twentieth century in order to reexamine the relationship between the ideology of intellectual property law and the traditions of jazz and tap dance, which rely heavily on improvisation. The examples of the blackface performer Johnny Hudgins, who claimed a copyright in his pantomime routine in the 1920s, and of Fred and Sledge, the class-act dance duo featured in the hit 1948 musical Kiss Me, Kate, whose choreography was copyrighted by the white modern dancer Hanya Holm, prompt a rethinking of the assumed opposition between the originality and fixity requirements of copyright law and the improvisatory ethos of jazz and tap dance. Ultimately, the chapter argues that whether claiming or disavowing uniqueness, embracing or resisting documentation, African American vernacular dancers were both advantaged and hampered by copyright law.

scholarly journals Does Tenure Security Reduce Disaster Risk? A Comparative Study of the Nairobi Settlements of Kibera and Kawangware

2021 ◽  
Author(s):  
Rónán McDermott ◽  
Pat Gibbons ◽  
Dalmas Ochieng ◽  
Charles Owuor Olungah ◽  
Desire Mpanje
Keyword(s):  
Structural Integrity ◽  
Disaster Risk ◽  
Comparative Case Study ◽  
Complex Relationship ◽  
Tenure Security ◽  
Household Level ◽  
Urban Informal Settlements ◽  
The Relationship

AbstractWhile scholarship suggests that improving tenure security and housing significantly reduces disaster risk at the household level within urban settings, this assertion has not been adequately tested. Tenure security can be conceived as being composed of three interrelated and overlapping forms: tenure security as determined by legal systems; de facto tenure security; and tenure security as perceived by residents. This article traces the relationship between tenure security, the quality of housing, and disaster risk on the basis of a mixed methods comparative case study of the settlements of Kawangware and Kibera in Nairobi. Although the findings suggest that owner-occupancy is associated with the structural integrity of dwellings to a greater extent than tenantship, no association was found between the length of occupancy by households and the structural integrity of the dwelling. Moreover, tenantship is not found to be closely associated with fires and flooding affecting the dwelling as extant scholarship would suggest. Formal ownership is linked with greater investment and upgrading of property with significant implications for disaster risk. Our findings highlight the complex relationship between tenure security and disaster risk in urban informal settlements and provide impetus for further investigation.

A Progressive View on Religion and Modern Art

2015 ◽  
Vol 19 (5) ◽  
pp. 488-530
Author(s):  
Cynthia Fowler
Keyword(s):  
Cultural Identity ◽  
Modern Art ◽  
Religious Art ◽  
Wide Range ◽  
Museum Professionals ◽  
The Relationship

This article examines the Religious Art of Today exhibition, originally held in 1944 at Boston’s Institute of Modern Art and then reformulated for the Dayton Art Institute in Ohio. The exhibition was eclectic in that it included a wide range of artists and a diversity of faiths, and engaged the debate held among museum professionals about the relationship between religion and modern art. The article focuses closely on Catholic, Jewish, and Navajo art included in the exhibition. The IMA’s commitment to the figurative tradition afforded artists the opportunity to explore their identities—as Jews, as Catholics, as Navajos—using recognizable religious subjects. That the works in the exhibition were selected as representative of modern art resulted in a convergence of discourses related to modern art with those of religious/cultural identity.

scholarly journals What Is the Relationship between the Presence of Volatile Organic Compounds in Food and Drink Products and Multisensory Flavour Perception?

Foods ◽  
2021 ◽  
Vol 10 (7) ◽  
pp. 1570
Author(s):  
Charles Spence
Keyword(s):  
Volatile Organic Compounds ◽  
Organic Compounds ◽  
Mass Spectrometry Data ◽  
Complex Relationship ◽  
Chemical Profile ◽  
Volatile Organic ◽  
Flavour Perception ◽  
Food And Drink ◽  
The Relationship ◽  
Unique Chemical

This narrative review examines the complex relationship that exists between the presence of specific configurations of volatile organic compounds (VOCs) in food and drink products and multisensory flavour perception. Advances in gas chromatography technology and mass spectrometry data analysis mean that it is easier than ever before to identify the unique chemical profile of a particular food or beverage item. Importantly, however, there is simply no one-to-one mapping between the presence of specific VOCs and the flavours that are perceived by the consumer. While the profile of VOCs in a particular product undoubtedly does tightly constrain the space of possible flavour experiences that a taster is likely to have, the gustatory and trigeminal components (i.e., sapid elements) in foods and beverages can also play a significant role in determining the actual flavour experience. Genetic differences add further variation to the range of multisensory flavour experiences that may be elicited by a given configuration of VOCs, while an individual’s prior tasting history has been shown to determine congruency relations (between olfaction and gustation) that, in turn, modulate the degree of oral referral, and ultimately flavour pleasantness, in the case of familiar foods and beverages.

scholarly journals ‘There Must Be a Poetry of Sound That None of Us Knows…’: Early British documentary film and the prefiguring of musique concrète

2017 ◽  
Vol 22 (2) ◽  
pp. 172-186
Author(s):  
Geoffrey Cox
Keyword(s):  
Case Studies ◽  
Electronic Music ◽  
Documentary Film ◽  
Post Office ◽  
Coal Face ◽  
Avant Garde ◽  
History Of ◽  
Relationship Of ◽  
The Relationship ◽  
Musique Concrete

Standard histories of electronic music tend to trace the lineage of musique concrète as lying mainly in the Futurists’ declarations of the 1910s, through Cage’s ‘emancipation’ of noise in the 1930s, to Schaeffer’s work and codifications of the late 1940s and early 1950s. This article challenges this narrative by drawing attention to the work of filmmakers in the 1930s that foreshadowed the sound experiments of Pierre Schaeffer and thus offers an alternative history of their background. The main focus of the article is on the innovations within documentary film and specifically the sonic explorations in early British documentary that prefigured musique concrète, an area ignored by electronic music studies. The theoretical and philosophical underpinnings of the documentary movement’s members, particularly their leader John Grierson, will be compared with those of Pierre Schaeffer, and the important influence of Russian avant-garde filmmaking on the British (and musique concrète) will be addressed. Case studies will focus on the groundbreaking soundtracks of two films made by the General Post Office Film Unit that feature both practical and theoretical correspondences to Schaeffer: 6.30 Collection (1934) and Coal Face (1935). Parallels between the nature and use of technologies and how this affected creative outputs will also be discussed, as will the relationship of the British documentary movement’s practice and ideas to post-Schaefferian ‘anecdotal music’ and the work of Luc Ferrari.

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