Ecology Machine

2017 ◽  
Author(s):  
Andreas Broeckmann
Keyword(s):  
Human Body ◽  
Ecological Crisis ◽  
Ecological Art ◽  
Joseph Beuys ◽  
Systemic Factors ◽  
Machine Art ◽  
Neutral Media ◽  
The 1960S ◽  
Environmental Understanding

The final chapter develops the hypothesis that towards the end of the twentieth century there is a fundamental shift in the understanding of the machine, and thus also of machine art. This shift is effected by the emergence, since the 1960s, of the paradigms of systems thinking and of ecology which conceive nature, the environment as well as the human body as systemic factors and inscribe them into a technological understanding of the world. The chapter looks at early examples of ecological art, especially by Joseph Beuys, Hans Haacke, and Otto Piene, which show how closely related are the conceptions of ecology and technology in their works. Detailed analyses of later works by Knowbotic Research, Marko Peljhan and Seiko Mikami show how the systemic, environmental understanding of technology increasingly decouples the relation of machine and human subjectivation. Seiko Mikami’s work in particular questions the position of the human body and its faculties in relation to technical systems which in her installations change from being neutral media interfaces into autonomous, solitary machine subjects, articulating the “ecological” crisis of the machine as a crisis of human subjectivity.

Mobile Perception and the Automotive Prosthetic

Transfers ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 73-96 ◽  
Author(s):  
Charissa N. Terranova
Keyword(s):  
Urban Sprawl ◽  
Human Body ◽  
Conceptual Art ◽  
Robert Smithson ◽  
Martha Rosler ◽  
The World ◽  
1960S And 1970S ◽  
The 1960S ◽  
And Linguistics

This essay focuses on a body of photoconceptual works from the 1960s and 1970s in which the automobile functions as a prosthetic-like aperture through which to view the world in motion. I argue that the logic of the “automotive prosthetic“ in works by Paul McCarthy, Dennis Hopper, Ed Ruscha, Jeff Wall, John Baldessari, Richard Prince, Martha Rosler, Robert Smithson, Ed Kienholz, Julian Opie, and Cory Arcangel reveals a techno-genetic understanding of conceptual art, functioning in addition and alternatively to semiotics and various philosophies of language usually associated with conceptual art. These artworks show how the automobile, movement on roads and highways, and the automotive landscape of urban sprawl have transformed the human sensorium. I surmise that the car has become a prosthetic of the human body and is a technological force in the maieusis of the posthuman subject. I offer a reading of specific works of photoconceptual art based on experience, perception, and a posthumanist subjectivity in contrast to solely understanding them according to semiotics and linguistics.

Performance: Listening Bodies

2020 ◽  
pp. 134-158
Author(s):  
Zoë Skoulding
Keyword(s):  
Human Body ◽  
The Body ◽  
Sound Poetry ◽  
The Senses ◽  
The 1960S

Discussion of Deaf percussionist Evelyn Glennie and artist Christine Sun Kim draws attention to the embodiment of sound performance, which is considered in this chapter in relation to technology, race, gender, bilingualism and, though the parallel performances of humans and birds, ecology. The work of poets such as Bob Cobbing and Henri Chopin offers examples of how sound poetry of the 1960s explored a liberated listening through recording. Yet such a listening, enabled by machines, draws attention back to the capacities of the human body. Serres’ simultaneous emphasis on the centrality of the senses and the space of codes and messages in which the body moves frames a discussion of various boundaries between language, sound and noise in the work of Emma Bennett, Jonathan Skinner, Holly Pester, Tracie Morris, Hannah Silva and Rhys Trimble.

Monster Stories/Storied Monsters

2019 ◽  
pp. 195-214
Author(s):  
Adam Charles Hart
Keyword(s):  
Video Game ◽  
Social Order ◽  
Horror Genre ◽  
High Profile ◽  
The Walking Dead ◽  
Living Dead ◽  
The Face ◽  
The 1960S ◽  
Walking Dead

This final chapter continues the discussion of monsters by engaging with the writings of Robin Wood, who theorized monsters as fundamentally ambivalent figures who allow us to envision alternatives to the restrictive social order. It then realigns Wood’s terms to show how the recent horror genre has been structured around questions not simply of monstrosity, but of asserting or maintaining humanity—and recognizing the humanity of others—in the face of monstrosity and other inconceivable horrors. This is the explicit theme of The Walking Dead TV series, as is emphasized in its first video game adaptation, The Walking Dead: The Game (2012), but is there at the beginnings of the modern genre in the 1960s with a film like Night of the Living Dead (1968). The chapter concludes with a discussion of how understandings of “monstrosity” and “humanity” are redefined around questions of morality with two high-profile, integrated horror films, Get Out (2017) and The Shape of Water (2017).

