Abstract “On Collaboration” attempts to situate the withdrawal of support from the magazine Artforum (precipitated by the firing of its editor-in-chief David Velasco in October 2023) within a longer history of institutional antagonism. It compares strategies of opposition available to the avant-garde and counterculture in the 1960s (as exemplified by Fluxus's George Maciunas and the novelist Thomas Pynchon) with those that emerged in the 1970s, with particular attention paid to the machinery that sustained the appearance of the art world and, more broadly, the public sphere. Citing Vito Acconci's contributions to the exhibition ROOMS P.S. 1 (1976), it argues that much of what has been historically recognized as strategies of institutional opposition from the 1970s onward, including institutional critique and the alternative space movement, might be better understood within a framework of “institutional collaboration.”
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Abstract Paul Chan reflects on his experiences as an artist working in and out of domains of technology, from truetype fonts and pirated software to datasets and machine-learning frameworks. He recounts periods of his artistic life when he abandoned technologies as instruments of production. And he offers an idiosyncratic account of a lineage of artists and writers he admires who used and abused technology in aspects of their work—including Agnès Varda, Chris Marker, the Left Bank Group in 1960s, Yvonne Rainer, Theodor Adorno and the Radio Research Project; the bio-cybernetic work of free-jazz musician, programmer, and artist Milford Graves; the pioneering sound work of Maryanne Amacher; and the writer Claudia La Rocco—and how their dynamic and at times contentious relationship with technology proved vital to their understanding of what art under the influence of historical and social progress looks like.
摘要 陈保罗回顾了他作为艺术家在技术领域内外工作的经历，从真实字体和盗版软件到数据集和机器学习框架。他回顾了自己艺术生涯中放弃技术作为生产工具的时期。他还以特立独行的方式讲述了他所敬仰的艺术家和作家们在工作中使用和滥用技术的故事，其中包括阿涅斯-瓦尔达（Agnès Varda）、克里斯-马克（Chris Marker）、20 世纪 60 年代的左岸小组（Left Bank Group）、伊冯娜-雷纳（Yvonne Rainer）、西奥多-阿多诺（Theodor Adorno）和无线电研究项目（Radio Research Project）；自由爵士乐音乐家、程序员和艺术家米尔福德-格雷夫斯（Milford Graves）的生物控制论作品；玛丽安-阿马赫（Maryanne Amacher）的先锋声音作品；作家克劳迪娅-拉罗科（Claudia La Rocco）--以及他们与技术之间充满活力、时而充满争议的关系如何对他们理解历史和社会进步影响下的艺术至关重要。
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Abstract There is an exhibition currently hanging in the penthouse of the Museum of Modern Art in New York: Far removed from the clamor of the street and the jostling of the crowd, a selection of delicately conceived and exquisitely executed drawings remind us that, even in the age of pragmatism, ideal architecture still preoccupies creative minds. From the recent past and the lived present, these studies speak of impossible futures, irresistible impulses, and inconsequential fantasies. Hoary technotopia from Archigram; satyrical dreamscapes from Superstudio; metalinguistics from Argentina's nouvelle vague; eclecticism, superrationalism, and painterly metaphor from New York's (and Princeton's) Five add up to form a picture of the whole tangled web of idealism and counter-idealism that has constituted today's attempt at visionary architecture. This exhibition raises, as do all such manifestations of the realm of utopia, questions as to the relation between art and daily life.
{"title":"Architecture, Poetry, and Everyday Life","authors":"Anthony Vidler","doi":"10.1162/octo_a_00509","DOIUrl":"https://doi.org/10.1162/octo_a_00509","url":null,"abstract":"Abstract There is an exhibition currently hanging in the penthouse of the Museum of Modern Art in New York: Far removed from the clamor of the street and the jostling of the crowd, a selection of delicately conceived and exquisitely executed drawings remind us that, even in the age of pragmatism, ideal architecture still preoccupies creative minds. From the recent past and the lived present, these studies speak of impossible futures, irresistible impulses, and inconsequential fantasies. Hoary technotopia from Archigram; satyrical dreamscapes from Superstudio; metalinguistics from Argentina's nouvelle vague; eclecticism, superrationalism, and painterly metaphor from New York's (and Princeton's) Five add up to form a picture of the whole tangled web of idealism and counter-idealism that has constituted today's attempt at visionary architecture. This exhibition raises, as do all such manifestations of the realm of utopia, questions as to the relation between art and daily life.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140787464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.04
Anne L. Cavender
The “classic” is a vexed term in the work of William Carlos Williams. He uses the category to describe both the stale classicism of T. S. Eliot and Ezra Pound and, conversely, the authentic, “aberrant” classic of James Joyce and surrealism. Analyzing unpublished archival manuscripts alongside the posthumously published collection of essays, The Embodiment of Knowledge, I approach the classic through Williams's theories of pedagogy. Williams parodies and rejects academic modes of reading that cling to the “malignant rigidities” of the past. Yet Paterson and The Embodiment also theorize the reader's interpretive power to disrupt any homogenizing conformity latent in the literary tradition. This dissonant hermeneutics can recuperate the classics and represents a form of resistance to a binary logic of past versus present, or European versus American literature.
