Pub Date : 1900-01-01DOI: 10.5456/ISSN.2050-3679/2019S01
Gabriele Jutz
This article examines materiality as a surface condition and as inscribed in the texture of photographic and filmic images. First, it discusses examples where surface textures become striking due to various, frequently combined factors, such as image transfer, enlargement, the exigencies of the machinery involved and the properties of the film stock. Here, image resolution is the main focus. Second, it deals with the case of camera-less photography and film, where apparent surfaces are caused by directly acting upon the photo paper or the film stock. The third part offers close-readings of three exemplary artworks to be apprehended as poignant and exciting examples of how a photograph’s or film’s materiality determines its meaning, how textuality and texturality match. These readings include Steven Pippin’s series of photographs Laundromat-Locomotion (1997), Alison Rossiter’s works with expired silver gelatine photo papers (2007-ongoing) and David Gatten’s film Secret History of the Dividing Line (2002). Finally, in my concluding remarks, I will briefly address the critical potential of textures that foreground their materiality.
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Pub Date : 1900-01-01DOI: 10.5456/issn.2050-3679/2021s04
Brittany DeMone, L. Hughes
{"title":"Sensing Hermaphroditus in the Dionysian Theatre Garden","authors":"Brittany DeMone, L. Hughes","doi":"10.5456/issn.2050-3679/2021s04","DOIUrl":"https://doi.org/10.5456/issn.2050-3679/2021s04","url":null,"abstract":"","PeriodicalId":269843,"journal":{"name":"Open Arts Journal","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132828837","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.5456/issn.2050-3679/2019s02
E. Handy
This essay discusses nineteenth-century photographs by Nicéphore Niépce, Joseph Saxton, and Gabriel Lippmann, made with processes that render the images literally difficult to see. It argues that these images impose protocols of fully embodied seeing upon viewers. Their difficulty of viewing slows down what is otherwise immediate and automatic, rendering that process accessible to analysis. By attending to the experience of seeing, we necessarily engage directly with the images as objects, privileging the viewer’s and the object’s materiality while de-emphasizing the photograph’s indexicality. These image-objects embody a photography that refuses to operate within traditional categories of representation and invites material, embodied, experiential approaches. Contemporary photographers’ return to these archaic processes emphasizes their materiality’s call for an embodied viewing. In this essay, John Dewey’s description of art as transactional process incorporating viewer as well as artwork provides a useful model for such engagement, and offers an opportunity to satisfy James Elkins’ call for genuine discussion of materiality of works of art.
{"title":"Dancing with images: embodied photographic viewing","authors":"E. Handy","doi":"10.5456/issn.2050-3679/2019s02","DOIUrl":"https://doi.org/10.5456/issn.2050-3679/2019s02","url":null,"abstract":"This essay discusses nineteenth-century photographs by Nicéphore Niépce, Joseph Saxton, and Gabriel Lippmann, made with processes that render the images literally difficult to see. It argues that these images impose protocols of fully embodied seeing upon viewers. Their difficulty of viewing slows down what is otherwise immediate and automatic, rendering that process accessible to analysis. By attending to the experience of seeing, we necessarily engage directly with the images as objects, privileging the viewer’s and the object’s materiality while de-emphasizing the photograph’s indexicality. These image-objects embody a photography that refuses to operate within traditional categories of representation and invites material, embodied, experiential approaches. Contemporary photographers’ return to these archaic processes emphasizes their materiality’s call for an embodied viewing. In this essay, John Dewey’s description of art as transactional process incorporating viewer as well as artwork provides a useful model for such engagement, and offers an opportunity to satisfy James Elkins’ call for genuine discussion of materiality of works of art.","PeriodicalId":269843,"journal":{"name":"Open Arts Journal","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127176190","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.5456/issn.2050-3679/2019s06
