Pub Date : 2021-07-02DOI: 10.7146/nja.v30i61-62.127857
Centre for the Study of the Networked Image, G. Cox, A. Dekker, A. Dewdney, Katrina Sluis
{"title":"Affordances of the Networked Image","authors":"Centre for the Study of the Networked Image, G. Cox, A. Dekker, A. Dewdney, Katrina Sluis","doi":"10.7146/nja.v30i61-62.127857","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127857","url":null,"abstract":"","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44835582","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.v30i61-62.127891
Laura U. Marks
{"title":"Talisman-Images","authors":"Laura U. Marks","doi":"10.7146/nja.v30i61-62.127891","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127891","url":null,"abstract":"","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42910015","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.v30i61-62.127896
Cecilia Sjöholm
{"title":"Images Do Not Take Sides","authors":"Cecilia Sjöholm","doi":"10.7146/nja.v30i61-62.127896","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127896","url":null,"abstract":"","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46333683","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.v30i61-62.127900
Christina Varvia (Images by Amel Alzakout)
{"title":"Image-Sections: The Evidentiary Capacity of Images to Sample the Lifeworld and Have an Operative Life","authors":"Christina Varvia (Images by Amel Alzakout)","doi":"10.7146/nja.v30i61-62.127900","DOIUrl":"https://doi.org/10.7146/nja.v30i61-62.127900","url":null,"abstract":"","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45695794","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 : 2020-11-22DOI: 10.7146/nja.v29i60.122843
Kristina Hermansson
This article explores manifestations of class from a combined aesthetical and political point of view, focusing on a selection of Swedish children’s picture books from 2009 to 2018, in which class differences are made prominent. In this sense, they can be regarded as radical. This study examines how political aspects are intertwined with literary, visual, and multimodal means. The main purpose is to examine how the political and aesthetical merge in the manifestations of class. The publishing of radical picture books during the 2000s and 2010s coincided with a rise of norm-criti-cal discourse, including a strong emphasis on diversity rather than on social transformation. The books, I argue, do not depict radical change on a collective level, but uses various aesthetic means in their manifestations of class and inequality. Theoretically, the anal-ysis mainly draws on Pierre Bourdieu’s theory of capital (1984), and Beverley Skeggs’s (1997) reasoning on class by adding the con-cept of respectability, as well as picturebook theory, and scholarly writing on radical picturebooks.
{"title":"REVOLUTION OR DIVERSITY? AESTHETIC AND POLITICAL MANIFESTATIONS OF CLASS IN THREE SWEDISH RADICAL PICTUREBOOKS FROM THE 2000S AND 2010S","authors":"Kristina Hermansson","doi":"10.7146/nja.v29i60.122843","DOIUrl":"https://doi.org/10.7146/nja.v29i60.122843","url":null,"abstract":"This article explores manifestations of class from a combined aesthetical and political point of view, focusing on a selection of Swedish children’s picture books from 2009 to 2018, in which class differences are made prominent. In this sense, they can be regarded as radical. This study examines how political aspects are intertwined with literary, visual, and multimodal means. The main purpose is to examine how the political and aesthetical merge in the manifestations of class. The publishing of radical picture books during the 2000s and 2010s coincided with a rise of norm-criti-cal discourse, including a strong emphasis on diversity rather than on social transformation. The books, I argue, do not depict radical change on a collective level, but uses various aesthetic means in their manifestations of class and inequality. Theoretically, the anal-ysis mainly draws on Pierre Bourdieu’s theory of capital (1984), and Beverley Skeggs’s (1997) reasoning on class by adding the con-cept of respectability, as well as picturebook theory, and scholarly writing on radical picturebooks.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44964062","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 : 2020-11-22DOI: 10.7146/nja.v29i60.122842
K. Malmio
The present article studies the representation of economy in Wunderkammer (2008), a collection of poetry by Finland-Swedish author Ralf Andtbacka. Going back to the historical form of cabinets of curiosities, Wunderkammer depicts acts of buying, selling, and collecting. By showing the connectivity of objects and their impact on human subjects, Andtbacka actualizes and deconstructs topics originally initiated by Karl Marx, such as value, fetish, commodifica-tion, and alienation. The portrayal of capitalism, both past and pres-ent, in the book is highly ambivalent. On the one hand, collecting functions as a critical, anticapitalistic act. On the other hand, eco-nomic discourse has invaded the text and turned the author into a writing machine powered by the energy of neoliberal labor. Besides an excess of objects, the poems display an overflow of information, a characteristic feature of a postcapitalist economy. As an exam-ple of cognitive mapping, Wunderkammer allegorically portrays humans, objects, and information in the middle of a paradoxical economic transformation.
