scholarly journals Poetry and process: Glad in the Ruthless Furnance / Poésie et procédé : être joyeux dans l’impitoyable fournaise

2018 ◽  
Vol 45 (1) ◽  
pp. 12-22
Author(s):  
Wendy Donawa
Keyword(s):  
Free Association ◽  
Sensory Perception ◽  
Public Understanding ◽  
Mots Clés ◽  
The Arts ◽  
Free Writing ◽  
Sciences Humaines ◽  
Personal Insight ◽  
Sensory Imagery ◽  
Heart And Mind

Abstract: Poets use sensory imagery and perception, memory and experience, free association and contemplation to join psychic and material worlds, and to honour both emotional and discursive truths. Through multiple drafts, free-writing and research, the author unpacks her own reflections and poems to demonstrate the process by which intuition and personal insight are crafted for public understanding. This poetic process suggests that scholarly discourses of the arts and the humanities need not always fall into the quantitative/qualitative binary, but that both heart and mind are required to some degree in the seeking of wisdom.Keywords: imagery, craft, metaphor, cadence, tone, sensory perception, memory, intuition, contemplationRésumé : Les poètes utilisent l’imagerie sensorielle et la perception, la mémoire et l’expérience ainsi que l’association libre et la contemplation, pour unifier les univers psychique et matériel et célébrer à la fois les vérités émotionnelles et discursives. Par le biais de multiples ébauches, d’écriture libre et de recherches, l’auteure partage ses réflexions et poèmes pour décrire le procédé par lequel intuition et points de vue personnels sont façonnés dans le but d’être compris par le public. Ce procédé poétique donne à penser que les discours érudits sur les arts et les sciences humaines ne doivent pas obligatoirement être de nature binaire quantitative ou qualitative mais que cœur et esprit sont, dans une certaine mesure, indispensables à la quête de la sagesse. Mots-clés : imagerie, art, métaphore, cadence, ton, perception sensorielle, mémoire, intuition, contemplation. 

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

scholarly journals O EMERGIR DA MÚSICA POPULAR E SUAS INTERFACES COM A INDÚSTRIA FONOGRÁFICA

Caderno CRH ◽  
2019 ◽  
Vol 32 (87) ◽  
pp. 517
Author(s):  
Anderson Costa ◽  
Lucas Barreto Catalan
Keyword(s):  
Popular Music ◽  
Culture Industry ◽  
Mots Clés ◽  
Work Of Art ◽  
Artistic Production ◽  
The Arts ◽  
Mode Of Production

