Pub Date : 2022-04-11DOI: 10.1080/20004214.2022.2064598
Fabian Lorenz Winter
ABSTRACT This study examines video games’ depictions of archival architectures in levels and practices of interacting with archival material such as looting. By doing this, the article proposes a processual idea of proper archives and virtual counterparts, both determined by various moments of interplay, such as opening treasure chests, boxes, or cells. Archived artifacts, hidden in games to be discovered, lure players to begin interplay, and are a crucial part of the labyrinthic archival ecosystem. Examining video game archives enhances the perception of archival ecosystems from the interplay with institutional archives, and the archived material in general. In video games, archives becoming media if someone recursively interacts with and within the entangled ecosystems of levels and loot.
{"title":"Levels and loot: archives in video games","authors":"Fabian Lorenz Winter","doi":"10.1080/20004214.2022.2064598","DOIUrl":"https://doi.org/10.1080/20004214.2022.2064598","url":null,"abstract":"ABSTRACT This study examines video games’ depictions of archival architectures in levels and practices of interacting with archival material such as looting. By doing this, the article proposes a processual idea of proper archives and virtual counterparts, both determined by various moments of interplay, such as opening treasure chests, boxes, or cells. Archived artifacts, hidden in games to be discovered, lure players to begin interplay, and are a crucial part of the labyrinthic archival ecosystem. Examining video game archives enhances the perception of archival ecosystems from the interplay with institutional archives, and the archived material in general. In video games, archives becoming media if someone recursively interacts with and within the entangled ecosystems of levels and loot.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46496031","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 : 2022-03-11DOI: 10.1080/20004214.2021.2022864
Ellen Rees, Thor Holt
ABSTRACT In this article the authors discuss Steven Spielberg’s Jaws (1975) with Henrik Ibsen’s En Folkefiende (An Enemy of the People; 1882) as a test case for formulating a better theoretical understanding of adaptations that are neither “announced” nor “extended”; the analysis thus explores adaptation as a special form of intertextuality. The authors reference other cinematic engagements with the same play, including Hans Steinhoff’s Ein Volksfeind (1937), Detlef Sierck’s La Habanera (1937), George Schaefer’s An Enemy of the People (1978), Satyajit Ray’s Ganashatru (1989), and Erik Skjoldbjærg’s En folkefiende (2005), as they investigate the importance of polysemic allegorical structures, the inherently “dialectical” nature of the process of adaptation, the role of reception in newer theories of adaptation, and the implications of understanding adaptation as a particular film genre. The authors propose viewing adaptation as a process that necessarily includes the audience’s understanding of hypotext and hypertext in ways that influence meaning production; it invites consideration of the source text in the film’s reception, consequently linking the source text and its author to other cultural and social discourses that, in turn, influence their reception reflexively in light of the adaptation.
{"title":"Entanglements of adaptation, allegory, and reception: Jaws and An Enemy of the People","authors":"Ellen Rees, Thor Holt","doi":"10.1080/20004214.2021.2022864","DOIUrl":"https://doi.org/10.1080/20004214.2021.2022864","url":null,"abstract":"ABSTRACT In this article the authors discuss Steven Spielberg’s Jaws (1975) with Henrik Ibsen’s En Folkefiende (An Enemy of the People; 1882) as a test case for formulating a better theoretical understanding of adaptations that are neither “announced” nor “extended”; the analysis thus explores adaptation as a special form of intertextuality. The authors reference other cinematic engagements with the same play, including Hans Steinhoff’s Ein Volksfeind (1937), Detlef Sierck’s La Habanera (1937), George Schaefer’s An Enemy of the People (1978), Satyajit Ray’s Ganashatru (1989), and Erik Skjoldbjærg’s En folkefiende (2005), as they investigate the importance of polysemic allegorical structures, the inherently “dialectical” nature of the process of adaptation, the role of reception in newer theories of adaptation, and the implications of understanding adaptation as a particular film genre. The authors propose viewing adaptation as a process that necessarily includes the audience’s understanding of hypotext and hypertext in ways that influence meaning production; it invites consideration of the source text in the film’s reception, consequently linking the source text and its author to other cultural and social discourses that, in turn, influence their reception reflexively in light of the adaptation.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44717067","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 : 2022-03-11DOI: 10.1080/20004214.2022.2046955
P. Tan
ABSTRACT In both European and non-European cities, public spaces are formed by racist and segregative politics that influence everyday life. Planetary migration flows and recently implemented border politics tend to leave the most vulnerable in precarious conditions, not only in the case of migrants/refugees but also in the case of citizens. This article focuses on how artistic methodologies in the context of migration/refugeehood can experiment with “alternative modes of existence”. How can newly imagined modes of co-existence contribute to the creation of minor public spaces as well as the transformation of institutions? How can public art construct different and diverse guest-host relationships? How can artistic research and actions reveal precarious labour conditions, stage radical discursive debates, and transform existing institutional practices? This article is based on theoretical discussions of commoning and decolonization practices. It will focus on the art and activist practices, and analyse such, of Al-Madafeh/Living Room (Sandi Hilal, Stockholm) and The Silent University (Ahmet Ogut), and others.