S. Davies
{"title":"When words falter","authors":"S. Davies","doi":"10.5456/issn.2050-3679/2019s06","DOIUrl":"https://doi.org/10.5456/issn.2050-3679/2019s06","url":null,"abstract":"","PeriodicalId":269843,"journal":{"name":"Open Arts Journal","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128301627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.5456/issn.2050-3679/2021s01
A. Haug, P. Kreuz
{"title":"The diversity of Pompeii’s domestic cult activity","authors":"A. Haug, P. Kreuz","doi":"10.5456/issn.2050-3679/2021s01","DOIUrl":"https://doi.org/10.5456/issn.2050-3679/2021s01","url":null,"abstract":"","PeriodicalId":269843,"journal":{"name":"Open Arts Journal","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128898510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.5456/issn.2050-3679/2020w10
N. Cross, G. Holden
From its inception in the 1970s the UK Open University faced the challenge of teaching design to students at a distance and with open entry. Teaching design ‘in the open’ has required creative approaches to aid students in the acquisition of requisite skills, knowledge and values. OU design courses pioneered the teaching of design for a broad, non-specialist audience and in identifying the particular characteristics of design thinking, influencing not only OU students but wider teaching in the higher education sector. These principles have been applied during the development of design education at the OU from printed text and broadcast TV into the use of digital media and the Internet. Over time, technological changes, together with concomitant changes in HE generally, have brought different modes of design education closer together, but the OU continues to pioneer in design pedagogy.
{"title":"Design education in the Open","authors":"N. Cross, G. Holden","doi":"10.5456/issn.2050-3679/2020w10","DOIUrl":"https://doi.org/10.5456/issn.2050-3679/2020w10","url":null,"abstract":"From its inception in the 1970s the UK Open University faced the challenge of teaching design to students at a distance and with open entry. Teaching design ‘in the open’ has required creative approaches to aid students in the acquisition of requisite skills, knowledge and values. OU design courses pioneered the teaching of design for a broad, non-specialist audience and in identifying the particular characteristics of design thinking, influencing not only OU students but wider teaching in the higher education sector. These principles have been applied during the development of design education at the OU from printed text and broadcast TV into the use of digital media and the Internet. Over time, technological changes, together with concomitant changes in HE generally, have brought different modes of design education closer together, but the OU continues to pioneer in design pedagogy.","PeriodicalId":269843,"journal":{"name":"Open Arts Journal","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114351122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.5456/issn.2050-3679/2019s04
A. Boardman
This paper focuses on the new-materialist philosophy of Manuel DeLanda and its application to visual-art theory through the material of contemporary monochrome painting. It asks: can the monochrome act as a ‘material of thought’ to orient DeLanda’s new materialism toward theorising the materiality of art in the context of the anthropocene? The rawearth pigment monochromes and landscape interventions of Onya McCausland and the lab-grown nanotube pigment monochrome and sculpture works of Frederik De Wilde provide iterations of the monochrome for this analysis. An analysis of carbon through these artworks as a ‘material of thought’ facilitates access to the materiality of artworks more generally. This article proposes a new-materialist interpretative framework that goes beyond the parameters where meaning is produced through a phenomenological approach, through artistic intention or viewer interaction, and instead locates the artwork within assemblages constituted by human and non-human affects. It provides the basis for a new-materialist theory of art that is grounded in materiality, that constitutes the contemporary art object as a nonorganic life and one that opens up new territories for thinking art in the anthropocene.
