But, how can we make “art?” Artistic production versus realistic copying and perceptual advantages of artists.

2019 ◽  
Vol 13 (4) ◽  
pp. 462-481 ◽  
Author(s):  
Matthew Pelowski ◽  
Patrick S. Markey ◽  
Juergen Goller ◽  
Eric L. Förster ◽  
Helmut Leder
Keyword(s):  
Artistic Production

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

Katherine Mansfield and Literary Influence

2015 ◽  
Keyword(s):  
Cultural Differences ◽  
Virginia Woolf ◽  
Katherine Mansfield ◽  
Anton Chekhov ◽  
Evelyn Waugh ◽  
Literary Influence ◽  
Artistic Production ◽  
Key Issues ◽  
John Middleton Murry

Katherine Mansfield and Literary Influence seeks to understand influence, a powerful yet mysterious and undertheorised impetus for artistic production, by exploring Katherine Mansfield’s wide net of literary associations. Mansfield’s case proves that influence is careless of chronologies, spatial limits, artistic movements and cultural differences. Expanding upon theories of influence that focus on anxiety and coteries, this book demonstrates that it is as often unconscious as it is conscious, and can register as satire, yearning, copying, homage and resentment. This book maps the ecologies of Mansfield’s influences beyond her modernist and postcolonial contexts, observing that it roams wildly over six centuries, across three continents and beyond cultural and linguistic boundaries. Katherine Mansfield and Literary Influence identifies Mansfield’s involvement in six modes of literary influence - Ambivalence, Exchange, Identification, Imitation, Enchantment and Legacy. In so doing, it revisits key issues in Mansfield studies, including her relationships with Virginia Woolf, John Middleton Murry and S. S. Koteliansky, as well as the famous plagiarism case regarding Anton Chekhov. It also charts new territories for exploration, expanding the terrain of Mansfield's influence to include writers as diverse as Colette, Evelyn Waugh, Nettie Palmer, Eve Langley and Frank Sargeson.

Kreation und Zeit

2006 ◽  
Vol 51 (1) ◽  
pp. 118-133
Author(s):  
Renate Schlesier
Keyword(s):  
Central Position ◽  
Intellectual Work ◽  
Eine Analyse ◽  
Artistic Production ◽  
Poetic Creation

Das Inspirationskonzept ist für Prousts selbstreflexive Bestimmung künstlerischer Produktion von zentraler Bedeutung (dies läßt sich durch eine Analyse von Textstellen sowohl aus dem letzten Teil von Prousts Recherche als auch aus dem Kontext von Jean Santeuil und Contre Sainte-Beuve zeigen). Prousts spezifische Bestimmung der Inspiration als etwas, das auf intellektuelle Arbeit nicht verzichten kann, unterminiert jedoch antiintellektualistische platonische Dichtungslehren. Dies impliziert zudem, daß Proust die Kluft zwischen Künstlern und Nicht-Künstlern für unüberbrückbar erklärt. Inspiration ist für Proust etwas Verzauberndes, weil sie wiedergefundene Zeit ist, die jedoch erst im poetischen Kreationsprozeß Gestalt gewinnt. The concept of inspiration occupies a central position in the realm of Proust’s self-reflexive evaluation of artistic production (as can be demonstrated by an analysis of passages bothfrom the last part of Proust’s ›Recherche‹ and from the context of ›Jean Santeuil‹ and ›Contre SainteBeuve‹). Yet by evaluating inspiration as something that could not do without intellectual work, Proust undermines anti-intellectualistic platonizing poetics. In addition, this implies that Proust declares the gap between artists and non-artists as unbridgeable. For Proust, inspiration is enchanting because it is time regained, but takes shape only in the process of poetic creation.

The Oxford Handbook of American Women's and Gender History

2018 ◽  
Keyword(s):  
Women Of Color ◽  
Historical Record ◽  
Historical Evidence ◽  
Gender History ◽  
Artistic Production ◽  
The Past ◽  
History Of ◽  
Cultural Power ◽  
And Gender ◽  
Free Women

The Oxford Handbook of American Women’s and Gender History boldly interprets the history of diverse women and how ideas about gender shaped their access to political and cultural power in North America over six centuries. In twenty-nine chapters, the Handbook showcases women’s and gender history as an integrated field with its own interpretation of the past, focused on how gender influenced people’s lives as they participated in migration, colonialism, trade, warfare, artistic production, and community building. Organized chronologically and thematically, the Handbook’s six sections allow readers to consider historical continuities of gendered power as well as individual innovations and ruptures in gender systems. Theoretically cutting edge, each chapter bursts with fascinating historical characters, from young Chicanas transforming urban culture, to free women of color forging abolitionist doctrines, to Asian migrant women defending the legitimacy of their marriages, to working-class activists mobilizing international movements, to transwomen fleeing incarceration. Together, their lives constitute the history of a continent. Leading scholars from multiple generations demonstrate the power of innovative research to excavate a history hidden in plain sight. Scrutinizing silences in the historical record, from the inattention to enslaved women’s opinions to the suppression of Indian women’s involvement in border diplomacy, the authors challenge the nature of historical evidence and remap what counts in our interpretation of the past. They demonstrate a way to extend this more capacious vision of history forward, setting an intellectual agenda informed by intersectionality and transnationalism, and new understandings of sexuality.

