scholarly journals Fenomenologi Imaji dalam Seni: Sebuah Pergeseran Peran Subjek menuju Saksi

MELINTAS ◽  
2018 ◽  
Vol 33 (2) ◽  
pp. 130-156
Author(s):  
Hadrianus Tedjoworo
Keyword(s):  
Works Of Art ◽  
The World ◽  
The Subject ◽  
The Spectator

Art seems to always deal with subjects, both the artist and the spectator. The awareness that an image is not a concept may provoke those doing and experiencing art to reposition themselves as appreciators of the image. This article shifts the focus from concept to image. Art event is a sort of lectio imaginem, an experience of reading and not merely interpreting the image. Each artwork is transcendent, since every time it will speak differently when reencountered. Yet it might even frightfully reinterpret the audience differently, recreating the identity as a different figure in its eyes. Phenomenologically, the spectators are looked upon by the image through the works of art. The subject is assessed and transformed from I into me, that it becomes a witness in the presence of an image revealing itself. This article is an invitation to maintain the equilibrium between critical and appreciative atitudes, between theory and image, within the world of art. All individuals, without exception, are assessed by art. Perhaps they only need to forbear, to let themselves deluged in the surface, to become the witnesses fascinated before and moved by the saturation of the image.

“To See the World in a Grain of Sand”: Wolfgang Laib and the Aesthetics of Interpenetrability

2013 ◽  
Vol 17 (1-2) ◽  
pp. 57-73 ◽  
Author(s):  
Celina Jeffery
Keyword(s):  
Way Of Life ◽  
Works Of Art ◽  
The World ◽  
Subject And Object ◽  
The Subject ◽  
Intense Process

Abstract For the artist Wolfgang Laib, pollen is an extraordinary substance that signifies renewal, boundless energy, the temporal, the eternal, and the memory of the seasons. Laib’s pollen works are the result of an intense process of gathering, a pursuit of art as a way of life even that gives rise to works of art that are remarkable in their visual luminosity and textual delicacy. This essay considers Indra’s net as a metaphor for interpenetrability to conceptualize the folding of the subject and object that Laib’s pollen works allude to, and offers a deliberation on the spiritual within art.

From Figures of Paradox to a Philosophy of Review

2020 ◽  
pp. 206-254
Author(s):  
Rebecca A. Sheehan
Keyword(s):  
Fractal Theory ◽  
Film Theory ◽  
Incompleteness Theorem ◽  
Stanley Cavell ◽  
Avant Garde ◽  
The World ◽  
The Subject ◽  
The Spectator ◽  
Zeno's Paradox

This chapter examines the role of paradox in the films and film theory of Ken Jacobs, Hollis Frampton, and Michael Snow. Paradoxes such as Zeno’s paradox, Gödel’s incompleteness theorem, and Benoît Mandelbrot’s fractal theory of geometry, which inform the work of these filmmakers, propose and repeat the unresolvable gap between subject and world that informs skepticism. This chapter argues that the skeptical encounters these films invite, which entice the spectator to work toward solving a riddle or problem of incompleteness, also provide a model for overcoming skepticism by prompting re-encounters with the images on screen and the world to which they refer. These re-encounters occur in the same way that Stanley Cavell imagined the images of mainstream cinema could overcome problems of philosophical skepticism by drawing the subject closer to the world. The author argues, however, that these avant-garde meditations on mises en abyme are possibly more effective than Hollywood filmmaking for overcoming skepticism because of their more immediate emphasis on cinema’s very ability to engage and stage re-encounters between the subject and the limits of the world, rather than their reference to the world through images.

SCIENTIFIC REVOLUTIONS

PEDIATRICS ◽  
1982 ◽  
Vol 70 (2) ◽  
pp. 234-234
Author(s):  
Keyword(s):  
Subject Matter ◽  
Scientific Theory ◽  
Scientific Work ◽  
The Other ◽  
The Public ◽  
Scientific Revolutions ◽  
Other Hand ◽  
Works Of Art ◽  
The World ◽  
The Subject

. . . Revolutions born in the laboratory are to be sharply distinguished from revolutions born in society. Social revolutions are usually born in the minds of millions, and are led up to by what the Declaration of Independence calls "a long train of abuses," visible to all; indeed, they usually cannot occur unless they are widely understood by and supported by the public. By contrast, scientific revolutions usually take shape quietly in the minds of a few men, under cover of the impenetrability to most laymen of scientific theory, and thus catch the world by surprise. . . . But more important by far than the world's unpreparedness for scientific revolutions are their universality and their permanence once they have occurred. Social revolutions are restricted to a particular time and place; they arise out of particular circumstances, last for a while, and then pass into history. Scientific revolutions, on the other hand, belong to all places and all times. . . . Works of thought and many works of art have a . . . chance of surviving, since new copies of a book or a symphony can be transcribed from old ones, and so can be preserved indefinitely; yet these works, too, can and do go out of existence, for if every copy is lost, then the work is also lost. The subject matter of these works is man, and they seem to be touched with his mortality. The results of scientific work, on the other hand, are largely immune to decay and disappearance.