{"title":"Unconditional hospitality: art and commons under planetary migration","authors":"P. Tan","doi":"10.1080/20004214.2022.2046955","DOIUrl":"https://doi.org/10.1080/20004214.2022.2046955","url":null,"abstract":"ABSTRACT In both European and non-European cities, public spaces are formed by racist and segregative politics that influence everyday life. Planetary migration flows and recently implemented border politics tend to leave the most vulnerable in precarious conditions, not only in the case of migrants/refugees but also in the case of citizens. This article focuses on how artistic methodologies in the context of migration/refugeehood can experiment with “alternative modes of existence”. How can newly imagined modes of co-existence contribute to the creation of minor public spaces as well as the transformation of institutions? How can public art construct different and diverse guest-host relationships? How can artistic research and actions reveal precarious labour conditions, stage radical discursive debates, and transform existing institutional practices? This article is based on theoretical discussions of commoning and decolonization practices. It will focus on the art and activist practices, and analyse such, of Al-Madafeh/Living Room (Sandi Hilal, Stockholm) and The Silent University (Ahmet Ogut), and others.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47100782","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 : 2022-03-11DOI: 10.1080/20004214.2022.2046956
Cecilie Ullerup Schmidt
ABSTRACT Art in public space is fundamentally determined by who has access to the artworld. At the entrance to the artworld of today—the art academy—resides an ideal of global mobility that relates to cognitive capitalism and competitiveness but also to the repeating of rationales of white privilege and a hidden structural racism. By analysing how Higher Education in the Arts in Denmark awards “free” mobility and encourages internationalization, following the neoliberal European policies of the Bologna Process in their aim of competitiveness while at the same time having no official strategies in relation to racial diversity and recruitment, I find biopolitical lines of demarcation and structural racism within the foundational infrastructures of the Danish artworld. Based on the findings of my analysis of both educational policy documents and understandings of “fair” representation of BIPoCs in the arts in Denmark, I demonstrate how racial loneliness resides as an affective response to experiences of structural racism in the infrastructures of the arts. I suggest that racial loneliness is an interdependent affect and a product of educational documents, reforms and policies. This assumption is accompanied by the example of the artists’ collective FCNN, stressing how BIPoC student Eliyah Mesayer is isolated and subjected to tokenism in the classroom of the art academy. Informed by the increasing number of separatist BIPoC collectives offering an ongoing infrastructural performance of being “too many”, the article ends with a speculation on how to organize bodies otherwise in the infrastructures of the artworld by exceeding rationales of reasonable and adequate representability.
{"title":"No count! BIPoC artists counteracting “fair” representation and systemic racial loneliness in higher education in the arts","authors":"Cecilie Ullerup Schmidt","doi":"10.1080/20004214.2022.2046956","DOIUrl":"https://doi.org/10.1080/20004214.2022.2046956","url":null,"abstract":"ABSTRACT Art in public space is fundamentally determined by who has access to the artworld. At the entrance to the artworld of today—the art academy—resides an ideal of global mobility that relates to cognitive capitalism and competitiveness but also to the repeating of rationales of white privilege and a hidden structural racism. By analysing how Higher Education in the Arts in Denmark awards “free” mobility and encourages internationalization, following the neoliberal European policies of the Bologna Process in their aim of competitiveness while at the same time having no official strategies in relation to racial diversity and recruitment, I find biopolitical lines of demarcation and structural racism within the foundational infrastructures of the Danish artworld. Based on the findings of my analysis of both educational policy documents and understandings of “fair” representation of BIPoCs in the arts in Denmark, I demonstrate how racial loneliness resides as an affective response to experiences of structural racism in the infrastructures of the arts. I suggest that racial loneliness is an interdependent affect and a product of educational documents, reforms and policies. This assumption is accompanied by the example of the artists’ collective FCNN, stressing how BIPoC student Eliyah Mesayer is isolated and subjected to tokenism in the classroom of the art academy. Informed by the increasing number of separatist BIPoC collectives offering an ongoing infrastructural performance of being “too many”, the article ends with a speculation on how to organize bodies otherwise in the infrastructures of the artworld by exceeding rationales of reasonable and adequate representability.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43689783","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 : 2022-03-07DOI: 10.1080/20004214.2022.2049497
Christian Fajardo
ABSTRACT This article explores Jacques Rancière’s critique of political philosophy. I argue that, to understand this critique, it is necessary to explore the aesthetic dimension of philosophers’ politics, pointing out that, at its foundation, lies a certain understanding of time that, paradoxically, negates political practice. To get out of this paradox, I point out that Rancière proposes a politics of writing that allows us to understand political practice from the point of view of a heterochronic and conflictive form of time. This approach, which distances itself from the Western tradition of political thought, allows us to address the concepts of contingency and equality in a radical way.
