Pub Date : 2021-06-28eCollection Date: 2022-01-01DOI: 10.5114/cipp.2021.107338
Piotr K Oleś, Aneta Bartnicka-Michalska
The current culture emphasizes effectiveness and happiness. In this article, we discuss whether it is possible to function optimally in the professional sphere without existential reflection. As we argue, the need for a meaning of life and giving sense to our activity is fundamental. Universal human needs, optimal functioning models, and developmental patterns throughout life support our perspective. The challenges and problems of midlife transition have a common denominator - personalized awareness of life's finiteness and fear of death. During midlife, people need philosophical reflection on values basic for the meaning of life. Referring to Søren Kierkegaard, culture promotes fixation on the aesthetic stage, while personality development leads to the ethical and religious stage. It means profound transformation, striving for internal integration, and stabilizing the person's functioning on higher values. Kierkegaard's philosophical anthropology and existential psychology promote the pattern of conscious, intentional life, and personal growth.
{"title":"People of the 21<sup>st</sup> century: Where we came from - Who we are - Where we are going.","authors":"Piotr K Oleś, Aneta Bartnicka-Michalska","doi":"10.5114/cipp.2021.107338","DOIUrl":"10.5114/cipp.2021.107338","url":null,"abstract":"<p><p>The current culture emphasizes effectiveness and happiness. In this article, we discuss whether it is possible to function optimally in the professional sphere without existential reflection. As we argue, the need for a meaning of life and giving sense to our activity is fundamental. Universal human needs, optimal functioning models, and developmental patterns throughout life support our perspective. The challenges and problems of midlife transition have a common denominator - personalized awareness of life's finiteness and fear of death. During midlife, people need philosophical reflection on values basic for the meaning of life. Referring to Søren Kierkegaard, culture promotes fixation on the aesthetic stage, while personality development leads to the ethical and religious stage. It means profound transformation, striving for internal integration, and stabilizing the person's functioning on higher values. Kierkegaard's philosophical anthropology and existential psychology promote the pattern of conscious, intentional life, and personal growth.</p>","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"1-9"},"PeriodicalIF":1.0,"publicationDate":"2021-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10535622/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86477942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Friends of Attention: What is the relationship between the “fuse” of a bomb and the “fuse” of a fuse box? How do their respective “burnouts” figure the relationship between precarity and protection? In a set of propositional meditations, a working group of the collective known as The Friends of Attention (who concern themselves with theorizing and cultivating modes of attention resistant to monetization) attempts to overload the circuit of burnout politics. Can we refuse what is broken? Can we defuse what seems about to blow?
注意朋友:炸弹的“保险丝”和保险丝盒的“保险丝”是什么关系?他们各自的“倦怠”如何解释不稳定与保护之间的关系?在一系列命题冥想中，一个被称为“注意力之友”(Friends of Attention)的工作小组(他们关注的是理论化和培养抵制货币化的注意力模式)试图让倦怠政治的回路过载。我们能拒绝破碎吗?我们能拆除即将爆炸的东西吗?
{"title":"The Fuse; Its Refusal: Notes on the Politics of Burnout","authors":"","doi":"10.1162/octo_a_00423","DOIUrl":"https://doi.org/10.1162/octo_a_00423","url":null,"abstract":"Abstract Friends of Attention: What is the relationship between the “fuse” of a bomb and the “fuse” of a fuse box? How do their respective “burnouts” figure the relationship between precarity and protection? In a set of propositional meditations, a working group of the collective known as The Friends of Attention (who concern themselves with theorizing and cultivating modes of attention resistant to monetization) attempts to overload the circuit of burnout politics. Can we refuse what is broken? Can we defuse what seems about to blow?","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"25-26"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48556549","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 This introduction to the special thematic cluster on burnout describes how the notion has informed cultures of contemporary work during the pandemic and the ways in which the concept of burnout reproduces the intertwined interests of labor and self-management under conditions of neoliberalism. The essay sketches a brief genealogy of the term, starting with the formulation of neurasthenia that preceded it and proceeding to its first citation within medical literature by Herbert J. Freudenberger and then to its philosophical uptake in the writing of Byung-Chul Han. In addressing burnout's relationship to recent art, criticism, and histories of media, the introduction stresses its unequal impacts across disparate populations relative to class, race, and gender.
