scholarly journals Institutionalization and autonomy of art: Can socially engaged art be institutionalized?

Labyrinth ◽  
2021 ◽  
Vol 22 (2) ◽  
pp. 25
Author(s):  
Bruno Trentini
Keyword(s):  
The Other ◽  
Main Issue ◽  
Institutional Framework ◽  
Socially Engaged Art ◽  
Works Of Art

This paper deals with the autonomy of art and more specifically with the autonomy of socially engaged art once it is institutionalized. The originality of the article is its use of Goodman's terminology to theorize socially engaged art. By comparing two works of art from the same collective (one without an institutional framework and the other in a festival), the main issue is to defend the hypothesis that artistic consecration prevents an emancipatory action from functioning as art or prevents an action from functioning as socially engaged art. Thus, in the context of engaged art, the question is no longer "when is art?" but "where is art?". 

Metamorphosen des Autors im Internet

2018 ◽  
Vol 2018 (1) ◽  
pp. 73-82
Author(s):  
Julia Genz
Keyword(s):  
Web 2.0 ◽  
Digital Media ◽  
Intrinsic Value ◽  
The Other ◽  
Cultural Conditions ◽  
Works Of Art ◽  
Periodic Schedule ◽  
Literary Authorship ◽  
The One ◽  
Death Of The Author

Digital media transform social options of access with regard to producers, recipients, and literary works of art themselves. New labels for new roles such as »prosumers « and »wreaders« attest to this. The »blogger« provides another interesting new social figure of literary authorship. Here, some old desiderata of Dadaism appear to find a belated realization. On the one hand, many web 2.0 formats of authorship amplify and widen the freedom of literary productivity while at the same time subjecting such production to a periodic schedule. In comparison to the received practices of authors and recipients many digital-cultural forms of narrating engender innovative metalepses (and also their sublation). Writing in the net for internet-publics enables the deliberate dissolution of the received autobiographical pact with the reader according to which the author’s genuine name authenticates the author’s writing. On the other hand, the digital-cultural potential of dissolving the autobiographical pact stimulates scandals of debunking and unmasking and makes questions of author-identity an issue of permanent contestation. Digital-cultural conditions of communication amplify both: the hideand- seek of authorship as well as the thwarting of this game by recipients who delight in playing detective. In effect, pace Foucault’s and Barthes’ postulates of the death of the author, the personality and biography of the author once again tend to become objects of high intrinsic value

Retroaktive Neuverhandlung

2018 ◽  
Vol 63 (1) ◽  
Author(s):  
Daniel Martin Feige
Keyword(s):  
Original Work ◽  
The Other ◽  
Final Part ◽  
Critical Reading ◽  
The Third ◽  
Works Of Art ◽  
The Relationship

Der Beitrag widmet sich der Frage historischer Folgeverhältnisse in der Kunst. Gegenüber dem Gedanken, dass es ein ursprüngliches Werk in der Reihe von Werken gibt, das späteren Werken seinen Sinn gibt, schlägt der Text vor, das Verhältnis umgekehrt zu denken: Im Lichte späterer Werke wird der Sinn früherer Werke neu ausgehandelt. Dazu geht der Text in drei Schritten vor. Im ersten Teil formuliert er unter der Überschrift ›Form‹ in kritischer Abgrenzung zu Danto und Eco mit Adorno den Gedanken, dass Kunstwerke eigensinnig konstituierte Gegenstände sind. Die im Gedanken der Neuverhandlung früherer Werke im Lichte späterer Werke vorausgesetzte Unbestimmtheit des Sinns von Kunstwerken wird im zweiten Teil unter dem Schlagwort ›Zeitlichkeit‹ anhand des Paradigmas der Improvisation erörtert. Der dritte und letzte Teil wendet diese improvisatorische Logik unter dem Label ›Neuaushandlung‹ dann dezidiert auf das Verhältnis von Vorbild und Nachbild an. The article proposes a new understanding of historical succession in the realm of art. In contrast to the idea that there is an original work in the series of works that gives meaning to the works that come later, the text proposes to think it exactly the other way round: in the light of later works, the meanings of earlier works are renegotiated. The text proceeds in three steps to develop this idea. Under the heading ›Form‹ it develops in the first part a critical reading of Danto’s and Eco’s notion of the constitution of the artworks and argues with Adorno that each powerful work develops its own language. In the second part, the vagueness of the meaning of works of art presupposed in the idea of renegotiating earlier works in the light of later works is discussed under the term ›Temporality‹ in terms of the logic of improvisation. The third and final part uses this improvisational logic under the label ›Renegotiation‹ to understand the relationship between model and afterimage in the realm of art.

Plausibility and Aesthetic Interpretation

1977 ◽  
Vol 7 (2) ◽  
pp. 327-340 ◽  
Author(s):  
Denis Dutton
Keyword(s):  
Scientific Inquiry ◽  
The Other ◽  
Inquiry Science ◽  
Works Of Art ◽  
Different Types ◽  
Logical Structures ◽  
The One

If a catalogue were made of terms commonly used to affirm the adequacy of critical interpretations of works of art, one word certain to be included would be “plausible.” Yet this term is one which has received precious little attention in the literature of aesthetics. This is odd, inasmuch as I find the notion of plausibility central to an understanding of the nature of criticism. “Plausible” is a perplexing term because it can have radically different meanings depending on the circumstances of its employment. ln the following discussion, I will make some observations about the logic of this concept in connection with its uses in two rather different contexts: the context of scientific inquiry on the one hand, and that of aesthetic interpretation on the other. In distinguishing separate senses of “plausible,” I shall provide reason to resist the temptation to imagine that because logical aspects of two different types of inquiry—science and criticism—happen to be designated by the same term, they may to that extent be considered to have similar logical structures.

scholarly journals Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy

2018 ◽  
Vol 9 (4) ◽  
pp. 59-70
Author(s):  
Olusegun Ajíbóyè ◽  
Stephen Fọlárànmí ◽  
Nanashaitu Umoru-Ọkẹ
Keyword(s):  
Field Work ◽  
Aesthetic Judgment ◽  
The Other ◽  
Southwestern Nigeria ◽  
Black Africa ◽  
Biological Importance ◽  
Works Of Art ◽  
Art And Language ◽  
Aesthetic Values ◽  
Visual Illustrations

Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. It concludes that the spiritual importance of orí or its aesthetics has a connection which has been demonstratively established by the Yorùbá as epressed in the images and illustrations used in this paper.

