Pub Date : 2018-11-07DOI: 10.7146/NJA.V27I55-56.110753
Solveig Gade
This essay investigates the troubled status of the concept of the index and its concomitant notion of evidence within the context of a global, visual culture. Specifically, the essay centres on the notion of the index in an era, where the use of digital images claiming to truthfully represent war and conflict has become an increasingly important part of warfare. Focusing on two documentary works by respectively performance artist Rabih Mroué and visual artist Abu Lawrence Hamdan (Forensic Architecture), the article shows that whilst both artists rely on material documents, which in each their way index back to conflictual events, the crucial point is not so much the status of the evidentiary material per se. Instead, enabled by fictitious strategies, the artists invite us to pay attention to the differing statuses and meanings assigned to documents depending on the particular knowledge systems and spaces of appearance within which they are perceived. In this way, the essay argues, the works of Mroué and Hamdan help us move beyond the discourses within documentary theory, which tend to conform to either a postmodernist relativist position or a realist epistemology.
本文调查了索引概念及其伴随的证据概念在全球视觉文化背景下的困境状态。具体来说，这篇文章集中在一个时代索引的概念上，在这个时代，使用声称真实地代表战争和冲突的数字图像已经成为战争中越来越重要的一部分。这篇文章以行为艺术家Rabih mrou和视觉艺术家Abu Lawrence Hamdan (Forensic Architecture)的两件纪录片作品为重点，表明虽然两位艺术家都依赖于材料文件，这些材料以各自的方式索引了冲突事件，但关键的一点不是证据材料本身的地位。相反，通过虚构的策略，艺术家邀请我们关注文件的不同地位和意义，这取决于它们被感知的特定知识系统和外观空间。通过这种方式，本文认为，穆罗伊和哈姆丹的作品帮助我们超越了纪录片理论内部的话语，这些话语倾向于符合后现代主义相对主义立场或现实主义认识论。
{"title":"THE PROMISE OF THE INDEX IN CONTEMPORARY DOCUMENTARY PERFORMANCE","authors":"Solveig Gade","doi":"10.7146/NJA.V27I55-56.110753","DOIUrl":"https://doi.org/10.7146/NJA.V27I55-56.110753","url":null,"abstract":"\u0000 \u0000 \u0000This essay investigates the troubled status of the concept of the index and its concomitant notion of evidence within the context of a global, visual culture. Specifically, the essay centres on the notion of the index in an era, where the use of digital images claiming to truthfully represent war and conflict has become an increasingly important part of warfare. Focusing on two documentary works by respectively performance artist Rabih Mroué and visual artist Abu Lawrence Hamdan (Forensic Architecture), the article shows that whilst both artists rely on material documents, which in each their way index back to conflictual events, the crucial point is not so much the status of the evidentiary material per se. Instead, enabled by fictitious strategies, the artists invite us to pay attention to the differing statuses and meanings assigned to documents depending on the particular knowledge systems and spaces of appearance within which they are perceived. In this way, the essay argues, the works of Mroué and Hamdan help us move beyond the discourses within documentary theory, which tend to conform to either a postmodernist relativist position or a realist epistemology. \u0000 \u0000 \u0000","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48355698","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 : 2018-11-07DOI: 10.7146/NJA.V27I55-56.110754
A. Johansson
Ruben Östlund’s film Force Majeure (2014) was mostly received as a depiction of the crisis of masculinity. And it is, but that particular theme is also placed within a larger context concerning questions of value, understanding, order, and control, questions asked not only on a thematic level but also through cutting, framing, and the use of camera views. Not accepting any simple dichotomy between form and meaning, Force Majeure places itself firmly in an avant- garde and modernist tradition. Thereby the film is also related to this tradition’s ambition of investigating Western thought, knowledge and art anew, problematising given forms of rational thinking in order for something new to emerge. In the wake of World War II it was, for thinkers like Adorno, Foucault, Stockhausen, and Boulez, seen as unavoidable and urgent to deconstruct the conventions and norms that had made Auschwitz possible. It is still urgent. This article takes its starting point in the connections between avant-garde serialism in music, Foucault’s serialist methods of research and Deleuze’s theories of modernist film, in order to grasp how the aesthetics of Force Majeure continues to deconstruct.
