Pub Date : 2023-08-17DOI: 10.7146/nja.v32i65-66.140109
Claire Anscomb
It is well-documented that the alteration of portrait photographs can have a negative impact on a viewer’s self-esteem. One might think that providing written disclaimers warning of alteration might help to mitigate this effect, yet empirical studies have shown that viewers continue to feel like what they are seeing is real, and thus attainable, despite knowing it is not. I propose that this cognitive dissonance occurs because disclaimers fail to show viewers how to look at the contents of a photographic image differently. Consequently, viewers have the same perceptual experience, where the picture appears to faithfully resemble a direct visual experience of the subject, which conflicts with their changing sense of warrant. However, I argue that the degree of perceived similarity, and so contact, may be subject to change depending on what a viewer is attentive to during their viewing of an image, including subtle but unrealistic signs of alteration.
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Pub Date : 2023-08-17DOI: 10.7146/nja.v32i65-66.140120
Josefine Wikström
What is the relationship between the philosophical concept of the “autonomy of art” and the cultural policy-notion of “artistic freedom”? This article seeks to answer this question by taking the Swedish governmental report This Is How Free Art Is (Så fri är konsten 2021) and its reception in the Swedish main stream media as an emblematic example and by reading it symptomatically. Firstly, it traces the critical history of “artistic freedom” and the interrelated term “arm’s length distance”, primarily in the context of Great Britain. Secondly, it critically reconstructs the concept of the “autonomy of art” in the history of Western philosophy by making a critique of a fetishized notion of art’s autonomy in the name of l’art pour l’art. The main argument is that the idea about art’s autonomy, on which the Swedish report leans, resembles such philosophical and art historical idea of art’s autonomy. The claim is also that such an understanding of art does not tie up, either philosophically or historically, with the arm’s length principle, since they ultimately rely on different conceptions of art’s freedom.
“艺术自主”的哲学概念与“艺术自由”的文化政策概念之间的关系是什么?本文试图通过瑞典政府报告《This Is How Free Art Is》(s fri är konsten 2021)及其在瑞典主流媒体中的接受程度作为一个象征性的例子，并通过对症阅读来回答这个问题。首先，本文以英国为背景，追溯了“艺术自由”及其相关术语“一臂之遥”的批判历史。其次，以“为艺术而艺术”的名义，批判拜物教化的艺术自主性观念，批判性地重构了西方哲学史上的“艺术自主性”概念。主要的论点是，瑞典报告所依赖的关于艺术自主性的观点，类似于哲学和艺术史上关于艺术自主性的观点。他们还声称，这种对艺术的理解，无论在哲学上还是在历史上，都与“一臂之遥”原则无关，因为它们最终依赖于对艺术自由的不同概念。
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Pub Date : 2023-08-17DOI: 10.7146/nja.v32i65-66.140119
G. Strandberg
In this article, Strandberg analyses the development of Swedish cultural policy during the last decades. In contradistinction to the first policy proposition from 1974, which emphasised the importance of counteracting the negative impact of the market, the cultural policies that have been in place for the last twenty to thirty years consider the forces of the market to be conducive to the freedom of culture and the arts. This has entailed a paradigm shift in Swedish culture that has opened up the field of cultural policy for the so-called creative industries, equated culture with creativity, and collapsed the distinction between culture and creative forms of entrepreneurship. When analysing this, Strandberg relates the modern history of Swedish cultural policy to the wider international development that has given rise to the paradigm of the creative industries and discusses how the equation of culture with creativity has made the autonomy of culture and the arts more and more difficult to uphold.
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Pub Date : 2023-08-17DOI: 10.7146/nja.v32i65-66.140115
Frederik Tygstrup
In Critique of Judgment, Kant introduces a foundational theme in modern aesthetics by identifying the judgment of taste as a particular mode of attention. In distinction to the mode of attention in mundane experience that works by determining how an intuition can be subsumed under a concept, aesthetic attention celebrates the pleasure associated with the “unison in the play of the powers of the mind” confronted with “the manifold in a thing.” Aesthetic attention, in other words, is an aesthetic subject’s attention to itself and to the pleasures derived from flexing the power of imagination. In this respect, Kant’s aesthetics reaffirms its cartesian core, the primordial positing of the thinking and reflective I as the necessary preposition for experience. This strict distribution of attention toward the secure epistemological architecture of object and subject seems to vacillate, however, in Kant’s brief discussion of artworks as purveyors of “aesthetic ideas.” This article discusses the de-limitation of attention instigated by the aesthetic idea. The aesthetic idea is associated with the artwork as an object, but it immediately transgresses the limits of the object through an array of analogical instantiations of “spirit.” On the other hand, aesthetic ideas are subjectively appreciated, but this appreciation similarly transgresses subjective cognition in an inexhaustible ramification of associative thinking. Developing these characteristics of the “aesthetic idea,” the article proposes to excavate from Critique of Judgment a mode of aesthetic sensibility that eventually challenges the Cartesian architecture of subject and object and thus reposits aesthetics in a field of relational interdependency.
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Pub Date : 2023-08-17DOI: 10.7146/nja.v32i65-66.140113
Henrik Kaare Nielsen
The article suggests a conceptualization of the interrelationship between attention, affect, and aesthetic experience. It supplements classical aesthetic theory by integrating knowledge from neurophysiology, developmental psychology, and psychoanalysis. Furthermore, the article proposes a distinction between a variety of types of affect that are discussed with a view to their potential contribution to elaborating the concept of aesthetic experience in the Kantian tradition and to reflecting different qualities of attention.