{"title":"Introduction: Aspiration Burnout","authors":"Pamela M. Lee","doi":"10.1162/octo_e_00421","DOIUrl":"https://doi.org/10.1162/octo_e_00421","url":null,"abstract":"Abstract This introduction to the special thematic cluster on burnout describes how the notion has informed cultures of contemporary work during the pandemic and the ways in which the concept of burnout reproduces the intertwined interests of labor and self-management under conditions of neoliberalism. The essay sketches a brief genealogy of the term, starting with the formulation of neurasthenia that preceded it and proceeding to its first citation within medical literature by Herbert J. Freudenberger and then to its philosophical uptake in the writing of Byung-Chul Han. In addressing burnout's relationship to recent art, criticism, and histories of media, the introduction stresses its unequal impacts across disparate populations relative to class, race, and gender.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"3-6"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41468299","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 the 1940s and 50s, Weegee shot a considerable number of photographs in New York City's movie theaters. These photos contribute important insights on the history of cinema spectatorship in the form of visual arguments about the movie audience. This article places the images in dialogue with theories and histories of the disembodied spectator. It discusses the photographer's particular fascination with sleeping moviegoers. The sleepy filmgoer embodies simultaneously the model and counter-model of spectatorial attention. This figure focalizes a strand of theory that associates filmic reception with scattered, dispersive forms of attention that stray from aesthetic or disciplinary norms of absorption.
{"title":"Sleeping in the Cinema∗","authors":"Jean Ma","doi":"10.1162/octo_a_00425","DOIUrl":"https://doi.org/10.1162/octo_a_00425","url":null,"abstract":"Abstract In the 1940s and 50s, Weegee shot a considerable number of photographs in New York City's movie theaters. These photos contribute important insights on the history of cinema spectatorship in the form of visual arguments about the movie audience. This article places the images in dialogue with theories and histories of the disembodied spectator. It discusses the photographer's particular fascination with sleeping moviegoers. The sleepy filmgoer embodies simultaneously the model and counter-model of spectatorial attention. This figure focalizes a strand of theory that associates filmic reception with scattered, dispersive forms of attention that stray from aesthetic or disciplinary norms of absorption.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"31-52"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47919271","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 This dialogue centers on the artwork and legacy of Chilean artist Lotty Rosenfeld, including such solo projects as One Mile of Crosses on the Pavement and her collaborations with CADA (Colectivo Acciones de Arte). It argues for a queer feminist reading of Rosenfeld as it considers her anti-dictatorship spatial practices, her intimacies with the writer Diamela Eltit, and her political and aesthetic commitments.
{"title":"Speaking of Lotty Rosenfeld: “Gestures Dangerous, Simple, and Popular”∗","authors":"N. Brizuela, Julia Bryan-Wilson","doi":"10.1162/octo_a_00429","DOIUrl":"https://doi.org/10.1162/octo_a_00429","url":null,"abstract":"Abstract This dialogue centers on the artwork and legacy of Chilean artist Lotty Rosenfeld, including such solo projects as One Mile of Crosses on the Pavement and her collaborations with CADA (Colectivo Acciones de Arte). It argues for a queer feminist reading of Rosenfeld as it considers her anti-dictatorship spatial practices, her intimacies with the writer Diamela Eltit, and her political and aesthetic commitments.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"111-137"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41864009","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 This essay addresses a recent exhibition phenomenon associated with time-based art: the striking preponderance of beds, beanbag chairs, and other horizontal viewing platforms in the staging of such work. Indeed, in black-box galleries around the world, viewers have been increasingly solicited to go horizontal. What might these new modes of display tell us about contemporary cultures of work when compared to historical examples from the 1960s, particularly in regard to the mass phenomenon known as “burnout” in the present? Might such novel conditions of reception shed light on the shifting interactions between humans and computers in what the ethnographer Marcel Mauss called nearly one hundred years ago, the “civilization of latitude”? Departing from Niki de Saint Phalle's She (1966)—an immersive media environment presented as a recumbent female figure—the essay argues that lying in the gallery chimes with technologies of work post-Internet, our incorporation of its media platforms, and the generalization of the network as a ubiquitous and ambient resource.
