scholarly journals Reflections on Immediatism and Aesthetics

eTopia ◽  
2016 ◽  
Author(s):  
Victor Cirone
Keyword(s):  
Technological Development ◽  
Felix Guattari ◽  
Final Part ◽  
Artistic Practice ◽  
Ancient India ◽  
Political Implications ◽  
Musical Traditions ◽  
The Aesthetic ◽  
Musical Forms

This paper considers the aesthetic and political implications of Hakim Bey’s (also known as Peter Lamborn Wilson) Immediatist project. The paper begins with a discussion of the cosmogonic notions of Chaos and nothing that Bey adopts in his work and explores the ways in which these notions are foundational to his concept of Ontological Anarchy. It is then explained how, through indiscriminately drawing on a variety of mystical and magical traditions (from those of Pagan Greece and Ancient India to the contemporary Western Occult world) Immediatism aims to establish an experiential foundation for the reality of interdependent non-dual wholeness. In order to advance Bey’s critique of ‘the sleep of Order’, pathological (calculative) reason, and Western technological development, his work is brought into dialogue with that of schizoanalyst and philosopher Felix Guattari. The final part of this paper discusses the implications of Bey’s Immediatist project for contemporary artistic practice, with special emphasis placed on musical forms and the possibility of reviving Occidental sacred musical traditions. KEYWORDS: Hakim Bey, Peter Lamborn Wilson, Felix Guattari, Chaos, Nothing, Ontological Anarchy 

Post-Mass-Media and Participation

2021 ◽  
Keyword(s):  
Mass Media ◽  
Research Group ◽  
Felix Guattari ◽  
Necessary Condition ◽  
The Political ◽  
Democratic Participation ◽  
The Aesthetic ◽  
New Generation

Three decades after Félix Guattari introduced the concept of "post-mass-media" as a necessary condition of media participation, it is by no means self-evident that his reaction to events leading up to 1989 would still attract a new generation of scholars today. Yet, the concept continually reappears to address the role of technology in democratic participation and the relation between the aesthetic and the political. Originating in discussions of the DFG research group Media and Participation, this issu

scholarly journals Public perception of science of undergraduate students from the state of São Paulo: a study through the perspective of biotechnology

2016 ◽  
Vol 18 (1) ◽  
pp. 83
Author(s):  
Fernanda Oliveira Simon ◽  
Estéfano Vizconde Veraszto ◽  
José Tarcísio Franco de Camargo ◽  
Dirceu da Silva ◽  
Nonato Assis de Miranda
Keyword(s):  
Undergraduate Students ◽  
Public Perception ◽  
Technological Development ◽  
Public Attitudes ◽  
Sao Paulo ◽  
Scientific Practices ◽  
São Paulo ◽  
The Public ◽  
Political Implications ◽  
Mixed Approach

The association between scientific knowledge and attitudes toward science has historical, social and political implications. Therefore, it becomes essential to assess public attitudes in face of science as these relate to the changing context of scientific practices and their implications on practical and social problems. Thus, this paper presents results of a survey developed from a mixed approach, which evaluated the public perception of science and attitudes in face of the scientific and technological development, from the perspective of biotechnology, in a public composed of undergraduate students from different places of São Paulo State, in Brasil. The results obtained by confirmatory factor analysis are indicators that show that the conceptions that people have about science directly and positively influences their attitudes to science.

scholarly journals Media archaeology-based Visual Music

2021 ◽  
pp. 7-30
Author(s):  
Alberto Novello
Keyword(s):  
Frame Rate ◽  
Artistic Practice ◽  
Media Archaeology ◽  
Strong Connection ◽  
Geometric Properties ◽  
Visual Music ◽  
The Aesthetic ◽  
Beam Movement

This article describes the intersection of Media Archaeology and Visual Music in my artistic practice that repurposes obsolete devices to investigate new connections between light and sound. I revive and hack tools from our analogue past: oscilloscopes, early game consoles, and lasers. I am attracted to their aesthetic difference from the ubiquitous digital projections: fluid beam movement, vibrant light, infinite resolution, absence of frame rate, and line-based image. The premise behind all my work is the synthesis of both image and sound from the same signal. This strong connection envelopes the audience in synchronous audiovisual information that reveals underlying geometric properties of sound. In this text I describe the practice and the aesthetic potentials connected to few analog and digital hybridized systems to generate new sonic and visual experiences.

