Pub Date : 2023-12-25DOI: 10.1080/20004214.2023.2271097
Isabel Rocamora
This article examines the philosophical implications of Béla Tarr’s The Turin Horse (2011) by attending to the thematic and aesthetic configuration of its sequence shots. The film’s durational imag...
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Pub Date : 2022-12-31DOI: 10.1080/20004214.2022.2084811
Karel Pletinck
ABSTRACT The sudden flourishing of reflections on light, nature and poetry that occurred from the mid-80s onwards in the cinema of Jean-Luc Godard, Danièle Huillet and Jean-Marie Straub, could not fail to surprise. Between their reputation as Brechtian, materialist filmmakers and these seemingly apolitical reflections, developed in conjunction with their appeal to Hölderlin’s “idealist” poetry, there seems to be an insurmountable rift. By situating their aesthetics in the broader framework known as “aesthetic modernity”, i.e. art and philosophy of art since the end of the 18th century (cf. J.M. Schaeffer, J. Rancière), I demonstrate how films such as Der Tod des Empedokles (1986) and Allemagne année 90 neuf zéro (1991), not so much exhibit a shift to conservatism with this “sudden” interest in nature and poetry, but, rather, the manifestation of a Romantic contradiction characteristic of modern aesthetics. In a period of disillusionment, these “Brechtian” filmmakers increasingly turned to a German literary and philosophical tradition that praised the “revelationist” potential of poetry, while they, simultaneously and still with revolutionary fervour, reflected on Germany’s troubled political past and present. I will argue that we can understand this alignment of revolution and revelationism from the perspective of their indebtedness to an antimodern worldview that perceives of the modern age as being in decline, to which these filmmakers oppose a utopian striving towards a “new world”, captured in a Romantic discourse of light and vision.
抽象的突然繁荣反思光,自然和诗歌发生从80年代中期开始让-吕克·戈达尔的电影,丹尼尔Huillet版- Straub写的,不可能没有惊喜。在他们作为布莱希特式的唯物主义电影人的声誉和这些看似无关政治的反思之间，似乎存在着一条不可逾越的裂痕，这些反思与他们对Hölderlin“理想主义”诗歌的吸引力相结合。通过将他们的美学置于被称为“美学现代性”的更广泛的框架中，即自18世纪末以来的艺术和艺术哲学(参见J.M. Schaeffer, J. ranci re)，我展示了诸如《Der Tod des Empedokles》(1986)和《Allemagne annaceme 90 neuf zacimro》(1991)之类的电影如何表现出对自然和诗歌的“突然”兴趣向保守主义的转变，而是现代美学特征的浪漫主义矛盾的表现。在一段幻灭的时期，这些“布莱希特式”的电影人越来越多地转向德国文学和哲学传统，赞美诗歌的“启示主义”潜力，同时，他们仍然带着革命的热情，反思德国混乱的政治过去和现在。我认为，我们可以从他们对反现代世界观的负债的角度来理解革命和启示主义的这种结合，这种世界观认为现代正在衰落，这些电影制作人反对一个乌托邦式的努力，朝着一个“新世界”前进，用浪漫主义的光和视觉话语来捕捉。
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Pub Date : 2022-12-13DOI: 10.1080/20004214.2022.2156754
Tereza Stejskalová
ABSTRACT The following essay explores the work of art as a site of encounter with human perceptual labor that plays a role in technical operations. It tackles the way such labor is deemed obsolete, soon to be replaced, and therefore surrogate even if it actually animates and reproduces automated vision systems. It explores how art goes about representing the ways in which such labor is undervalued and unrecognized. The text argues for reading in between the lines and images of Harun Farocki’s films, installations, and writings where the obsolescence of human labor emerges more as an ideological screen than a fact. It focuses on moments in his oeuvre which indicate that human labor, including cognition as automation’s last frontier, is not automated away but persists, changes site, undergoes restructuring, and becomes more hidden. More recent works by the eeefff collective and Elisa Giardina Papa explore the intertwined roles of human affection and vision labor in the necessarily failed attempts to teach machines to see and feel, to “clean” the algorithmic vision and affection from opacity and the queerness of real life. Both artists leave behind Farocki’s self-reflexive, detached spectator to involve the audience in more situated and embodied experiences of perception labor and the particular ways in which such labor has become outsourced and dispersed in semi-peripheries such as Sicily or Belarus. They try to express the price that people pay with their emotions and bodies for such work. Yet, in principle, they follow Farocki’s take on labor’s in/visibility in that they challenge the ruling ideologies that blind human vision to the realities of labor. The essay also pays attention to the ways in which both artistic and technical vision today are pre-determined by the logic of the gig economy.