From the realism to the Real. The „suicidal gesture” in the photography Self Portrait as a Drowned Man by Hippolyte Bayard and in the painting The Wounded Man by Gustave Courbet

Tekstualia ◽  
2017 ◽  
Vol 2 (49) ◽  
pp. 65-78
Author(s):  
Justyna Pyra
Keyword(s):  
Art History ◽  
Social Position ◽  
The Real ◽  
Works Of Art ◽  
The Social ◽  
Gustave Courbet ◽  
The World ◽  
The Status ◽  
The Subject ◽  
Death Of The Author

The article begins with an analysis of two works of art: the photography Self Portrait as a Drowned Man by Hippolyte Bayard (1839–1840), which is one of the fi rst photographs in history, and the painting The Wounded Man by Gustave Courbet (1845–1854). Both these images use the same iconographic theme: the death of the author. This comparison leads to a refl ection about the intersections of photography and death, in an artistic as well as an anthropological sense. The similarity of the subject of both the works, and their rootedness in the time of creation, induce a variety of questions: what was the status of photography shortly after the invention of this medium? How did it affect the notion of art, the social position of the artist, the comprehension of realism, and fi nally – the perception of the world itself? The article tries to answer some of these questions by bringing out the picture of a specifi c moment in (art) history, when both man’s interest in death and the realist’s aspiration to create mimetic representations have found a new refl ection in art thanks to photography.

The Parallel Roads of Glen Roy

The Geologist ◽  
1863 ◽  
Vol 6 (4) ◽  
pp. 121-133
Keyword(s):  
Work Of Art ◽  
Short Account ◽  
Geological Society ◽  
The World ◽  
The Subject ◽  
The Spectator ◽  
Statistical Survey

On each side of a long, hollow, deep valley, bounded by dark and lofty mountains, at elevations respectively of 1266, 1188, and 980 feet, three strong lines are traced on the mountain-sides, parallel to each other and to the horizon, and at levels exactly corresponding on the opposite slopes,—so extraordinary in their appearance as to impress the most unphilosophical and incurious spectator.These singular and solitary phenomena, although long known and celebrated by the Highlanders of that wild region as the traditional opposite slopes,—so extraordinary in their appearance as to impress the most unphilosophical and incurious spectator.These singular and solitary phenomena, although long known and celebrated by the Highlanders of that wild region as the traditional works of their great ancestors, remained unnoticed by science and the world at large, until that indefatigable disturber of hidden mysteries, animals, and antiquities, the tourist Pennant, published in 1769 a short account of Glen Roy, in his ‘Tour through England, Wales, and Scotland.’A second description appeared in the ‘Statistical Survey of Scotland,’ in 1793.The subject was next taken up by Macculloch, who published an admirable paper, illustrated with views, maps, and sections, in the Transactions of the Geological Society for 1817. “So rarely,” he remarks, “does nature present us in her larger features with artificial forms or with the semblance of mathematical exactness, that no conviction of the contrary can divest the spectator of the feeling that he is contemplating a work of art,—a work, of which the gigantic dimensions and bold features appear to surpass the efforts of mortal powers.

scholarly journals ESTHETIC NOTION AS AN IMPORTANT ELEMENT OF LINGUISTIC CULTURE

2016 ◽  
pp. 160-163
Author(s):  
V. A. Maslova
Keyword(s):  
Natural Language ◽  
Special Kind ◽  
Works Of Art ◽  
The Everyday ◽  
The World ◽  
Poetic Text ◽  
The Subject ◽  
Linguistic Units ◽  
The Given

The subject of the research presented in the given paper is the esthetic notion as a special kind of a person’s attitude to the world and themselves. The objective of the paper is to find out the specificity of the implementation of the esthetic function in the language of poetry. The methodological bases of the research are the works by psychologists (L. S. Vygotsky, A. N. Leontiev), linguists (R. O. Yakobson, H. O. Vinokur, L. P. Yakubinsky), philologists (M.M. Bakhtin). The paper shows that the linguistic units in a poetic text subject to esthetic laws are caused by composition, intertextual relations, the author's vision, etc. At the same time, they get a completely new meaning different from the everyday one. As a result, we prove that dissimilarity of the natural language and the language used in works of art “makes” the recipient’s consciousness perceive the text as an esthetic object.

