Abstract Tacita Dean, Julia Robinson, and Joshua Shannon offer recollections of Claes Oldenburg and his work, and Thomas Hirschhorn presents a photo-essay/artwork in response to the artist's recent passing.
{"title":"Four Texts on Claes Oldenburg","authors":"","doi":"10.1162/octo_a_00471","DOIUrl":"https://doi.org/10.1162/octo_a_00471","url":null,"abstract":"Abstract Tacita Dean, Julia Robinson, and Joshua Shannon offer recollections of Claes Oldenburg and his work, and Thomas Hirschhorn presents a photo-essay/artwork in response to the artist's recent passing.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"97-110"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41445858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Two film theorists, D. N. Rodowick and Murray Smith, have recently addressed the place of the natural sciences in the study of film and art, and they reach diametrically opposed conclusions. Rodowick argues that natural-scientific explanations have little or no role to play in the study of film and art as “cultural practices,” while Smith advocates a “naturalized aesthetics of film,” which he describes as “an approach that … treats [film] as a phenomenon which is likely to be illuminated by various types of scientific as well as traditional humanistic research.” In this paper, I argue that, while both views contain important insights, they are ultimately mistaken. Rodowick overlooks the important role the natural sciences can play in explaining the perceptual, cognitive, affective, and bodily capacities that shape and constrain our engagement with art as well as the properties of artworks that elicit and inform this engagement. Nevertheless, this does not mean, I maintain, that aesthetics should be naturalized, as Smith believes, given that the types of explanations standardly proffered in film studies and other humanistic disciplines can be autonomous from those of the natural sciences in the sense of being explanatorily self-sufficient.
{"title":"Theory, Philosophy, Film Studies, and Science: A Response to D. N. Rodowick's Philosophy's Artful Conversation and Murray Smith's Film, Art and the Third Culture∗","authors":"M. Turvey","doi":"10.1162/octo_a_00465","DOIUrl":"https://doi.org/10.1162/octo_a_00465","url":null,"abstract":"Abstract Two film theorists, D. N. Rodowick and Murray Smith, have recently addressed the place of the natural sciences in the study of film and art, and they reach diametrically opposed conclusions. Rodowick argues that natural-scientific explanations have little or no role to play in the study of film and art as “cultural practices,” while Smith advocates a “naturalized aesthetics of film,” which he describes as “an approach that … treats [film] as a phenomenon which is likely to be illuminated by various types of scientific as well as traditional humanistic research.” In this paper, I argue that, while both views contain important insights, they are ultimately mistaken. Rodowick overlooks the important role the natural sciences can play in explaining the perceptual, cognitive, affective, and bodily capacities that shape and constrain our engagement with art as well as the properties of artworks that elicit and inform this engagement. Nevertheless, this does not mean, I maintain, that aesthetics should be naturalized, as Smith believes, given that the types of explanations standardly proffered in film studies and other humanistic disciplines can be autonomous from those of the natural sciences in the sense of being explanatorily self-sufficient.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"7-60"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49484351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Rosalind Krauss argues that the 2020 Donald Judd retrospective at the Museum of Modern Art shows that the painterly side of this famously “anti-painter” artist was more pronounced than he would have ever admitted.
