Pub Date : 2021-07-02DOI: 10.7146/nja.v30i61-62.127842
Heba Y. Amin
{"title":"The General's Stork","authors":"Heba Y. Amin","doi":"10.7146/nja.v30i61-62.127842","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127842","url":null,"abstract":"","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":"42213546","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.v30i61-62.127888
Ayesha Hameed
{"title":"The Plant and the Person","authors":"Ayesha Hameed","doi":"10.7146/nja.v30i61-62.127888","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127888","url":null,"abstract":"","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":"43427036","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.v30i61-62.127901
Eyal Weizman (in conversation with Jacob Lund)
JACOB LUND: I would like to talk to you about the role of images in the work of Forensic Architecture in general, and more specifically, about the notion of “the hyper-aesthetic image” that you develop in your forthcoming book co-authored with Matthew Fuller, Investigative Aesthetics (Verso).1 In the book you argue for the function of aesthetics beyond perception. We, along with animals, plants and other living organic cells, are not only sentient beings. We may also act as sensors for—or traces of—events at levels other than sentience. I am very intrigued by this idea about “aesthetics beyond perception.” What are the implications of this expanded notion of aesthetics for our conception of images and how they are generated?
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Pub Date : 2021-07-02DOI: 10.7146/nja.v30i61-62.127894
Raqs Media Collective
{"title":"The Event-Shaped Hole, and the Photographic Image","authors":"Raqs Media Collective","doi":"10.7146/nja.v30i61-62.127894","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127894","url":null,"abstract":"","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":"45832855","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.v30i61-62.127890
E. Leslie
Life begins with cells. That is the first chapter of every book on biology. Life is cells. Life has no existence before the cell. That is to say, it goes something like this: “Cells are basic units of structure and function for all living organisms and the structural order in cells forms the basis for properties of life including interaction with environment, movement, energy processing, growth, reproduction and evolution.” The cell appeared as image, as diagram, until it became represented in some more technological manner, which is, not to say photographed, strictly, but digitally apprehended. Recently, I have seen a human cell and its contents shimmering in purple, pink, green and yellow, and blue. What I have seen is “an image of a cell” made by a biomedical animator, Evan Ingersoll, in association with biological chemist, scientific visualization researcher and artist, Gael McGill. Its lateral view shows the internal segments of a cell: perceptible are the cell wall, Golgi apparatus, mitochondria, endoplasmic reticulum, and hundreds of protein structures and membrane-bound organelles. It is a Eukaryotic cell, which is found in humans, animals, fungi, and plants. The rendering of the cell—which can be clicked on, enlarged, manipulated, its aspects highlighted, its pathways and movements delineated—is an effort to recapitulate the myriad pathways that are mobilised in signal transduction, protein synthesis, endocytosis, vesicular transport, cell-cell adhesion, apoptosis, and other such biological processes. If we engage with this image, we can see ourselves at work, or perceive work and process underway inside ourselves in our smallest parts, the minimum point of life—or, if the cell is not us, and this one is not, of course, directly, then what we see is something that has not been seen before, in all its intricacy, and we should feel some intimate relation to it, if only because it has made so much effort to please us. Do we see the cell? Do we see something that is like the cell? Is the cell an image? Or do we see instead a diagram come to some sort of life, a model painted, dressed in some way? Is this what is presented to us: something known in itself that has been converted into something to be known by us? There is no cell that has these colours in this way. These wild colours, these sparkling effects. Like blossoms and golden ONTOLOGY OF AN IMAGE
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Pub Date : 2021-07-02DOI: 10.7146/nja.v30i61-62.127840
J. Lund
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Pub Date : 2021-07-02DOI: 10.7146/nja.v30i61-62.127899
Peter Szendy
What is “iconomy” (a portmanteau of “icon” and “economy”)? And how does this concept capture (if it does) a “changing ontology of the image” that the questionnaire for this issue of The Nordic Journal of Aesthetics invites us to consider? In The Supermarket of the Visible, I developed a concept of iconomy as an explicit response to what we could call a relational ontology of the image. An image, I wrote, “is always more or less than an image”: “An image has value only in relation to other images.”1 Such a statement about the relational value of the image could easily be misunderstood. One could think that it holds only for filmic images that are meant to be unreeled in succession (“the value of an image,” Robert Bresson said, “must be, above all, an exchange value”).2 Or one could think that it holds only for the images that circulate today on social media, where they are constantly displaced and replaced, according to an exacerbated logic of “exhibition value” (Walter Benjamin’s “iconomic” translation of Marx’s “exchange value”).3 My contention, though, was not simply that images have become relational or differential entities within a worldwide system of exchanges. It was rather that, with the hypercirculation of contemporary images, what comes to the fore is the heterochronic tension that is inherent to any image as such. In other words: images have always consisted in their exchangeability with others or with other versions (formats) of themselves, but the speed of their exchanges was slow enough to make them seem completely stable and self-contained, whereas it now tends to accelerate to the point where it overshadows the image itself. In The Supermarket of the Visible, I offered Brian De Palma’s 1976 film Obsession as an example of “a masterful staging of different speeds in the exchange between images”: while a close-up of the paddle wheel of a boat evokes a slide carousel rotating with extreme velocity, the fresco that appears underneath another fresco when it flakes off because of humidity is the result of a long-term transformation. This is what led me to conclude that, “whether they change places every millisecond or have to wait several centuries,” images can never be considered as definitely individualized entities: “from the point of view of TOWARDS A GENERAL ICONOMY
什么是“经济”(“icon”和“economy”的合成词)?这个概念如何捕捉到(如果确实如此的话)这期《北欧美学杂志》的问卷邀请我们思考的“图像本体论的变化”?在《可见的超市》一书中，我提出了一个经济概念，作为对我们所谓的图像关系本体的明确回应。我写道，一幅图像“总是或多或少都是一幅图像”:“一幅图像只有在与其他图像的关系中才有价值。”这种关于图像关系价值的说法很容易被误解。人们可能会认为，它只适用于那些意在连续放映的电影图像(“图像的价值，”罗伯特·布列松(Robert Bresson)说，“首先必须是一种交换价值”)或者人们可以认为，它只适用于今天在社交媒体上流传的图像，根据一种加剧的“展示价值”逻辑(沃尔特·本雅明对马克思的“交换价值”的“经济”翻译)，它们不断被取代和替换然而，我的观点并不仅仅是图像在全球交流系统中已经成为关系或差异实体。更确切地说，随着当代图像的过度循环，出现的是任何图像固有的异时张力。换句话说:图像一直存在于与他人或与自己的其他版本(格式)的可交换性中，但它们的交换速度慢到足以使它们看起来完全稳定和自成一体，而现在却趋于加速到掩盖图像本身的地步。在《可见的超市》中，我以布莱恩·德·帕尔马(Brian De Palma) 1976年的电影《痴迷》(Obsession)为例，展示了“在图像交换中不同速度的精湛表演”:一艘船的桨轮特写让人想起以极快的速度旋转的旋转盘，而另一幅壁画由于湿度而脱落时出现在另一幅壁画下面的壁画则是长期变形的结果。这让我得出结论，“无论它们每毫秒改变一次位置，还是需要等待几个世纪，”图像永远不能被视为绝对个性化的实体:“从《走向一般经济》的角度来看
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