Pub Date : 2020-01-01DOI: 10.1080/20004214.2020.1761060
Tore Størvold
ABSTRACT This article presents a musicological and ecocritical close reading of the song “Brennisteinn” (“sulphur” or, literally, “burning rock”) by the acclaimed post-rock band Sigur Rós. The song—and its accompanying music video—features musical, lyrical, and audiovisual means of registering the turbulence of living in volcanic landscapes. My analysis of Sigur Rós’s music opens up a window into an Icelandic cultural history of inhabiting a risky Earth, a condition captured by anthropologist Gísli Pálsson’s concept of geosociality, which emerged from his ethnography in communities living with volcanoes. Geosociality allows for a “down to earth” perspective that accounts for the liveliness of the ground below our feet. Likewise, in Sigur Rós’s “Brennisteinn”, we encounter a musical imagination of the geologic that poses a challenge to hegemonic concepts of nature founded on notions of equilibrium and permanence. The article culminates with a consideration of what such a geologically minded aesthetics can offer us in the age of the Anthropocene.
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Pub Date : 2020-01-01DOI: 10.1080/20004214.2020.1767969
Cathrine Bublatzky
ABSTRACT Following a particular interest in memories and stories of exile and their representation in artistic photography, I draw critical attention to the notion of diasporic aesthetics. I ask why visual and performative strategies of storytelling matter as fundamental methods not only of self-representation, but also of transcultural expressions of “belonging” across various cultural and geographical borders. Reflecting on Parastou Forouhar, an Iranian artist living in exile in Germany, and her photographic series Das Grass ist Grün, der Himmel ist Blau, und Sie ist Schwarz [The Grass is Green, the Sky is Blue, and She is Black] (2017), I argue that artistic photography constitutes a social practice that carries the potential to create relations of solidarity with other migratory groups. These groups may share similar diasporic aesthetics, or be familiar with experiences of migration and exile or discrimination and exclusion. Moreover, within the scope of photography and migration and its particular expression and performances of belonging, the practice produces a creative space where cultural differences and boundaries may generate shared forms of identification and contestation that transcend national and ethnic identities. After arguing for photography as a medium that expresses the multiple notions and struggles of the ongoing processes through which “belonging becomes”, conclude that photography can generate a sensorium, a space that provides possibilities of critical transcultural engagement and encounters in post-migration societies.
{"title":"Aesthetics of an Iranian diaspora – politics of belonging and difference in contemporary art photography","authors":"Cathrine Bublatzky","doi":"10.1080/20004214.2020.1767969","DOIUrl":"https://doi.org/10.1080/20004214.2020.1767969","url":null,"abstract":"ABSTRACT Following a particular interest in memories and stories of exile and their representation in artistic photography, I draw critical attention to the notion of diasporic aesthetics. I ask why visual and performative strategies of storytelling matter as fundamental methods not only of self-representation, but also of transcultural expressions of “belonging” across various cultural and geographical borders. Reflecting on Parastou Forouhar, an Iranian artist living in exile in Germany, and her photographic series Das Grass ist Grün, der Himmel ist Blau, und Sie ist Schwarz [The Grass is Green, the Sky is Blue, and She is Black] (2017), I argue that artistic photography constitutes a social practice that carries the potential to create relations of solidarity with other migratory groups. These groups may share similar diasporic aesthetics, or be familiar with experiences of migration and exile or discrimination and exclusion. Moreover, within the scope of photography and migration and its particular expression and performances of belonging, the practice produces a creative space where cultural differences and boundaries may generate shared forms of identification and contestation that transcend national and ethnic identities. After arguing for photography as a medium that expresses the multiple notions and struggles of the ongoing processes through which “belonging becomes”, conclude that photography can generate a sensorium, a space that provides possibilities of critical transcultural engagement and encounters in post-migration societies.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2020.1767969","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48562933","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 : 2020-01-01DOI: 10.1080/20004214.2020.1712764
E. Anderson
ABSTRACT I argue that silence is replete with aesthetic character and that it can be a rewarding object of aesthetic appreciation, assessment, and appraisal. The appreciation of silence might initially seem impossible, for, it might seem, there is nothing there to behold. Taking up this challenge, I attempt to dispel the sense of paradox. I contend that, despite our never actually experiencing absolute silence, there is much to enjoy in the silences that we do experience. I go on to argue that proper appreciation of silence is a two-way street, involving quiet on the outside and stillness on the inside. I conclude by offering some suggestions for how to make the aesthetic appreciation of silence part of a flourishing life.