罗莎琳德·克劳斯(Rosalind Krauss)认为，2020年在现代艺术博物馆(Museum of Modern Art)举办的唐纳德·贾德(Donald Judd)回顾展表明，这位著名的“反画家”艺术家的绘画一面比他自己所承认的更为明显。
{"title":"Beyond Painting","authors":"Rosalind E. Krauss","doi":"10.1162/octo_a_00464","DOIUrl":"https://doi.org/10.1162/octo_a_00464","url":null,"abstract":"Abstract Rosalind Krauss argues that the 2020 Donald Judd retrospective at the Museum of Modern Art shows that the painterly side of this famously “anti-painter” artist was more pronounced than he would have ever admitted.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"3-6"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46667287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract On a surreal day in August 2019, smoke clouds rising from the burning Amazon plunged Sa?o Paulo into darkness. Pasture-clearing cattle industries in Brazil, largely responsible for these fires, soon became a matter of global concern. A different sort of crisis took hold half year later—the COVID-19 pandemic, which likely originated in a bat. These two events, though seemingly disconnected, involve consuming animal bodies in ways that have compromised planetary habitability—one through deforestation and greenhouse gases, the other through confinement and a novel coronavirus. This essay argues for the urgency of re-thinking politics from a posthumanist perspective, one that considers the impact of environmental harm caused by the uses of nonhuman animals. Democracy is shaped by such eco-political realities, as demonstrated in the multi-species authoritarianism of Brazilian president Jair Bolsonaro's “bancadas de bi?blia, bo?i, e bala” (“senate seats filled with bibles, beef, and bullets”). This essay focuses on Wilson Coutinho's experimental short film Cildo Meireles (1979) as well Meireles art installations that incorporate nonhuman animals. Coutinho and Meireles were prescient in their attention to the role of nonhuman animals within the histories of colonialism/neocolonialism and the immiseration of indigenous communities at the hands of such undemocratic forces as corrupt politicians and ranchers. Their work offers a multi-species analysis of global warming, biodiversity loss, racist food politics, and the incubation of zoonotic illnesses—all of which have led to a withering of democracy within Brazil's borders and beyond.
摘要在2019年8月的一个超现实的日子里，燃烧的亚马逊升起的烟云使Sa？o保罗陷入黑暗。巴西的牧场清理业对这些火灾负有主要责任，很快成为全球关注的问题。半年后发生了另一种危机——新冠肺炎大流行，很可能起源于蝙蝠。这两个事件虽然看似不相关，但涉及以损害地球宜居性的方式消耗动物尸体——一个是通过砍伐森林和温室气体，另一个是由于监禁和新型冠状病毒。本文认为，从后人道主义的角度重新思考政治的紧迫性，即考虑使用非人类动物造成的环境危害的影响。民主是由这种生态政治现实塑造的，正如巴西总统雅伊尔·博索纳罗的“bancadas de bi？blia，bo？i，e bala”（“参议院席位上满是圣经、牛肉和子弹”）的多种族威权主义所证明的那样。这篇文章聚焦于Wilson Coutinho的实验短片《Cildo Meireles》（1979），以及Meireles融入非人类动物的艺术装置。库蒂尼奥和梅雷莱斯很有先见之明，他们注意到非人类动物在殖民主义/新殖民主义历史中的作用，以及土著社区在腐败政客和牧场主等不民主势力手中的移民。他们的工作对全球变暖、生物多样性丧失、种族主义食品政治和人畜共患疾病的潜伏进行了多物种分析，所有这些都导致了巴西境内外民主的衰落。
{"title":"Zoonotic Undemocracy∗","authors":"Arnaud Gerspacher","doi":"10.1162/octo_a_00466","DOIUrl":"https://doi.org/10.1162/octo_a_00466","url":null,"abstract":"Abstract On a surreal day in August 2019, smoke clouds rising from the burning Amazon plunged Sa?o Paulo into darkness. Pasture-clearing cattle industries in Brazil, largely responsible for these fires, soon became a matter of global concern. A different sort of crisis took hold half year later—the COVID-19 pandemic, which likely originated in a bat. These two events, though seemingly disconnected, involve consuming animal bodies in ways that have compromised planetary habitability—one through deforestation and greenhouse gases, the other through confinement and a novel coronavirus. This essay argues for the urgency of re-thinking politics from a posthumanist perspective, one that considers the impact of environmental harm caused by the uses of nonhuman animals. Democracy is shaped by such eco-political realities, as demonstrated in the multi-species authoritarianism of Brazilian president Jair Bolsonaro's “bancadas de bi?blia, bo?i, e bala” (“senate seats filled with bibles, beef, and bullets”). This essay focuses on Wilson Coutinho's experimental short film Cildo Meireles (1979) as well Meireles art installations that incorporate nonhuman animals. Coutinho and Meireles were prescient in their attention to the role of nonhuman animals within the histories of colonialism/neocolonialism and the immiseration of indigenous communities at the hands of such undemocratic forces as corrupt politicians and ranchers. Their work offers a multi-species analysis of global warming, biodiversity loss, racist food politics, and the incubation of zoonotic illnesses—all of which have led to a withering of democracy within Brazil's borders and beyond.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"61-92"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41839671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Ten writers—Zahid R. Chaudhary, Anne A. Cheng, Joan Copjec, Tim Dean, David L. Eng, David Halperin, David Kurnick, D. A. Miller, Mignon Nixon, and Spyros Papapetros—celebrate the recently departed Leo Bersani.
