scholarly journals The Geological Present: A Critique of the Aesthetic Anthropocene

2021 ◽  
Author(s):  
◽  
Lachlan Gregory Taylor
Keyword(s):  
Contemporary Art ◽  
Natural World ◽  
Aesthetic Theory ◽  
Art World ◽  
Art Making ◽  
Critical Methodology ◽  
Art Works ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

<p>This thesis is a response to an emergent discourse on the relationship between the visual arts and the Anthropocene. The latter—the stratigraphic designation for a new geological epoch—has accrued a popularity within the contemporary art-world that is rarely afforded to a concept from the earth sciences. The uptake in Anthropocene-themed exhibitions, publications, and think-pieces reflects the concept’s promise of an art-making and art-critical methodology that may foster a revised relationship to nature in the age of climate change.   Despite the new-found fashionability of the term, this relationship between art and the Anthropocene has neither been comprehensively demonstrated, nor disproved. Consequently, the purpose of this thesis is to undertake this necessary interrogation.   Firstly, this is an engagement with the competing philosophies and intentions that have attached themselves to the Anthropocene label as it progressed from a straightforward geological statement, into a profound suite of assertions regarding the relationship of humanity to our planet. The influence of the posthumanist ecological philosopher, Timothy Morton, is a particular focus for understanding what the aesthetic theory of the Anthropocene consists of. Taken together, this theory is a promise of a new relationship with the natural world through the jettisoning of Romantic fantasies of nature in favour of an engagement with a sub-discursive, material world.   Secondly, this theory is read against ecologically conscious contemporary art works. The practices of Pierre Huyghe, Simon Starling, and Conor Clarke speak to the same concerns as the aesthetic Anthropocene. Reading these works through the lens offered by the stratigraphic concept investigates and tests the capability of the aesthetic Anthropocene for delivering its promises of an art without nature, and a new engagement with our environments.   Ultimately, the innovations of the aesthetic Anthropocene are novel, plentiful, but unconvincing. As a theory, it is beset by flaws and contradictions which undermine its applicability and critical potential. Consequently, ecologically conscious art does little to reflect the aims and aspirations of the aesthetic Anthropocene, rendering it an unhelpful tool for understanding the geological present.</p>

scholarly journals The Geological Present: A Critique of the Aesthetic Anthropocene

2021 ◽  
Author(s):  
◽  
Lachlan Gregory Taylor
Keyword(s):  
Contemporary Art ◽  
Natural World ◽  
Aesthetic Theory ◽  
Art World ◽  
Art Making ◽  
Critical Methodology ◽  
Art Works ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

<p>This thesis is a response to an emergent discourse on the relationship between the visual arts and the Anthropocene. The latter—the stratigraphic designation for a new geological epoch—has accrued a popularity within the contemporary art-world that is rarely afforded to a concept from the earth sciences. The uptake in Anthropocene-themed exhibitions, publications, and think-pieces reflects the concept’s promise of an art-making and art-critical methodology that may foster a revised relationship to nature in the age of climate change.   Despite the new-found fashionability of the term, this relationship between art and the Anthropocene has neither been comprehensively demonstrated, nor disproved. Consequently, the purpose of this thesis is to undertake this necessary interrogation.   Firstly, this is an engagement with the competing philosophies and intentions that have attached themselves to the Anthropocene label as it progressed from a straightforward geological statement, into a profound suite of assertions regarding the relationship of humanity to our planet. The influence of the posthumanist ecological philosopher, Timothy Morton, is a particular focus for understanding what the aesthetic theory of the Anthropocene consists of. Taken together, this theory is a promise of a new relationship with the natural world through the jettisoning of Romantic fantasies of nature in favour of an engagement with a sub-discursive, material world.   Secondly, this theory is read against ecologically conscious contemporary art works. The practices of Pierre Huyghe, Simon Starling, and Conor Clarke speak to the same concerns as the aesthetic Anthropocene. Reading these works through the lens offered by the stratigraphic concept investigates and tests the capability of the aesthetic Anthropocene for delivering its promises of an art without nature, and a new engagement with our environments.   Ultimately, the innovations of the aesthetic Anthropocene are novel, plentiful, but unconvincing. As a theory, it is beset by flaws and contradictions which undermine its applicability and critical potential. Consequently, ecologically conscious art does little to reflect the aims and aspirations of the aesthetic Anthropocene, rendering it an unhelpful tool for understanding the geological present.</p>

scholarly journals Đổi Mới and the Globalization of Vietnamese Art

2019 ◽  
Vol 14 (1) ◽  
pp. 1-34
Author(s):  
Nora A. Taylor ◽  
Pamela N. Corey
Keyword(s):  
Contemporary Art ◽  
Critical Discourse ◽  
Art World ◽  
National Narrative ◽  
Doi Moi ◽  
Homogeneous Representation ◽  
Relationship Of ◽  
The Relationship

