The Nature of Op Art: Bridget Riley and the Art of Nonrepresentation

10.1068/d54j ◽  
2005 ◽  
Vol 23 (3) ◽  
pp. 351-371 ◽  
Author(s):  
Simon Rycroft
Keyword(s):  
Recent Work ◽  
Ways Of Knowing ◽  
The Other ◽  
Postwar Period ◽  
Representational Practices ◽  
The World ◽  
Representational Practice ◽  
The 1960S ◽  
Media Practices ◽  
Critical Writings

The monochrome paintings of the British Op artist Bridget Riley produced between 1960 and 1965, in common with a number of experimental arts and media practices of the 1960s, were characterised by a drift away from traditional representational techniques towards what are now described as nonrepresentational practices. The dynamics of the Op Art aesthetic and the critical writings that surround it bear striking similarities to much recent work on nonrepresentational thought. Based upon an engagement with Riley's early work, and specifically with the perception and understanding of nature it engendered, an argument can be made that suggests that, despite claims to the contrary, Riley was engaged in a form of representational practice that rendered a new and fashionable understanding of cosmic nature. The multidimensional nature evoked in her aesthetic was designed to be experienced by the viewer in a precognitive, embodied fashion. In this there are strong echoes with the call made by nonrepresentational theorists who operationalise the same kind of cosmology to develop an evocative, creative account of the world. Both Op Art and nonrepresentational thought seem to build upon a shift in the representational register that occurred during the immediate postwar period, one which prompted representational practices which attempted to subjectify rather than objectify, to evoke instability and multidimensionality, and to exercise not only visual, oral, and cognitive ways of knowing, but also the precognitive and the haptic. The complex corelations between representation and nonrepresentation are apparent here, suggesting that it is problematic to emphasise one side of the duality over the other.

Allowing ourselves to follow our bodies: Cultivating student curiosity via sensorily-oriented modes of teaching

2021 ◽  
Vol 10 (2) ◽  
pp. 233-247 ◽  
Author(s):  
Ian Bruff
Keyword(s):  
Popular Culture ◽  
International Relations ◽  
Teaching Practice ◽  
Ways Of Knowing ◽  
The Other ◽  
Pedagogical Practice ◽  
Special Issue ◽  
Metal Music ◽  
The World ◽  
Extreme Metal

This article addresses the themes animating the Special Issue from the other side of the coin, namely the notion of aestheticizing political pedagogies. This reflects the direction of travel in some sections of politics and international relations scholarship, where there has been an upsurge of interest in aesthetics and especially popular culture. While there have been valuable contributions on teaching within such work, there has been a lack of sustained reflection on how, for example, a more aesthetically informed pedagogical practice can help us encourage students to think critically in creative ways. There has also been a rather bloodless account of aesthetics, diverting attention away from its visceral essence. Taking inspiration from the writings of Matt Davies on aesthetics, Jennifer Mason on the sensory and Cynthia Enloe on curiosity and surprise, the article explores the potential for aestheticizing political pedagogies to be mobilized in purposeful, strategic ways for enhancing the capacity of students to think critically and creatively. More specifically, I discuss how sensorily-oriented modes of teaching can disrupt entanglements between students’ ways of knowing and experiencing the world and their ‘objective’ understandings of politics, society, culture and so on. Three examples from my own teaching practice are discussed, all rooted in my utilization of extreme metal music with the aim of cultivating curiosity among students about their topics.

scholarly journals COMPARISON OF THE NOVEL “RUH ADAM” AND THE FILM “LOST HIGHWAY” WITHIN THE SCOPE OF THE INTERTEXTUALITY THEORY

2021 ◽  
Vol 10 (77) ◽  
Keyword(s):  
The Other ◽  
The Novel ◽  
The World ◽  
Lost Highway ◽  
The 1960S ◽  
First Time

The intertextuality is a theory based on the thesis “There is no unspoken word under the canopy of heaven”. Accordingly, no text of any genre whatsoever is entirely original and spoken for the first time. It certainly bears in itself the traces from texts that have previously found an expression. Although the intertextuality is a concept that dates back to old times when human starts to speak, it has been named by the postmodernism conceptualized in the 1960s. In intertextuality, every text is related to each other. The writer of the text creates his/her own text on the basis of the infrastructure created in his/her mind by those which were written before. Likewise, readers / audiences perceive different texts experienced by them by comparing with their previous experiences and establishing intertextual relations between them. In this context, the intertextuality is a multidimensional structure that includes text writers, texts and readers. In this study, Nihal Atsız’s novel, Ruh Adam (1972), and David Lynch’s film, Lost Highway, will be compared within the scope of the intertextuality theory. Common points between the both texts, one of which is from the world of literature and the other from the world of cinema, will be determined in terms of form and content. Keywords: intertextuality, Soul Man, Lost Highway, postmodernism