{"title":"On Leo Bersani: Ten Texts","authors":"","doi":"10.1162/octo_a_00467","DOIUrl":"https://doi.org/10.1162/octo_a_00467","url":null,"abstract":"Abstract Ten writers—Zahid R. Chaudhary, Anne A. Cheng, Joan Copjec, Tim Dean, David L. Eng, David Halperin, David Kurnick, D. A. Miller, Mignon Nixon, and Spyros Papapetros—celebrate the recently departed Leo Bersani.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"93-112"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47752939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract After the coup d’état in Bolivia, in November 2019, a presidential decree was passed that potentially criminalized journalists, bloggers, and artists by holding that to the extent their work could be characterized as confusing public opinion it would be considered to constitute a danger to public health. The present text “A Debt to Beauty” offers a brief analysis of the historical relationship between silence and beauty, as well as the ethical dimension of the act of contemplating beauty in a museum—the debt one incurs, as it were, to beauty.
{"title":"On Bolivia: A Debt to Beauty","authors":"Max Jorge Hinderer Cruz","doi":"10.1162/octo_a_00468","DOIUrl":"https://doi.org/10.1162/octo_a_00468","url":null,"abstract":"Abstract After the coup d’état in Bolivia, in November 2019, a presidential decree was passed that potentially criminalized journalists, bloggers, and artists by holding that to the extent their work could be characterized as confusing public opinion it would be considered to constitute a danger to public health. The present text “A Debt to Beauty” offers a brief analysis of the historical relationship between silence and beauty, as well as the ethical dimension of the act of contemplating beauty in a museum—the debt one incurs, as it were, to beauty.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"113-118"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41996467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract “Double Dan” is an account of helping to produce a Dan Graham multiple for Veronica Gonzalez's Rocky Point Press.
“双丹”是帮助制作丹格雷厄姆倍数为维罗妮卡冈萨雷斯的洛基点出版社的帐户。
{"title":"Double Dan","authors":"John Miller","doi":"10.1162/octo_a_00457","DOIUrl":"https://doi.org/10.1162/octo_a_00457","url":null,"abstract":"Abstract “Double Dan” is an account of helping to produce a Dan Graham multiple for Veronica Gonzalez's Rocky Point Press.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"126-130"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42492611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Hong Kong's National Security Law was passed on June 30, 2020, followed by a film-censorship amendment on October 27, 2021. While the public experienced the ensuing censorship as an absence and an occlusion of works, the mechanisms of censorship are opaque and bureaucratic, made effective through myriad methods. This article focuses on a first-person telling that weaves personal conversations, rumors, and everyday experiences in the new normal to analyze the evolving codes and reveal the trip wires that threaten the creation and presentation of films, artworks, and print materials in Hong Kong. Artists and filmmakers face a developing shadow bureaucracy, which they are only slowly coming to understand. Tracing the visible and invisible red lines through a group of mostly anonymized artists and practitioners—except for the author or those cited in the news—this essay confronts the haunting power of newly passed national-security laws to atomize fear, threaten some more than others, and generally to produce paranoia.