摘要本文论述了最近一个与基于时间的艺术相关的展览现象：在这类作品的舞台上，床、豆袋椅和其他水平观看平台占据了显著优势。事实上，在世界各地的黑盒画廊中，观众越来越多地被要求横向观看。与20世纪60年代的历史例子相比，这些新的展示模式可能会告诉我们当代工作文化的什么，特别是在目前被称为“倦怠”的群体现象方面？这种新颖的接收条件是否能揭示近百年前民族志学家马塞尔·毛斯所说的“纬度文明”中人类和计算机之间不断变化的互动？与Niki de Saint Phalle的《她》（1966）不同，这是一个以躺着的女性形象呈现的沉浸式媒体环境。文章认为，躺在画廊里与后互联网时代的工作技术、我们对其媒体平台的整合以及将网络概括为无处不在的环境资源相吻合。
{"title":"Lying in the Gallery∗","authors":"Pamela Lee","doi":"10.1162/octo_a_00426","DOIUrl":"https://doi.org/10.1162/octo_a_00426","url":null,"abstract":"Abstract This essay addresses a recent exhibition phenomenon associated with time-based art: the striking preponderance of beds, beanbag chairs, and other horizontal viewing platforms in the staging of such work. Indeed, in black-box galleries around the world, viewers have been increasingly solicited to go horizontal. What might these new modes of display tell us about contemporary cultures of work when compared to historical examples from the 1960s, particularly in regard to the mass phenomenon known as “burnout” in the present? Might such novel conditions of reception shed light on the shifting interactions between humans and computers in what the ethnographer Marcel Mauss called nearly one hundred years ago, the “civilization of latitude”? Departing from Niki de Saint Phalle's She (1966)—an immersive media environment presented as a recumbent female figure—the essay argues that lying in the gallery chimes with technologies of work post-Internet, our incorporation of its media platforms, and the generalization of the network as a ubiquitous and ambient resource.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"53-72"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49350607","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 Through the lenses of feminism and psychoanalysis, this essay traces the use of screens, both literal and metaphoric, in the performance and video-installation works of the multi-disciplinary artist Suzanne Bocanegra. These complex pieces engage with ideas around voyeurism, identification, and screen memory, evoking Bocanegra's idiosyncratic cultural history of the nineteenth and twentieth centuries.
{"title":"Screening Memories","authors":"Jane Weinstock","doi":"10.1162/octo_a_00427","DOIUrl":"https://doi.org/10.1162/octo_a_00427","url":null,"abstract":"Abstract Through the lenses of feminism and psychoanalysis, this essay traces the use of screens, both literal and metaphoric, in the performance and video-installation works of the multi-disciplinary artist Suzanne Bocanegra. These complex pieces engage with ideas around voyeurism, identification, and screen memory, evoking Bocanegra's idiosyncratic cultural history of the nineteenth and twentieth centuries.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"73-83"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45484510","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 Science has shown that Black people in the United States sleep more poorly than any other racial group. Relatedly, contradictory racial myths that depict Black people as simultaneously indolent and super-industrious persist in contemporary discourse. Confronting a culture that celebrates endurance over rest, this paper attends to works of art that visualize or create conditions for Black sleep, thereby resisting its biopolitical regulation and the lethal expectation of perpetual industry. This essay speculates about how visual representations of Black sleep can constitute quiet gestures that enact fugitivity and provide reparation for racial time—in part through the reclamation of interiority. Although sleep is a decidedly solitary act, this paper highlights artistic projects bound by an ethos of collectivity, arguing that the project of transforming the social and political conditions that reproduce Black sleeplessness cannot be pursued in isolation.