Semiotics – Another Window on the World

2018 ◽  
Vol 14 (2) ◽  
pp. 129-135 ◽  
Author(s):  
Jie Zhang ◽  
Hongbing Yu
Keyword(s):  
Social Studies ◽  
Laws Of Nature ◽  
Ways Of Knowing ◽  
The Other ◽  
Marshall Mcluhan ◽  
Book Series ◽  
Intellectual Inquiry ◽  
The World ◽  
Normal University ◽  
The Universe

Abstract Contemporary semiotics proceeds and progresses along two major paths of human intellectual inquiry in general: One is to constantly extend and deepen social studies; the other is to use theoretical and logical reasoning to examine and even predict the laws of nature and the universe. To highlight these two paths and reflect the latest trends in current semiotic inquiry, we have launched the book series of “Select Works of Eminent Contemporary Semioticians,” published by the Nanjing Normal University Press. The first five English monographs included in this book series are Basics of semiotics (eighth expanded edition) and Logic as a liberal art by John Deely, Marshall McLuhan: The unwitting semiotician by Marcel Danesi, Signs in society and culture by Arthur Asa Berger, and The way of logic by Christopher S. Morrissey. These five books afford not only revelations in the ways of knowing and the dimensions of thought, but also new perspectives for interpreting contemporary sociocultural phenomena and their developments.

The Other 1960s Student

2020 ◽  
pp. 21-33
Author(s):  
Susan M. Reverby
Keyword(s):  
Social Movements ◽  
Medical School ◽  
Black Power ◽  
Football Player ◽  
The Other ◽  
Radical Politics ◽  
Cornell University ◽  
The Social ◽  
The World ◽  
The 1960S

Berkman became a pre-med at Cornell University in the mid 1960s, as the social movements of the 1960s swirled around him. He became a football player, president of his fraternity, and focused on getting into medical school, not radical politics. He got into every medical school he applied to and won major scholarships. A lecture by Black Power advocate Stokley Carmichael during his last semester in college, however, made him begin to question his place and role in the world.

Rights on the Other Side of the Cold War Divide

2012 ◽  
Author(s):  
Aryeh Neier
Keyword(s):  
United States ◽  
Soviet Union ◽  
American Exceptionalism ◽  
The United States ◽  
The Other ◽  
Amnesty International ◽  
The Soviet Union ◽  
The World ◽  
The 1960S ◽  
The Cold War

This chapter illustrates that many Americans took part in struggles for rights during the period from the mid-1950s to the mid-1970s. Though it was a fertile period for those promoting rights within the United States, few Americans were concerned in those years with efforts to secure rights in other parts of the world. The emergence of a rights movement in the Soviet Union in the 1960s was little noted, and relatively few in the United States joined Amnesty International, which developed far more rapidly in Europe. Americans concerned about rights in that era could be mobilized to deal with American violations of rights, but not with rights abuses by other governments. Inattention to such matters by those deeply engaged in domestic rights struggles was, in a way, a counterpart to the disdain for international law frequently expressed by partisans of American exceptionalism.

scholarly journals New approaches to neorealism in Italian cinema

Modern Italy ◽  
2020 ◽  
Vol 25 (3) ◽  
pp. 333-340
Author(s):  
Damiano Garofalo
Keyword(s):  
The Other ◽  
Postwar Period ◽  
Italian Cinema ◽  
Global Level ◽  
Cinema Studies ◽  
Descriptive Term ◽  
New Approaches ◽  
European Culture ◽  
The 1960S ◽  
The Way

In an article with the challenging title ‘Against Realism’, Alan O'Leary and Catherine O'Rawe (2011) argued that Italian cinema studies needed to move forward. In their view, the abuse of ‘realism’ as a prescriptive as well as descriptive term had stunted research into Italian cinema of the postwar period, channelling it exclusively towards neorealist trends and thus devaluing study of the other forms, movements, auteurs and productions that emerged during the same period. This historiographical tendency, which Christopher Wagstaff aptly called the ‘institution of neorealism’ (2007, 37), encouraged the development of reverential study and by the 1960s had assumed the form of a canon. While the position taken by O'Leary and O'Rawe was certainly provocative, it has served to stimulate thinking about the areas of postwar Italian cinema that had remained in the shadows and unexplored. Starting to focus on an ‘other’ cinema has not had to mean ‘forgetting’ neorealism, but has brought changes to the way that it is studied. Almost ten years later, the challenge seems to be to rethink neorealism as a transnational phenomenon that straddles different periods, genres and contexts; while it has its roots in postwar European culture, it continues to be influential on a global level.