{"title":"Handbook of Feelings","authors":"Tiffany L Sia","doi":"10.1162/octo_a_00460","DOIUrl":"https://doi.org/10.1162/octo_a_00460","url":null,"abstract":"Abstract Hong Kong's National Security Law was passed on June 30, 2020, followed by a film-censorship amendment on October 27, 2021. While the public experienced the ensuing censorship as an absence and an occlusion of works, the mechanisms of censorship are opaque and bureaucratic, made effective through myriad methods. This article focuses on a first-person telling that weaves personal conversations, rumors, and everyday experiences in the new normal to analyze the evolving codes and reveal the trip wires that threaten the creation and presentation of films, artworks, and print materials in Hong Kong. Artists and filmmakers face a developing shadow bureaucracy, which they are only slowly coming to understand. Tracing the visible and invisible red lines through a group of mostly anonymized artists and practitioners—except for the author or those cited in the news—this essay confronts the haunting power of newly passed national-security laws to atomize fear, threaten some more than others, and generally to produce paranoia.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"137-149"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42107341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract “Sunday Painter” is a contemporary re-consideration of Dan Graham's 1967 essay “Eisenhower and the Hippies.”
摘要《星期日画家》是对丹·格雷厄姆1967年散文《艾森豪威尔与嬉皮士》的当代重新思考
{"title":"Dan Graham: Sunday Painter","authors":"John Miller","doi":"10.1162/octo_a_00458","DOIUrl":"https://doi.org/10.1162/octo_a_00458","url":null,"abstract":"Abstract “Sunday Painter” is a contemporary re-consideration of Dan Graham's 1967 essay “Eisenhower and the Hippies.”","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"131-132"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44953450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In a social movement beset by internal divisions even as it confronts an ever-escalating crackdown, the meaning of “militancy” in Hong Kong has taken on conflicting if not antagonistic dimensions in the years since the protests of 2019. These “field notes” attempt to chart a course through the ins and outs of organizing on the ground and from a distance through the work of the Lausan Collective, tracking its epoch-making aesthetics and practices of militancy. As a prioritized ethic and moral-political compass that has aligned seamlessly with not only the mainstream liberal currents of the 2019 uprising but also with a storied postcolonial tradition of bourgeois Han centrism in Hong Kong identity formation, the legacy of militancy remains inextricably tied to valorized masculinist and techno-orientalist imaginaries of dissent, as well as a readiness to invoke sympathetic affect, or “heartbreak,” to sanction modes of injury and sacrifice and to allocate activist merit. Instead, Lausan Collective puts forward translation as a militant practice—a reciprocal and persistent mode of survival and solidarity that endures beyond and despite a visuality of valiance and the dominant affective orders of “heartbreak liberalism.”
{"title":"Heartbreak Liberalism, or the Case for Militant Translation∗","authors":"Srthe Lausan Collective","doi":"10.1162/octo_a_00462","DOIUrl":"https://doi.org/10.1162/octo_a_00462","url":null,"abstract":"Abstract In a social movement beset by internal divisions even as it confronts an ever-escalating crackdown, the meaning of “militancy” in Hong Kong has taken on conflicting if not antagonistic dimensions in the years since the protests of 2019. These “field notes” attempt to chart a course through the ins and outs of organizing on the ground and from a distance through the work of the Lausan Collective, tracking its epoch-making aesthetics and practices of militancy. As a prioritized ethic and moral-political compass that has aligned seamlessly with not only the mainstream liberal currents of the 2019 uprising but also with a storied postcolonial tradition of bourgeois Han centrism in Hong Kong identity formation, the legacy of militancy remains inextricably tied to valorized masculinist and techno-orientalist imaginaries of dissent, as well as a readiness to invoke sympathetic affect, or “heartbreak,” to sanction modes of injury and sacrifice and to allocate activist merit. Instead, Lausan Collective puts forward translation as a militant practice—a reciprocal and persistent mode of survival and solidarity that endures beyond and despite a visuality of valiance and the dominant affective orders of “heartbreak liberalism.”","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"165-174"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42819610","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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