Pub Date : 2020-11-22DOI: 10.7146/nja.v29i60.122844
Vera Knútsdóttir
In October 2008, one of the largest bank crashes in history struck Iceland, a country of three hundred and thirty five thousand inhab-itants. The aim of the article is to examine two cultural responses to the crash and the crisis that followed. More precisely, the aim is to analyse how the creation of the haunted house in I Remember You, a crash-horror story by crime writer Yrsa Sigurðardóttir, as well as the spectral half-built houses portrayed by visual artist Guðjón Ketilsson refer quite directly, yet spectrally, to the period. The spec-tral themes of the two works give the opportunity to discuss the moment following the crash as a moment of haunting—but who is haunted and by whom?
{"title":"SPECTRAL MEMORIES: AESTHETIC RESPONSES TO THE FINANCIAL CRASH IN ICELAND 2008","authors":"Vera Knútsdóttir","doi":"10.7146/nja.v29i60.122844","DOIUrl":"https://doi.org/10.7146/nja.v29i60.122844","url":null,"abstract":"In October 2008, one of the largest bank crashes in history struck Iceland, a country of three hundred and thirty five thousand inhab-itants. The aim of the article is to examine two cultural responses to the crash and the crisis that followed. More precisely, the aim is to analyse how the creation of the haunted house in I Remember You, a crash-horror story by crime writer Yrsa Sigurðardóttir, as well as the spectral half-built houses portrayed by visual artist Guðjón Ketilsson refer quite directly, yet spectrally, to the period. The spec-tral themes of the two works give the opportunity to discuss the moment following the crash as a moment of haunting—but who is haunted and by whom?","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":"42977615","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.v29i60.122845
Emma Sofie Brogaard Jespersen
In The Uprising: On Poetry and Finance (2012), Franco ‘Bifo’ Berardi unfolds a political and clinical diagnosis of contemporary society, stating that the crisis we experience today is a permanent state of absent social autonomy and political agency. This crisis is not solely economic but is caused by semio-capitalism impacting all spheres of human life, affecting sensibility in particular—the linguistic and physical-sensuous link between the individual and the world. Taking up the term sensibility as a bodily basis of experience and as an aesthetic notion, in this article I will explore the relation between individual and collective bodies, the crisis as a suspension of change, and literature, focusing on the Danish poet Ursula Andkjær Olsen’s 2017 lunatic and fragmented novel of love and economy The Crisis Notebooks, but also with reference to some of her other work(s). I argue that the bodily experience of crisis, as expressed in this novel, leads to an inhibited social sensibility but also, paradoxically, to a radical openness towards the world. With reference to the Danish literary scholar Anne Fastrup’s interpretation of French vitalism’s idea of sensibility in The Movement of Sensibility (2007), I suggest that a more ambiguous, material notion of both a constructive and a destructive sensibility is crucial for its understanding, and hence—for an understanding of the relationship between body and crisis as expressed in The Crisis Notebooks. Finally, I suggest that an aesthetic notion of sensibility can provide a prism through which relations between today’s financial mechanisms and a sociocultural experience of crisis are rendered visible—if not sensuous—and it is from here that alternatives to the crisis can be found, felt, formulated or fabulated.
{"title":"SENSIBILITY AND SEMIO-CAPITALISM – A BODILY EXPERIENCE OF CRISIS IN URSULA ANDKJÆR OLSEN’S THE CRISIS NOTEBOOKS","authors":"Emma Sofie Brogaard Jespersen","doi":"10.7146/nja.v29i60.122845","DOIUrl":"https://doi.org/10.7146/nja.v29i60.122845","url":null,"abstract":"In The Uprising: On Poetry and Finance (2012), Franco ‘Bifo’ Berardi unfolds a political and clinical diagnosis of contemporary society, stating that the crisis we experience today is a permanent state of absent social autonomy and political agency. This crisis is not solely economic but is caused by semio-capitalism impacting all spheres of human life, affecting sensibility in particular—the linguistic and physical-sensuous link between the individual and the world. Taking up the term sensibility as a bodily basis of experience and as an aesthetic notion, in this article I will explore the relation between individual and collective bodies, the crisis as a suspension of change, and literature, focusing on the Danish poet Ursula Andkjær Olsen’s 2017 lunatic and fragmented novel of love and economy The Crisis Notebooks, but also with reference to some of her other work(s). I argue that the bodily experience of crisis, as expressed in this novel, leads to an inhibited social sensibility but also, paradoxically, to a radical openness towards the world. With reference to the Danish literary scholar Anne Fastrup’s interpretation of French vitalism’s idea of sensibility in The Movement of Sensibility (2007), I suggest that a more ambiguous, material notion of both a constructive and a destructive sensibility is crucial for its understanding, and hence—for an understanding of the relationship between body and crisis as expressed in The Crisis Notebooks. Finally, I suggest that an aesthetic notion of sensibility can provide a prism through which relations between today’s financial mechanisms and a sociocultural experience of crisis are rendered visible—if not sensuous—and it is from here that alternatives to the crisis can be found, felt, formulated or fabulated.","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":"45203784","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 : 2020-11-20DOI: 10.7146/nja.v29i60.122834
M. Poovey
This article ponders the questions of why so many literary scholars want to bring literary and economic issues together now, and why it seems so difficult to establish a genuinely cross-disciplinary con-versation.1 Offering two examples of approaches to the intersec-tion of literary and economic issues that privilege methodology over themes, history, or theory—a very brief genealogy of the concept of a national economy and an equally brief analysis of derivatives—the article calls for an ongoing reflection on whether literary and cultural scholars have the right tools for the job and, conversely, the right job for our tools.