{"title":"In a silent way","authors":"E. Anderson","doi":"10.1080/20004214.2020.1712764","DOIUrl":"https://doi.org/10.1080/20004214.2020.1712764","url":null,"abstract":"ABSTRACT I argue that silence is replete with aesthetic character and that it can be a rewarding object of aesthetic appreciation, assessment, and appraisal. The appreciation of silence might initially seem impossible, for, it might seem, there is nothing there to behold. Taking up this challenge, I attempt to dispel the sense of paradox. I contend that, despite our never actually experiencing absolute silence, there is much to enjoy in the silences that we do experience. I go on to argue that proper appreciation of silence is a two-way street, involving quiet on the outside and stillness on the inside. I conclude by offering some suggestions for how to make the aesthetic appreciation of silence part of a flourishing life.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2020.1712764","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44501322","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 : 2020-01-01DOI: 10.1080/20004214.2020.1729574
P. Zahrádka
ABSTRACT Following methodological relativism, the paper reflects critically on objectivist theories of aesthetic judgement that derive its objectivity from the rules by which the judgement is made, or from ideal settings of the observer. Both theories share the assumption that the person delivering the reliable (objective) aesthetic judgement is an art critic. The critical reflection of both theories is based on pragmalinguistic analysis of film criticism, that is, on the reconstruction of the semantics and normativity of value judgements made by professional film critics.
{"title":"Research on the normativity of aesthetic judgements in film criticism","authors":"P. Zahrádka","doi":"10.1080/20004214.2020.1729574","DOIUrl":"https://doi.org/10.1080/20004214.2020.1729574","url":null,"abstract":"ABSTRACT Following methodological relativism, the paper reflects critically on objectivist theories of aesthetic judgement that derive its objectivity from the rules by which the judgement is made, or from ideal settings of the observer. Both theories share the assumption that the person delivering the reliable (objective) aesthetic judgement is an art critic. The critical reflection of both theories is based on pragmalinguistic analysis of film criticism, that is, on the reconstruction of the semantics and normativity of value judgements made by professional film critics.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2020.1729574","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44113069","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 : 2020-01-01DOI: 10.1080/20004214.2020.1733847
Pioter Shmugliakov
ABSTRACT The paper explores the inherent political dimension of art, theorized as the artwork’s community: the community structurally constitutive of the work of art as a phenomenon. I distinguish between two major paradigms of the artwork’s community: the Kantian and the Heideggerian. The Kantian is a transcendental aesthetic community, evoked in aesthetic judgment, which thus claims the possibility of emancipated political existence. The Heideggerian, in contrast, is an actual community, sharing the understanding of reality inaugurated by the truth-disclosing event of art. I further distinguish between two possible interpretations of the Heideggerian artwork’s community. The orthodox interpretation conceives of it in terms of Volk, which renders it largely irrelevant for the art of our age. I suggest a new interpretation of the Heideggerian artwork’s community, which keeping with the historical actuality as its essential treat, reduces its scale to the type of community defined by Hakim Bey as temporary autonomous zone (TAZ). I undertake a comparative analysis of two contemporary artistic phenomena, which seem to be informed by an interpretation of the artwork’s community in terms of the latter paradigm: the participatory practices of contemporary art (also known as relational art) and the psytrance dance movement. I show that while psytrance indeed embodies the Heideggerian artwork’s community in its TAZ-version, participatory art operates within the Kantian paradigm, while taking TAZ as the privileged medium of its aesthetic operation.