{"title":"Jacques Rancière: aesthetics, time, politics","authors":"Christian Fajardo","doi":"10.1080/20004214.2022.2049497","DOIUrl":"https://doi.org/10.1080/20004214.2022.2049497","url":null,"abstract":"ABSTRACT This article explores Jacques Rancière’s critique of political philosophy. I argue that, to understand this critique, it is necessary to explore the aesthetic dimension of philosophers’ politics, pointing out that, at its foundation, lies a certain understanding of time that, paradoxically, negates political practice. To get out of this paradox, I point out that Rancière proposes a politics of writing that allows us to understand political practice from the point of view of a heterochronic and conflictive form of time. This approach, which distances itself from the Western tradition of political thought, allows us to address the concepts of contingency and equality in a radical way.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49122304","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 : 2022-03-01DOI: 10.1080/20004214.2022.2040153
Niina Oisalo
ABSTRACT The film El escarabajo de oro o Victorias Hämnd (2014), directed by the Argentinean-Swedish duo Alejo Moguillansky and Fia-Stina Sandlund, presents clashing storylines, histories, merged film genres and conflicting aspirations within a transnational film production set in Argentina. It stages a performance founded on real circumstances, where two filmmakers (Moguillansky and Sandlund) begin working on a biopic based on the life of Victoria Benedictsson, a 19th-century Swedish feminist writer, but then, partly in secrecy, the main character changes to her contemporary, Leandro N. Alem, an Argentinean revolutionary politician, while all gets tangled up in a fictional story of a treasure hunt. The film crosses boundaries between documentary and fiction with its maze of rogues, tricksters, and unreliable narrators, opening up stories within stories. In the performance of the documentary filmmaking process, there is a constant struggle over memory: whose (hi)story gets to be told and from what angle. In this article, cinematic memory in El escarabajo de oro o Victorias Hämnd is delineated through the performative gestures of reenactment and voice-over narration as aesthetic strategies that promote a non-linear, multidirectional perception of remembering. I suggest that the film offers an alternative way to approach cinematic memory, not attaching the act of remembering to an individual, a group or a nation, but to the film form itself. The film engenders cinematic memory as a living constellation, where diverse historical temporalities exist simultaneously and interact freely. In the film, cinematic memory is constantly being created and recreated in the here and now.
摘要：电影《El escarabajo de oro o Victorias Hämnd》（2014）由阿根廷-瑞典二人组Alejo Moguillansky和Fia Stina Sandlund执导，在一部以阿根廷为背景的跨国电影制作中，呈现了冲突的故事情节、历史、融合的电影类型和相互冲突的愿望。它上演了一场基于真实环境的表演，两位电影制作人（莫吉兰斯基和桑德伦德）开始根据19世纪瑞典女权主义作家维多利亚·贝内迪克森的生活拍摄传记电影，但后来，在一定程度上是秘密的，主角换成了她的同时代人，阿根廷革命政治家莱安德罗·N·阿莱姆，而所有的一切都被卷入了一个关于寻宝的虚构故事中。这部电影跨越了纪录片和小说的界限，充斥着无赖、骗子和不可靠的叙述者，在故事中打开了故事。在纪录片制作过程中，人们一直在为记忆而斗争：谁的故事要讲，从什么角度讲。在这篇文章中，《El escarabajo de oro o Victorias Hämnd》中的电影记忆是通过重演的表演手势和画外音叙事来描绘的，这是一种促进非线性、多向记忆感知的美学策略。我认为，这部电影提供了一种处理电影记忆的替代方式，不是将记忆行为与个人、群体或国家联系在一起，而是与电影形式本身联系在一起。这部电影将电影记忆作为一个活生生的星座，不同的历史时间同时存在并自由互动。在电影中，电影记忆不断地在此时此地被创造和重现。
{"title":"How does a film remember? Cinematic memory as a living constellation in El escarabajo de oro o Victorias Hämnd","authors":"Niina Oisalo","doi":"10.1080/20004214.2022.2040153","DOIUrl":"https://doi.org/10.1080/20004214.2022.2040153","url":null,"abstract":"ABSTRACT The film El escarabajo de oro o Victorias Hämnd (2014), directed by the Argentinean-Swedish duo Alejo Moguillansky and Fia-Stina Sandlund, presents clashing storylines, histories, merged film genres and conflicting aspirations within a transnational film production set in Argentina. It stages a performance founded on real circumstances, where two filmmakers (Moguillansky and Sandlund) begin working on a biopic based on the life of Victoria Benedictsson, a 19th-century Swedish feminist writer, but then, partly in secrecy, the main character changes to her contemporary, Leandro N. Alem, an Argentinean revolutionary politician, while all gets tangled up in a fictional story of a treasure hunt. The film crosses boundaries between documentary and fiction with its maze of rogues, tricksters, and unreliable narrators, opening up stories within stories. In the performance of the documentary filmmaking process, there is a constant struggle over memory: whose (hi)story gets to be told and from what angle. In this article, cinematic memory in El escarabajo de oro o Victorias Hämnd is delineated through the performative gestures of reenactment and voice-over narration as aesthetic strategies that promote a non-linear, multidirectional perception of remembering. I suggest that the film offers an alternative way to approach cinematic memory, not attaching the act of remembering to an individual, a group or a nation, but to the film form itself. The film engenders cinematic memory as a living constellation, where diverse historical temporalities exist simultaneously and interact freely. In the film, cinematic memory is constantly being created and recreated in the here and now.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41444737","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 : 2022-02-27DOI: 10.1080/20004214.2022.2034295
