Pub Date : 2022-10-10DOI: 10.7146/nja.v31i64.134223
Tue Andersen Nexø
The essay examines the intersection between aesthetic the-ory and representations of the city in the periodical essay The Spectator (1711-1714). Focusing on this intersection allows for an analysis of the cultural work aesthetic pleasure is supposed to do according to The Spectator, and also shows key differenc-es between “spectatorial” and later, Kantian aesthetics. In The Spectator aesthetic pleasure has to do with producing a model for how one should relate to the realm of politics—rather than disin-terest, the precondition of aesthetic pleasure turns out to be disengagement. Read through the lens of the city, aesthetic pleasure turns out to be a key component in The Spectator’s vision of how to live a good life as a privileged subject of a modern state.
{"title":"Watching the City with Pleasure","authors":"Tue Andersen Nexø","doi":"10.7146/nja.v31i64.134223","DOIUrl":"https://doi.org/10.7146/nja.v31i64.134223","url":null,"abstract":"The essay examines the intersection between aesthetic the-ory and representations of the city in the periodical essay The Spectator (1711-1714). Focusing on this intersection allows for an analysis of the cultural work aesthetic pleasure is supposed to do according to The Spectator, and also shows key differenc-es between “spectatorial” and later, Kantian aesthetics. In The Spectator aesthetic pleasure has to do with producing a model for how one should relate to the realm of politics—rather than disin-terest, the precondition of aesthetic pleasure turns out to be disengagement. Read through the lens of the city, aesthetic pleasure turns out to be a key component in The Spectator’s vision of how to live a good life as a privileged subject of a modern state.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48087746","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 : 2022-10-10DOI: 10.7146/nja.v31i64.134218
Lucie Tuma, Kiran Kumar
NOTE FROM THE AUTHORSThe context of our co-authored contribution to the ‘Aesthetic Relations’ conference-publication is a performance devised by Lucie in 2020 to which she invited Kiraṇ as a collaborator. Due to international travel restrictions however, our physical co-pres-ence in a studio and on stage remained suspended throughout that year. Our exchanges nevertheless continued in adaptive turns both before and after that performance. It is this condition of, at once, compromised yet consistent relation with each other that we refer to as ‘suspension’. For us this suspension was at first admittedly a source of disruption, even anxiety of interrupting our artistic flow. Yet there came a point during the year when this swelling tension ruptured, and a strange ease set in. Nothing had changed on the surface (travel restrictions were only extended), yet something had shifted under our skins. While still physically across continents, our online presentation at the conference was a joint essay at articulating, both textually and performatively, the unassuming complexity of this thing that is suspension. By the time of this publication in 2022, we have somewhat broken this suspension by physically meeting in Switzerland in August 2021. As such we have decided not to edit the text that was performed at the conference back in January 2021, and only append it with this contextual note. Here we must add that the text in one of the sections to follow (which begins with “Please turn your head to your left..”) is intended as a score for action. Originally spoken in our voices, we now ask you to invite another person to read this section aloud to you at an unhurried pace, while you respond to the text’s suggestions. As for us, we continue our collabora-tive artistic research of working in and with suspension as artistic strategy through our ongoing exchanges and upcoming projects.
{"title":"Temporality of Suspension","authors":"Lucie Tuma, Kiran Kumar","doi":"10.7146/nja.v31i64.134218","DOIUrl":"https://doi.org/10.7146/nja.v31i64.134218","url":null,"abstract":"NOTE FROM THE AUTHORSThe context of our co-authored contribution to the ‘Aesthetic Relations’ conference-publication is a performance devised by Lucie in 2020 to which she invited Kiraṇ as a collaborator. Due to international travel restrictions however, our physical co-pres-ence in a studio and on stage remained suspended throughout that year. Our exchanges nevertheless continued in adaptive turns both before and after that performance. It is this condition of, at once, compromised yet consistent relation with each other that we refer to as ‘suspension’. For us this suspension was at first admittedly a source of disruption, even anxiety of interrupting our artistic flow. Yet there came a point during the year when this swelling tension ruptured, and a strange ease set in. Nothing had changed on the surface (travel restrictions were only extended), yet something had shifted under our skins. While still physically across continents, our online presentation at the conference was a joint essay at articulating, both textually and performatively, the unassuming complexity of this thing that is suspension. By the time of this publication in 2022, we have somewhat broken this suspension by physically meeting in Switzerland in August 2021. As such we have decided not to edit the text that was performed at the conference back in January 2021, and only append it with this contextual note. Here we must add that the text in one of the sections to follow (which begins with “Please turn your head to your left..”) is intended as a score for action. Originally spoken in our voices, we now ask you to invite another person to read this section aloud to you at an unhurried pace, while you respond to the text’s suggestions. As for us, we continue our collabora-tive artistic research of working in and with suspension as artistic strategy through our ongoing exchanges and upcoming projects.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45087898","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 : 2022-10-10DOI: 10.7146/nja.v31i64.134224
Christa Holm Vogelius
This short personal essay considers the principles behind housing reform in New York at the turn of the last century in light of the controversies around the ghetto law in contemporary Denmark. I take the example of documentary journalist and reformer Jacob Riis, who photographed housing conditions in immigrant neighbor-hoods on the Lower East Side in New York at the turn of the twentieth century, as a case study for considering the ways that race informed—and continues to inform—ideals around urban planning. Conversely, I also consider contemporary controversies around the ghetto law, and activism by community members as a way of re-thinking a research approach to historical urban reforms.