scholarly journals Contemporary Colors in Artworks

2019 ◽  
Vol 4 (2) ◽  
pp. 20-27
Author(s):  
Aimi Atikah Roslan ◽  
◽  
Syed Alwi Syed Abu Bakar
Keyword(s):  
Contemporary Art ◽  
Theory And Practice ◽  
Common Language ◽  
Works Of Art ◽  
Integral Component ◽  
The World ◽  
The Subject ◽  
The Relationship

The purpose of this study is to discuss on contemporary colours in artwork. Contemporary colours have developed a bridge between theory and practice, particularly in the production of works of art. While other studies have been conducted on colours solely, this one focuses on the relationship between artwork and contemporary colours. This teaches the reader that contemporary colours are an integral component of the world of painting and design art. The study of contemporary colours employs artwork to address the subject about the significance of modern colours. As a result, the significance of modern colours has become significant that it has evolved into a movement within the context of contemporary art. This writing is an attempt to convey information about colours using a common language

Imagistic Projection as Relational Becoming

2020 ◽  
pp. 263-282
Author(s):  
Felix Rebolledo Palazuelos ◽  
Andréia Machado Oliveira
Keyword(s):  
Object Relation ◽  
Common Point ◽  
Point Of View ◽  
Projected Image ◽  
Moving Images ◽  
The World ◽  
The Subject ◽  
The Common ◽  
The Spectator ◽  
Relational Proposition

The geometry of projected images onto screens is rather simple and can be quite readily understood through basic optics and Euclidian geometry. As a result of the imagistic immersion of the spectacle of cinema, one shares in the experience of spectatorship through the common subjectivity of the moving pictures and a common point of view. All spectators are served the same relational proposition that enfolds them within the encompassing reach of the projection before them. Still, the shared subjectivity of the content on the screen is different from the becoming-one with the projected screen image that we like to think as inhabiting us: the milieu of imagistic encounter associates what we refer to as the inside and the outside of experience to simultaneously emerge as a singular becoming. In the interest of undoing the dualistic spectator/screen relationship that perpetuates the divide of the subject/object relation, this chapter looks at the nature of the relation between the spectator and the screen and the formation of the projected image as a compositional assemblage where the moving images that ‘live within us as consciousness’ encompass the world we live in. This chapter seeks to answer the question of how we become one with the screen through an articulation of Deleuze’s concept of the fold by way of the optical perspective models of Alberti and Viator, Kepler’s explorations of continuity through the generalized understanding of conics and perspective, as well as the implications of Desargues’s projective geometry and a final resolution through topology.

Problems of Art, Problems of Education

1998 ◽  
pp. 183-187
Author(s):  
Krystyna Wilkoszewska
Keyword(s):  
Human Condition ◽  
Works Of Art ◽  
The World ◽  
The Subject ◽  
Contemporary Education ◽  
The Human Condition

Some main postmodern ideas, such as the decay of totality or the dispersion of the subject, are too risky to introduce into the education of youth. However, there are some postmodern ideas — though not central ones — that could prove helpful in contemporary education. The hero of this paper is the prefix "inter-" which (especially in the French philosophers' writings) took a new and remarkable meaning by becoming one of the main metaphors of the human condition in the world of culture. The meaning of the prefix "inter-" can be successfully taught by art, for works of art have always exemplified means of oscillating in the sphere of the "inter-" between the concrete and abstraction, detail and generality, freedom and rules, spontaneity and discipline, between Rorty's conception of the "ironist" and the "strong poet."

Alignment

2016 ◽  
pp. 33-50
Author(s):  
Pier Giuseppe Rossi
Keyword(s):  
Teaching And Learning ◽  
Enactive Approach ◽  
The World ◽  
Strategic Role ◽  
Education Today ◽  
Current Context ◽  
The Subject

The subject of alignment is not new to the world of education. Today however, it has come to mean different things and to have a heuristic value in education according to research in different areas, not least for neuroscience, and to attention to skills and to the alternation framework.This paper, after looking at the classic references that already attributed an important role to alignment in education processes, looks at the strategic role of alignment in the current context, outlining the shared construction processes and focusing on some of the ways in which this is put into effect.Alignment is part of a participatory, enactive approach that gives a central role to the interaction between teaching and learning, avoiding the limits of behaviourism, which has a greater bias towards teaching, and cognitivism/constructivism, which focus their attention on learning and in any case, on that which separates a teacher preparing the environment and a student working in it.

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