<p>O presente artigo tem como objetivo central compreender os processos de interferência da indústria fonográfica sobre a música popular. Diante da expansão da lógica formal capitalista no campo da arte, a relação entre objetividade e subjetividade será a mola propulsora que utilizaremos para analisar paradoxos no processo de reprodução da música popular moderna, tais como indústria cultural e a reprodutibilidade técnica. Assim, partindo da análise do reggae jamaicano, buscamos ampliar o postulado adorniano sobre massificação da música para uma análise na qual seja possível investigar a experiência de produção artística periférica, como a da música popular jamaicana. Essa problemática abriu espaço para a discussão acerca da possibilidade de a indústria fonográfica ter múltiplas formas de atuação, a partir das contingências geradas pela singularidade do funcionamento desigual das condições econômicas, políticas e culturais de cada região, não perdendo de<br />vista que as configurações locais são partes integrantes do modo de produção capitalista.</p><p> </p><p>THE EMERGENCE OF POPULAR MUSIC AND ITS INTERFACES WITH THE PHONOGRAPHIC INDUSTRY</p><p>This article is about popular music, focusing in the relations built by music in face of capitalism’s expansion in the arts’ field. For this instance, the<br />relations between objectivity and subjectivity will be the plot from where we will analyze the paradoxes in the process of modern popular music reproduction, such as: culture industry and the work of art in the age of its technological reproduction. So, starting from the Jamaican reggae, we seek to wise Adorno’s perspective about music investigation to an analysis where is possible to<br />investigate the outlying artistic production, as the popular music that rises in Jamaica. This argument opened space to a discussion about the possibility of the phonographic industry have multiple actuation forms developed from its contingencies that are created by the singularities of its unequal way of work in face of different economic, political and cultural circumstances, keeping in sight that local realities are integrated to the capitalism mode of production.</p><p>Keywords: Popular music. Jamaican reggae. Culture industry. Phonographic industry. Aesthetics.</p><p> </p><p>L’EMERGENCE DE LA MUSIQUE POPULAIRE ET SES INTERFACES AVEC L’INDUSTRIE PHONOGRAPHIQUE</p><p>Le sujet de cet article c’est la musique populaire. On prend la question des rapports entre la musique et la logique de l’expansion capitaliste au domaine<br />de l’art. Pour cela, la relation entre l’objectivité et la subjectivité c’est la force motrice de notre analyse sur les paradoxes du procès de reproduction de la<br />musique populaire moderne, tels que : l’industrie culturelle et la reproductibilité technique. On part de la musique jamaïcaine pour faire la critique au postulat adornien de la négativité appliqué à la musique erudite, en visant comprendre avec lui, aussi, la musique populaire, particulièrement la musique pop des régions périphériques du monde. Cette voie des discussions nous ouvre des multiples possibilités des investigations sur l’industrie phonographique, issues des contingences générées par la singularité du fonctionnement inégal des conditions économiques, politiques et culturelles de chaque région, sans oublier que les configurations locales font partie intégrante de mode de production capitaliste.</p><p>Mots-clés: Musique populaire. Reggae jamaïcain. Industrie culturelle. Esthétique.</p><p> </p>

scholarly journals “GRASP ALL, LOSE ALL”: RAISING AWARENESS THROUGH LOSS OF GRASP IN SEEMINGLY FUNCTIONAL INTERFACES

2021 ◽  
Author(s):  
Diogo Marques
Keyword(s):  
Digital Media ◽  
Sensory Perception ◽  
Digital Literature ◽  
Reading Processes ◽  
Reading And Writing ◽  
Avant Garde ◽  
The Arts ◽  
Raising Awareness ◽  
Functional Mechanisms ◽  
The Way

From baroque proto-cybertexts to countercultural gestures by historical avant-gardes there is a longstanding tradition of disruptive strategies by artists at the interstices of societies’ demand for order, control and functionalism. For the avant-gardes, and their multiple artistic inf(l)ections, part of the strategy had to do with radical changes in the way sensory perception came to be depicted by Modernism. Placing emphasis on the confluence of several arts and media, the innovative character of their proposals had much to do with the ways in which they were able to embrace notions representing modernity, such as “simultaneity,” “dynamics”, “motion”, as well as ideas such as the symbiosis between human and machine. For that purpose, they searched to induce estrangement and defamiliarization, namely by using seemingly functional mechanisms in order to raise awareness through loss of grasp.&nbsp;Taking from the idea of raising awareness through seemingly functional mechanisms, I argue that non-functional/dysfunctional digital interfaces that are part of contemporary artworks dealing with digitally-based haptic reading processes (namely, digital literature) are largely influenced by early avant-garde artistic proposals. Through its metamedial aesthetic and poetic critique of digital media, digital literature reinvents inherited strategies of subversion and disruption already explored by modernism, raising awareness in regard to the artwork’s processes of signification and affect. Seen as a variation of a rich heritage of experimentation with seemingly functional mechanisms in the arts, such strategies reenact age-old tensions between tradition and innovation, while laying the foundation for (re)new(ed) ways of reading and writing in digital multimodal environments.

scholarly journals Identidade: objeto ainda não identificado? (Identité: objet pas encore identifié?)