{"title":"UNCONTROL ON RUBEN ÖSTLUND’S FORCE MAJEURE","authors":"A. Johansson","doi":"10.7146/NJA.V27I55-56.110754","DOIUrl":"https://doi.org/10.7146/NJA.V27I55-56.110754","url":null,"abstract":"\u0000 \u0000 \u0000Ruben Östlund’s film Force Majeure (2014) was mostly received as a depiction of the crisis of masculinity. And it is, but that particular theme is also placed within a larger context concerning questions of value, understanding, order, and control, questions asked not only on a thematic level but also through cutting, framing, and the use of camera views. Not accepting any simple dichotomy between form and meaning, Force Majeure places itself firmly in an avant- garde and modernist tradition. \u0000Thereby the film is also related to this tradition’s ambition of investigating Western thought, knowledge and art anew, problematising given forms of rational thinking in order for something new to emerge. In the wake of World War II it was, for thinkers like Adorno, Foucault, Stockhausen, and Boulez, seen as unavoidable and urgent to deconstruct the conventions and norms that had made Auschwitz possible. It is still urgent. This article takes its starting point in the connections between avant-garde serialism in music, Foucault’s serialist methods of research and Deleuze’s theories of modernist film, in order to grasp how the aesthetics of Force Majeure continues to deconstruct. \u0000 \u0000 \u0000","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48442035","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 : 2018-11-06DOI: 10.7146/nja.v27i55-56.110741
Zoltán Somhegyi
{"title":"REVIEW: JULIA SCHLEIS ET AL., EDS., CONTEMPORARY RUINS / RUINEN DER GEGENWART","authors":"Zoltán Somhegyi","doi":"10.7146/nja.v27i55-56.110741","DOIUrl":"https://doi.org/10.7146/nja.v27i55-56.110741","url":null,"abstract":"","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48497140","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 : 2018-11-06DOI: 10.7146/nja.v27i55-56.110743
J. Margolis
The “Hobbesian turn” is an invention out of whole cloth, a device by which to oppose the usually supposed autonomy of the aesthetic, the moral, the political, and the factual; to recover the collective holism of civilizational (or enlanguaged cultural) life; to feature the existential historicity of the human career, which is incompatible with any strict universalism and all the forms of transcendentalism; hence, also, to feature the adequacy of a contingent Lebensform in collecting the affinities of creative expression and agentive commitment within the terms of human solidarity; to abandon strict universality and necessary synthetic truths; and to favour the fluxive world of pragmatist construction rather than the indemonstrable fixities of rationalism and transcendentalism. The article proceeds largely by examining aspects of Picasso’s career and the history of Western politics spanning the sixteenth century to the present.
{"title":"THE HOBBESIAN TURN","authors":"J. Margolis","doi":"10.7146/nja.v27i55-56.110743","DOIUrl":"https://doi.org/10.7146/nja.v27i55-56.110743","url":null,"abstract":"\u0000 \u0000 \u0000The “Hobbesian turn” is an invention out of whole cloth, a device by which to oppose the usually supposed autonomy of the aesthetic, the moral, the political, and the factual; to recover the collective holism of civilizational (or enlanguaged cultural) life; to feature the existential historicity of the human career, which is incompatible with any strict universalism and all the forms of transcendentalism; hence, also, to feature the adequacy of a contingent Lebensform in collecting the affinities of creative expression and agentive commitment within the terms of human solidarity; to abandon strict universality and necessary synthetic truths; and to favour the fluxive world of pragmatist construction rather than the indemonstrable fixities of rationalism and transcendentalism. The article proceeds largely by examining aspects of Picasso’s career and the history of Western politics spanning the sixteenth century to the present. \u0000 \u0000 \u0000","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43154796","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 : 2018-11-06DOI: 10.7146/NJA.V27I55-56.110724
A. Andrzejewski
The question of whether food is art depends primarily on the definition of art that we agree to accept. The article proposes a model that helps us to focus our mind on what could be, and how we should understand the art of food, if we accept, having applied a fairly liberal theory of art, that food can actually be art. It is argued that there are no methodological or factual constraints indicating that food could not, under some circumstances, be high art. This hypothetical form of art is called ‘edible art’.
{"title":"HOW TO FRAME EDIBLE ART","authors":"A. Andrzejewski","doi":"10.7146/NJA.V27I55-56.110724","DOIUrl":"https://doi.org/10.7146/NJA.V27I55-56.110724","url":null,"abstract":"\u0000 \u0000 \u0000The question of whether food is art depends primarily on the definition of art that we agree to accept. The article proposes a model that helps us to focus our mind on what could be, and how we should understand the art of food, if we accept, having applied a fairly liberal theory of art, that food can actually be art. It is argued that there are no methodological or factual constraints indicating that food could not, under some circumstances, be high art. This hypothetical form of art is called ‘edible art’. \u0000 \u0000 \u0000","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46390679","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 : 2018-11-06DOI: 10.7146/NJA.V27I55-56.110717
Sven Anders Johansson
The article analyses the constitution of subjectivity in Ruben Östlund’s film Force Majeure (2014). At the centre of attention stands the male protagonist who is uncapable of reconciling his inner nature with the external expectations. If the film may be un- derstood as a critique of existing middle-class conventions, it also reproduces a highly conventional ideal of the self-identical subject. The article argues that this confusion or irony is an expression of a Cartesian subject – still prevalent in the film – in crisis. A neglected aspect of Descartes’ theory is that the autonomy of the subjects presupposes the existence of God. The problem for Östlund’s char- acters is that there is no God. Still, they act as if he, or as if any au- thority might, legitimize their subjectivity. Thus, the whole existence becomes a series of performances. The idea of an inner nature cor- responds with the notion of an outer nature. The latter is certainly very present in Force Majeure, but at the same time this nature is constantly problematized. On an allegorical level, the film may thus be read as a comment on the Anthropocene, a state where we no longer know neither what “nature”, nor “culture” is.