{"title":"Housing Reform and the Ghetto Law in the Time of Covid","authors":"Christa Holm Vogelius","doi":"10.7146/nja.v31i64.134224","DOIUrl":"https://doi.org/10.7146/nja.v31i64.134224","url":null,"abstract":"This short personal essay considers the principles behind housing reform in New York at the turn of the last century in light of the controversies around the ghetto law in contemporary Denmark. I take the example of documentary journalist and reformer Jacob Riis, who photographed housing conditions in immigrant neighbor-hoods on the Lower East Side in New York at the turn of the twentieth century, as a case study for considering the ways that race informed—and continues to inform—ideals around urban planning. Conversely, I also consider contemporary controversies around the ghetto law, and activism by community members as a way of re-thinking a research approach to historical urban reforms.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47151660","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 : 2022-10-10DOI: 10.7146/nja.v31i64.134221
B. Eriksson, A. Nielsen
Some low-income social housing neighborhoods are undergoing radical transformations in Denmark. Classified as “ghettos” and “parallel societies,” and marked by area-specific legislation, we identify a triple exposure in these neighborhoods. The residents are exposed to inequality, stigmatization, and discriminatory inter-ventions. Parallel to this, cultural policies and programs have ap-proached these same neighborhoods based on the assumption that they can be “elevated” through art. Drawing upon a broader re-search in art project in four social housing areas (Eriksson, Nielsen, Sørensen and Yates, 2022), this article focuses on Gellerup Park in Aarhus and considers how two site-specific art platforms address the site and time-specific conditions of the area, offering alterna-tive relations and forms of engagement.
{"title":"Changing Gellerup Park","authors":"B. Eriksson, A. Nielsen","doi":"10.7146/nja.v31i64.134221","DOIUrl":"https://doi.org/10.7146/nja.v31i64.134221","url":null,"abstract":"Some low-income social housing neighborhoods are undergoing radical transformations in Denmark. Classified as “ghettos” and “parallel societies,” and marked by area-specific legislation, we identify a triple exposure in these neighborhoods. The residents are exposed to inequality, stigmatization, and discriminatory inter-ventions. Parallel to this, cultural policies and programs have ap-proached these same neighborhoods based on the assumption that they can be “elevated” through art. Drawing upon a broader re-search in art project in four social housing areas (Eriksson, Nielsen, Sørensen and Yates, 2022), this article focuses on Gellerup Park in Aarhus and considers how two site-specific art platforms address the site and time-specific conditions of the area, offering alterna-tive relations and forms of engagement.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":"85 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41243664","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 : 2022-10-10DOI: 10.7146/nja.v31i64.134219
L. Gabriel, Stefan Hölscher, Julia Schade, Ruth Schmidt
This contribution takes into focus elements as scenes of thought in order to contest our colonial, anthropocentric and extractivist mo-dernity: fires of burning fossil fuels, waves of the open sea, shores as the landscape of islands, clouds in the sky and beyond. We sug-gest that these motifs bear the possibility to examine the problems of our present as well as to develop other, differing and new rela-tionalities.
