scholarly journals The Threshold between the Material and Immaterial Light. Notes on Luminescence and Dark Environments

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 56
Author(s):  
Ana Margarida Rocha ◽  
Teresa Almeida ◽  
Graciela Machado
Keyword(s):  
Environmental Effects ◽  
Aesthetic Experience ◽  
Uv Light ◽  
Theoretical Argument ◽  
Art Practice ◽  
Artistic Practice ◽  
Threshold Phenomena ◽  
Artistic Work ◽  
New Perspective ◽  
Practice Methods

This article discusses the phenomenon of luminescence in the production and visualization of images from an art-practice standpoint. The theoretical argument is developed through an analysis of artistic work that explores, inserts, expands, articulates, and interrogates the internal contradictions of UV light and the transitivity of light-sensitive materials in installation contexts. This investigation explores complexities in the encounter of antagonistic concepts: the threshold phenomena between materiality and immateriality, visibility and invisibility, light and darkness, disclosure and concealment. It aims to articulate a new perspective on contemporary debates on physiological, psychological, and environmental effects of light and darkness, articulated through aesthetic experience and artistic practice. Methods for engaging in the sensation of light and darkness will be introduced and how it unfolds as experiential qualities within installation projects will be considered.

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

Making and Remaking: The Practice Research of Place

Placemaking ◽  
2020 ◽  
pp. 123-149
Author(s):  
Tara Page
Keyword(s):  
Social Relations ◽  
The Body ◽  
Innovative Approach ◽  
New Materialism ◽  
Practice Research ◽  
Research Approach ◽  
Empirical Methods ◽  
Artistic Practice ◽  
Practice Methods ◽  
Relations Of Power

To understand and question these everyday and artistic practices of life that are sometimes invisible or hidden - and most of the time taken for granted - because they are sensed, felt, of the body, and not easily verbalised, an embodied, affective, relational research approach is needed. The innovative approach of practice research, underpinned by new materialism, that can enable these understandings are discussed in Chapter Five. Additionally, inventive artistic practice methods and a remaking of traditional empirical methods are examined that enable the exploration of the agency of matter and advance vitalist frameworks. By moving beyond the problem-focused approach this chapter works the intra-actions of theory with practice, practice with theory, to develop new approaches to new materialist-place practice research. The practice research approach also politically positions research practices, emphasising the complex materiality of bodies immersed in social relations of power.

“Seeing the World with Fresh Eyes”

2017 ◽  
Vol 21 (1-2) ◽  
pp. 150-175
Author(s):  
David Seamon
Keyword(s):  
Aesthetic Experience ◽  
Emotional Engagement ◽  
Human Beings ◽  
Natural Attitude ◽  
Aesthetic Experiences ◽  
The World ◽  
Artistic Work ◽  
British Philosopher ◽  
Phenomenological Language

In this article, I draw on Gurdjieff’s philosophy to initiate a phenomenology of aesthetic experience, which I define as any intense emotional engagement that one feels in encountering or creating an artistic work, whether a painting, poem, song, dance, sculpture, or something else. To consider how aesthetic experience might be understood in a Gurdjieffian framework, I begin with an overview of phenomenology, emphasizing the phenomenological concepts of lifeworld and natural attitude, about which Gurdjieff said much, though not using phenomenological language. I then discuss Gurdjieff’s “psychology of human beings” as it might be interpreted phenomenologically, emphasizing three major claims: first, that, human beings are “asleep”; second, that they are “machines”; and, third, that they are “three-centered beings.” I draw on the last claim—human “three-centeredness”—to highlight how aesthetic experiences might be interpreted via Gurdjieff’s philosophy. Drawing on accounts from British philosopher and Gurdjieff associate J. G. Bennett, I end by considering how a Gurdjieffian perspective understands the role of the artistic work in contributing to aesthetic experience.

scholarly journals Situated Cognition, Dynamic Systems, and Art

Janus Head ◽  
2006 ◽  
Vol 9 (2) ◽  
pp. 407-431
Author(s):  
Ingar Brinck ◽  
Keyword(s):  
Dynamic Systems ◽  
Aesthetic Experience ◽  
Perception And Action ◽  
Situated Cognition ◽  
Dynamic Systems Theory ◽  
Artistic Practice ◽  
Production And Consumption ◽  
Local Agent ◽  
Embodied Practice ◽  
Dynamic Interplay

It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist's work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic interplay between agent and context, allowing for artist and viewer to relate to the artist's work in similar ways.

scholarly journals drawing perform’s: An Artistic research

2018 ◽  
Vol 5 (1) ◽  
pp. 55-66
Author(s):  
Karna Mustaqim
Keyword(s):  
Lived Experience ◽  
Arts Education ◽  
Academic Research ◽  
Human Knowledge ◽  
Art Practice ◽  
Artistic Practice ◽  
The Arts ◽  
The World ◽  
Artistic Research