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Pub Date : 2023-08-17DOI: 10.7146/nja.v32i65-66.140117
G. Strandberg, Kim West, Josefine Wikström
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Pub Date : 2023-08-17DOI: 10.7146/nja.v32i65-66.140106
S. Daugaard
This article discusses the relationship between infrastructure and attention through the lens of contemporary Danish poetry. It applies Susan Leigh Star’s concept of “infrastructural inversion” on the poetic practices of two Danish poets with immigrant background, Yahya Hassan and Shadi Angelina Bazeghi, by focusing on the infrastructural conditions for the production, circulation and reception of their poetry via literary institutions and liberal news media in Denmark in recent years.
{"title":"Infrastructural Poetics in Yahya Hassan and Shadi Angelina Bazeghi","authors":"S. Daugaard","doi":"10.7146/nja.v32i65-66.140106","DOIUrl":"https://doi.org/10.7146/nja.v32i65-66.140106","url":null,"abstract":"This article discusses the relationship between infrastructure and attention through the lens of contemporary Danish poetry. It applies Susan Leigh Star’s concept of “infrastructural inversion” on the poetic practices of two Danish poets with immigrant background, Yahya Hassan and Shadi Angelina Bazeghi, by focusing on the infrastructural conditions for the production, circulation and reception of their poetry via literary institutions and liberal news media in Denmark in recent years.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44220291","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 : 2023-08-17DOI: 10.7146/nja.v32i65-66.140110
Jeanne L Lin
When the borderline cases of art occur in non-art categories, the debate of artistic status arises not only with regard to the individual cases but also with regard to the category to which they belong. The identity of the individual case tends to be defined in connection to the category it belongs to. It tends to formulate that, if the individual case is art, then the entire category is also art, and if the category is not art, then the individual case is also not art. Such a view inevitably hampers the artistic status of works arising from the non-art categories. This article argues that the individual cases and their belonging categories need not be strictly interlocking and that they could possess multiple identities depending on the context that they are present. Thus the point shifts from whether the case is or is not art in its absolute sense to ‘when’ is it art.
{"title":"Multiple Identities of Borderline Cases in Art","authors":"Jeanne L Lin","doi":"10.7146/nja.v32i65-66.140110","DOIUrl":"https://doi.org/10.7146/nja.v32i65-66.140110","url":null,"abstract":"When the borderline cases of art occur in non-art categories, the debate of artistic status arises not only with regard to the individual cases but also with regard to the category to which they belong. The identity of the individual case tends to be defined in connection to the category it belongs to. It tends to formulate that, if the individual case is art, then the entire category is also art, and if the category is not art, then the individual case is also not art. Such a view inevitably hampers the artistic status of works arising from the non-art categories. This article argues that the individual cases and their belonging categories need not be strictly interlocking and that they could possess multiple identities depending on the context that they are present. Thus the point shifts from whether the case is or is not art in its absolute sense to ‘when’ is it art.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45898808","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 : 2023-08-17DOI: 10.7146/nja.v32i65-66.140111
Morten Kyndrup
We are capable of engaging in different kinds of relations with objects and situations we meet. Any relation is, in principle singular and thus einmalig, unique. Still, certain general types of relationality do exist. Relations may be established with focus (“attention”) on usability, truth, ethics, power, authenticity—and of course, on “beauty,” on aesthetic value. This differentiation is an invention of the Modern world and in itself subject to historical change. In terms of “discursive areas” it has been theorized in varying keys—including quite many universalist ones. We are free to choose our modes of attention. Still, institutionalized discourses in practice pre-configure these modes. Especially when it comes to art and Modernity’s “great divide” between poiesis and aesthesis, the conditions for attentional approaches appear largely pre-figured. The article discusses this pre-configuration and the institutionalized “freedoms” of art and its audience, respectively—including current calls to abolish such differentiations and to transgress the discursive boundaries of art.
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Pub Date : 2023-08-17DOI: 10.7146/nja.v32i65-66.140104
Matti Tainio
A cloudy November evening deep in an old forest. It is really dark, and I try to observe my environment. I discern the difference between the treetops and the dark sky and the snow-covered ground. Everything else is formless. My vision is quite useless, and the other senses are weak in these circumstances. Only the background hum is audible and most aromas are erased by the freezing temperature. In a winter outfit, all I can feel is the moving air on my face. Yet, this is not sensory deprivation, there are things to observe. What is it possible to discern when the visual stimulus is minimized? This article focuses on the aesthetic experience of darkness by analyzing a visit to a deep natural darkness and attempts to connect this distinct case to aesthetic theory. The emphasis is on the descriptive analysis of the challenges of seeing in the darkness.
{"title":"Nothing to See? Paying Attention in the Dark Environment","authors":"Matti Tainio","doi":"10.7146/nja.v32i65-66.140104","DOIUrl":"https://doi.org/10.7146/nja.v32i65-66.140104","url":null,"abstract":"A cloudy November evening deep in an old forest. It is really dark, and I try to observe my environment. I discern the difference between the treetops and the dark sky and the snow-covered ground. Everything else is formless. My vision is quite useless, and the other senses are weak in these circumstances. Only the background hum is audible and most aromas are erased by the freezing temperature. In a winter outfit, all I can feel is the moving air on my face. Yet, this is not sensory deprivation, there are things to observe. What is it possible to discern when the visual stimulus is minimized? This article focuses on the aesthetic experience of darkness by analyzing a visit to a deep natural darkness and attempts to connect this distinct case to aesthetic theory. The emphasis is on the descriptive analysis of the challenges of seeing in the darkness.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42005670","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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