{"title":"Elements Matter","authors":"L. Gabriel, Stefan Hölscher, Julia Schade, Ruth Schmidt","doi":"10.7146/nja.v31i64.134219","DOIUrl":"https://doi.org/10.7146/nja.v31i64.134219","url":null,"abstract":"This contribution takes into focus elements as scenes of thought in order to contest our colonial, anthropocentric and extractivist mo-dernity: fires of burning fossil fuels, waves of the open sea, shores as the landscape of islands, clouds in the sky and beyond. We sug-gest that these motifs bear the possibility to examine the problems of our present as well as to develop other, differing and new rela-tionalities.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44274663","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 : 2022-10-10DOI: 10.7146/nja.v31i64.134220
K. Dirckinck-Holmfeld
In this essay, I explore the founding violence that the Royal Danish Academy of Fine Arts can be said to rest on. I propose to view the building of Charlottenborg Castle which houses the Royal Danish Academy of Fine Arts as a “material witness” (Schuppli) to colonial history. I suggest that the building forms part of a material “cultural archive” (Wekker) of colonialism that can be seen as an entangled archive, that is simultaneously an entanglement of overlapping histories, and an instrument that disentangled and disconnected communities affected by colonialism by producing a radical cut between the colonized communities and their creative expression. By juxtaposing paintings from the colonial era with contemporary art works the essay explores the following questions: What does it mean to conduct art education on such contested grounds? What are the ramifications of colonial-modernity within the art institutions today? And how does it continue (indirectly or directly) to distribute and determine what counts as a work of art and who counts as a subject?
在这篇文章中，我探讨了丹麦皇家美术学院（Royal Danish Academy of Fine Arts）可以说是建立在其基础上的暴力事件。我建议将丹麦皇家美术院所在的夏洛滕堡城堡（Charlottenborg Castle）的建筑视为殖民历史的“物质见证”（Schuppli）。我认为，这座建筑构成了殖民主义物质“文化档案”（Wekker）的一部分，可以被视为一个纠缠的档案，同时也是一个重叠历史的纠缠，也是一个工具，通过在被殖民的社区及其创造性表达之间产生激进的切割，来解开受殖民主义影响的社区的纠缠和脱节。通过将殖民时代的绘画与当代艺术作品并置，本文探讨了以下问题：在这样有争议的基础上进行艺术教育意味着什么？殖民现代性在当今艺术机构中产生了什么影响？它如何继续（间接或直接）分发和确定什么是艺术品，谁是主体？
{"title":"Entangled Archives","authors":"K. Dirckinck-Holmfeld","doi":"10.7146/nja.v31i64.134220","DOIUrl":"https://doi.org/10.7146/nja.v31i64.134220","url":null,"abstract":"In this essay, I explore the founding violence that the Royal Danish Academy of Fine Arts can be said to rest on. I propose to view the building of Charlottenborg Castle which houses the Royal Danish Academy of Fine Arts as a “material witness” (Schuppli) to colonial history. I suggest that the building forms part of a material “cultural archive” (Wekker) of colonialism that can be seen as an entangled archive, that is simultaneously an entanglement of overlapping histories, and an instrument that disentangled and disconnected communities affected by colonialism by producing a radical cut between the colonized communities and their creative expression. By juxtaposing paintings from the colonial era with contemporary art works the essay explores the following questions: What does it mean to conduct art education on such contested grounds? What are the ramifications of colonial-modernity within the art institutions today? And how does it continue (indirectly or directly) to distribute and determine what counts as a work of art and who counts as a subject?","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46756548","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 : 2022-10-10DOI: 10.7146/nja.v31i64.134222
Ragnhild Lome
In the last decades, streams within posthumanism and new materialism, have turned their attention to the phenomenon of agency. And they have done so in ways which open the phenomenon for social and cultural historical investigations, relevant for cultural studies and literary studies alike. This article uses a concrete case—the melodramatic novel Koloss by Norwegian author Finn Alnæs—in order to speculate on how a literary form can be seen to co-evolve—or in this case, clash—with fluctuations in the cultural history of agency. In the 1960s—the heydays of cybernetics—a discrepancy can be observed, between the nourishment of individualism in politics and advertisement, and the distribution of individual agency in the new emerging technologies of cybernetics, which pushed agency as a question in the forefront of a series of novels, Koloss included. However, the novel’s discussion of agency was ignored by the critics, as well as in the scholarly literature to follow. In an effort to get closer to the co-development of ideas of agency and aesthetic form, the article asks why this has been the case. Did the melodramatic form of the novel stand in the way of its aesthetic reflection on agency? And could the novel and its reception therefore be seen as an example of the existence of complex feedback-loops, between ideas of agency in a given culture and aesthetic form?