2008 ◽  
Vol 6 (1) ◽  
pp. 81 ◽  
Author(s):  
Maria do Rosário Gregolin
Keyword(s):  
Mots Clés ◽  
Analyse Du Discours ◽  
Il Y A ◽  
Sciences Humaines

A identidade só foi tomada como objeto de investigação quando se transformou em um problema, afirma Bauman (2005). Pensando-a do ponto de vista sociológico, esse autor a entende como busca de pertencimento, fenômeno típico da modernidade tardia. Essa é uma das possibilidades de pensar os fenômenos identitários; mas há outras maneiras de encará-lo (pelas vias da psicanálise, da antropologia, da filosofia...) e a fecundidade do tema tem produzido inúmeros trabalhos, em muitas áreas das Ciências Humanas. Neste artigo, proponho pensar a identidade como efeito de sentido produzido pela e na linguagem. A questão central que está na base das discussões é: como tratar a identidade enquanto objeto da Análise do Discurso? Mais particularmente ainda: em que medida a proposta de análise dos discursos foucaultiana, centrada nas idéias de “práticas discursivas” e “práticas de si” (com as conseqüências teóricas daí derivadas) pode constituir uma base a partir da qual seja possível a abordagem discursiva do efeito discursivo chamado “identidade”?PALAVRAS-CHAVE: Identidades. Práticas discursivas. Análise do Discurso. Mídia.RÉSUME L'identité a été vraiment prise comme objet d'investigation aussitôt qu'elle s'est transformée en un problème, affirme Bauman (2005). En la prenant du point de vue sociologique, cet auteur la considère comme recherche d'appartenance, phénomène typique de modernité tardive. Cela est une des possibilités pour se raisonner sur les phénomènes identitaires; mais il y a d'autres manières de l'envisager (par les voies de la psychanalyse, de l'anthropologie, de la philosophie...) et la fécondité du thème a produit plusieurs travaux, dans de divers champs des Sciences Humaines. Dans cet article, je propose de réfléchir sur l'identité comme un effet de sens produit par et dans le langage. La question centrale qui fonde ces discussions est : comment traiter l'identité en tant qu'objet de l'Analyse du Discours ? Mais particulièrement encore : dans quel mesure la proposition de l'analyse du discours foucauldien, centré sur les idées de « pratique discursives » et « pratiques de soi » (suivis de ses conséquences théoriques) peut construire une base à partir de laquelle soit possible l'abordage discursif de l'effet discursif appelé « identité » ? MOTS-CLÉS: Identités. Pratiques discursives. Analyse du Discours. Médias.

Hammertime!

2021 ◽  
Vol 36 (3) ◽  
pp. 123-127
Author(s):  
Jennifer Lange
Keyword(s):  
Residency Program ◽  
Single Channel ◽  
Video Installation ◽  
The Arts ◽  
Personal Insight ◽  
Insight Into ◽  
Final Work

Abstract This memoir recounts Barbara Hammer's relationship to the Wexner Center for the Arts and its Film/Video Studio residency program, which supported a number of her films between 1994 and 2018. It offers some personal insight into the evolution of Hammer's final work, Evidentiary Bodies (2018), from single-channel video to multichannel video installation. The author describes working with Hammer during the last year of her life and explains the process of organizing the 2019 exhibition Barbara Hammer: In This Body at the Wexner Center for the Arts, which premiered the installation of Evidentiary Bodies and included additional works in other mediums and made throughout Hammer's career around themes of illness, aging, and death.

Dalí’s Montaigne

On Essays ◽  
2020 ◽  
pp. 323-348
Author(s):  
Christy Wampole
Keyword(s):  
Twentieth Century ◽  
Free Association ◽  
Sensory Perception ◽  
The Self ◽  
Inner Life ◽  
James Agee ◽  
Walker Evans ◽  
Photo Essay ◽  
Film And Video

This chapter analyses the hybridization of the essay with visual genres such as illustration, photography, film, and video, an emergent tendency throughout the twentieth century that underscores the shared features of essayism and Surrealism. These include the use of a logic of digression and free association, a focus on the inner life of the self, the dismissal of formal strictures, the deployment of sensory perception, memory, intuition, and imagination towards expressive ends, and the reliance on images. Beginning with Salvador Dalí’s illustrations for Montaigne’s Essays (1947), the chapter then turns to James Agee and Walker Evans’ collaborative photo essay Let Us Now Praise Famous Men (1941), Chris Marker’s essay-film Sans soleil (1982), and John Bresland’s video essay Mangoes (2010) in order to pinpoint the shared affinities between essayism and Surrealism.