Back to Work

2018 ◽  
pp. 213-224
Author(s):  
Joseph R. Fitzgerald
Keyword(s):  
New York ◽  
Young People ◽  
First Century ◽  
Wall Street ◽  
Student Activists ◽  
For Profit ◽  
Not For Profit ◽  
The 1960S ◽  
The City

The final chapter briefly touches on Richardson’s second divorce but focuses on her difficulties finding and keeping employment. After holding a series of jobs in various corporate and not-for-profit agencies, Richardson eventually earned a permanent civil service position with the City of New York, where she worked until the twenty-first century. In one way or another, all her jobs involved some kind of social justice. Over the last five decades, Richardson has paid close attention to social change movements, including Occupy Wall Street and Black Lives Matter, and this chapter discusses her thoughts about them, particularly her view that young people have the capability and vision to lead the nation to greater freedom, just as young people did in the 1960s. She advises them to replicate the group-centered and member-driven model student activists employed in the early 1960s and to avoid becoming ideological.

What Other Americans Can and Cannot Learn from Native American Environmental Ethics

2011 ◽  
Vol 15 (3) ◽  
pp. 219-246 ◽  
Author(s):  
Dave Aftandilian
Keyword(s):  
Native American ◽  
Environmental Ethics ◽  
Environmental Values ◽  
Ecological Crisis ◽  
Native Peoples ◽  
Cultural Contexts ◽  
Interior Alaska ◽  
Desert Southwest ◽  
The 1960S

AbstractSince the 1960s, many have sought the solutions to North America's ecological crisis in the environmental teachings of Native American peoples. However, for the most part, Native American environmental values have not been investigated in light of the cultural contexts within which they arose. This paper draws on previously published ethnographic work among the Koyukon of interior Alaska and the Hopi of the desert Southwest to elucidate the specific environmental ethics that these two peoples have developed. Based on this contextualized evidence, augmented with teachings from the environmental ethics of other Native American peoples, I then discuss what other Americans can and cannot learn from Native American environmental ethics. Finally, I suggest alternate sources upon which non-indigenous Americans might draw to develop their own traditions of caring about and for the lands they now share with Native peoples.

scholarly journals La pintura como huella: fotografía y pintura en la obra de Gerhard Richter.

2018 ◽  
pp. 264
Author(s):  
Víctor Murillo Ligorred
Keyword(s):  
Traditional Procedure ◽  
Palabras Clave ◽  
Gerhard Richter ◽  
Machine Art ◽  
The 1960S ◽  
Abstract Work ◽  
A Current ◽  
Present Text

El presente texto aborda la cuestión del concepto de índex en la obra pictórica de Gerhard Richter. Esta cualidad de lo fotográfico revierte en la pintura abstracta de los años ochenta en tanto que huella. Para ello, primero se analiza el índex desde la mecanicidad, la tecnicidad y el antiestilo, con el que Richter trabaja sus obras. Para después, analizar cómo el índex, desde su categoría de huella, muestra el rastro de los aparatos por los que fue creado el cuadro. Richter traslada al mundo de la pintura la técnica fotográfica, entrando en un debate de lo fotográfico por la vía de la suplantación de lo pictórico. Un análisis que justifica sus modos de hacer y explica la naturaleza mecánica de sus pinturas. Palabras clave Índex, fotografía, pintura, Gerhard Richter, anti estilo Abstract The present text approaches the work of Gerhard Richter in terms of footprint or index, concept by which better understand the ways of painting of the German artist from 1962. For do this, we analyze how the concept of index works both in the photo-paintings of the 1960s and in the abstract work of the eighties and nineties. It is studied how their ways of doing have to do with a machine art and not with the traditional procedure of painters to create paintings. Afterwards, the debate focuses on the technicality, the mechanicity and the anti-style characteristic of the photo-paintings and the abstract paintings understood as a footprint, far from conventional painting and without any type of artifice. A current reading on the iconic that explores the new languages of the artistic from the mechanicity of the technique in the slide that arises from the photographic to the pictorial. Keywords Índex, photografy, painting, Gerhard Richter, anti-style

scholarly journals The Potential of Religion in the Promotion and Implementation of the Concept of Sustainable Development

2017 ◽  
Vol 24 (1) ◽  
pp. 37-52 ◽  
Author(s):  
Ryszard F. Sadowski
Keyword(s):  
Sustainable Development ◽  
Joint Action ◽  
Ecological Crisis ◽  
The Other ◽  
Religion And Science ◽  
Religious Traditions ◽  
The 1960S ◽  
The One ◽  
Ecological Potential