在威廉-卡洛斯-威廉斯的作品中，"经典 "是一个令人困扰的术语。他用这个词来形容艾略特（T. S. Eliot）和埃兹拉-庞德（Ezra Pound）的陈腐古典主义，反之，他也用这个词来形容詹姆斯-乔伊斯（James Joyce）和超现实主义的真实、"反常 "的古典主义。通过分析未发表的档案手稿以及死后出版的论文集《知识的化身》，我通过威廉斯的教育学理论来探讨这部经典。威廉斯嘲弄并摒弃了固守过去 "恶性僵化 "的学术阅读模式。然而，《帕特森》和《化身》也从理论上阐明了读者的阐释能力，可以打破文学传统中潜藏的同质化一致性。这种不和谐的诠释学可以重拾经典，是对过去与现在、欧洲文学与美国文学二元逻辑的一种抵抗。
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Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.01
Richard Shusterman
After showing how pragmatist aesthetics and Marcuse's critical theory affirm aesthetic education as key to transforming society toward greater freedom, equality, pleasure, and fulfillment, I compare the ways these two approaches differently perceive the scope and role of aesthetics in such transformation. Whereas Marcuse identifies the aesthetic dimension with the realm of high art, pragmatism understands this dimension far more broadly to include the popular arts and somaesthetic arts of living. Because Marcuse identifies art's critical function through its oppositional transcendence and autonomy from ordinary reality and practical life, he insists that aesthetics cannot directly contribute to transformative praxis in the real world but can operate only indirectly by transforming our sensibilities. Pragmatist aesthetics, particularly though somaesthetics, resolves the dilemma in Marcuse's aesthetics of liberation by bridging the alleged gap between aesthetics and praxis by reeducating our sensibilities in a more direct, practical, embodied way. The article further exemplifies the overlaps and differences between Marcuse's critical theory and pragmatist somaesthetics by focusing on erotic experience, which is essential to Marcuse's liberational program and increasingly present in somaesthetics’ concern with aesthetic reeducation of our senses and sensibilities.
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Abstract On October 19, 2023, we lost Anthony Violer, a longtime friend of this magazine. A brilliant historian of architecture whose deep scholarship and intellectual curiosity ranged from Ledoux to his own contemporaries, Tony was also an astute reader of art and theory, and he was always alert not only to the historical conditions of a given practice but also to its conceptual implications and political ramifications. In manifold ways Tony instructed us, inspired us, committed us, and delighted us with his theatrical imagination and subversive wit.
{"title":"Anthony Vidler (1941-2023)","authors":"Hal Foster","doi":"10.1162/octo_a_00508","DOIUrl":"https://doi.org/10.1162/octo_a_00508","url":null,"abstract":"Abstract On October 19, 2023, we lost Anthony Violer, a longtime friend of this magazine. A brilliant historian of architecture whose deep scholarship and intellectual curiosity ranged from Ledoux to his own contemporaries, Tony was also an astute reader of art and theory, and he was always alert not only to the historical conditions of a given practice but also to its conceptual implications and political ramifications. In manifold ways Tony instructed us, inspired us, committed us, and delighted us with his theatrical imagination and subversive wit.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140785243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.06
Edward R. O'Neill
For almost 300 years, five different art forms have used the same instructional method. This Common Arts Instructional Method (CAIM) can be explained using a variety of theories. The CAIM also offers the opportunity to understand instructional methods under the banner of design: instances of types rather than applications of laws or principles. The differences between theory and design are explored, and some recommendations are offered for striking new instances of this common type.
