Lévinas and the aesthetic event: The ethical criticism of representation in the arts and in ethical consciousness

zeta-emmanuel ◽  
2007 ◽  
pp. 319-347
Author(s):  
Ákos Krassóy
Keyword(s):  
Ethical Criticism ◽  
The Arts ◽  
The Aesthetic

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

Theology and Visual Culture in Early Modern Calvinism

2021 ◽  
pp. 286-303
Author(s):  
William A. Dyrness
Keyword(s):  
Visual Culture ◽  
Holy Spirit ◽  
Oral Performance ◽  
Cultural Reconstruction ◽  
Left Behind ◽  
The Arts ◽  
The Reformation ◽  
The Holy Spirit ◽  
Vision Of God ◽  
The Aesthetic

Recent scholarship on the arts and the Reformation has come to focus more broadly on the cultural reconstruction the Reformation made necessary and the resulting material and visual culture. Calvin’s challenge in Geneva was not about what the Reformation had left behind but what would replace that medieval world. Key for Calvin was the experience of worship: the oral performance of the sermon, the singing of Psalms and partaking the sacraments, as a dramatic call enabled by the Holy Spirit summoning worshippers to a vision of God and God’s presence in the world. The regular communal worship and the preached drama of sin and salvation constituted the aesthetic-dramatic mirror (Turner) of the emerging Protestant imagination. This encouraged a mutual caring for the needy but also carried deep aesthetic implications. In the Netherlands this imagination is evident in the placement of textualized images in churches, and in landscape paintings and portraits, and, in France, it stimulated Huguenot architects to recover classical orders in the service of restoring to the earth its Edenic beauty.

Feminist Aesthetics

2021 ◽  
Author(s):  
A. W. Eaton
Keyword(s):  
Aesthetic Judgment ◽  
Male Gaze ◽  
Canon Formation ◽  
Artistic Production ◽  
The Arts ◽  
Female Nude ◽  
Inclusive Approach ◽  
The Aesthetic ◽  
Feminist Aesthetics

This chapter summarizes central issues and themes in feminist philosophical aesthetics in the analytic tradition, although some continental figures are discussed. After introducing the interdisciplinary, intersectional and trans* inclusive approach that feminist aesthetics is starting to take, this essay discusses situatedness, artistic canon formation, humanism vs. gynocentrism, rewriting the philosophical canon, overcoming artworld biases, and the role of the aesthetic in systemic oppression. Specific topics to be discussed include the male gaze, the female nude, the concept of artistic genius, women’s artistic production, the purported universality of correct aesthetic judgment, the sex/gender distinction as it pertains to aesthetics and the arts, and body aesthetics.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

Evolution of the arts

2021 ◽  
pp. 45-72
Author(s):  
Steven Brown
Keyword(s):  
Cultural Evolution ◽  
Biological Evolution ◽  
Geographic Location ◽  
Future Generations ◽  
Cultural Products ◽  
Fields Of Study ◽  
The Arts ◽  
Human Creativity ◽  
The Aesthetic ◽  
Species Specific

This chapter examines both the biological and cultural evolution of the arts. Biological evolution of the arts deals with how humans evolved the species-specific capacities to create and appreciate artworks, while cultural evolution is about how artworks themselves, as cultural products, undergo changes in persistence over historical time and geographic location. The study of biological evolution includes both phylogenetic (or historical) and adaptationist (or Darwinian) approaches. The study of cultural evolution of the arts reveals the importance of a ‘creativity/aesthetics cycle’ in which the products of human creativity get appraised for their level of appeal by the aesthetic system, allowing them to either be transmitted to future generations or die out. This unification of creativity and aesthetics has far-reaching implications for both fields of study.

Coda

2021 ◽  
pp. 224-236
Author(s):  
Benjamin Kohlmann
Keyword(s):  
Twentieth Century ◽  
Great Britain ◽  
Upper Class ◽  
Short Survey ◽  
The Arts ◽  
Artistic Vision ◽  
The Aesthetic

The Coda offers a short survey of the decline and eclipse of the speculative (literary) reformist mode around the mid-twentieth century. In doing so, it highlights one last reformist moment, namely the establishment of the Arts Council of Great Britain in 1946. The reformist vision associated with the Arts Council involved a self-reflexive artistic turn as writing itself came to be seen as the embodiment of a democratic Lebensform and the aesthetic image of a state-mediated classless future. This reformist vision is speculative insofar as it involved the successive democratization of an experimental (‘modernist’) artistic vision that had originated among the Bloomsbury modernists Williams had criticized as ‘a fraction of the upper class’.