Amin Parsa, E. Snodgrass
ABSTRACT The relation of law and art is conventionally understood through a disciplinary divide that presents art as an instrument of legal practice and scholarship or, alternatively, presents law as potential context for artistic engagement. Moving beyond disciplinary definitions, in this article we explore how art and law, as modes of ordering and action in the world, often overlap in their respective desires to engage existing material orders. Whereas law’s claim of producing order appears self-evident, we try to highlight, through a concept of legislative arts, the often-overlooked similar function of artistic practices. At the heart of what we refer to as legislative arts are practices that aim to challenge law’s claim of authority in ordering social life through tactical combinations of elements of art and law. In examining a set of examples that include the Tamms Year Ten campaign to close a super-max prison in the United States, the work of Forensic Architecture and practices of passport forgery, we aim to highlight the possibility of manifesting social orders beyond an exclusive reliance upon state laws. Pointing to the potentials of such legislative arts practices, this article suggests that the material ordering quality of artistic and legal practices can, and perhaps should, be weaponized for challenging and remaking the world of unjust state laws.
{"title":"Legislative arts: interplays of art and law","authors":"Amin Parsa, E. Snodgrass","doi":"10.1080/20004214.2022.2034295","DOIUrl":"https://doi.org/10.1080/20004214.2022.2034295","url":null,"abstract":"ABSTRACT The relation of law and art is conventionally understood through a disciplinary divide that presents art as an instrument of legal practice and scholarship or, alternatively, presents law as potential context for artistic engagement. Moving beyond disciplinary definitions, in this article we explore how art and law, as modes of ordering and action in the world, often overlap in their respective desires to engage existing material orders. Whereas law’s claim of producing order appears self-evident, we try to highlight, through a concept of legislative arts, the often-overlooked similar function of artistic practices. At the heart of what we refer to as legislative arts are practices that aim to challenge law’s claim of authority in ordering social life through tactical combinations of elements of art and law. In examining a set of examples that include the Tamms Year Ten campaign to close a super-max prison in the United States, the work of Forensic Architecture and practices of passport forgery, we aim to highlight the possibility of manifesting social orders beyond an exclusive reliance upon state laws. Pointing to the potentials of such legislative arts practices, this article suggests that the material ordering quality of artistic and legal practices can, and perhaps should, be weaponized for challenging and remaking the world of unjust state laws.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44597176","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 : 2022-02-13DOI: 10.1080/20004214.2022.2034294
Deniz Berfin Ayaydin
ABSTRACT Brussels has been the scene for a number of murals depicting sexually explicit and violent acts since 2016. Both online and offline discussions surrounding the murals reveal the complexities between visibility regimes and public spaces. While street art literature has grown in various academic areas, street art remains undertheorised, especially when it comes to public reactions. How street art becomes politicised in relation to socio-political realities also remains to be examined. By analysing online discussions about murals in Brussels depicting violence and sexually explicit imagery, this article aims to contribute to the scholarship on the relationship between street art and politics. I try to categorize what is seen as political in street art by scholars as political praxis and political impact. I argue that when political praxis’s invitation to engage with the object and reflect on its particular socio-political context is taken up by spectators, the street art generates political meanings that can tie Caravaggio to ISIS.This formulation of the political does not rest in the art object, the artist’s intention or the public’s reception, but in the potential for the realisation of human relations around the artwork.