{"title":"A Common Arts Instructional Method and the Logic of Design","authors":"Edward R. O'Neill","doi":"10.5406/15437809.58.1.06","DOIUrl":"https://doi.org/10.5406/15437809.58.1.06","url":null,"abstract":"\u0000 For almost 300 years, five different art forms have used the same instructional method. This Common Arts Instructional Method (CAIM) can be explained using a variety of theories. The CAIM also offers the opportunity to understand instructional methods under the banner of design: instances of types rather than applications of laws or principles. The differences between theory and design are explored, and some recommendations are offered for striking new instances of this common type.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140356731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract I was born on July 4, 1941, in East Knoyle, Wiltshire. Some symbolic import might be gained from the fact that East Knoyle was also the birthplace of Christopher Wren and close to Philip Webb's mansion “Clouds”; also symbolic, given my later life in the United States, was the date itself. My family moved back to Essex later that year. My memories of the war must date from late 1944 and the first months of 1945: air-raid sirens, the huddle beneath the kitchen table (a steel Morrison shelter), the whining of V-2s toward the end of the war, and even once a shock wave that pushed me to the pavement. Also, a few weeks of evacuation to my grandparents in Warwickshire, close to Coventry, which had sustained the better part of the 1941 blitz, and to another shelter, dug in the back garden, of reinforced concrete, damp and cool and a favorite hideout.
{"title":"Fragments of an Autobiography","authors":"Anthony Vidler","doi":"10.1162/octo_a_00510","DOIUrl":"https://doi.org/10.1162/octo_a_00510","url":null,"abstract":"Abstract I was born on July 4, 1941, in East Knoyle, Wiltshire. Some symbolic import might be gained from the fact that East Knoyle was also the birthplace of Christopher Wren and close to Philip Webb's mansion “Clouds”; also symbolic, given my later life in the United States, was the date itself. My family moved back to Essex later that year. My memories of the war must date from late 1944 and the first months of 1945: air-raid sirens, the huddle beneath the kitchen table (a steel Morrison shelter), the whining of V-2s toward the end of the war, and even once a shock wave that pushed me to the pavement. Also, a few weeks of evacuation to my grandparents in Warwickshire, close to Coventry, which had sustained the better part of the 1941 blitz, and to another shelter, dug in the back garden, of reinforced concrete, damp and cool and a favorite hideout.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140760822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-01DOI: 10.5406/15437809.58.1.03
Mario Attie-Picker, Tara Venkatesan, George E. Newman, Joshua Knobe
Many people appear to attach great value to sad music. But why? One way to gain insight into this question is to turn away from music and look instead at why people value sad conversations. In the case of conversations, the answer seems to be that expressing sadness creates a sense of genuine connection. We propose that sad music can also have this type of value. Listening to a sad song can give one a sense of genuine connection. We then explore the nature of this value in two experimental studies. The results suggest a striking relationship between music and conversation. People see something distinctively musical in works that express precisely those emotions that they think most create connection within conversation.
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Abdul-Wahab Tahiru, S. Cobbina, W. Asare, Silas Uwumborge Takal
Ghana is currently facing a waste crisis that presents considerable risks to its environment, economy, and public health. This investigation evaluates four prospective waste-to-energy options—namely, incineration, anaerobic digestion, gasification, and landfill gas—with the objective of mapping out a sustainable strategy for efficient waste management. Among these solutions, anaerobic digestion stands out as a superior option, offering renewable energy production, valuable bio-product creation, and a comparatively lower greenhouse gas emission effect. A cost analysis further reveals that utilizing biogas from anaerobic digestion is not only environmentally friendly but also economically more viable than relying on light crude oil. Producing 200 MW of energy using biogas costs 36% less, potentially resulting in monthly savings of USD 5.46 million for Ghana. However, several obstacles impede the development of WtE. Inaccurate waste data and a lack of clear policies on waste-to-energy hinder the harnessing of Ghana’s WtE potential. To address this, the study recommends (1) implementing a well-defined national strategy complete with regulations and incentives to attract investments and (2) conducting specialized research to optimize WtE technologies for Ghana’s unique waste composition and context. By surmounting these challenges, Ghana stands poised to secure a sustainable future, simultaneously meeting the targets of Sustainable Development Goals 7 and 11. This entails ensuring access to affordable, reliable, sustainable, and modern energy for all (SDG 7) and fostering inclusive, safe, resilient, and sustainable cities and human settlements (SDG 11).
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