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Pub Date : 2022-12-12DOI: 10.1080/20004214.2022.2156437
Jakub Petri
ABSTRACT In this paper, we propose to redefine the classical studies of urban trails and wanderings by giving greater consideration to the affective and intra-active aspects of the performance of gait. Hence, the idea is to deepen our knowledge of landscape as a sphere of movement. The need to conduct research on urban walking emerges from the mechanics of so-called “sensory motor amnesia”, an unaware process of memory loss of how certain groups of muscles feel and how to control them. It seems that, apart from such casual matters as small injuries and bad postural habits, the process can be also deepened due to cultural factors, as a result of adapting bodies to modern urban life patterns. The phenomenon of re-fixing specific, human, physiological affordances is manifested by the development and preference of certain techniques and strategies of embodied acting in space, among which some may result in enhancing the sphere of discomfort and others lead to somatic improvement. This article presents walking, as one of the body technologies constituting the quality of spatial experience. Walking is presented as an exploratory, and adaptive form of the art of living, which can improve the quality of human urban life. The proposed treatment of the topic within the framework of an affective, intra-active, urban landscape theory may facilitate a better understanding of the mechanics of unperceived (hidden) affordances, pertaining to the processes involved in the developing performatics of different kinds of walking in different kinds of urban landscapes.
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Pub Date : 2022-12-02DOI: 10.1080/20004214.2022.2152988
Juan J. Vargas-Iglesias
ABSTRACT Recognizing the importance of the zombie in the interpretative forms of contemporaneity, this paper aims to actualize the current focus of the phenomenon in order to understand it within a strictly material framework. Its aim therewith is to take the perception of the zombie, not as a symptom or metaphor as commonly done, but as a floating signifier in order to analyze the material conditions that allow it to be understood as a symptom or metaphor. To this end, an observation from the perspective of Gothic Materialism is stated, attending to the implications of the idea of “nonorganic life” in the reshaping of human reality and posing both focuses of the approach, the post-structuralist and the materialist, on the basis of their Deleuzian inspiration. The final purpose is to provide an epistemological ground for the comprehension of this cultural motif of the ominous in biopolitical and aesthetic terms, by means of a comparative analysis of videoludic cases with others in film media.
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Pub Date : 2022-09-29DOI: 10.1080/20004214.2022.2129160
Nikita Mathias
ABSTRACT In the recent decade, the works of canonical visual artists have been presented as immersive multimedia attractions in venues worldwide. Performed in all-encompassing screen spaces and put into motion, this otherwise static and spatially confined imagery has been turned into mobilizing and seemingly boundless visual experiences. What are the aesthetic-receptive characteristics of such immersive digital exhibitions (IDE) centered around art history? To give an answer, this article takes a closer look at one of the IDE’s prominent predecessors, the Panorama, in order to identify moments of continuity and difference. Through a comparative analysis, I gain a nuanced understanding of the IDE’s experiential premises: its tactics and techniques of mobilization, its relation to its classical art historical content matter as well as its aesthetic core—a meta-artistic immersion that moves artistic practice and identity into the center of the experience.
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Pub Date : 2022-08-01DOI: 10.1080/20004214.2022.2107252
Andreia Machado Oliveira
ABSTRACT This article proposes intersections between the Finnish artist Eija-Liisa Ahtila and French philosopher Gilbert Simondon and puts forward a complex approach to experience relative to specific behavioral ecologies/environments (umwelt) in terms of the concepts of image and associated milieu. Conceiving imagistic experience as embodied experience, I go beyond the image as visual or pictorial or issues of interpretation and representation based on discursive language. The image is linked to biological, psychic and collective processes of individuation which conjugate individuals and milieus within techno-aesthetic experience. The viewer and the image are agent in imagistic experience, given that the individual and his associated milieu co-exist in a reciprocal relation which involves aspects of interiority and exteriority of the image. Containing aspects of interiority and exteriority, the image appears in the interaction between the human and world. On the one hand, images inhabit us and we create our worlds with them; on the other, images as quasi-organisms have their own life and signification. There is a recursive causality between the image’s interiority and exteriority. Both philosopher and artist investigate the ways we see, perceive, feel, and assign meanings to the techno-aesthetic artifacts we produce and the associated milieus in which we find ourselves. Thus, based on the images that Gilbert Simondon reveals to us and those that Eija-Liisa Ahtila presents to us, I propose to problematize imagistic process as a process of individuation in which viewer, milieu and image co-emerge simultaneously as imagistic experience.