Reassessing a Late Byzantine masterpiece: the Deesis mosaic in the Hagia Sophia of Constantinople

2021 ◽  
pp. 1-18
Author(s):  
Konstantinos M. Vapheiades
Keyword(s):  
Artistic Production ◽  
Byzantine Art ◽  
Hagia Sophia

After the recapture of Constantinople (1261) artistic production in Byzantium experienced a recovery. In the capital of Byzantium itself this period is marked by the mosaic panel of the Deesis in the Hagia Sophia. This work constitutes a ‘one-off’ in Byzantine art. This fact poses a series of questions concerning the dating, the creator and the patron of the mosaic, as well as the reasons for its creation, given that no source makes any reference to these matters. The present study attempts to re-examine these issues.

scholarly journals Complexity Analysis of Escher’s Art

Entropy ◽  
2019 ◽  
Vol 21 (6) ◽  
pp. 553 ◽  
Author(s):  
António M. Lopes ◽  
J. A. Tenreiro Machado
Keyword(s):  
Complex System ◽  
Quantitative Analysis ◽  
Complexity Analysis ◽  
Quantitative Characterization ◽  
Cultural Economic ◽  
Scaling Technique ◽  
Artistic Production ◽  
Formidable Challenge ◽  
Visualization Techniques

Art is the output of a complex system based on the human spirit and driven by several inputs that embed social, cultural, economic and technological aspects of a given epoch. A solid quantitative analysis of art poses considerable difficulties and reaching assertive conclusions is a formidable challenge. In this paper, we adopt complexity indices, dimensionality-reduction and visualization techniques for studying the evolution of Escher’s art. Grayscale versions of 457 artworks are analyzed by means of complexity indices and represented using the multidimensional scaling technique. The results are correlated with the distinct periods of Escher’s artistic production. The time evolution of the complexity and the emergent patterns demonstrate the effectiveness of the approach for a quantitative characterization of art.

Reworking Effectiveness: Art as a Politic of Redistribution – Some Remarks from a Polish Perspective

2018 ◽  
Vol 81 (4) ◽  
pp. 555-574
Author(s):  
Tomasz Załuski
Keyword(s):  
Political Theory ◽  
Social Impact ◽  
Artistic Production ◽  
The Social ◽  
Art Activities ◽  
Political Economic ◽  
General Economy

Abstract This article critically reworks the issue of the social impact of art in terms of its ‘effectiveness’. The study shows art’s general economy by taking into account a number of ambivalences, difficulties, and deficiencies related to art activities that turn towards the social, political, economic, and cultural exterior of the field of artistic production. Finally, it tries to mount a careful, complex, and balanced defense of their potentials. Reframing and grounding the discussion on artistic activism in selected concepts from political theory, the author argues that if artistic practices are to be socially effective, art needs to be understood and practiced as a politic of redistribution. A way of practicing such a politic is to be sought in understanding and performing action as susceptible to interception. This entails responsibility for the usage of an action, for co-actions that accompany it, and for potential alliances with intercepting subjects.

Copyright & Art

2005 ◽  
Vol 6 (12) ◽  
pp. 1762-1776
Author(s):  
Eberhard Ortland ◽  
Reinold Schmücker
Keyword(s):  
Conceptual Structure ◽  
Artistic Production ◽  
Works Of Art ◽  
The Impact ◽  
Aesthetic Concepts ◽  
Neighbouring Rights

What is the impact of copyright(and neighbouring rights)on art— on the conditions for artistic production as well as on other art-related practices in modern societies like trading, conserving, exhibiting, performing, reproducing and distributing works of art or reproductions thereof in various media? And what is the particular relevance of art (and of aesthetic concepts, or theories of art) for copyright? Why should the dogmatics of copyright be concerned with aesthetics at all, and what function do aesthetic concepts fulfil in the conceptual structure of copyright and in the context of its legitimization?

Bill Dixon's Voice (Letter)

2015 ◽  
Vol 9 (2) ◽  
pp. 204-231
Author(s):  
ERIC PORTER
Keyword(s):  
Experimental Music ◽  
Artistic Production ◽  
Improvised Music ◽  
Wage Employment ◽  
Nuanced Understanding ◽  
And Performance ◽  
The 1960S ◽  
Critical Intervention ◽  
The City ◽  
The Voice

AbstractIn November 1966 composer and improviser Bill Dixon recorded a seventeen-minute-long “voice letter” to jazz writer Frank Kofsky. This letter may be analyzed as a critical intervention by Dixon, an attempt to change the context of interpretation around improvised music. But the voice letter may also be heard and analyzed as a kind of performance. As Dixon speaks, one can hear the rumbling and roar of the city as well as the staccato sounds of car and truck horns unfolding in dynamic counterpoint to his words. In this essay, I put the voice letter into dialogue with Dixon's personal history, his writings and interview statements, and some of his contemporaneous musical and multi-generic projects, especially his collaboration with dancer and choreographer Judith Dunn. I show how the letter maps Dixon's and Dunn's positions within a geography of intellectual circles, experimental artistic communities, and low-wage employment networks. By extension, I examine how the voice letter, as critical intervention and performance, points us to a nuanced understanding of black experimental music of the 1960s as a socially inflected, self-conscious and, ultimately, serious engagement with various modes of artistic production and thought, carried out under conditions of both precarity and inspiration.

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