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

On the Ability to Discriminate Original from Mirror-Image Reproductions of Works of Art

Perception ◽  
1975 ◽  
Vol 4 (4) ◽  
pp. 385-389 ◽  
Author(s):  
Patricia Blount ◽  
Janet Holmes ◽  
Jill Rodger ◽  
Max Coltheart ◽  
Chris McManus
Keyword(s):  
Mirror Image ◽  
The Other ◽  
Works Of Art

Subjects were shown pairs of slides; one member of each pair represented a painting in its correct left-right orientation and the other a mirror image of the same painting. For each pair, subjects were asked (a) to choose which they preferred, (b) to choose which they thought was the original, and (c) to rate their confidence that they had seen the picture before. Subjects were only able to discriminate between originals and mirror images for those paintings they were highly confident of having seen before.

Archaeology in Greece, 1947–1948

1947 ◽  
Vol 67 ◽  
pp. 34-45 ◽  
Author(s):  
J. M. Cook
Keyword(s):  
Fifth Century ◽  
The Other ◽  
Financial Policy ◽  
National Museum ◽  
Ministry Of Education ◽  
Works Of Art ◽  
Private Collection ◽  
Greek Government ◽  
Restrict Movement ◽  
Head Band

The year 1947–1948 has been one of limited activity. The presence of rebel bands continues to restrict movement in parts of mainland Greece and the Peloponnese; and the financial policy of the Greek Government has allowed little progress to be made this year in reconstituting the museums. The ban which the Ministry of Education imposed on excavation in Greece has not been withdrawn, though there are signs of a more liberal interpretation of it. On the other hand, the foreign archaeological institutions in Greece have intensified their activities within the limits imposed by present conditions; they have been happily strengthened by the founding on 10th May 1948 of a Swedish Institute in Athens.The Kerameikos Museum is now opened by appointment for students. The principal sculptures of the National Museum have been unpacked in preparation for replacement; an exhibition of early Greek sculptures and works of art was formally opened in the new year; it includes the Delphi charioteer and the new kouros from Anavysos. Additions to Mrs. Stathatou's private collection include a Late Geometric amphora and stamped gold head-band which were found in a grave in the Mesogaia, a small archaic bronze steer's head, and a grave relief of the later fifth century B.C.

Duels, Truels, Gruels, and Survival of the Unfittest

2017 ◽  
Author(s):  
Dominic Lanphier
Keyword(s):  
Generating Functions ◽  
The Other ◽  
Main Issue ◽  
Basic Facts ◽  
Combinatorial Methods

This chapter considers two generalizations of duels. The first generalization is to n players, like n-uels. The other generalization is an iterative duel. The main issue for both of these duel-type games is to determine the likelihood that a player will survive the game. Section 1 reviews the main definitions, rules, and results about (sequential) duels and truels. Section 2 introduces duel-type games called gruels, giving some simple examples and establishing certain basic facts concerning such games. Section 3 introduces the second generalization, iterative duels. It applies certain combinatorial methods to investigate these games. In particular, it applies generating functions and thereby obtains arithmetic results about numbers associated to such duels. Section 4 applies more delicate analysis. This section is more mathematically challenging and follows methods from Stanley and Wilf to study which player in a sequential iterative duel is most likely to win.

The Gastronomy of the Eye

2020 ◽  
pp. 175-198
Author(s):  
Vrushali Dhage
Keyword(s):  
Essential Role ◽  
Historical Perspective ◽  
Smart Cities ◽  
Methodological Approach ◽  
Economic Liberalization ◽  
The Other ◽  
Works Of Art

Works of art can be read at various levels: from being objects of simple retinal pleasure to the other extreme of being significant critical statements of their time. This chapter aims to strike a cerebral dialogue through the works of art. The current study shall consider the latter function of art and analyze the methods in which contemporary Indian artists have made attempts to provide a critique of the early initiatives towards developing Delhi and Mumbai as ‘smart cities'. The review of works from India concludes the essential role of infrastructural projects and envisioned spaces built in the era of economic liberalization. The study aims at drawing a methodological approach, with an art historical perspective, with the artists analysing and translating the urban experiential phenomenon, into artworks.

Ästhetische Objektivität

2015 ◽  
Vol 63 (6) ◽  
Author(s):  
Daniel Martin Feige
Keyword(s):  
The Other ◽  
Works Of Art ◽  
The Difference ◽  
The One

AbstractThe question posed in this paper is in what sense we should say that our judgments about works of art can claim to be objective. It draws upon recent discussions in analytical aesthetics on the one hand and on the work of Hegel, Gadamer and McDowell on the other. The aim of the paper is to argue for the possibility of an objectivistic understanding of judgments on works of art. It does so by trying to render the foundations of subjective accounts of such judgments problematic and by trying to show that the difference between objective and mere intersubjective claims of judgments isn’t a valid difference at all.

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