scholarly journals The New Novelty: Corralation as Quarantine in Speculative Realism and New Materialism

Derrida Today ◽  
2018 ◽  
Vol 11 (2) ◽  
pp. 211-229
Author(s):  
Jonathan Basile
Keyword(s):  
The Other ◽  
New Materialism ◽  
Avant Garde ◽  
Speculative Realism

The foundational gesture of New Materialism and Speculative Realism dismisses vast swaths of past philosophy and theory in order to signify their own avant-garde status. The violence of this gesture, which tries to corral difference within past texts in order to feign its own purity, can be considered as a theoretical quarantine. Examples of medical and spiritual quarantine, the 2014 ebola epidemic and Jesus’ temptation, are analyzed to show that the figure is inherently compromised – the harder one fights to keep the other away, the more one becomes inseparable from it. Derrida's reflections on the reactions against deconstruction show that this desire for progress is always inherently conservative; Meillassoux and Jane Bennett are considered as contemporary examples. A deconstruction of corralation and the academico-capitalist forces driving these ‘innovations’ might open us to reading the never-simply-past text, and to the possibility of the event.

scholarly journals Misreading Generalised Writing: From Foucault to Speculative Realism and New Materialism

2018 ◽  
Vol 40 (1) ◽  
pp. 20-37
Author(s):  
Jonathan Basile
Keyword(s):  
Market Value ◽  
New Materialism ◽  
Deleuze And Guattari ◽  
Avant Garde ◽  
Speculative Realism ◽  
Traditional Sense ◽  
Temporal Progress

Misreadings of Derrida's Of Grammatology were prevalent from the time of its debut (Foucault, Deleuze and Guattari), up to the present day (Speculative Realism and New Materialism). For fifty years, Derrida's generalised textuality has been misread as though he meant there was nothing outside text in the traditional sense. This misreading always serves to re-institute notions of linear temporal progress, either among self-styled avant-garde authors who would like to break with past traditions, or among self-styled conservatives who hope to repeat them. If the binaries that divide these works from past texts are undecidable, the ground for such temporal progress disappears, along with the divisions by which we create linear narratives of history. The misreading of Derrida is an attempt to exorcise this undecidability and regain the intellectual and market value of novelty or repetition.

Macaronics as What Eludes Translation

Paragraph ◽  
2015 ◽  
Vol 38 (2) ◽  
pp. 214-230
Author(s):  
Haun Saussy
Keyword(s):  
Print Culture ◽  
The Other ◽  
Digital Code ◽  
Avant Garde ◽  
The Moment

‘Translation’ is one of our all-purpose metaphors for almost any kind of mediation or connection: we ask of a principle how it ‘translates’ into practice, we announce initiatives to ‘translate’ the genome into predictions, and so forth. But the metaphor of translation — of the discovery of equivalents and their mutual substitution — so attracts our attention that we forget the other kinds of inter-linguistic contact, such as transcription, mimicry, borrowing or calque. In a curious echo of the macaronic writings of the era of the dawn of print, the twentieth century's avant-garde, already foreseeing the end of print culture, experimented with hybrid languages. Their untranslatability under the usual definitions of ‘translation’ suggests a revival of this avant-garde practice, as the mainstream aesthetic of the moment invests in ‘convergence’ and the subsumption of all media into digital code.

A Medieval Open Work

POETICA ◽  
2021 ◽  
Vol 52 (3-4) ◽  
pp. 228-265
Author(s):  
Rafael Simian
Keyword(s):  
The Other ◽  
Specific Function ◽  
Umberto Eco ◽  
New Approach ◽  
Avant Garde ◽  
Other Hand ◽  
Open Work ◽  
New Perspective ◽  
A Minor

Abstract Guigo II is commonly known and praised among specialists of Western mysticism for his Scala claustralium, a work that presents a spiritual program for cloistered monks. His Meditations, on the other hand, have usually been relegated to the margin of attention. The First Meditation, in particular, is generally regarded as a minor piece. The paper argues, however, that a new approach can make better sense of the First Meditation, while also enabling us to recognize its specific function and value. Seen from this new perspective, Guigo’s purpose with the text is to train and exercise his readers’ minds according to the spiritual program laid out in the Scala. The paper shows that the First Meditation realizes that goal, surprisingly, by having the same essential features that Umberto Eco found in the ‘open works’ of the Western avant-garde.