Đổi Mới reforms triggered significant changes in the Vietnamese art world, including new institutional spaces, platforms for critical discourse, and growing artistic mobility. However, it is important to question the ways in which the use of Đổi Mới as a blanket indicator of artistic reform has further constructed a homogeneous representation of “Vietnamese contemporary art.” The authors consider the relationship of Đổi Mới to the “globalization” of Vietnamese art with attention to questions of art historiography (the coining of such terms as “post-Đổi Mới Vietnamese art”) and variations in regional developments (positing local art histories against the national narrative).

Percepția luminii, spațiului și formei și evoluția ei din perspectiva artelor reprezentării

2015 ◽  
Vol 29 ◽  
pp. 81-93
Author(s):  
Andrei Florian ◽  
Keyword(s):  
Contemporary Art ◽  
Initial Function ◽  
Human Subject ◽  
Spiritual Recovery ◽  
Art Works ◽  
Relationship Of ◽  
The Relationship ◽  
Artistic Talent

The article reviews the elements of perception of light, the only source of forms and instruments of dimensional evaluation of space with the six coordinates of it that make possible the relationship of the human subject with light and its positioning in space. These forms, equally generated by the essential presence of light, and also the colors which have frequencies that are enhanced by it, made possible the first human artistic creations .These creations were figurative representations and their step by step evolution from being strictly functional to becoming symbolic objects is described in this paper. The ritualistic roles of the symbolic object are discussed in connection to their passing through time and their transformation towards the artistic object. Eventually, this goes beyond its initial function becoming an aesthetic and evocative object that accompanies man in his habitat. The end of the discourse is illustrated with art works created by young artists or myself .The involvement of light in the contemporary art, as one that is used with artistic talent may create the really necessary atmosphere needed for the physical and spiritual recovery of the modern man in his dwelling or his relaxing spaces directing him towards meditation, contemplation and introspection.

A Māori Girl Watches, Listens, and Learns – Coming of Age from an Indigenous Viewpoint: Mauri (Merata Mita, 1988)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Indigenous People ◽  
Coming Of Age ◽  
Natural World ◽  
Feature Film ◽  
Indigenous Woman ◽  
Spiritual Dimension ◽  
The World ◽  
Life Force ◽  
Relationship Of ◽  
The Relationship

This chapter examines Merata Mita’s Mauri, the first fiction feature film in the world to be solely written and directed by an indigenous woman, as an example of “Fourth Cinema” – that is, a form of filmmaking that aims to create, produce, and transmit the stories of indigenous people, and in their own image – showing how Mita presents the coming-of-age story of a Māori girl who grows into an understanding of the spiritual dimension of the relationship of her people to the natural world, and to the ancestors who have preceded them. The discussion demonstrates how the film adopts storytelling procedures that reflect a distinctively Māori view of time and are designed to signify the presence of the mauri (or life force) in the Māori world.

scholarly journals Spinoza’s affective aesthetics: Art and architecture from the viewpoint of life

2021 ◽  
pp. 64-72
Author(s):  
Gökhan Kodalak
Keyword(s):  
Subject Matter ◽  
Aesthetic Theory ◽  
The Subject ◽  
Relationship Of ◽  
Art And Architecture ◽  
The Relationship

There is a peculiar aesthetic undercurrent traversing Baruch Spinoza’s philosophy, harbouring untapped potentials and far-reaching consequences for contemporary discussions on aesthetics. The relationship between aesthetics and Spinoza’s philosophy, however, has been nothing but a huge missed encounter, resulting in the publication of only a few books and a handful of articles throughout a vast period of more than three-and-a-half centuries. Which begs the question: might there be, despite our persistent negligence, much more to the relationship of Spinoza and aesthetics than first meets the eye? I will argue that there might be. For once Spinoza’s philosophy as a whole, ranging from his philosophical and political treatises to his private letters and unfinished manuscripts, is read between the lines, latent seeds of a peculiar aesthetic theory become visible—an aesthetic theory that moves beyond subjective and objective approaches that have come to dominate the field, and rather grounds itself on affective interactions and morphogenetic processes. A subterranean journey through Spinoza’s affective aesthetics constitutes the subject matter of this paper, which interweaves subtle aesthetic hints buried deep within his philosophical archive, while unfolding relevant ramifications of these promising discoveries for the current aesthetic discourse.