scholarly journals The Significance of the Logo of NEOM in Plasticizing Contemporary Abstract Artworks

2018 ◽  
Vol 11 (7) ◽  
pp. 54
Author(s):  
Elham Abdullah Rayes
Keyword(s):  
Experimental Approach ◽  
Female Students ◽  
Abstract Art ◽  
Aesthetic Value ◽  
High Quality ◽  
Plastic Arts ◽  
The Arts ◽  
Quasi Experimental ◽  
Descriptive Approach ◽  
The Aesthetic

The current study aimed at plasticizing contemporary artworks by activating the formal and denotative significances of the logo of NEOM through the concept of abstract art. To achieve the study objectives, participants were asked to plasticize contemporary artworks using multiple-sized canvas, several coloring materials, a computer and some software as a technological medium, and high-quality printer papers to activate the significances of the logo of NEOM. Abstract artworks were displayed and analyzed in the light of activating the formal and denotative significances of the logo of NEOM. The author follows the descriptive approach and the quasi-experimental approach. The experiment was applied to female students in the Arts Lab at Umm Al-Qura University in 2018/ 1439H. The experiment yielded the ability of activating the logo of NEOM in artworks (plastic works), combining the significances of the logo of NEOM and abstract art produces unusual artworks, plastically activating the logo of NEOM resulted in enriching the aesthetic value of artworks, and formal and denotative significances of the logo of NEOM enrich plastic arts especially abstract works. The author recommends keeping up with contemporary progress and events and inspiring plastic artworks from the reality around the artist.

Performance Art, Performativity, and Environmentalism in the Capitalocene

2019 ◽  
Author(s):  
Jane Chin Davidson
Keyword(s):  
20Th Century ◽  
Vital Role ◽  
Cultural Knowledge ◽  
Ecological Crisis ◽  
Feminist Art ◽  
Late 20Th Century ◽  
The Arts ◽  
European Colonization ◽  
The Aesthetic ◽  
Eco Art

Since the late 20th century, performance has played a vital role in environmental activism, and the practice is often related to concepts of eco-art, eco-feminist art, land art, theatricality, and “performing landscapes.” With the advent of the Capitalocene discourse in the 21st century, performance has been useful for acknowledging indigenous forms of cultural knowledge and for focusing on the need to reintegrate nature and culture in addressing ecological crisis. The Capitalocene was distinguished from the Anthropocene by Donna Haraway who questions the figuration of the Anthropos as reflexive of a fossil-fuel-burning ethos that does not represent the whole of industrial humanity in the circuit of global capital. Jason W. Moore’s analysis for the Capitalocene illustrates the division between nature and society that is affirmed by the tenets of the Anthropocene. Scientists Paul Crutzen and Eugene Stoermer had dated the Anthropocene age to the industrial acceleration of the late-18th/mid-19th century but Moore points to the rise of capitalism in the 15th century when European colonization reduced indigenous peoples to naturales in their modernist definition of nature that became distinct from the new society. As material property, women were also precluded from this segment of industrial humanity. By the 20th century, the Euro-American system for progressive modernism in the arts was supported by the inscription of cultures that represented un-modern “primitivist” nature. The tribal and the modern became a postcolonial debate in art historical discourse. In the context of the Capitalocene, a different historiography of eco-art, eco-feminist art, and environmental performances can be conceived by acknowledging the work of artists such as Ana Mendieta and Kara Walker who have illustrated the segregation of people according to the nature/society divide. Informed by Judith Butler’s phenomenological analyses of performative acts, the aesthetic use of bodily-oriented expression (with its effects on the viewer’s body) provides a vocabulary for artists engaging in the subjects of the Capitalocene. In the development of performances in the global context, artists such as Wu Mali, Yin Xiuzhen, and Ursula Biemann have emphasized the relationship between bodies of humans and bodies of water through interactive works for the public, sited at the rivers and the shores of streams. They show how humans are not separate from nature, a concept that has long been conveyed by indigenous rituals that run deep in many cultures. While artists have been effective in acknowledging the continuing exploitations of the environment, their performances have also reflected the “self” of nature that humans are in the act of destroying.

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