The Craft of Archaeology

1996 ◽  
Vol 61 (1) ◽  
pp. 75-88 ◽  
Author(s):  
Michael Shanks ◽  
Randall H. McGuire
Keyword(s):  
Cultural Production ◽  
Arts And Crafts ◽  
Late Nineteenth Century ◽  
Arts And Crafts Movement ◽  
Contemporary Society ◽  
Know How ◽  
The Core ◽  
The Arts ◽  
Heart And Mind ◽  
Unified Method

The idea of archaeology as craft challenges the separation of reasoning and execution that characterizes the field today. The Arts and Crafts Movement of the late nineteenth century established craftwork as an aesthetic of opposition. We establish craft in a Marxian critique of alienated labor, and we propose a unified practice of hand, heart, and mind for archaeology. The debates engendered by postprocessual archaeology have firmly situated archaeology in the present as a cultural and political practice. Many, however, still do not know how to work with these ideas. We argue that a resolution to this dilemma lies in thinking of archaeology as a craft. This resolution does not provide a method, or a cookbook, for the practice of archaeology, as indeed the core of our argument is that attempts at such standardization lie at the heart of the alienation of archaeology. Rather, we wish to consider archaeology as a mode of cultural productión, a unified method practiced by archaeologist, “client” public, and contemporary society.

Qu’écrivent les personnes atteintes d’hémopathies malignes dans leurs directives anticipées ? Analyse qualitative de 35 écrits

2018 ◽  
Vol 12 (4) ◽  
pp. 303-310
Author(s):  
S. Trarieux-Signol ◽  
D. Bordessoule ◽  
J. Ceccaldi ◽  
S. Malak ◽  
A. Polomeni ◽  
...  
Keyword(s):  
Prise En Charge ◽  
Grand Nombre ◽  
Recherche Qualitative ◽  
Mots Clés ◽  
Fin De Vie ◽  
Sciences Humaines ◽  
Maladie Grave ◽  
Directives Anticipées ◽  
Traitements Médicaux ◽  
Sciences Humaines Et Sociales

En France, les directives anticipées (DA) se sont vues reconnaître un statut légal en 2005, renforcé en 2016, toutefois une minorité de personnes fait le choix d’en rédiger. Dans le contexte de la maladie grave, quel est leur contenu ? Quelles informations relatives à leur prise en charge ou leur fin de vie y déposent-elles ? L’objectif de cette recherche qualitative est d’analyser le contenu des DA rédigées par des patients atteints d’hémopathies malignes afin de mieux comprendre leur appropriation. L’étude s’est déroulée en deux étapes sur une durée totale de huit ans et deux mois : un travail préliminaire, rétrospectif et monocentrique et une seconde étape prospective et multicentrique dans six sites français. L’analyse qualitative des DA a été accomplie par un binôme composé d’un hématologue sénior et d’un chercheur en sciences humaines et sociales. Une analyse thématique a été réalisée avec identification des principaux messages et mots clés. Les 35 DA collectées sont investies de trois façons différentes : l’appropriation est 1) purement juridique avec une citation de la loi in extenso sans personnalisation de l’écrit ; 2) centrée sur les actes et traitements médicaux souhaités ou refusés ; 3) un moyen de transmettre des messages personnels à l’attention de leurs proches comme leur confiance, l’amour qu’il leur porte ou les modalités d’obsèques souhaitées. En conclusion, nos résultats objectivent que la rédaction de DA ne se limite pas aux patients en fin de vie et qu’au-delà de la transmission d’informations relatives aux actes ou traitements médicaux, les patients les utilisent pour y déposer des messages personnels à leurs proches. Ce nouveau rôle des DA pourrait favoriser la communication intrafamiliale même si ce n’est pas leur finalité première. Faire évoluer les DA vers un concept plus large, comme une planification anticipée des soins, pourrait être un moyen de repenser l’outil et de toucher un plus grand nombre de personnes.