Materialities of Abstraction

2021 ◽  
Vol 67 (2) ◽  
pp. 191-214
Author(s):  
Brandon Truett
Keyword(s):  
Material Culture ◽  
Virginia Woolf ◽  
Literary History ◽  
Abstract Art ◽  
Artistic Practice ◽  
Material World ◽  
Bloomsbury Group ◽  
Art Object ◽  
Visual Artist ◽  
The Aesthetic

This article recovers the 1918 chapbook that the understudied Vorticist poet and visual artist Jessie Dismorr composed for the American sculptor John Storrs and his wife Marguerite. It examines the ways the chapbook reorients the aesthetic criteria by which we recognize abstraction in the early twentieth century. Studying how Dismorr’s divergent and feminist approach to Vorticist practice exploits “the materialities of abstraction,” or the traces of the material world that evince the outside of the abstract art object, it suggests that these material traces lead us to reimagine the boundary between inside and outside, and thus the way an art object indexes and interacts with the material world. Proposing that the recovery of an object as seemingly inconsequential as an individual chapbook in fact raises questions about how we construct the literary- and art-historical field of modernism, the article situates Dismorr’s work in relation to other feminist understandings in British modernism of the socialized space of artistic practice across media exemplified by Virginia Woolf ’s account of sociability within the Bloomsbury Group, and argues for the importance of such unique objects as chapbooks to the study of material culture within literary history and within art history as well.

Choreographies of the Living

2018 ◽  
Author(s):  
Carrie Rohman
Keyword(s):  
Visual Art ◽  
Contemporary Literature ◽  
Natural World ◽  
Felix Guattari ◽  
Avant Garde ◽  
Human Endeavor ◽  
Theatrical Performance ◽  
Aesthetic Practice ◽  
And Performance ◽  
The Aesthetic

Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary inheritance—as that which we borrow, in some sense, from animals and the natural world—the ways we experience, theorize, and value literary, visual, and performance art fundamentally shift. Although other arguments suggest that certain modes of aesthetic expression are closely linked to animality, Rohman argues that the aesthetic is animal, showing how animality and actual animals are at the center of the aesthetic practices of crucial modernist, contemporary, and avant-garde artists. Exploring the implications of the shift from an anthropocentric to a bioaesthetic conception of art, this book turns toward animals as artistic progenitors in a range of case studies that spans print texts, visual art, dance, music, and theatrical performance. Drawing on the ideas of theorists such as Elizabeth Grosz, Jane Bennett, Gilles Deleuze and Félix Guattari, Jacques Derrida, Una Chaudhuri, Timothy Morton, and Cary Wolfe, Rohman articulates a deep coincidence of the human and animal elaboration of life forces in aesthetic practices.

Untimely Love: The Aesthetics and Politics of Anachronism in The Age of Innocence

2020 ◽  
Vol 53 (2) ◽  
pp. 254-273
Author(s):  
John Sampson
Keyword(s):  
New York ◽  
Aesthetics And Politics ◽  
Free Love ◽  
Central Park ◽  
Metropolitan Museum Of Art ◽  
Modern Novel ◽  
Political Implications ◽  
The Age Of Innocence ◽  
The Aesthetic ◽  
Emma Goldman

Abstract “Untimely Love” reassesses the aesthetic choices and political implications of Edith Wharton's The Age of Innocence (1920), first by highlighting a surprising overlap between Wharton and the anarcho-feminist Emma Goldman. Wharton's novelistic critique of New York society's marriage rituals, spurred by an unconsummated affair between Newland Archer and his wife's cousin Ellen Olenska, follows Goldman in positing an antagonism between the hierarchies of marriage and the equalizing nature of love. For Wharton, however, this antagonism will not be resolved with free love one day triumphing. To explain her position, the article turns to Jacques Rancière's unresolvable antagonism between “politics” and “the police,” which has an aesthetic analogue in the clash between the formally anarchic modern novel and premodern hierarchies of genre. Wharton unearths 1870s New York like an archeologist to expose how its patriarchal logic polices women's sexuality within and outside marriage, making expressions of love quite rare. Wharton unleashes the disruptive power of love through formal experimentation, temporarily subverting her own historical realism, when she has Ellen and Archer visit the Metropolitan Museum of Art in Central Park, which did not yet exist in the novel's timeframe. The Met's impossible location and its uncataloged holdings open to public viewing upset New York's social and aesthetic hierarchies. It is in this anachronistic and democratic context that Archer first sees “love visible” in the world, rearranging his entire worldview. Wharton, in a related political gesture of aesthetic dissensus, aligns her untimely lovers with the museum's suddenly visible ghosts of history.

The Politicization of Science and Technology: Its Implications for Nanotechnology

2006 ◽  
Vol 34 (4) ◽  
pp. 658-666 ◽  
Author(s):  
Fabrice Jotterand
Keyword(s):  
Technological Development ◽  
Academic Science ◽  
Economic Power ◽  
Science Technology ◽  
Political Implications ◽  
Scientific Ethos ◽  
Broad Meaning ◽  
Traditional Understanding ◽  
Scientific And Technological Development ◽  
The Ideal

Nanotechnology represents, in part, a technological revolution in the sense that it allows highly innovative applications of various areas of the physical and life sciences. The development of nanotechnology and nanoscience, however, intensifies challenges to the traditional understanding of how to pursue scientific and technological knowledge. Science (in its broad meaning) can no longer be construed simply as the ideal of the quest for truth (i.e., “pure science”). Science, through its technological applications, has become the source of economic power and, by extension, political power. Science, with its political implications, has entered what John Ziman calls the era of “post-academic science.”In this paper, I argue that nanotechnology is a cardinal exemplar of this politicization, that is, the convergence of science, technology, politics, and economics for social and governmental purposes. At the same time, I assert that this new scientific ethos offers the possibility of a better integration of ethical and philosophical reflections at the core of scientific and technological development.