{"title":"Rest Notes: On Black Sleep Aesthetics∗","authors":"Josie Roland Hodson","doi":"10.1162/octo_a_00422","DOIUrl":"https://doi.org/10.1162/octo_a_00422","url":null,"abstract":"Abstract Science has shown that Black people in the United States sleep more poorly than any other racial group. Relatedly, contradictory racial myths that depict Black people as simultaneously indolent and super-industrious persist in contemporary discourse. Confronting a culture that celebrates endurance over rest, this paper attends to works of art that visualize or create conditions for Black sleep, thereby resisting its biopolitical regulation and the lethal expectation of perpetual industry. This essay speculates about how visual representations of Black sleep can constitute quiet gestures that enact fugitivity and provide reparation for racial time—in part through the reclamation of interiority. Although sleep is a decidedly solitary act, this paper highlights artistic projects bound by an ethos of collectivity, arguing that the project of transforming the social and political conditions that reproduce Black sleeplessness cannot be pursued in isolation.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"7-24"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45534443","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 Aliza Shvarts first came to widespread attention when her Untitled [Senior Thesis] (2008), consisting of a yearlong performance of self-induced miscarriages, was declared a “fiction” by Yale University and censored from public exhibition. That controversial work was on view for the first time in New York as part of her 2020 exhibition Purported at Art in General. It frames the areas of inquiry she has continued to explore: how the body means and matters and how the subject consents and dissents. In this in-depth conversation, Emily Apter and Aliza Shvarts discuss the exhibition and a wide range of topics relevant to contemporary feminist practice and thought: the genealogy of citation; the uses of theory; speech action; rape kits; nonconsensual collaboration; queer kinship; and memes.
{"title":"A Conversation with Aliza Shvarts∗","authors":"E. Apter","doi":"10.1162/octo_a_00428","DOIUrl":"https://doi.org/10.1162/octo_a_00428","url":null,"abstract":"Abstract Aliza Shvarts first came to widespread attention when her Untitled [Senior Thesis] (2008), consisting of a yearlong performance of self-induced miscarriages, was declared a “fiction” by Yale University and censored from public exhibition. That controversial work was on view for the first time in New York as part of her 2020 exhibition Purported at Art in General. It frames the areas of inquiry she has continued to explore: how the body means and matters and how the subject consents and dissents. In this in-depth conversation, Emily Apter and Aliza Shvarts discuss the exhibition and a wide range of topics relevant to contemporary feminist practice and thought: the genealogy of citation; the uses of theory; speech action; rape kits; nonconsensual collaboration; queer kinship; and memes.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"85-110"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42141255","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 The essay is a brief set of reflections by the author on his book 24/7 five years after its publication and on its possible continuing relevance for artists. It notes the worsening of what the book identified as features of the non-stop operations of global capitalism, including intensifying environmental devastation, widening economic inequality, the deathliness of billionaire culture, and the collapse of longstanding forms of social solidarity and mutual support.
{"title":"Powering Down∗","authors":"J. Crary","doi":"10.1162/octo_a_00424","DOIUrl":"https://doi.org/10.1162/octo_a_00424","url":null,"abstract":"Abstract The essay is a brief set of reflections by the author on his book 24/7 five years after its publication and on its possible continuing relevance for artists. It notes the worsening of what the book identified as features of the non-stop operations of global capitalism, including intensifying environmental devastation, widening economic inequality, the deathliness of billionaire culture, and the collapse of longstanding forms of social solidarity and mutual support.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"27-29"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46463843","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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