本文以当代单色绘画为素材，探讨了曼努埃尔·德兰达的新唯物主义哲学及其在视觉艺术理论中的应用。它提出的问题是:单色能否作为一种“思想材料”，引导德兰达的新唯物主义在人类世的背景下将艺术的物质性理论化?Onya McCausland的原始单色颜料和景观干预以及Frederik De Wilde的实验室生长的纳米管单色颜料和雕塑作品为该分析提供了单色的迭代。通过这些艺术品作为“思想材料”对碳进行分析，有助于更广泛地了解艺术品的物质性。本文提出了一个新唯物主义的解释框架，它超越了通过现象学方法、通过艺术意图或观众互动产生意义的参数，而是将艺术品置于由人类和非人类情感构成的组合中。它为一种以物质性为基础的新唯物主义艺术理论提供了基础，这种理论将当代艺术对象构成了一种非有机的生命，并为人类世的思考艺术开辟了新的领域。
{"title":"Carbon monochrome: manuel delanda and the nonorganic life of affect","authors":"A. Boardman","doi":"10.5456/issn.2050-3679/2019s04","DOIUrl":"https://doi.org/10.5456/issn.2050-3679/2019s04","url":null,"abstract":"This paper focuses on the new-materialist philosophy of Manuel DeLanda and its application to visual-art theory through the material of contemporary monochrome painting. It asks: can the monochrome act as a ‘material of thought’ to orient DeLanda’s new materialism toward theorising the materiality of art in the context of the anthropocene? The rawearth pigment monochromes and landscape interventions of Onya McCausland and the lab-grown nanotube pigment monochrome and sculpture works of Frederik De Wilde provide iterations of the monochrome for this analysis. An analysis of carbon through these artworks as a ‘material of thought’ facilitates access to the materiality of artworks more generally. This article proposes a new-materialist interpretative framework that goes beyond the parameters where meaning is produced through a phenomenological approach, through artistic intention or viewer interaction, and instead locates the artwork within assemblages constituted by human and non-human affects. It provides the basis for a new-materialist theory of art that is grounded in materiality, that constitutes the contemporary art object as a nonorganic life and one that opens up new territories for thinking art in the anthropocene.","PeriodicalId":269843,"journal":{"name":"Open Arts Journal","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133772837","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.5456/issn.2050-3679/2021s02
E. Graham
This article posits that Pompeian religious knowledge which characterised Lares and serpents as gods of place was a consequence of lived religion. It argues that this religious knowledge arose from personal experiences of religious agency as it was produced during encounters with these deities in different material and locational contexts, namely household kitchen shrines and street-corner altars. It suggests that because of the unique ways in which ritual caused humans to assemble with the mutually affective material qualities available in these particular contexts, these experiences and the religious knowledge they produced were grounded in ritualised actions incorporating the immediate material world, rather than involving purely cognitive or pre-existing intellectual understandings or beliefs. Adopting a broadly posthumanist position that combines elements of material religion and lived religion, the essay therefore highlights how religious knowledge at Pompeii was the product of ritualised relationships between human and more-than-human things (e
{"title":"At home with the Lares: Lived religion rematerialised at Pompeii","authors":"E. Graham","doi":"10.5456/issn.2050-3679/2021s02","DOIUrl":"https://doi.org/10.5456/issn.2050-3679/2021s02","url":null,"abstract":"This article posits that Pompeian religious knowledge which characterised Lares and serpents as gods of place was a consequence of lived religion. It argues that this religious knowledge arose from personal experiences of religious agency as it was produced during encounters with these deities in different material and locational contexts, namely household kitchen shrines and street-corner altars. It suggests that because of the unique ways in which ritual caused humans to assemble with the mutually affective material qualities available in these particular contexts, these experiences and the religious knowledge they produced were grounded in ritualised actions incorporating the immediate material world, rather than involving purely cognitive or pre-existing intellectual understandings or beliefs. Adopting a broadly posthumanist position that combines elements of material religion and lived religion, the essay therefore highlights how religious knowledge at Pompeii was the product of ritualised relationships between human and more-than-human things (e","PeriodicalId":269843,"journal":{"name":"Open Arts Journal","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132873841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.5456/issn.2050-3679/2021s05
Mirco Mungari, Kamila Wysłucha
{"title":"Material music in ritual soundscapes of Pompeii","authors":"Mirco Mungari, Kamila Wysłucha","doi":"10.5456/issn.2050-3679/2021s05","DOIUrl":"https://doi.org/10.5456/issn.2050-3679/2021s05","url":null,"abstract":"","PeriodicalId":269843,"journal":{"name":"Open Arts Journal","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115802873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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