scholarly journals The Visual Economy of “Precious Books”

2020 ◽  
Vol 40 (1) ◽  
pp. 95-114
Author(s):  
Zeina Maasri
Keyword(s):  
Political Economy ◽  
Print Culture ◽  
Visual Arts ◽  
Modern Art ◽  
Book Publishing ◽  
The Political ◽  
Artistic Practice ◽  
Capitalist Economy ◽  
Art Object ◽  
The Aesthetic

Abstract Shedding light on the postcolonial Arabic book, this article expands the literary and art historical fields of inquiry by bringing into play the translocal design and visual economy of modern art books. It is focused on the short-lived Silsilat al-Nafa'is (Precious Books series, 1967–70), published in Beirut by Dar an-Nahar and edited by modernist poet Yusuf al-Khal (1917–87). The series engaged prominent Arab artists and foregrounded the aesthetic dimension of the printed Arabic book as a “precious” art object. Situated historically at the threshold of contemporary globalization, this publishing endeavor formed a node connecting transnational modernist art and literary circuits with book publishing and was thus paradigmatic of new forms of visuality of the Arabic book. This materiality was enabled by a network of changes in the visual arts, printing technologies, and the political economy of transnational Arabic publishing in late 1960s Beirut. Relations between these three fields are analyzed through a multifaceted lens, focusing on the book as at once a product of intellectual and artistic practice, a commodity in a capitalist economy of publishing, and a translocal artifact of visual and print culture.

scholarly journals The Teleological Nature of Digital Aesthetics – the New Aesthetic in Advance of Artificial Intelligence

2019 ◽  
pp. 105
Author(s):  
Scott Contreras-Koterbay
Keyword(s):  
Artificial Intelligence ◽  
Machine Learning ◽  
Media Studies ◽  
Technological Development ◽  
Aesthetic Experiences ◽  
Real Possibility ◽  
Digital Aesthetics ◽  
Curatorial Practice ◽  
Digital Objects ◽  
The Aesthetic

If aesthetic and teleological judgments are equally reflective, then it can be argued that such judgments can be applied concurrently to digital objects, specifically those that are products of the rapidly developing sophisticated forms of artificial intelligence (AI). Evidence of the aesthetic effects of technological development are observable in more than just experienceable objects; rooted in inscrutable machine learning, AI’s complexity is a problem when it is presented as an aesthetic authority, particularly when it comes to automated curatorial practice or as a progressively determinative aesthetic force originating in an independent agency that is internally self-consistent.Rooted in theories of the post-digital and the New Aesthetic, this paper examines emerging new forms of art and aesthetic experiences that appear to reveal these capabilities of AI. While the most advanced forms of AI barely qualify for a ‘soft’ description at this point, it appears inevitable that a ‘hard’ form of AI is in the future. Increased forms of technological automation obscure the increasingly real possibility of genuine products of the imagination and the creativity of autonomous digital agencies as independent algorithmic entities, but such obfuscation is likely to fade away under the evolutionary pressures of technological development. It’s impossible to predict the aesthetic products of AI at this stage but, if the development of AI is teleological, then it might be possible to predict some of the foreseeable associated aesthetic problems. Article received: April 10, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Contreras-Koterbay, Scott. "The Teleological Nature of Digital Aesthetics – the New Aesthetic in Advance of Artificial Intelligence." AM Journal of Art and Media Studies 20 (2019): 105-112. doi: 10.25038/am.v0i20.326.

scholarly journals Users In The 'Golden' Age Of The Information Society

1970 ◽  
Vol 1 (3) ◽  
Author(s):  
Mijke Slot ◽  
Valerie Frissen
Keyword(s):  
Web 2.0 ◽  
Value Chain ◽  
Golden Age ◽  
Information Society ◽  
Technological Development ◽  
End Users ◽  
Final Part ◽  
Online Services ◽  
The Future ◽  
The Web

In the Web 2.0 era it no longer holds to think of users as ‘end-users’, as they have moved to the heart of the value chain. They have become important actors in virtually all elements of online services. In this paper we shall explore these innovative roles of users and reflect on the future impacts of this shift. To support our claims about the innovative roles of users, we have analyzed 150 Web 2.0 services into more detail. In this paper we shall argue that Web 2.0 may be understood as a first sign of what Perez has labelled ‘societal re-engineering’ and ‘creative destruction’. However, as we are still at the beginning of what Perez describes as a potential golden age of the information society, there are also still major uncertainties about the future of the web and the potential impacts this may have. At this point in time it is far from sure whether we are indeed approaching a ‘golden age’ of technological development. To explore the future roles of users, in the final part of the paper we shall therefore also highlight some future aspects from the perspective of changing user-producer relations.

Sign in / Sign up

Export Citation Format

Share Document