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Human Affairs ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Krzysztof Skowroński
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
The Other ◽  
Political Life ◽  
The Political ◽  
Human Beings ◽  
Political Dimension ◽  
Avant Garde ◽  
Other Hand ◽  
The Universe

AbstractIn the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

Ugliness and Beauty: the Politics of Landscape in Walter Greenwood's Love on the Dole

2013 ◽  
Vol 29 (1) ◽  
pp. 35-47
Author(s):  
Claire Warden
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
The Other ◽  
Surrounding Area ◽  
North West ◽  
Avant Garde ◽  
The North ◽  
The One ◽  
The University ◽  
Open Fields

The multi-spatial landscape of the North-West of England (Manchester–Salford and the surrounding area) provides the setting for Walter Greenwood's 1934 play Love on the Dole. Both the urban industrialized cityscape and the rural countryside that surrounds it are vital framing devices for the narrative – these spaces not simply acting as backdrops but taking on character roles. In this article Claire Warden reads the play's presentation of the North through the concept of landscape theatre, on the one hand, and Raymond Williams's city–country dialogism on the other, claiming that Love on the Dole is imbued with the revolutionary possibility that defines the very landscape in which it is set. From claustrophobic working-class kitchen to the open fields of Derbyshire, Love on the Dole has a sense of spatial ambition in which Greenwood regards all landscapes as tainted by the industrial world while maintaining their capacity to function independently. Ugliness and beauty, capitalist hegemony and socialistic hopefulness reside simultaneously in this important under-researched example of twentieth-century British theatre, thereby reflecting the ambivalent, shifting landscape of the North and producing a play that cannot be easily defined artistically or politically. Claire Warden is a Lecturer in Drama at the University of Lincoln. Her work focuses on peripheral British performances in the early to mid-twentieth century. She is the author of British Avant-Garde Theatre (Palgrave MacMillan, 2012) and is currently writing Modernist and Avant-Garde Performance: an Introduction for Edinburgh University Press, to be published in 2014.

scholarly journals What Can Play: The Potential of Non-Human Players

2019 ◽  
Vol 7 (1) ◽  
Author(s):  
Kara Stone
Keyword(s):  
Game Design ◽  
Animal Studies ◽  
Game Studies ◽  
The Other ◽  
New Materialism ◽  
Donna Haraway ◽  
Cause And Effect ◽  
History Of ◽  
Post Humanism

What can post-humanism teach us about game design? This paper questions the line drawn between what species and matter can play and what cannot play. Combining works by scholars of feminist post-humanism, new materialism, and game studies, primarily Jane Bennett, Donna Haraway, and T.L. Taylor, it proposes that play is a form of communication not only between animals and humans but also between plants and cyborgs, insects and atoms. Beginning by interrogating the borders of the human that have been built on ableist and racist discourses, this paper moves towards considering the human as interspecies and outlines that we must reassess the ways in which a multiplicity of species experience the intra-action that constitutes “play.” With a brief look into the history of defining play in both game studies and animal studies and their small crossover, play is reconfigured into an outlook or an approach rather than a set of rules. It is a drive that all species and matter experience, including insects, bacteria, and metal. This moves us beyond considering solely the materiality of our bodies at play by reconsidering the objects of play as our co-players, as matter with agential force. I argue that we need to reconsider the videogame player as an interspecies being, an assemblage of human and non-human bodies. The de-anthropocentricization of the popular notions of player agency allows for a multiplicity of reactions not created in the linear cause and effect course, the belief in ultimate player control within procedural systems, which dominates game studies. This paper concludes by submitting possibilities of what considering the non-human through a feminist and anti-ableist lens can offer game designers, players, and critics, such as considering the material platform’s impact on play, reforming the individualistic agency of players, and designing for the Other(s).

scholarly journals CONCEPT OF THE STUDY OF ART BY R.J. COLLINGWOOD AS AN OBJECT OF THEORETICAL ANALYSIS

2020 ◽  
pp. 36-40
Author(s):  
M. V. Ternova
Keyword(s):  
Theoretical Analysis ◽  
Art History ◽  
Art Criticism ◽  
The Other ◽  
Historical Period ◽  
Rudyard Kipling ◽  
Cultural Traditions ◽  
Avant Garde ◽  
History Analysis ◽  
The One

