Sublime Art

2017 ◽  
Author(s):  
Stephen Zepke
Keyword(s):  
New Media ◽  
Contemporary Art ◽  
Art History ◽  
Deleuze And Guattari ◽  
Philosophical Discourse ◽  
The Sublime ◽  
Aesthetic Politics ◽  
The Future ◽  
Post War ◽  
War Art

The book analyses recent philosophical discussions of Kant’s theory of the sublime, and the artistic examples these give or provoke, in order to construct a diagram of sublime contemporary art. This diagram will have the immediate aim of producing a new genealogy of post-war art that avoids the modern/postmodern rupture, in favour of a sublime art that can utilise both traditional and new media and has the production of the future as its political goal. The book will draw on both philosophical discourse and art history and theory in making its argument. The introduction will give an account of the historical emergence of the sublime, concentrating on Kant. The following five chapters will each discuss a contemporary philosopher’s reading of Kant’s sublime (Lyotard, Derrida, Deleuze and Guattari, Rancière, Jameson), and also consider their artistic examples. From this will be drawn a diagram of sublime art that incorporates the most useful aspects of each thinker, and also outlines a new genealogy of post-war art. The sixth chapter will then use this diagram, and its artistic genealogy, to offer a theory of contemporary artistic practices as an aesthetic politics (ie., a biopolitics) that overcomes the current (postmodern) impasse between art and life. The conclusion will project this new diagram into the future.

scholarly journals Influencing the Modern in Brisbane: Gertrude Langer and the Role of Newspaper Art Criticism

2013 ◽  
Vol 20 (2) ◽  
pp. 203-214
Author(s):  
Judy Hamilton
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Criticism ◽  
University Of Vienna ◽  
The Arts ◽  
Art Scene ◽  
Post War ◽  
The University ◽  
War Art

Dr Gertrude Langer arrived quite by chance in Brisbane in 1939 as a refugee from Hitler's Europe. She was a young, elegant Austrian refugee with a PhD in art history from the University of Vienna. After arriving in Australia, Gertrude and her husband, Dr Karl Langer, had hoped to settle in Sydney, but Karl's work as an architect moved them on to Brisbane. Gertrude Langer would become an important figure in Brisbane's post-war art scene through her salon-style lectures, art criticism and work with the Australia Council. She strongly believed that the arts were an important part of a community, and for this reason became a champion for the cause of contemporary art in Brisbane.

Le « Musée de poche »: collection productrice d'un patrimoine artistique

2019 ◽  
Vol 58 (3) ◽  
pp. 382-395
Author(s):  
Colette Leinman
Keyword(s):  
Cultural Heritage ◽  
Contemporary Art ◽  
Art Criticism ◽  
Socialist Realism ◽  
Abstract Art ◽  
Discursive Analysis ◽  
The Past ◽  
Art Writing ◽  
The Future ◽  
Post War

In 1955 a polychrome and affordable collection of writers' biographies was created, allowing a large and young audience to easily access contemporary art, especially abstract art. This is hardly a given in the context of post-war, where the return to classical French aesthetics clashes with Socialist Realism. This study of ‘The Pocket Museum’ (1955–1965), shows how the collection fits into art writing, between art criticism and poetic writing, and how it enables the reader to discover abstract works. An ideal place for mediation and transmission, the collection, as an editorial strategy, helps to transform these new aesthetic creations into a national cultural heritage. Through a discursive analysis of ten books from the collection, three processes that have contributed to the promotion of abstract art are highlighted: the legitimacy of the author's discourse, whether he is an art critic, a poet, writer or journalist; the representation of the artist in question, whose difficult path is both stereotyped and singular, but always valorized; and finally, a series of analogies between abstract art and nature or comparisons with music, or else metaphorical expressions manifesting the ‘collapse of time’ where the universality of abstract art is part of the past, the present and the future.

Visions of Victory

2019 ◽  
pp. 186-231
Author(s):  
Thomas J. Brown
Keyword(s):  
United States ◽  
Civil War ◽  
Urban Planning ◽  
Art History ◽  
Political Change ◽  
The United States ◽  
Public Parks ◽  
The Future ◽  
Post War

This chapter situates northern and southern monuments to Civil War victory within longstanding traditions in art history. The triumphal arch came to the United States after the war. Proposals for arches framed debates about the future of antebellum landscapes like town commons and parade grounds, and arches also figured prominently in the shaping of public parks, largely a key feature of post-war urban planning. Increasingly sexualized statues of Nike, or Winged Victory, imagined Union triumph as a more comprehensive consummation than the most renowned successes of antiquity. Early attempts to represent peace incorporated a foundation in social or political change, but peace gradually converged with martial victory. The shift in Union memorials from regeneration to self-congratulation paralleled the rise of Confederate victory memorials. These works partly celebrated the overthrow of Reconstruction and consolidation of white supremacism but also illustrated a deepening national reluctance to engage in critical introspection.

scholarly journals Grammar School Students’ Opinions on the Art Curriculum: An Estonian, Portuguese and Slovenian Comparative Study

2015 ◽  
Vol 5 (3) ◽  
pp. 33-50
Author(s):  
Tomaž Zupančič ◽  
Annely Köster ◽  
Teresa Torres de Eça
Keyword(s):  
New Media ◽  
Comparative Study ◽  
Contemporary Art ◽  
Art History ◽  
Digital Technologies ◽  
Grammar School ◽  
Art Curriculum ◽  
School Students ◽  
Course Content ◽  
Postmodern Art