{"title":"Melodrama of Possessive Agency","authors":"Ragnhild Lome","doi":"10.7146/nja.v31i64.134222","DOIUrl":"https://doi.org/10.7146/nja.v31i64.134222","url":null,"abstract":"In the last decades, streams within posthumanism and new materialism, have turned their attention to the phenomenon of agency. And they have done so in ways which open the phenomenon for social and cultural historical investigations, relevant for cultural studies and literary studies alike. This article uses a concrete case—the melodramatic novel Koloss by Norwegian author Finn Alnæs—in order to speculate on how a literary form can be seen to co-evolve—or in this case, clash—with fluctuations in the cultural history of agency. In the 1960s—the heydays of cybernetics—a discrepancy can be observed, between the nourishment of individualism in politics and advertisement, and the distribution of individual agency in the new emerging technologies of cybernetics, which pushed agency as a question in the forefront of a series of novels, Koloss included. However, the novel’s discussion of agency was ignored by the critics, as well as in the scholarly literature to follow. In an effort to get closer to the co-development of ideas of agency and aesthetic form, the article asks why this has been the case. Did the melodramatic form of the novel stand in the way of its aesthetic reflection on agency? And could the novel and its reception therefore be seen as an example of the existence of complex feedback-loops, between ideas of agency in a given culture and aesthetic form?","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46313869","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 : 2021-07-02DOI: 10.7146/nja.v30i61-62.127858
Yves Citton
CAN ONE RESPOND TO A QUESTIONNAIRE WITH QUESTIONS? In the questionnaire he sent us for a special issue of The Nordic Journal of Aesthetics, Jacob Lund asks: “To which extent do the advent of operative images and machine vision and the increasing number of images that become networked change the ontology of the image?” If we agree with the statement that we can no longer “think of images as relatively individualized or delimited phenomena,” but that, increasingly, “images seem to gain meaning and significance through their relationships with other images, and from being networked,” what philosophical, political and aesthetic consequences should we draw from this (new?) state of affair? While genuinely attempting to address such issues, I will rather do so by formulating further questions than by bringing assertive answers.
{"title":"Could Deep Fakes Uncover the Deeper Truth of an Ontology of the Networked Images?","authors":"Yves Citton","doi":"10.7146/nja.v30i61-62.127858","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127858","url":null,"abstract":"CAN ONE RESPOND TO A QUESTIONNAIRE WITH QUESTIONS? In the questionnaire he sent us for a special issue of The Nordic Journal of Aesthetics, Jacob Lund asks: “To which extent do the advent of operative images and machine vision and the increasing number of images that become networked change the ontology of the image?” If we agree with the statement that we can no longer “think of images as relatively individualized or delimited phenomena,” but that, increasingly, “images seem to gain meaning and significance through their relationships with other images, and from being networked,” what philosophical, political and aesthetic consequences should we draw from this (new?) state of affair? While genuinely attempting to address such issues, I will rather do so by formulating further questions than by bringing assertive answers.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47217429","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 : 2021-07-02DOI: 10.7146/nja.v30i61-62.127897
T. Smith
Jean-Paul Sartre’s remark, made in his The Imagination (1936), is used as a prefatory quotation by W.J.T. Mitchell in Iconology: Image, Text, Ideology (1986), his classic study of the nature of images and the differences between images and words.1 Like everything else that Mitchell (and Sartre) says about these topics, this gesture is immediately relevant to the issues raised by the questionnaire. Indeed, the first two sentences of the questionnaire set up a relationship between images and imagery, or single images and the overall image flow, that is indeed “traditional,” in fact, ancient, as a presumption, one that is so instinctive to thinking about images that it is almost everywhere taken as fundamental. It is also, as Sartre suggests, problematical.
{"title":"Iconomy, Iconoclash ≠ Iconomics","authors":"T. Smith","doi":"10.7146/nja.v30i61-62.127897","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127897","url":null,"abstract":"Jean-Paul Sartre’s remark, made in his The Imagination (1936), is used as a prefatory quotation by W.J.T. Mitchell in Iconology: Image, Text, Ideology (1986), his classic study of the nature of images and the differences between images and words.1 Like everything else that Mitchell (and Sartre) says about these topics, this gesture is immediately relevant to the issues raised by the questionnaire. Indeed, the first two sentences of the questionnaire set up a relationship between images and imagery, or single images and the overall image flow, that is indeed “traditional,” in fact, ancient, as a presumption, one that is so instinctive to thinking about images that it is almost everywhere taken as fundamental. It is also, as Sartre suggests, problematical.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42040229","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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