AbstractThis article presents religion’s potential where the promotion and implementation of the concept of sustainable development are concerned. First inspired by Lynn White in the 1960s, discussion on religion’s role in the ecological crisis now allows for an honest assessment of the ecological potential of various religious traditions and their contribution to the building of a sustainable world. This article on the one hand points to the religious inspirations behind the concept of sustainable development, and on the other highlights the joint action of representatives of religion and science in the name of sustainable development, as well as the involvement of religions in the concept’s implementation.

scholarly journals Itineraries of Modern Ethiopian Instrumental Music

2021 ◽  
Author(s):  
◽  
Lucien Johnson
Keyword(s):  
Instrumental Music ◽  
Cultural Interaction ◽  
Turn On ◽  
Central Focus ◽  
The World ◽  
The 1960S ◽  
The Impact ◽  
The Way

<p>This dissertation explores the way in which Ethiopian musicians of the 1960s and 70s adapted forms such as jazz, soul and Latin music to create a new hybrid instrumental music style variously referred to as Ethio-Jazz or Ethio-Groove. It will then go on to investigate the impact that this music has had, in turn, on musicians in various locations around the world since its reissuing on CD in the late 1990s. The central focus is to investigate and articulate the role of individuals’ musical agency in this narrative, and to ask how, within the context of Ethiopian instrumental music and its offshoots, individual musicians and composers have engaged with, responded to and integrated music from elsewhere into their own musical languages. In particular, it looks at how musicians and composers have approached their own notion of creative individuality when their musical genealogy can be traced via affinities rather than geographic and ethnic inheritances. In adopting various influences these musicians, from both the original generation of Ethiopian musicians in the 60s and 70s who adapted soul, jazz and other American forms, and those from around the world who have in turn been influenced by this style of hybrid Ethiopian music, have had to unlock various technical musical problems, as well as navigate at times treacherous ethical waters and answer to allegations of cultural betrayal and/or appropriation. This dissertation identifies these problematic musical and ethical areas and, in the context of this criticism, it examines various viewpoints on how cultural interaction and exchange take place. The final chapter of this dissertation contextualizes my own creative portfolio, which accompanies this written work. It offers a personal response to the questions that have arisen from my affinity for Ethiopian music and from choosing an approach to composition closely informed by this affinity.</p>

The Web and Flow of Popular Cinema

2021 ◽  
pp. 280-304
Author(s):  
James E. Cutting
Keyword(s):  
Human Body ◽  
Film Theory ◽  
Human Movement ◽  
Popular Cinema ◽  
The 1960S ◽  
The Web

Rhythm is a much-discussed term in film theory. This chapter examines the patterns of shot durations, motion, luminance, and clutter across the length of movies in two ways. First, it averages across a century’s worth of movies adjusting for their differential lengths. Results reveal patterns that map well onto the larger narrative parts of movies. Moreover, these patterns have evolved only relatively recently—since the 1960s for shot durations and motion, and perhaps only since the 1990s for luminance, clutter, and syntagmas. Second, it focuses on patterns within each movie. Many accounts of cinematic rhythm refer to human movement, which provides an entrée into understanding the rhythms, indeed polyrhythms, of whole movies. Walking, breathing, and heartbeats all have a fractal rhythm—and so do movies. This suggests that the skills of filmmakers are attuned to rhythms in movies that are not unlike those of the human body.

We are a Little Land: Informational Film and Small-nation Cinema

2018 ◽  
Author(s):  
C. Claire Thomson
Keyword(s):  
Soft Power ◽  
Cultural Diplomacy ◽  
Nation Branding ◽  
Small Country ◽  
Nordic Region ◽  
Recent Scholarship ◽  
National Imagination ◽  
The 1960S

Et lille land’ - a little land - is a trope of Danish identity which recurs in many of the short informational films about Denmark made from the 1930s to the 1960s. This chapter outlines why the notion of Denmark as a small country has historically been fundamental to the nation’s self-understanding as an imagined community, and how and why it has been employed in informational films made for domestic and foreign consumption. The chapter discusses the role of film in the national imagination, and the importance of medium-specific qualities in that process of imagining: for the purposes of this book, such qualities include the films’ shortness, which impacts on narrative as well as distribution and exhibition. The chapter then discusses recent scholarship on ‘small-nation’ cinema, especially in the Nordic region, and the place of informational filmmaking within the small-nation context. A final chapter section outlines a further body of scholarship on cultural diplomacy, soft power, and nation-branding in the Nordic region as a framework for understanding how images (including informational films) move across borders and re-negotiate auto- and xenostereotypes.

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