{"title":"What does Caravaggio have to do with “muzz” influx into Europe? Controversial street murals in Brussels and the question of political street art","authors":"Deniz Berfin Ayaydin","doi":"10.1080/20004214.2022.2034294","DOIUrl":"https://doi.org/10.1080/20004214.2022.2034294","url":null,"abstract":"ABSTRACT Brussels has been the scene for a number of murals depicting sexually explicit and violent acts since 2016. Both online and offline discussions surrounding the murals reveal the complexities between visibility regimes and public spaces. While street art literature has grown in various academic areas, street art remains undertheorised, especially when it comes to public reactions. How street art becomes politicised in relation to socio-political realities also remains to be examined. By analysing online discussions about murals in Brussels depicting violence and sexually explicit imagery, this article aims to contribute to the scholarship on the relationship between street art and politics. I try to categorize what is seen as political in street art by scholars as political praxis and political impact. I argue that when political praxis’s invitation to engage with the object and reflect on its particular socio-political context is taken up by spectators, the street art generates political meanings that can tie Caravaggio to ISIS.This formulation of the political does not rest in the art object, the artist’s intention or the public’s reception, but in the potential for the realisation of human relations around the artwork.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43313497","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 : 2022-01-02DOI: 10.1080/20004214.2021.2010912
D. Lopes
ABSTRACT Several art scholars have recently doubted the prudence of thinking about the nature of aesthetic value. The problem is that traditional thinking about aesthetic value fails to capture the specificities with which empirical art scholars must grapple. This paper diagnoses how the tradition came to think in this problematic way about aesthetic value. It then sketches an approach to aesthetic value that boosts the refractive power of the tools that scholars of the arts can use to bring into focus some of the specificities they care about. The path to that goal skirts the troublesome features of traditional approaches.
{"title":"How to think about how to think about aesthetic value","authors":"D. Lopes","doi":"10.1080/20004214.2021.2010912","DOIUrl":"https://doi.org/10.1080/20004214.2021.2010912","url":null,"abstract":"ABSTRACT Several art scholars have recently doubted the prudence of thinking about the nature of aesthetic value. The problem is that traditional thinking about aesthetic value fails to capture the specificities with which empirical art scholars must grapple. This paper diagnoses how the tradition came to think in this problematic way about aesthetic value. It then sketches an approach to aesthetic value that boosts the refractive power of the tools that scholars of the arts can use to bring into focus some of the specificities they care about. The path to that goal skirts the troublesome features of traditional approaches.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45221911","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 : 2021-01-01DOI: 10.1080/20004214.2021.1954418
Erica L. Johnson
ABSTRACT This article presents a comparative analysis of works of Caribbean art and literature that engage in a mutual project of addressing the paradox of the colonial archive. Trinidadian-Canadian writer M. NourbeSe Philip crafted her long poem Zong! from an eighteenth-century legal document about the murder of 132 enslaved Africans onboard the slave ship of the same name. Exposing the dehumanizing language of historical record from which she nonetheless extracts affective and poetic scraps of human experience, Philip shows the power and necessity of artistic intervention in the colonial archive. The similarities between Philip’s literary strategies and Belle’s artistic interventions in the archive of the Danish (now U.S.) Virgin Islands are striking, and the two illuminate one another. Focusing on Belle’s series entitled Chaney (We Live in the Fragments), the analysis delves into her work with “chaney,” a Creole term for the colonial-era shards of china that wash out of the soil of the Virgin Islands as a reminder of the centuries-long Danish presence there. Belle’s art is both counter-archival and counter-canonical in her direct address to the national Danish institution of the Kongelige Porcelainsfabrik, or Royal Copenhagen Porcelain Factory. Both the poem and the artwork focus on the aesthetic of the fragment, whether in terms of the fragmented nature of the colonial archive with its many blind spots, the fragments of lost narrative that Philip scatters across the page, or the fragments of pottery that Belle transforms into paintings and ceramics that evoke the disjointed nature of Caribbean identity. Framing Zong! and Chaney with the notion of “comparative relativism,” the article draws on literary and art historical methodologies to reveal an important transdisciplinary approach to Caribbean archives and to the creation of cultural memory. GRAPHICAL ABSTRACT
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