The article presents the attitude of grammar school students towards the art curriculum. It first provides an overview of the characteristics of contemporary art education, with an emphasis on the postmodern art curriculum and on linking course content with students’ interests. The study is based on the descriptive and causal non-experimental method,with a sample comprising 387 Slovenian, Estonian and Portuguese students. It was established that the students place the highest value on developing creativity, and are less interested in art history content and learning about the basics of the formal art language. They are attracted to contemporary topics, such as graffiti, multicultural art, the use of new media, and digital technologies. The results of the study provide opportunities for future comparative analyses and starting points for updating art curricula.

scholarly journals ‘A work of art does not contain the least bit of information’: Deleuze and Guattari and Contemporary Art

2017 ◽  
Vol 3 (3) ◽  
pp. 751 ◽  
Author(s):  
Stephen Zepke
Keyword(s):  
Contemporary Art ◽  
Conceptual Art ◽  
Digital Technologies ◽  
Artistic Practice ◽  
Deleuze And Guattari ◽  
Work Of Art ◽  
The Sublime ◽  
War Machine ◽  
A Minor

Deleuze and Guattari’s rejection of Conceptual art is well known, and sits awkwardly with the current hegemony of ‘post-conceptual’ artistic practices. Equally awkward is Deleuze’s ontological and political dislike of photography, which produces a ‘snapshot’ or representation of becoming, placing cliched images directly into our brains, controlling our actions and reactions by denying us the power to think creatively. In Cinema 2 Deleuze will extend this argument to the new ‘electronic image’, which like Conceptual art turns the plane of composition into a ‘flatbed’ plane or ‘screen’ that simply formats information, and with it our interfaced brains. Today, conceptual practice, photography and digital technologies are all simply taken for granted by contemporary art, which is also happy to use “D&G” as well. But doesn’t Deleuze and Guattari’s thought require a more critical application? Doesn’t it demand a minor war-machine? What would this be in the case of contemporary artistic practice? Amongst various possibilities this paper will explore the sublime ramifications of a Deleuzean image of ‘thought’, and its position as the ‘immanent outside’ of art’s post-conceptual trajectory.

Digital and Technical Developments in the Amblyopia Therapy

2020 ◽  
Vol 237 (10) ◽  
pp. 1172-1176
Author(s):  
Charlotte Schramm ◽  
Yaroslava Wenner
Keyword(s):  
New Media ◽  
Digital Media ◽  
Technical Progress ◽  
Therapy Monitoring ◽  
Everyday Lives ◽  
Technical Developments ◽  
The Future

AbstractThe digital media becomes more and more common in our everyday lives. So it is not surprising that technical progress is also leaving its mark on amblyopia therapy. New media and technologies can be used both in the actual amblyopia therapy or therapy monitoring. In particular in this review shutter glasses, therapy monitoring and analysis using microsensors and newer video programs for amblyopia therapy are presented and critically discussed. Currently, these cannot yet replace classic amblyopia therapy. They represent interesting options that will occupy us even more in the future.

Introduction

2018 ◽  
Author(s):  
Colin Gardner ◽  
Patricia MacCormack
Keyword(s):  
Deleuze And Guattari ◽  
The Future ◽  
Critical Issues ◽  
Dividing Line

In spite of becoming-animal being a key concept in Deleuze and Guattari, this is the first volume to address the ambiguous idea of the animal as human and nonhuman life infiltrating all of Deleuze’s work. Contemporary applications of animality in Deleuze in film, television, music, gaming and art are collected alongside critical issues of ethics, activism and ecology in consideration of the future of our understanding of life and the animal as both the kingdom of which the human is part and the first dividing line of identity within the anthropocene. The Introduction provides summaries of all 16 chapters, tying them to common threads in Deleuze and Guattari’s writings as well as establishing innovative trajectories for future readings of animality in Deleuze in a variety of fields.

‘Machinic Desire’: Wyndham Lewis, Masculinity and the Sublime Horror of Technological War

2020 ◽  
Vol 15 (4) ◽  
pp. 488-514
Author(s):  
Udith Dematagoda
Keyword(s):  
First World War ◽  
Wyndham Lewis ◽  
World War ◽  
Technological Society ◽  
The Sublime ◽  
The First World War ◽  
Post War ◽  
First World

This article explores Wyndham Lewis's experience of the First World War, and its influence on his varied artistic output. It interrogates how Lewis's initial ambivalence towards an emergent technological society shifted through direct encounters with mechanized warfare, and speculates on the effect of these upon his post-war writing and criticism. By contrasting Lewis's thought against that of his Italian Futurist contemporaries, I will demonstrate the centrality of their divergent conceptions of masculinity in accounting for this opposition – and how Lewis's critique of technological society prefigures contemporary opposition towards the post-humanist philosophy of Accelerationism.

Stories from Ultrasonographic Abyss

2016 ◽  
Author(s):  
Matylda Szewczyk
Keyword(s):  
Prenatal Care ◽  
New Media ◽  
Cultural Practices ◽  
Prenatal Ultrasound ◽  
Cultural Contexts ◽  
Media Technologies ◽  
Medical Imagery ◽  
The Future ◽  
Different Cultures

The article presents a reflection on the experience of prenatal ultrasound and on the nature of cultural beings, it creates. It exploits chosen ethnographic and cultural descriptions of prenatal ultrasounds in different cultures, as well as documentary and artistic reflections on medical imagery and new media technologies. It discusses different ways of defining the role of ultrasound in prenatal care and the cultural contexts build around it. Although the prenatal ultrasounds often function in the space of enormous tensions (although they are also supposed to give pleasure), it seems they will accompany us further in the future. It is worthwhile to find some new ways of describing them and to invent new cultural practices to deal with them.

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