Stroud's Dream Argument Critique

Philosophy ◽  
1993 ◽  
Vol 68 (266) ◽  
pp. 473-482
Author(s):  
John O. Nelson
Keyword(s):  
Recent Work ◽  
External World ◽  
The Other ◽  
Significant Feature ◽  
Human Knowledge ◽  
The World ◽  
Traditional Assumption ◽  
The Senses ◽  
The One ◽  
Philosophical Scepticism

In his recent work, The Significance of Philosophical Scepticism, Barry Stroud proposes to carry out an in-depth critique of the attempt by philosophers to invalidate all knowledge of an external world on the basis of Descartes' dream argument. His more particular aims in this endeavour are to uncover significant features of any such scepticism and to disclose in the process fundamental aspects of ‘human knowledge’ itself. Thus, among other features of knowledge that his study discloses, he thinks, is, echoing Kant, the idea ‘that a completely general distinction between everything we get through the senses, on the one hand, and what is true or not true of the external world, on the other, would cut us off forever from knowledge of the world around us.’ And a significant feature of Cartesian dream scepticism he believes to have uncovered is that its ‘effectiveness’ rests upon the philosopher's traditional assumption of an objectively existent world that is understandable ‘from a detached “external” viewpoint.’

scholarly journals Spaghetti Westerns and the ‘Afterlife’ of a Hollywood Genre

2016 ◽  
Author(s):  
Pete Falconer
Keyword(s):  
Major Part ◽  
First Century ◽  
American Cinema ◽  
Representational Practices ◽  
The World ◽  
Wild West ◽  
Twenty First Century ◽  
The 1960S ◽  
Spaghetti Westerns ◽  
Historical Moment

This chapter examines how Western movies (and their attendant themes and tropes) have functioned since the genre ceased to be a major part of mainstream American cinema, and how these changed generic conditions have affected the ways in which Westerns are produced and understood. It compares this situation with another historical moment in which the conventions of the Western genre found themselves transformed by a different set of surrounding contexts: the Italian adoption of the Western in the 1960s. It argues that the Italian Western makes the genre ‘strange’, and alienates the viewer from the world of the Wild West. It makes a compelling case for how the seemingly familiar codes of the Western have in fact been rendered alien in differing ways upon contact with various contexts, and thereby offers insights into the representational practices of twenty-first-century Westerns such as Appaloosa (Ed Harris, 2008), 3:10 to Yuma (James Mangold, 2007) and True Grit (Ethan and Joel Cohen, 2010).

Prietita y el Otro Lado: Gloria Anzaldúa's Literature for Children

PMLA ◽  
2006 ◽  
Vol 121 (1) ◽  
pp. 279-284 ◽  
Author(s):  
Tey Diana Rebolledo
Keyword(s):  
Ways Of Knowing ◽  
Gloria Anzaldua ◽  
The Other ◽  
Social Transformations ◽  
The World ◽  
La Llorona

Gloria Anzaldúa is known as a poet, a postcolonial theoretician, the author of Borderlands / la Frontera: The New Mestiza (1987), and the editor or coeditor of important anthologies. She also wrote two books for children, Friends from the Other Side / Amigos del otro lado (1993) and Prietita and the Ghost Woman / Prietita y la Llorona (1995). Here Anzaldúa honed her sense of “conocimientos,” other ways of knowing. She imprinted her heroine, Prietita, as a “bridge”—a way of transforming the world. For Anzaldúa, writing books for children was an important step of activism because children would effect necessary cultural and social transformations.

Just Nationalism: The Future of an Illusion

1996 ◽  
Vol 22 ◽  
pp. 345-363
Author(s):  
Andrew Levine
Keyword(s):  
Political Philosophy ◽  
Recent Work ◽  
Theory And Practice ◽  
The Other ◽  
The Past ◽  
Other Hand ◽  
The World ◽  
The Future ◽  
The Face ◽  
The One

Until quite recently, political philosophers routinely ignored nationalism. Nowadays, the topic is very much on the philosophical agenda. In the past, when philosophers did discuss nationalism, it was usually to denigrate it. Today, nationalism elicits generally favorable treatment. I confess to a deep ambivalence about this turn of events. On the one hand, much of what has emerged in recent work on nationalism appears to be on the mark. On the other hand, the anti- or extra-nationalist outlook that used to pervade political philosophy seems as sound today as it ever was, and perhaps even more urgent in the face of truly horrendous eruptions of nationalist hostilities in many parts of the world. What follows is an effort to grapple with this ambivalence. My aim will be to identify what is defensible in the nationalist idea and then to reflect on the flaws inherent in even the most defensible aspects of nationalist theory and practice.

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