scholarly journals Vanitas Obsolescentum An exhibition of images

2021 ◽  
Author(s):  
Lianne Wing Yan Ho
Keyword(s):  
Contemporary Art ◽  
North American ◽  
Art History ◽  
Conceptual Development ◽  
17Th Century ◽  
North American Society ◽  
Dutch Golden Age ◽  
American Society ◽  
Relationship Of ◽  
The Relationship

Vanitas Obsolescentum is a comment on the obsolescence of contemporary commodity. It draws from prominent theories of obsolescence and appropriates 17th century Dutch Vanitas paintings. This paper begins by addressing themes relevant to the conceptual development of the series, including theories of obsolescence as presented by Packard, Papanek and Slade, the relationship of Dutch Golden Age society to contemporary North American society, Dutch Vanitas paintings, and appropriation of the Vanitas genre in contemporary art history and within this series. It provides a rationale for the use of holography as medium to express concepts of transience and hyperreality. This paper concludes with a discussion of the specifics of Vanitas Obsolescentum, including the symbolism and meaning of each piece within the series.

scholarly journals Management and Economics: Question of Development Goals

Upravlenie ◽  
2017 ◽  
Vol 5 (2) ◽  
pp. 16-21
Author(s):  
Толкачев ◽  
P. Tolkachev
Keyword(s):  
Natural World ◽  
Complex Nature ◽  
Economic Management ◽  
Common Path ◽  
Fundamental Properties ◽  
Development Goals ◽  
Life On Earth ◽  
Relationship Of ◽  
Large Groups ◽  
The Relationship

The article discusses the relationship of economic management with the economic basis. The thesis is substantiated that effective economic management depends on economic ideal, to which society will strive to achieve. The world surrounding a person constantly retains its essential fundamental properties. And in this way it is perfect. Man spiritually assumes himself above nature. Potentially, he sees himself as a master of the natural world. However, acting in nature as an independent free force, he constantly reveals his imperfect. Because of his limited knowledge of the infinitely complex nature, everything that a person creates is imperfect. The path to perfection is the natural goal of man’s life on earth. However, on this common path, all nations and their large groups – civilizations – are moving along different roads. And in modern conditions, these differences have reached a dangerous feature – more and more the confrontation of civilizations is emerging. The historical feature of the Russian economic worldview is the absolute priority of moral ideals. Its deep economic ideals are not aggressive in relation to other countries and peoples. These ideals are in finding and multiplying of good. Therefore, potentially, Russia can counteract the negative scenario of the development of civilizational conflicts.

scholarly journals [DESIGN INDEPENDENCE A COMPLEMENTARY PRINCIPLE IN THE DESIGN OF INTERIOR SPACES OF MALAYSIAN MOSQUE CASE STUDY] الاستقلالية التصميمية مبدأ تكميلي في تصاميم الفضاءات الداخلية للمساجد الماليزية دراسة حالة

2020 ◽  
Vol 4 (2) ◽  
pp. 94-125
Author(s):  
Mohammed Jarallah Tewfik ◽  
Ahmed Mohammed Yahya Al-Abbasi
Keyword(s):  
Interior Design ◽  
Research Study ◽  
Research Problem ◽  
Design System ◽  
Interior Spaces ◽  
Design Creativity ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

The interior design of Malaysian Islamic mosques is a vivid example of further innovation and innovation based on design creativity in design relationships.As a result of the interaction of this level, the design process shows a clear independence as a result of the interaction of the subjective capabilities factor of the interior designer based on the study of the specificity of the objective capabilities that govern the processes of drafting innovative decorative arts.Therefore, it was necessary to study this issue by identifying the research problem, which is summarized by: showing the features of design independence as a complementary principle in the designs of the interior spaces of Malaysian mosques,While the aim of the research focuses on identifying the features of design independence that are adopted as a complementary principle in the designs of the interior spaces of Malaysian mosques,While the importance of research is evident in presenting a clear picture of the concept of design independence, as it represents the theoretical base that can be used in practical application in designs of interior spaces for the chapel of the Malaysian Islamic mosques,The research study also includes both (research limits, theoretical framework, as well as research procedures based on the descriptive analytical approach (content analysis - case study)) leading to the results of the research study, which was among the most important: 1- Design configurations of all kinds and design configurations emerged within the designs of the internal determinants, based on the study of the interior designer, to the aesthetic independence of the division of space and size as a complementary principle within the internal determinants of the mosque of the two mosques. 2- The relationship of the principle of the independence of convergence as a complementary principle contributed to determining the distances between shapes, which can be perceived as a unified whole, through the distribution of units and shapes within a consecutive visual design system. While the most important recommendations emerged through the necessity of studying the choice of levels of internal determinants of the chapel of the Malaysian Islamic mosques.With the demonstration of the expressive characteristic of civilization development through design recruitment of appropriate vocabulary and design units with a careful selection of modern materials and materials in line with the innovative design path to achieve the requirements of design independence within the chapel of the Malaysian Islamic mosques.