{"title":"CARTESIAN SUBJECTS LOST IN THE ALPS REFLECTIONS ON RUBEN ÖSTLUND’S FORCE MAJEURE","authors":"Sven Anders Johansson","doi":"10.7146/NJA.V27I55-56.110717","DOIUrl":"https://doi.org/10.7146/NJA.V27I55-56.110717","url":null,"abstract":"\u0000 \u0000 \u0000The article analyses the constitution of subjectivity in Ruben Östlund’s film Force Majeure (2014). At the centre of attention stands the male protagonist who is uncapable of reconciling his inner nature with the external expectations. If the film may be un- derstood as a critique of existing middle-class conventions, it also reproduces a highly conventional ideal of the self-identical subject. The article argues that this confusion or irony is an expression of a Cartesian subject – still prevalent in the film – in crisis. A neglected aspect of Descartes’ theory is that the autonomy of the subjects presupposes the existence of God. The problem for Östlund’s char- acters is that there is no God. Still, they act as if he, or as if any au- thority might, legitimize their subjectivity. Thus, the whole existence becomes a series of performances. The idea of an inner nature cor- responds with the notion of an outer nature. The latter is certainly very present in Force Majeure, but at the same time this nature is constantly problematized. On an allegorical level, the film may thus be read as a comment on the Anthropocene, a state where we no longer know neither what “nature”, nor “culture” is. \u0000 \u0000 \u0000","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48959075","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 : 2018-11-06DOI: 10.7146/nja.v27i55-56.110726
J. Lund, Sven Anders Johansson
{"title":"INTRODUCTION","authors":"J. Lund, Sven Anders Johansson","doi":"10.7146/nja.v27i55-56.110726","DOIUrl":"https://doi.org/10.7146/nja.v27i55-56.110726","url":null,"abstract":"","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47261772","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 : 2018-11-06DOI: 10.7146/NJA.V27I55-56.110736
P. A. Brandt
{"title":"REVIEW: ELSE MARIE BUKDAHL, THE RECURRENT ACTUALITY OF THE BAROQUE","authors":"P. A. Brandt","doi":"10.7146/NJA.V27I55-56.110736","DOIUrl":"https://doi.org/10.7146/NJA.V27I55-56.110736","url":null,"abstract":"","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46886209","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 : 2018-11-06DOI: 10.7146/NJA.V27I55-56.110746
Konstantinos Vassiliou
Alois Riegl’s essay “Die Stimmung als Inhalt der modernen Kunst” (1899) has been one of art historiography’s early attempts to bridge art and science. In this text, Riegl not only presents the background of some of his theoretical and methodological premises but he also provides an overarching argument for the way natural sciences af- fect modern spectatorship. In this way, he establishes the basis of a Kunstwollen for the ‘age of the natural sciences’ and describes its appropriate artistic traits. Addressing the intellectual and historical context of the Stimmung Essay, this article shows how Riegl’s ideas work in a subtle and intricate manner, involving the combination of sensual and phenomenological observations to modes of knowl- edge. In this respect, the relation of art and science does not seem to be settled on a fixed contemplative basis but on the combination of the art with cognition and affects.
阿洛伊斯·里格尔(Alois Riegl)的文章《现代艺术的激励》(Die stimmunals Inhalt der modern Kunst, 1899)是艺术史学早期试图将艺术与科学联系起来的作品之一。在这本书中，里格尔不仅介绍了他的一些理论和方法论前提的背景，而且还为自然科学影响现代观众的方式提供了一个总体论点。通过这种方式，他为“自然科学时代”奠定了艺术的基础，并描述了其适当的艺术特征。通过探讨《激励性散文》的知识背景和历史背景，本文展示了里格尔的思想是如何以一种微妙而复杂的方式发挥作用的，包括对知识模式的感性和现象学观察的结合。在这方面，艺术与科学的关系似乎不是建立在一个固定的静观基础上，而是建立在艺术与认识和情感的结合上。
{"title":"ESSAY: THE KUNSTWOLLEN OF THE SCIENTIFIC ERA AND ALOIS RIEGL’S STIMMUNG","authors":"Konstantinos Vassiliou","doi":"10.7146/NJA.V27I55-56.110746","DOIUrl":"https://doi.org/10.7146/NJA.V27I55-56.110746","url":null,"abstract":"\u0000 \u0000 \u0000Alois Riegl’s essay “Die Stimmung als Inhalt der modernen Kunst” (1899) has been one of art historiography’s early attempts to bridge art and science. In this text, Riegl not only presents the background of some of his theoretical and methodological premises but he also provides an overarching argument for the way natural sciences af- fect modern spectatorship. In this way, he establishes the basis of a Kunstwollen for the ‘age of the natural sciences’ and describes its appropriate artistic traits. Addressing the intellectual and historical context of the Stimmung Essay, this article shows how Riegl’s ideas work in a subtle and intricate manner, involving the combination of sensual and phenomenological observations to modes of knowl- edge. In this respect, the relation of art and science does not seem to be settled on a fixed contemplative basis but on the combination of the art with cognition and affects. \u0000 \u0000 \u0000","PeriodicalId":38858,"journal":{"name":"Nordic Journal of Aesthetics","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48123636","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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