摘要本文提出了芬兰艺术家艾雅·利萨·阿赫提拉和法国哲学家吉尔伯特·西蒙登的交叉点，并从图像和相关环境的概念出发，提出了一种与特定行为生态/环境（umwelt）相关的复杂体验方法。我将意象经验视为具体化的经验，超越了图像的视觉或图像，或基于话语语言的解释和表征问题。图像与个性化的生物、心理和集体过程联系在一起，这些过程将个人和环境结合在技术美学体验中。观众和图像是意象体验的代理人，因为个人和他的相关环境以互惠关系共存，这种关系涉及图像的内在性和外在性。意象包含内在性和外在性两个方面，表现在人与世界的互动中。一方面，图像栖息在我们身上，我们用它们创造我们的世界；另一方面，作为准有机体的图像有其自身的生命和意义。图像的内在性和外在性之间存在着递归的因果关系。哲学家和艺术家都研究了我们对我们生产的技术美学工件以及我们所处的相关环境的看法、感知、感受和赋予意义的方式。因此，基于Gilbert Simondon向我们展示的图像和Eija Liisa Ahtila向我们呈现的图像，我建议将意象过程问题化为一个个性化的过程，在这个过程中，观众、环境和图像作为意象体验同时出现。
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Pub Date : 2022-06-01DOI: 10.1080/20004214.2022.2063704
Victoria Mponda, Janna Graham
ABSTRACT The lack of space, movement and even breath afforded to many communities cuts across seemingly mobile life trajectories, constraining and constricting even (and often especially) the movement of people across and within transnational borders. How do arts organisations and projects explicitly work against the violence of these forms of constraint? Where liberal models of the public sphere have underpinned many ideas of art in public space—particularly those based in the notions of appearance and the “general” public—it is from situated praxes originating from what Stahl and Stoecker have described as the “expanded private sphere” that poignant lessons can be learned of a community and curatorial practice dedicated to solidarity and support. In this paper, we elaborate a notion of art in public that refuses a division from the “private”, without straying unproblematically into the terrain of the personal or exploitative economies of care. We draw from our collaborative experiences in using creative strategies for countering the narrative containment of refugee groups in the face of UK media racism through the project Conflict, Memory, Displacement as well as the limitations we encountered. Using the concept of Azamba—a Malawan practice of community care and midwifery recently adopted by the women’s group Global Sistaz United in Nottingham, UK—we further elaborate how practices and narrations of care and community support might reconfigure our relation to ideas of art, curating and publics.
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Pub Date : 2022-05-31DOI: 10.1080/20004214.2022.2082159
Sarah Magnatta
ABSTRACT In 2011, artist Tenzing Rigdol transported over twenty-four tons of soil from Tibet into the exile Tibetan community of Dharamsala, India, for a temporary installation—a site-specific work—titled Our Land, Our People. The exile community walked on, held, and sometimes ingested the soil (a clear marker of the importance of this work to this particular audience), the soil signaling the would-be permanent home of the audience. Despite the increase in global site-specific works over the past decades, few of these projects have navigated the issue of temporality as it relates to audiences in exile communities. By evaluating Rigdol’s contribution through the lens of site-specificity as theorized by Miwon Kwon, this essay shows how Our Land, Our People expands the site-specific paradigm as it challenges notions of what makes art site specific; it proposes diasporic communities—communities with implied temporality and often tenuous relationships to their current homes—can serve as the foremost component of the work. I also propose Rigdol’s Our Land, Our People breaks with the conventional label “contemporary Tibetan art,” the phrase currently used to describe art created in Tibet and in exile spaces. Our Land, Our People is primarily in dialogue with one audience in particular—the exile community in Dharamsala.
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Pub Date : 2022-05-08DOI: 10.1080/20004214.2022.2068798
Anne Ring Petersen, S. Nielsen
ABSTRACT The Introduction outlines the thematic framework of this special issue of Journal of Aesthetics & Culture. It begins by identifying some of the common concerns and leitmotifs that interconnect the individual articles. It then gives summaries of the individual contributions and situates them within the common thematics of this special issue. The articles examine some recent changes to the ways in which contemporary art and curating operate in various kinds of public spaces and engage different types of participants and publics. The articles explore how these changes are linked, on the one hand, to migration-induced transformations to society, and, on the other, to transformations endemic among the arts. The latter include a turn in art institutional and cultural policies towards a participatory agenda. They also involve a reorientation in politically engaged art and curating towards art activism, (radically) democratic forms of participation and alternative models of co-production and coexistence.
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