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Pub Date : 2020-01-01DOI: 10.1080/20004214.2020.1840087
Ilona Hongisto, Katve-Kaisa Kontturi
ABSTRACT This essay discusses the material agency of clothing in the celebrated documentary classic Grey Gardens (David and Albert Maysles, USA 1975). Drawing on the extraordinary relationship between the protagonists, their clothing, the filming location, and the filmmakers, the essay shows how the protagonists of the documentary “think up” costumes that enable them to temporarily exceed difficult living conditions. The essay names the thought-up costumes fabulous folds and accounts for the ways in which costumes activate novel possibilities in the body’s relationship to its environment.
摘要本文论述了著名纪录片《灰色花园》（David and Albert Maysles，USA 1975）中服装的物质代理。本文利用主人公、他们的服装、拍摄地点和电影制作人之间的非凡关系，展示了纪录片的主人公如何“想出”服装，使他们能够暂时摆脱困难的生活条件。文章将经过思考的服装命名为神话般的褶皱，并说明服装在身体与环境的关系中激活新奇可能性的方式。
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Pub Date : 2019-11-22DOI: 10.1080/20004214.2019.1644129
M. Dorr
ABSTRACT Rebecca Walkowitz’s observation that contemporary novels tend to be “born translated” involves the notion that they equally tend to be “born in motion”; they are often already, conceptually, on the road to faraway readers during their moments of conception. A first, more narrowly defined objective of my essay is to examine the narrative strategies used in Dave Eggers’s What Is the What (2007) and Chimamanda Ngozi Adichie’s Half of a Yellow Sun (2007) that facilitate and respond to this dimension of motion in particular travels of memory. In a broader scope, this analysis will be embedded into an appraisal of the potentials of recent theorizing both in narratology (i.e. the study of narrative) and in memory studies to understand the dynamics at play in the reception of far-travelled narrative memory media. It is a central proposition of this essay that the two research fields share an amplitude of common concerns with regard to questions of reception and should therefore be brought into a close dialogue. The present study explores how some of these intersections between narratology and memory studies can be approached through the notions of “distance” and “proximity.”
摘要Rebecca Walkowitz认为当代小说往往是“天生的翻译”，这一观点涉及到它们同样倾向于“天生的运动”；从概念上讲，它们往往已经在通往遥远读者的路上了。我的文章的第一个更狭义的目标是研究Dave Eggers的《What is the What》（2007）和Chimamanda Ngozi Adichie的《半个黄色的太阳》（2007年）中使用的叙事策略，这些策略促进和回应了运动的这一维度，尤其是记忆的旅行。在更广泛的范围内，这一分析将嵌入对叙事学（即叙事研究）和记忆研究中最近理论化潜力的评估中，以了解在接受遥远的叙事记忆媒体方面发挥作用的动力学。这篇文章的中心命题是，这两个研究领域在接受问题上有着共同的关注点，因此应该进行密切的对话。本研究探讨了如何通过“距离”和“接近”的概念来处理叙事学和记忆研究之间的一些交叉点
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Pub Date : 2019-11-22DOI: 10.1080/20004214.2019.1623631
Erin Högerle
ABSTRACT Ascribing to the premise that film festivals are crucial to the production of cultural memory, this article explores different parameters through which festivals shape our reception of films. In its focus on the Asian American film festival CAAMFest, the article reveals that festivals are part of a complex network of actors whose different agendas influence the narratives produced around the film, direct its role as memory object and encourage memories to travel. What is more, it shows that festival locations—from the city in which a festival takes place to the concrete venue in which a film is screened—play a significant role in shaping our experience and understanding of films. Finally, it establishes that festivals create frames for their films, constructed through and circulated by the various festival media and live performances at the festival events. Bringing together film festival studies and memory studies, the article makes use of an interdisciplinary approach with which to explore the film festival phenomenon, thus shedding light on the complex dynamics of acts of framing, locations and networks of actors shaping the festival’s memory production. It also draws attention to the understudied phenomenon of Asian American film festivals, showing how such a festival may actively engage in constructing and performing a minority group’s collective identity and memory.