{"title":"THE RIGHT TOOLS FOR THE JOB: THE RIGHT JOB FOR OUR TOOLS","authors":"M. Poovey","doi":"10.7146/nja.v29i60.122834","DOIUrl":"https://doi.org/10.7146/nja.v29i60.122834","url":null,"abstract":"This article ponders the questions of why so many literary scholars want to bring literary and economic issues together now, and why it seems so difficult to establish a genuinely cross-disciplinary con-versation.1 Offering two examples of approaches to the intersec-tion of literary and economic issues that privilege methodology over themes, history, or theory—a very brief genealogy of the concept of a national economy and an equally brief analysis of derivatives—the article calls for an ongoing reflection on whether literary and cultural scholars have the right tools for the job and, conversely, the right job for our tools.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42915578","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 : 2020-11-20DOI: 10.7146/nja.v29i60.122836
Torsten Andreasen, M. Frantzen, Frederik Tygstrup
{"title":"INTRODUCTION: AESTHETICS OF FINANCE","authors":"Torsten Andreasen, M. Frantzen, Frederik Tygstrup","doi":"10.7146/nja.v29i60.122836","DOIUrl":"https://doi.org/10.7146/nja.v29i60.122836","url":null,"abstract":"","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42803780","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 : 2020-05-20DOI: 10.7146/nja.v29i59.120477
Z. Somhegyi
{"title":"EXPLORATIONS OF THE LANDSCAPE","authors":"Z. Somhegyi","doi":"10.7146/nja.v29i59.120477","DOIUrl":"https://doi.org/10.7146/nja.v29i59.120477","url":null,"abstract":"","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48335745","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 : 2020-05-20DOI: 10.7146/nja.v29i59.120470
Jacob Wamberg
This article analyses 2001 in terms of what I term paleofuturism. Fusing deep future and deep past, this cyclical figure reconciles rational machinic intelligence with diverse repressed temporal layers: archaic cultures, the embryonic state of individuals, and bygone biological and geological eras. In 2001, paleofuturism is nourished by Nietzsche’s Ubermensch of the future, reborn as a child, and by Jungian ideas of individuation, the reconciliation with the shadow of the collective unconscious that leads to the black cosmos itself. Further paleofuturist contexts for 2001 are explored in the so-called “ancient astronaut thesis” of science fiction, speculative science, and pseudo-science. Finally, in minimalism and earth art of the late 1960s we meet a structural parallel to 2001’s bypassing of the organic human body, one that bridges the inorganic entropic realities of deep future and deep past.