{"title":"MARX ET CO REVISITED. REPRESENTATIONS OF THE ECONOMY IN RALF ANDTBACKA’S WUNDERKAMMER (2008)","authors":"K. Malmio","doi":"10.7146/nja.v29i60.122842","DOIUrl":"https://doi.org/10.7146/nja.v29i60.122842","url":null,"abstract":"The present article studies the representation of economy in Wunderkammer (2008), a collection of poetry by Finland-Swedish author Ralf Andtbacka. Going back to the historical form of cabinets of curiosities, Wunderkammer depicts acts of buying, selling, and collecting. By showing the connectivity of objects and their impact on human subjects, Andtbacka actualizes and deconstructs topics originally initiated by Karl Marx, such as value, fetish, commodifica-tion, and alienation. The portrayal of capitalism, both past and pres-ent, in the book is highly ambivalent. On the one hand, collecting functions as a critical, anticapitalistic act. On the other hand, eco-nomic discourse has invaded the text and turned the author into a writing machine powered by the energy of neoliberal labor. Besides an excess of objects, the poems display an overflow of information, a characteristic feature of a postcapitalist economy. As an exam-ple of cognitive mapping, Wunderkammer allegorically portrays humans, objects, and information in the middle of a paradoxical economic transformation.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44742284","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 : 2020-11-22DOI: 10.7146/nja.v29i60.122838
S. Daugaard
The article considers Gertrude Stein’s reflections about the increasing abstraction of economics in response to the Great Depression and Roosevelt’s New Deal in a number of explicitly political pieces from the mid-1930s, including “A Political Series” (1935), and her five brief newspaper commentaries on “money”: ”Money”, “More About Money”, “Still More About Money”, “All About Money”, and “My Last About Money” (1936). The article then relates them to Walter Benjamin’s and Giorgio Agamben’s ideas about the religious implications of the money system that resonate with Stein’s salute to the “believer in money” as security against contemporary authoritarian tendencies. Stein’s opinion pieces argue against taxation, unionism, and public spending, yet also demonstrate the slippery passage between her explicit conservatism, her economic liberalism and her still present radicalism and critique of patriarchal authority as they recycle crucial elements from contemporaneous works such The Geographical History of America (1935) and Everybody’s Autobiography (1937).
