scholarly journals Rothko on Speed-Dial: Explorations of the Metaphysical Spatiality, Aura, and Mechanical Reproduction of Architecture

2021 ◽  
Author(s):  
◽  
Jansen Aui
Keyword(s):  
Original Work ◽  
Spatial Thinking ◽  
Work Of Art ◽  
Mechanical Reproduction ◽  
Architectural Representation ◽  
Abstract Expressionist ◽  
Full Effect ◽  
Mark Rothko ◽  
Physical Spaces ◽  
The Relationship

<p>This research explores the relationship between architectural space and the abstract expressionist art of Mark Rothko. Rothko’s large format, post-1950’s paintings employing his signature ‘color-field’ style instigated much discourse relating the works to ideas of spatiality: particularly those of atmosphere, emotional intensity, and the abstract presentation of space. This thesis begins with the observation that there is a certain ‘authenticity’ lacking in reproductions of Rothko’s art, where the full effect of the ‘original’ is lost or betrayed in the process of its reproduction. From this premise within art, it finds an analogical relationship between architecture and its reproduction, particularly in photographed space and in the conventions of architectural representation. In both these cases, the full effect of the ‘space’ they describe (their ‘original’) is argued to be in some way lost. To explore this analogy, this thesis firstly develops a relationship between the artist and space: that ‘within’ the artwork, and that between this art and physical spaces (the artist’s studios and spaces of exhibition). Secondly, this thesis develops a shift of the artist’s spatial thinking toward architecture, with particular reference to Walter Benjamin’s concept of the ‘Aura’ of the original work of art. As read through his essay, The Work of Art in the Age of Mechanical Reproduction [1936], the Aura is interpreted as the essential ‘authenticity’ of the Original work that is lost within the act of reproduction. The argument concerning Rothko and spatiality is therefore furthered through specifically focussed readings of how this Aura might manifest metaphysically (i.e. experientially, as opposed to physically), through a parallel discussion of Rothko’s art and several ‘thematically’ related architectural case studies. In doing so, it explores the way Auratic architectural experiences can be invoked within the perception of an embodied presence. In both the applied aspect of this research by design thesis, and in its conclusion, there is a relationship highlighted between architectural convention (as reproduction), abstraction, and the immediacy, authenticity or Aura of a spatial encounter. It is concluded that from this singular study of an abstract painter, architects can learn something of the direct exchange or translation between the users of architecture and the transcendental realm of the ideas of architecture or space.</p>

scholarly journals Rothko on Speed-Dial: Explorations of the Metaphysical Spatiality, Aura, and Mechanical Reproduction of Architecture

2021 ◽  
Author(s):  
◽  
Jansen Aui
Keyword(s):  
Original Work ◽  
Spatial Thinking ◽  
Work Of Art ◽  
Mechanical Reproduction ◽  
Architectural Representation ◽  
Abstract Expressionist ◽  
Full Effect ◽  
Mark Rothko ◽  
Physical Spaces ◽  
The Relationship

<p>This research explores the relationship between architectural space and the abstract expressionist art of Mark Rothko. Rothko’s large format, post-1950’s paintings employing his signature ‘color-field’ style instigated much discourse relating the works to ideas of spatiality: particularly those of atmosphere, emotional intensity, and the abstract presentation of space. This thesis begins with the observation that there is a certain ‘authenticity’ lacking in reproductions of Rothko’s art, where the full effect of the ‘original’ is lost or betrayed in the process of its reproduction. From this premise within art, it finds an analogical relationship between architecture and its reproduction, particularly in photographed space and in the conventions of architectural representation. In both these cases, the full effect of the ‘space’ they describe (their ‘original’) is argued to be in some way lost. To explore this analogy, this thesis firstly develops a relationship between the artist and space: that ‘within’ the artwork, and that between this art and physical spaces (the artist’s studios and spaces of exhibition). Secondly, this thesis develops a shift of the artist’s spatial thinking toward architecture, with particular reference to Walter Benjamin’s concept of the ‘Aura’ of the original work of art. As read through his essay, The Work of Art in the Age of Mechanical Reproduction [1936], the Aura is interpreted as the essential ‘authenticity’ of the Original work that is lost within the act of reproduction. The argument concerning Rothko and spatiality is therefore furthered through specifically focussed readings of how this Aura might manifest metaphysically (i.e. experientially, as opposed to physically), through a parallel discussion of Rothko’s art and several ‘thematically’ related architectural case studies. In doing so, it explores the way Auratic architectural experiences can be invoked within the perception of an embodied presence. In both the applied aspect of this research by design thesis, and in its conclusion, there is a relationship highlighted between architectural convention (as reproduction), abstraction, and the immediacy, authenticity or Aura of a spatial encounter. It is concluded that from this singular study of an abstract painter, architects can learn something of the direct exchange or translation between the users of architecture and the transcendental realm of the ideas of architecture or space.</p>