{"title":"MONOLITH IN A HOLLOW: PALEOFUTURISM AND EARTH ART IN STANLEY KUBRICK’S 2001: A SPACE ODYSSEY","authors":"Jacob Wamberg","doi":"10.7146/nja.v29i59.120470","DOIUrl":"https://doi.org/10.7146/nja.v29i59.120470","url":null,"abstract":"This article analyses 2001 in terms of what I term paleofuturism. Fusing deep future and deep past, this cyclical figure reconciles rational machinic intelligence with diverse repressed temporal layers: archaic cultures, the embryonic state of individuals, and bygone biological and geological eras. In 2001, paleofuturism is nourished by Nietzsche’s Ubermensch of the future, reborn as a child, and by Jungian ideas of individuation, the reconciliation with the shadow of the collective unconscious that leads to the black cosmos itself. Further paleofuturist contexts for 2001 are explored in the so-called “ancient astronaut thesis” of science fiction, speculative science, and pseudo-science. Finally, in minimalism and earth art of the late 1960s we meet a structural parallel to 2001’s bypassing of the organic human body, one that bridges the inorganic entropic realities of deep future and deep past.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45572517","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 : 2020-05-20DOI: 10.7146/nja.v29i59.120475
Alex Fleck
{"title":"AN AESTHETICS OF THE METAINTERFACE","authors":"Alex Fleck","doi":"10.7146/nja.v29i59.120475","DOIUrl":"https://doi.org/10.7146/nja.v29i59.120475","url":null,"abstract":"","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41494385","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 : 2020-05-20DOI: 10.7146/nja.v29i59.120469
Lasse Hodne
The taste for classical art that induced museums in the West to acquire masterpieces from ancient Greece and Rome for their collections was stimulated largely by the writings of Johann Joachim Winckelmann. In the past decade, a number of articles have claimed that Winckelmann’s glorification of marble statues representing the white, male body promotes notions of white supremacy. The present article challenges this view by examining theories prevalent in the eighteenth century (especially climate theory) that affected Winckelmann’s views on race. Through an examination of different types of classicism, the article also seeks to demonstrate that Winckelmann’s aesthetics were opposed to the eclectic use of ancient models typical of the fascist regimes of the twentieth century.
约翰·约阿希姆·温克尔曼（Johann Joachim Winckelmann）的作品在很大程度上激发了西方博物馆对古典艺术的兴趣，促使它们从古希腊和罗马获得杰作作为藏品。在过去的十年里，许多文章声称，温克尔曼对代表白人男性身体的大理石雕像的赞美宣扬了白人至上的观念。本文通过考察18世纪流行的影响温克尔曼种族观的理论（尤其是气候理论）来挑战这一观点。通过对不同类型的古典主义的考察，本文还试图证明温克尔曼的美学反对对二十世纪法西斯政权典型的古代模式的折衷使用。
{"title":"WINCKELMANN’S APOLLO AND THE PHYSIOGNOMY OF RACE","authors":"Lasse Hodne","doi":"10.7146/nja.v29i59.120469","DOIUrl":"https://doi.org/10.7146/nja.v29i59.120469","url":null,"abstract":"The taste for classical art that induced museums in the West to acquire masterpieces from ancient Greece and Rome for their collections was stimulated largely by the writings of Johann Joachim Winckelmann. In the past decade, a number of articles have claimed that Winckelmann’s glorification of marble statues representing the white, male body promotes notions of white supremacy. The present article challenges this view by examining theories prevalent in the eighteenth century (especially climate theory) that affected Winckelmann’s views on race. Through an examination of different types of classicism, the article also seeks to demonstrate that Winckelmann’s aesthetics were opposed to the eclectic use of ancient models typical of the fascist regimes of the twentieth century.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48130570","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 : 2020-05-20DOI: 10.7146/nja.v29i59.120472
Andreas Helles Pedersen
In claiming that metadata possess the power to put historical awareness into the act of listening, this article examines digital music use as an aesthetic situation driven by potentialities of becoming. Working from a theoretical foundation amalgamating digital music archives and metadata as environments the article discusses Georgina Born’s notion of musical assemblages alongside the concept of virtuality, and by letting these meet the article argues for a musical assemblage built from sensibilities of becoming rather than layers of mediation. The inner workings of digital music use constitute an ecology in which recorded music history moves and reconnects, and this makes the historicity of recorded music be fluid, thus turning listening into a historicised action. In exemplifying this, the article discusses some of the strategic programming of metadata on the digital music platform Diskoteket, and through an analysis of sampled music, the prospects of recorded music’s historicity are shown as affective capacities.
{"title":"DIGITAL MUSIC USE AS ECOLOGICAL THINKING: METADATA AND HISTORICISED LISTENING","authors":"Andreas Helles Pedersen","doi":"10.7146/nja.v29i59.120472","DOIUrl":"https://doi.org/10.7146/nja.v29i59.120472","url":null,"abstract":"In claiming that metadata possess the power to put historical awareness into the act of listening, this article examines digital music use as an aesthetic situation driven by potentialities of becoming. Working from a theoretical foundation amalgamating digital music archives and metadata as environments the article discusses Georgina Born’s notion of musical assemblages alongside the concept of virtuality, and by letting these meet the article argues for a musical assemblage built from sensibilities of becoming rather than layers of mediation. The inner workings of digital music use constitute an ecology in which recorded music history moves and reconnects, and this makes the historicity of recorded music be fluid, thus turning listening into a historicised action. In exemplifying this, the article discusses some of the strategic programming of metadata on the digital music platform Diskoteket, and through an analysis of sampled music, the prospects of recorded music’s historicity are shown as affective capacities.","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45494742","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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