{"title":"Networks, locations and frames of memory in Asian American film festivals*","authors":"Erin Högerle","doi":"10.1080/20004214.2019.1623631","DOIUrl":"https://doi.org/10.1080/20004214.2019.1623631","url":null,"abstract":"ABSTRACT Ascribing to the premise that film festivals are crucial to the production of cultural memory, this article explores different parameters through which festivals shape our reception of films. In its focus on the Asian American film festival CAAMFest, the article reveals that festivals are part of a complex network of actors whose different agendas influence the narratives produced around the film, direct its role as memory object and encourage memories to travel. What is more, it shows that festival locations—from the city in which a festival takes place to the concrete venue in which a film is screened—play a significant role in shaping our experience and understanding of films. Finally, it establishes that festivals create frames for their films, constructed through and circulated by the various festival media and live performances at the festival events. Bringing together film festival studies and memory studies, the article makes use of an interdisciplinary approach with which to explore the film festival phenomenon, thus shedding light on the complex dynamics of acts of framing, locations and networks of actors shaping the festival’s memory production. It also draws attention to the understudied phenomenon of Asian American film festivals, showing how such a festival may actively engage in constructing and performing a minority group’s collective identity and memory.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2019-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2019.1623631","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42779355","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 : 2019-11-22DOI: 10.1080/20004214.2019.1690840
M. Dorr, A. Erll, Erin Högerle, P. Vickers, Jarula M. I. Wegner
ABSTRACT This introduction outlines new developments in the field of cultural and media memory studies in the wake of the transcultural turn. It pays specific attention to the twofold dynamics of memory’s travel and locatedness. While in recent memory studies discourse there has been a tendency to see travel as the inspiration for innovative research, locatedness has become associated with old-fashioned, bounded approaches. Rather than reproduce the positive charging of travel and negative charging of locatedness, this special issue aims to emphasise the complexity of memory dynamics resulting from the interaction of the two poles and to make visible that the production, (re)mediation, and reception of the past in the present is constituted by both travel and locatedness.
{"title":"Introduction: Travel, locatedness, and new horizons in Memory Studies","authors":"M. Dorr, A. Erll, Erin Högerle, P. Vickers, Jarula M. I. Wegner","doi":"10.1080/20004214.2019.1690840","DOIUrl":"https://doi.org/10.1080/20004214.2019.1690840","url":null,"abstract":"ABSTRACT This introduction outlines new developments in the field of cultural and media memory studies in the wake of the transcultural turn. It pays specific attention to the twofold dynamics of memory’s travel and locatedness. While in recent memory studies discourse there has been a tendency to see travel as the inspiration for innovative research, locatedness has become associated with old-fashioned, bounded approaches. Rather than reproduce the positive charging of travel and negative charging of locatedness, this special issue aims to emphasise the complexity of memory dynamics resulting from the interaction of the two poles and to make visible that the production, (re)mediation, and reception of the past in the present is constituted by both travel and locatedness.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2019-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2019.1690840","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46594992","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 : 2019-11-22DOI: 10.1080/20004214.2019.1635426
Christina Jordan
ABSTRACT This article analyses the production of prospective memories in the 2012 BBC documentary A Jubilee Tribute to The Queen by The Prince of Wales. The contemporary British monarchy relies heavily on memory products in order to connect to their subjects and to secure their popularity. This entails the production not only of memories of the past, but also of memories for the future, i.e. prospective memories. One way to fashion opportunities for the creation of prospective memories is by sharing private recollections in the form of (royal) family photographs and films. These media were once located in the family’s private archive, but through forms such as documentaries commissioned by members of the royal family they were able to travel into the public sphere. Through commodification, these formerly exclusive small-scale memories reach vast audiences, who engage with them and might form new memories of their own. While cultural memory studies still tends to favour research on traumatic events and the actualisation of memories of the past, this case study demonstrates that a focus on positive events and on memories’ prospective side opens up rich and fruitful research avenues.
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