scholarly journals Pequeña historia del origen de una Calle (14)

2016 ◽  
Vol 10 (17) ◽  
pp. 72
Author(s):  
Pedro Pablo Gomez
Keyword(s):  
Institutional Support ◽  
Human Sciences ◽  
Mots Clés ◽  
Academic Context ◽  
Academic Communities ◽  
The Arts ◽  
The Social ◽  
Origin Story ◽  
Circulation Of Knowledge ◽  
Sciences Sociales

RESUMEN Como fundador de la Revista Calle14, el autor de este artículo muestra el contexto institucional y académico en que nació esta publicación indexada. Destaca que un proyecto editorial de estas dimensiones solo fue posible por el apoyo institucional de la Facultad de Artes ASAB y la generosidad académica de colegas del campo del arte y las ciencias sociales y humanas. Actualmente, son las comunidades académicas las que “sostienen” esta publicación cuando la eligen como un medio adecuado para la difusión de los resultados de sus proyectos de investigación e investigación-creación.PALABRAS CLAVES Revista Calle14, circulación del conocimiento, indexación, investigación-creación.MAILLA PARLU IMASAM RURASKAKUNA SU ÑAMBI ( CHUNGA SUG) SUGLLAPI Parlakume imasam Kallarreska sug runa kai ñambi rurangapa painikume Sug instirucion Facultad de Artes ASAB Sutipa aidangapa tukui Paipa Runakunawa ima ministiskapi aidachigmanda kunankama kaiti “ aidachinkuna” Pai kikinkuna iachachinkuna imasa rurangapa achka iachaikungapa Imakunapas rurangapa. Rimangapa ministiskakuna Kilkai ñambi chunga chusko, iachaspa purrei- tapuchei- rurai.IMA SUTI RIMAI SIMI: Kilkai ñambi chunga chusko, iachaspa purrei- tapuchei- rurai.BRIEF ORIGIN STORY OF A STREET (CALLE 14) ABSTRACT As founder of Calle 14 magazine, the author of this article shows the institutional and academic context in which this indexed publication was born. An editorial project of this size was only possible with the institutional support of the Faculty of Arts ASAB and the academic generosity of colleagues from the arts and the social and human sciences. Currently, academic communities are the ones who “support” this publication when they choose it as a suitable medium for the dissemination of the results of their research and research-creation projects.KEYWORDS Calle 14 magazine, circulation of knowledge, indexation, research-creation.PETITE HISTOIRE D’ORIGINE D’UNE RUE (CALLE 14) RÉSUMÉ En tant que fondateur de la revue Calle 14, l’auteur de cet article montre le contexte institutionnel et académique dans lequel cette publication indexée est née. Il souligne qu’un projet éditorial de cette taille n’a été possible que par le soutien institutionnel de la Faculté des Arts ASAB et la générosité académique des collègues universitaires du domaine de l’art et des sciences sociales et humaines. Actuellement, ce sont les communautés universitaires qui « soutiennent » cette publication lorsqu’elles la choisissent comme un moyen approprié pour la diffusion des résultats de leurs projets de recherche et de recherche-création. t Placas Edificio Facultad de Artes ASAB. Fotografía: Diana Marcela Ayala (DIMARC). 2015.MOTS CLÉS Revue Calle 14, circulation de la connaissance, indexation, recherche-création.PEQUENA HISTÓRIA DO REGIME DE UMA CALLE 14 RESUMO Como fundador da Revista Calle 14, o autor deste artigo mostra o contexto institucional e acadêmico em que nasceu esta publicação indexada. Destaca que um projeto editorial destas dimensões só foi possível pelo apoio institucional da Faculdade de Artes ASAB e a generosidade comunidades acadêmicas as que “sostienen” (sustenta) esta publicação quando a elegem como um meio próprio para a difusão dos resultados de seus projetos de investigação e investigação-criação.PALAVRAS CHAVES Revista Calle14, circulação do conhecimento, indexação, investigação-criação

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