MacSong: Karaoke and the Academy

Prospects ◽  
2004 ◽  
Vol 28 ◽  
pp. 627-638
Author(s):  
Jeffrey Gray
Keyword(s):  
Original Work ◽  
New Technologies ◽  
Walter Benjamin ◽  
The Other ◽  
Work Of Art ◽  
Mechanical Reproduction ◽  
Other Hand ◽  
The Press ◽  
New Directions ◽  
Movie Star

When Walter Benjamin wrote this sentence in the 1930s, he had in mind both the new directions of the press, which was opening more and more spaces in which its readers could write, and the new films and newsreels, where “any man today can lay claim to being filmed” (“Work of Art,” 233) and where, rather than actors, “people … portray themselves” (234; emphasis Benjamin's). Benjamin's attitude toward this collapse of the distinction between author and public was ambivalent. Phrases such as “the phony spell of a commodity” (233), to describe the cult of the movie star, suggest his nostalgia for a time when the aura of the “original” work of art had not yet begun to decay. On the other hand, his idea that “mechanical reproduction emancipates the work of art from its parasitical dependence on ritual” (226) pointed enthusiastically to the new technologies as part of a liberationist meta-narrative.

scholarly journals Authenticity – An Important Property for Artistic Documents?

2016 ◽  
Vol 2 (1) ◽  
Author(s):  
Roswitha Skare
Keyword(s):  
Political Institutions ◽  
Personal Experience ◽  
Original Work ◽  
The Novel ◽  
Work Of Art ◽  
Award Winning ◽  
The Relationship

The notion of authenticity seems to have grown more and more important for artistic documents during the last decades. Critics are using the term as a kind of distinction; an authentic novel or film is a good novel or film. Authenticity in these cases does not mean questioning the novel or film as an original work of art; rather, what is meant by authenticity is the relationship between reality and the content of a novel or film, assuming possible mimesis in terms of a mirror-like relationship. The highly acclaimed and award-winning film Das Leben der Anderen (The lives of others) can be considered one of the most successful recent German films about the GDR. Many critics focused on the film’s authenticity and thus the film’s truthful representation of life in the GDR. In this paper I would like to claim that this happens because of how the producers are using elements of the paratext in convincing us that what we watch is real, is authentic. By focusing on aspects like the producer’s research, the personal experience and memory of producer and actors, and last but not least the approval by leading intellectuals and political institutions, the message of authenticity is broadcasted in an effective way.

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.

Back to the Human in John Logan’s “Red”

2017 ◽  
Vol 13 (2) ◽  
Author(s):  
Armin Gómez ◽  
Eva Citlali Martínez
Keyword(s):  
Main Character ◽  
Large Format ◽  
Abstract Expressionist ◽  
Mark Rothko ◽  
Audience Awareness ◽  
Understanding Pictures

AbstractLaureate play “Red,” by John Logan, is a dramatic representation of biographical facts about and intellectual positions of the Abstract Expressionist painter Mark Rothko (1903–1970). With the tool of semiotic methodology named “Dramatology” it is possible to appreciate both text and staging – which go beyond a theatrical experience. “Red” leads the reader/spectator to question current human pragmatism and environmental insensitivity. Its main character wants to change the usual perspective of seeing and understanding pictures in order to achieve a more emotional and enriching art experience. The staging embraces certain tasks such as the construction of a large-format frame and the application of red paint on a canvas to stimulate the audience’s senses, breaking theatrical illusion. Ecocriticism allows us to describe the dramatic strategies of “Red” that raise audience awareness.

In-between Baby Janes: From book to film to book to film

2021 ◽  
Vol 11 (1) ◽  
pp. 75-87 ◽  
Author(s):  
Kaisa Kurikka
Keyword(s):  
Young Women ◽  
Original Work ◽  
Love Story ◽  
The Relationship

This article is concerned with adaptation as a ‘process of in-betweenness’, a movement of connections, in which the ‘original’ work and adaptations are thought of through analogy, i.e. as similarities born from difference. The connections between two American versions of the story of Baby Jane – Henry Farrell’s novel, What Ever Happened to Baby Jane? (1960) and Robert Aldrich’s film of the same title (1962) – and two Finnish versions – a novel by internationally acclaimed author Sofi Oksanen (2005) and a film directed by Katja Gauriloff (2019), both titled Baby Jane – are discussed emphasizing their narratological and thematic analogies. While the American versions focus on the relationship between two ageing sisters, the Finnish versions tell the lesbian love story of two young women living in contemporary Helsinki. In addition, the article comments on some conceptual questions, such as the relationship between appropriation, adaptation, intertextuality and transfictionality.