Endoscopic Brow Lift Without Muscle Resection: Objective and Subjective Changes in Intereyebrow Width

2019 ◽  
Vol 37 (2) ◽  
pp. 97-103
Author(s):  
Brian A. Hollabaugh ◽  
Jon Perenack ◽  
Brian J. Christensen
Keyword(s):  
Secondary Outcome ◽  
Outcome Variable ◽  
P Value ◽  
Brow Lift ◽  
Aesthetic Appearance ◽  
The Aesthetic ◽  
Endoscopic Brow Lift ◽  
Relationship Of ◽  
The Relationship ◽  
Pearson Correlations

The purpose of this study is to evaluate the objective and subjective changes in medial intereyebrow distance following endoscopic brow lift without corrugator resection. The authors designed a retrospective cohort study. The eligible patients included those receiving endoscopic brow lifts at Williamson Cosmetic Center in Baton Rouge, LA between June 1, 2014 and March 31, 2018. The primary outcome variable was the distance between the left and right medial brow. The secondary outcome variables were nonsurgeon evaluator’s perception of the change in intereyebrow distance and the aesthetics of the intereyebrow region. The relationship of the outcome variables to the primary predictor (time point—preoperative and postoperative) was analyzed using paired sample t-tests. The relationship of the outcome variables to the other predictors was analyzed using Pearson correlations. A P-value of less than .05 was considered significant. A total of 41 patients were included in the study. The average age was 55.3 ± 8.5 years and all patients were women. The average time from surgery to postoperative photos was 6.2 ± 3.2 (range: 3-15) months. The average preoperative intereyebrow width was 31.5 mm, and the average postoperative width was 33.1 mm ( P < .0001). Correct perception of the intereyebrow change was found to be positively correlated with increasing patient age ( P = .047) and increasing change in intereyebrow width ( P = .008). The intereyebrow distance was perceived as aesthetic for 73.4% ± 31.0% of preoperative patients and 76.1% ± 27.6% of postoperative patients ( P = .346). Patients with a preoperative intereyebrow distance perceived as aesthetic are very likely to be perceived as aesthetic postoperatively (correlation coefficient 0.817, P-value < .0001). Following endoscopic brow lift without corrugator muscle resection, there is a small, but statistically significant increase in the intereyebrow distance. However, this change was not associated with negative perception of the aesthetic appearance of the intereyebrow region.

Photography and the Perils of Automaticity: P. H. Emerson, Copyright, and the Agency of the Artist

2020 ◽  
Author(s):  
JiHae Koo
Keyword(s):  
Copyright Law ◽  
Aesthetic Theory ◽  
Medium Specificity ◽  
Cultural Imaginary ◽  
Before And After ◽  
Artistic Medium ◽  
The Aesthetic ◽  
Two Stages ◽  
The Relationship

Abstract The photographer Peter Henry Emerson (1856–1936) is known today for the splash he made on the Victorian photographic scene in the 1880s with his bold refusal to follow his fellow art photographers (collectively known as the Pictorialists) in latching the new medium on to the aesthetic conventions of painting. His conventional position within art history is thus as a precursor to the Modernist conception of photography’s medium-specificity. Yet even if Emerson’s work was ahead of its time in its proto-Modernist refusal of painterly conventions, it also has qualities that place it more squarely within late-Victorian discourses. In particular, I argue, Emerson’s ongoing efforts to secure his photographs via copyright law need to be understood as reflective of a distinctly nineteenth-century cultural imaginary. This essay addresses the relationship between Emerson’s aesthetic theory and copyright law by dividing Emerson’s career into two stages, before and after 1891, this being the year in which Emerson abruptly disavowed photography as an artistic medium in his short pamphlet ‘The Death of Naturalistic Photography’. Examining two photography books – Pictures of East Anglian Life (1888) and On English Lagoons (1893) – alongside late-Victorian debates about photographic copyright, I show that Emerson’s earlier belief in photographic copyright’s ability to retain the integrity of an artist’s vision breaks down after 1891. He loses faith in the ‘copyrightability’ of photography in 1891 when he recognizes the mechanical nature – or automaticity – of the camera. That is, Emerson realizes that the photograph is never purely the product of the artist. In sum, this case study shows that by the 1890s, photographic copyright was becoming detached from the notion of creativity and thus could no longer be the guarantee of a photographer’s claim to artistic individuality.

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