The determination of academic research on the field of the arts education troubling its own artistic practices. It was assumed by clarifying the objective and method of doing the research, art was believed would be contributing to a greater intellectualisation, otherwise it is just an art practice without justification from science, and therefore no contribution worth to human knowledge. Since it contrastive to the nature of artistic practice embodied in the arts itself, which unfortunately not even realize by the artist his/herself. Whilst it is well said by Joseph Kosuth (1971) that: “the artist, not unlike a scientist for whom there is no distinction between working in the laboratory and writing a thesis, has now “to cultivate the conceptual implications of his art propositions, and argue their explication.” This paper is about explicating the writer as the artist himself who done the livedexperience of drawing performs as the research processed. Artists use drawings an activity or a way of understanding the meaning of who we are and how we lived in the world. However, the objective of this research is an exceptional one, it searches for the dual experiences of the researcher as the artist as the instrument who producing the drawing and as the spectators himself welcoming and appreciating as he/she reveals him/ herself capable of wondering. In a particular way, this research is to show that through the making of drawings, the drawing performs lived-experience, that it can be another paradigm so called art-based or artistic research.

scholarly journals A new perspective of the chemistry and kinetics of inactivation of COVID -19 coronavirus aerosols

2021 ◽  
Author(s):  
Michael L Hitchman
Keyword(s):  
Uv Light ◽  
Practical Method ◽  
Viral Envelope ◽  
Chain Reaction ◽  
Radical Chain ◽  
Enveloped Virus ◽  
Rate Kinetics ◽  
New Perspective ◽  
Free Radical Chain Reaction ◽  
Kinetics Of

In this paper we present a new approach to the mechanism of inactivation of enveloped virus aerosols. The analysis is in terms of oxidation of the lipid bilayer of the viral envelope through a free radical chain reaction. The rate kinetics of the process for various enveloped viruses have been compared and the indications are that the inactivations are closely related. Promoting virus inactivation with UV light is briefly reviewed and discussed as an extension of the chain reaction mechanism, which with physicochemical analyses give insights into the process and of reaction complexities. An outline of a practical method of achieving a 3-log10 level of deactivation in 1 min is described with purified air being returned to healthcare environments.

Peer Review and Scholarly Originality

2016 ◽  
Vol 42 (1) ◽  
pp. 29-61 ◽  
Author(s):  
Kyle Siler ◽  
David Strang
Keyword(s):  
Peer Review ◽  
Review Process ◽  
Theoretical Argument ◽  
Theoretical Perspectives ◽  
New Perspective ◽  
Journal Submission ◽  
Administrative Science

We examine the criticisms and subsequent changes that arise in the course of peer review. Fifty-two scholars who had recently published in Administrative Science Quarterly were surveyed regarding their peer review experience and how their article changed from initial journal submission to eventual publication. Papers that challenged theoretical perspectives faced distinctively high levels of criticism and change, particularly with attention to methodology, while those that offered a new perspective or that extended or combined established perspectives were less criticized and changed. The number of challenge-oriented publications was small as well, suggesting that either few such submissions survive the review process or few are submitted in the first place. Overall, peer review appears open to expansion of the variety of theoretical argument but does little to aid in the winnowing out of established perspectives.

The Choreography of the Creative process: Drawing in Time and Space

Leonardo ◽  
2020 ◽  
pp. 1-13
Author(s):  
Amit Raphael Zoran ◽  
Nir Dick ◽  
Naama Glaube
Keyword(s):  
Motor Performance ◽  
Visual Art ◽  
Computer Graphic ◽  
Artistic Practice ◽  
Physical Product ◽  
Expressive Performance ◽  
Innovative Potential ◽  
New Perspective ◽  
The Aesthetic ◽  
Digital Tracking

This paper provokes a new perspective on the contribution of computers to visual art, questioning how both the aesthetic qualities of the visual product and the making process itself can render a hybrid artistic outcome. We advocate for a medium that unifies the physical product with the spirit of the making process, as a territory with extensive innovative potential for computational artistic practice. The paper demonstrates various techniques to visualize the motor performance of artists in activities such as drawing and carving. We rely on digital tracking of the artists’ movements and computer graphic tools to expose the expressive performance of artists, highlight their working style, and bring the hidden paths of their strokes to the front of the artwork. Furthermore, we discuss the contextual implication of this form of visualization to new domains of visual art.

Maybe, We Will Benefit from Our Neighbour’s Good Fortune : An Exhibition on Collectivity, Community, and Dialogue in Turkey

2019 ◽  
Author(s):  
Işıl Eğrikavuk
Keyword(s):  
Research Process ◽  
Artistic Practice ◽  
Art Exhibition ◽  
Community Art ◽  
Good Fortune ◽  
Art Practices ◽  
Artistic Work ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Artistic Research

Deriving from the Gezi Park protests, this chapter focuses on an art exhibition that took place in Istanbul in 2017, which was realized under the ‘Aesthetics of Protest’ project. Looking at past examples of community art practices, this exhibition proposes to think of collectivity as a form of resistance and frames how aesthetics of protest can be traced to artistic work in order to provide solidarity and empowerment. Working with different art and environmental collectives, the exhibition questions the idea of ‘neighbourhood’ and ‘neighbourliness’ and searches for ways of sustaining hope and solidarity through the aesthetic values of the Gezi Park protests and in an artistic practice. This chapter conceptualizes the process of the exhibition and its artistic research process.

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