The Mausoleum of Youth: Between Experience and Nihilism in Benjamin's Berlin Childhood

Paragraph ◽  
2009 ◽  
Vol 32 (3) ◽  
pp. 313-330 ◽  
Author(s):  
Michael W. Jennings
Keyword(s):  
Human Experience ◽  
The Moon ◽  
History Of Photography ◽  
Work Of Art ◽  
Modern Media ◽  
Siegfried Kracauer ◽  
History Of ◽  
The Relationship

Key sections of Walter Benjamin's montage-text Berlin Childhood around 1900 figure the relationship between human experience and modern media, with the sections that frame the text, ‘Loggias’ and ‘The Moon’, structured around metaphors of photography. Drawing on the work of Siegfried Kracauer, and especially his seminal essay ‘Photography’, Benjamin develops, in the course of his book, a theory of photography's relationship to experience that runs counter to the better-known theories developed in such essays as ‘Little History of Photography’ and ‘The Work of Art in the Age of its Technological Reproducibility’, theories that are part of the broad currents of technological utopianism and, as such, emphasize photography's transformative potentials. In the Berlin Childhood, Benjamin instead emphasizes photography's role in the mortification and annihilation of meaningful human experience. Photography emerges here as the mausoleum of youth and hope.

scholarly journals The Mediating Role of Competency on the Relationship between Training and Task Performance: Applied Study in Pharmacists

2017 ◽  
Vol 8 (7) ◽  
pp. 16
Author(s):  
Jih-Hua Yang ◽  
Shih-Chieh Fang ◽  
Ching-Ying Huang
Keyword(s):  
Task Performance ◽  
Core Competency ◽  
Professional Competency ◽  
Mediating Role ◽  
Technical Competency ◽  
Full Effect ◽  
The One ◽  
The Relationship ◽  
And Task

This study aimed to determine the mediating role of competency (professional competency, technical competency, and core competency) between training and task performance in pharmacists. Questionnaire was the tool of collecting data from a sample of (210) pharmacists. The results of the study indicated that there is a positive effect of training on task performance. Also, there is full effect of the two mediator variables (professional competency; technical competency) and partial effect of the one mediator variable (core competency) on the relationship between independent and dependent variables.

scholarly journals Spatial Thinking in Children’s Education: The relationship between Geography and Cartography

2019 ◽  
Vol 2 ◽  
pp. 1-6
Author(s):  
Paula Cristiane Strina Juliasz ◽  
Sonia Maria Vanzella Castellar
Keyword(s):  
Cognitive Activity ◽  
Spatial Abilities ◽  
Spatial Knowledge ◽  
Spatial Thinking ◽  
Cultural Perspective ◽  
Children's Education ◽  
Graphic Representations ◽  
Children’S Education ◽  
Way Of Thinking ◽  
The Relationship

<p><strong>Abstract.</strong> Spatial thinking, comprised of concepts, representations and spatial abilities, is a cognitive activity developed in everyday living, and can be systematized through different school disciplines, mainly Geography. The comprehension of this concept and the investigation of how it can be developed and systematized in schools are critical points, involving different languages that represent the space. Our main objective is to propose theoretical and methodological references for the spatial knowledge of children aged between 4 and 6 years old. The research is based on the following question: Which spatial abilities and concepts can be addressed in activities aimed at developing spatial thinking in children aged 4 to 6 years old? To answer this question and achieve the main objective, the specific objectives were: a) to investigate and analyze the pertinence, possibilities and approaches regarding the spatial notions in children’s education; b) develop teaching situations based on guiding theories about spatial thinking, children’s drawing and the concept construction under a historical and cultural perspective; c) understand the patterns in children’s graphic representations; and d) analyze the children’s dialogues. The analysis of the research data allowed us to conclude that drawing is part of the cartographic initiation, and words are fundamental elements that concretize the way of thinking, in this case, spatial thinking ability. In this research, we reaffirm the direct relationship between Geography and the development of spatial thinking, considering the very nature of this Science, and Cartography as the language used to materialize this way of thinking.</p>

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