The article analyzed concept of the study of art by Robin George Collingwood (1889-1943), a well-known English neo-hegelian philosopher. His significant part of the theoretical heritage is connected with the explanation of the nature of art and with the consideration of its condition during the period of the changing Oscar Wilde era to the era of Rudyard Kipling. The circle of problem such as content and form, character, image, mimesis, reflection, emotion, art and "street man" identified. All of them in Collingwood's presentation and interpretation significantly expanded the space of research not only English, but also European art criticism. The concept of study of art is "built" on the basis of an active understanding of historical and cultural traditions accented. The concept of art criticism of R.G. Collingwood – a famous English philosopher of the XIX-XX centuries, on the one hand, has self-importance, and on the other, although based on the traditions of contemporary humanities, still expands art history analysis of aesthetics through aesthetics and psychology. Recognizing the exhaustion of the English model of romanticism, R.G. Collingwood tries to outline the prospects for the development of art in the logic of the movement "romanticism – realism – avant-garde", which leads to the actualization of the problem of "mimesis – reflection". At the same time, the theorist's attention is consciously concentrated around the concept of "subject", the understanding of which is radically changing at the turn of the XIX-XX centuries. Theoretical material in the presentation of R.G. Collingwood is based on the work of Shakespeare, Reynolds, Turner, Cezanne, whose experience allows us to focus on the problem of "artist and audience". It is emphasized that Collingwood's position is ahead of its time, stimulating scientific research in the European humanities. The existence of indicative tendencies, which are distinguished in the logic of European cultural creation of the historical period, is emphasized.

scholarly journals A jó, a rossz és a csúf

2018 ◽  
Vol 57 (1-2) ◽  
Author(s):  
Sándor Bazsányi
Keyword(s):  
Point Of View ◽  
The Other ◽  
Avant Garde ◽  
The Third

The essay tries to examine the influence of dezső Kosztolányi with the help of three contemporary poets, György Somlyó, ottó tolnai and Szilárd Borbély. One of them looks at Kosztolányi’s poetry from a classical modern, the other from an avant-garde modern, and the third one from a postmodern point of view.

Steeped in Modernism: The Teapot as Manifesto in Early 20th Century Art

2016 ◽  
Author(s):  
Maya Bielinski
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Political History ◽  
Modern Art ◽  
The Other ◽  
Early 20Th Century ◽  
Avant Garde ◽  
Small Window ◽  
Time Period ◽  
20Th Century Art

The art manifesto, a written political, social, and artistic proclamation of an artistic movement, surged in popularity among avant‐garde art groups in the first half of the twentieth century. Many of the manifestos featured declarations for the synthesis of art and life as well as a call for social and political power for artists of both 'high' and 'low' art forms. Concurrently, new artistic interpretations of the humble teapot became suddenly ubiquitous. This inquiry explores how the teapot emerged as a dominant symbol for the goals of Modern Art movements, and includes an analysis of the teapot's socio‐political history, its ambiguous status between high and low art, and its role in the commercial sphere. By examining the teapots of Suprematism's Kazimir Malevich, Constructivism's Mariane Brandt,and Surrealism's Meret Oppenheim, this presentation will track ideas of functionality, the teapot as symbol, and aesthetics from 1923 to 1936. This small window in time offers an analysis of the extraordinary developments in teapots, and perhaps a glimpse of the paralleled momentum that occurred more generally in design, architecture, and the other arts in this time period.

Cinematic Intermediality

2021 ◽  
Keyword(s):  
Theory And Practice ◽  
The Other ◽  
Moving Image ◽  
Avant Garde ◽  
Digital Era ◽  
Art Form ◽  
Starting Point ◽  
World Cinema ◽  
New Directions ◽  
Probing Questions

As a fundamentally hybrid medium, cinema has always been defined by its interactions with other art forms such as painting, sculpture, photography, performance and dance. Taking the in-between nature of the cinematic medium as its starting point, this collection of essays maps out new directions for understanding the richly diverse ways in which artists and filmmakers draw on and reconfigure the other arts in their creative practice. From pre-cinema to the digital era, from avant-garde to world cinema, and from the projection room to the gallery space, the contributors critically explore what happens when ideas, forms and feelings migrate from one art form to another. Giving voice to both theorists and moving image practitioners, Cinematic Intermediality: Theory and Practice stimulates fresh thinking about how intermediality, as both a creative method and an interpretative paradigm, can be explored alongside probing questions of what cinema is, has been and can be.

Sign in / Sign up

Export Citation Format

Share Document