{"title":"ANYBODY LIVING A PRIVATE LIFE IS A BELIEVER IN MONEY. GERTRUDE STEIN, THE GREAT DEPRESSION, AND THE ABSTRACTION OF MONEY","authors":"S. Daugaard","doi":"10.7146/nja.v29i60.122838","DOIUrl":"https://doi.org/10.7146/nja.v29i60.122838","url":null,"abstract":"The article considers Gertrude Stein’s reflections about the increasing abstraction of economics in response to the Great Depression and Roosevelt’s New Deal in a number of explicitly political pieces from the mid-1930s, including “A Political Series” (1935), and her five brief newspaper commentaries on “money”: ”Money”, “More About Money”, “Still More About Money”, “All About Money”, and “My Last About Money” (1936). The article then relates them to Walter Benjamin’s and Giorgio Agamben’s ideas about the religious implications of the money system that resonate with Stein’s salute to the “believer in money” as security against contemporary authoritarian tendencies. Stein’s opinion pieces argue against taxation, unionism, and public spending, yet also demonstrate the slippery passage between her explicit conservatism, her economic liberalism and her still present radicalism and critique of patriarchal authority as they recycle crucial elements from contemporaneous works such The Geographical History of America (1935) and Everybody’s Autobiography (1937).","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45985676","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 : 2020-11-22DOI: 10.7146/nja.v29i60.122847
Joseph Vogl
Starting from the premise that the financial regime has become a power in and of itself—a fourth, ‘monetative’ power as it were—this essay gives an account of the ascendancy of finance and the shift from geopolitical to geo-economical order, within which there is no democratic legitimacy and no legal accountability and within which a new class conflict also emerges. It goes on to advance five theses on this new financial sovereignty, concluding that sovereign is he, who can transform his risks into other’s dangers and position him-self as the creditor of last resort.
{"title":"THE FINANCIAL REGIME","authors":"Joseph Vogl","doi":"10.7146/nja.v29i60.122847","DOIUrl":"https://doi.org/10.7146/nja.v29i60.122847","url":null,"abstract":"Starting from the premise that the financial regime has become a power in and of itself—a fourth, ‘monetative’ power as it were—this essay gives an account of the ascendancy of finance and the shift from geopolitical to geo-economical order, within which there is no democratic legitimacy and no legal accountability and within which a new class conflict also emerges. It goes on to advance five theses on this new financial sovereignty, concluding that sovereign is he, who can transform his risks into other’s dangers and position him-self as the creditor of last resort.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43275228","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 : 2020-11-22DOI: 10.7146/NJA.V29I60.122841
Dominique Routhier
This article discusses Fin de Copenhague, a Situationist book experiment from 1957 by Asger Jorn and Guy Debord. By way of a contextualizing archival study with special attention to Jorn’s contemporaneous book project Pour la forme, the article demonstrates that the Russian avant-garde book was a key influence if also a point of critical departure. On this reading, Fin de Copenhague marks a turn away from the unbridled technological optimism of the historical avant-garde. In its material implications and aesthetic choices, Fin de Copenhague draws attention to crucial changes in the capitalist mode of production and challenges the then nascent discourse about “full automation.”
本文讨论了阿斯格·约恩和盖伊·德波1957年出版的情景主义著作《哥本哈根的结局》。通过对档案的语境化研究，特别关注Jorn的当代书籍项目Pour la forme，本文证明了俄罗斯前卫书籍是一个关键的影响，同时也是一个关键的出发点。在这种解读下，《哥本哈根之角》标志着对历史先锋派肆无忌惮的技术乐观主义的背离。在它的物质含义和美学选择中，《哥本哈根之光》引起了人们对资本主义生产方式的关键变化的关注，并挑战了当时新生的关于“完全自动化”的话语。
{"title":"FULL AUTOMATION IN ITS INFANCY: THE SITUATIONIST AVANT-GARDE BOOK FIN DE COPENHAGUE","authors":"Dominique Routhier","doi":"10.7146/NJA.V29I60.122841","DOIUrl":"https://doi.org/10.7146/NJA.V29I60.122841","url":null,"abstract":"This article discusses Fin de Copenhague, a Situationist book experiment from 1957 by Asger Jorn and Guy Debord. By way of a contextualizing archival study with special attention to Jorn’s contemporaneous book project Pour la forme, the article demonstrates that the Russian avant-garde book was a key influence if also a point of critical departure. On this reading, Fin de Copenhague marks a turn away from the unbridled technological optimism of the historical avant-garde. In its material implications and aesthetic choices, Fin de Copenhague draws attention to crucial changes in the capitalist mode of production and challenges the then nascent discourse about “full automation.”","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45781746","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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