Das verhüllte Rätsel

2016 ◽  
Vol 7 (1) ◽  
pp. 125-142
Author(s):  
Claudia Blümle
Keyword(s):  
Visual Arts ◽  
Man Ray ◽  
De Chirico

Das Verhältnis von Verschwinden und Erscheinen wurde in der bildenden Kunst nirgends so explizit behandelt wie im Surrealismus. Exemplarisch kann dabei Das Rätsel des Orakels von Giorgio de Chirico und The Enigma of Isidore Ducasse von Man Ray herangezogen werden. Eingerahmt von einem Manifest zur Rolle des Traums wurde Man Rays Enigma bereits auf der ersten Seite der ersten Ausgabe der Zeitschrift Le révolution surréaliste abgedruckt. Wie im Beitrag gezeigt werden soll, wird die Beziehung von Verschwinden und Erscheinen im Surrealismus nicht nur visualisiert, sondern diese wird in ihrer Struktur von Anwesenheit und Abwesenheit analytisch und zugleich sinnlich seziert. </br></br>No epoch of the visual arts has treated the relation of disappearance and appearance as explicitly as surrealism. Especially Giorgio de Chirico’s The Enigma of the Oracle and Man Ray’s The Enigma of Isidore Ducasse can be used as examples. Framed by a manifesto on the role of the dream, Man Ray’s Enigma was printed on the first page of the first issue of the journal La révolution surréaliste. In this paper I show how in surrealism, the relation of disappearance and appearance is not only visualized, but dissected in an analytical and at the same time sensual way.

Developing Craft in the Ballet Class

2021 ◽  
Vol 39 (2) ◽  
pp. 147-157
Author(s):  
Susie Crow
Keyword(s):  
Visual Arts ◽  
Alternative Model ◽  
Embodied Learning ◽  
Sports Science ◽  
The Arts ◽  
Theoretical Investigations ◽  
Attitudes And Perceptions

The ballet class is a complex pedagogical phenomenon in which an embodied tradition is transmitted in practice from one generation to the next, shaping not just the dancing but the attitudes and perceptions of dancers throughout their careers. This paper emerges from observations and experience of recent and current ballet class practice, and theoretical investigations into embodied learning in the arts. It outlines the influential role of large hegemonic institutions in shaping how ballet is currently taught and learned; and the effect of this on the class's evolving relation to ballet's repertoire of old and emerging dances as artworks. It notes the increasing importation into ballet pedagogy of thinking rooted in sports science, engendering the notion of the dancer as athlete; and of historic attitudes which downplay the agency of the dancer. I propose an alternative model for understanding the nature of learning in the ballet class, relating it to what Donald Schön calls ‘deviant traditions of education for practice’ in other performing and visual arts ( Schön 1987 p16). I look at the dancer's absorption via the class of ballet's danse d’école, its core technique of academic dance content. I suggest how this process might more constructively be understood through the lens of craft learning and the development of craftsmanship via apprenticeship, the dancer learning alongside the teacher as experienced artist practitioner who models behaviours that foster creativity.

scholarly journals Intimate listening and sonic solidarity. Radio in the works of Radio Earth Hold collective as a way towards the sonic turn

2021 ◽  
pp. 191-207
Author(s):  
Marta Wódz
Keyword(s):  
Visual Arts ◽  
21St Century ◽  
Theoretical Interest ◽  
Contemporary Media

At first glance, radio may seem to be an example of dated technology, overturned by other, more contemporary media. However, the beginning of the 21st century brought an upsurge of radio-related artworks alongside an increased theoretical interest around the broader topic of sound in culture – in response to W. J. T Mitchell’s ‘pictorial turn,’ the ‘sonic turn’ was introduced in 2004 by Jim Drobnick. In this article, I specifically focus on radio as a tool used in visual arts on the example of works by artistic/curatorial collective Radio Earth Hold, observed through the lens of ‘transmission arts’ – a term coined at the end of the 1990s, which recognizes the issue of transmission as political at its core. REH’s works render apparent the potential of the radio voice to become authoritarian as well as to create an intimate experience of listening. By building upon the idea of ‘sonic solidarity’ REH touches upon political topics in a way that can profoundly challenge our thinking and encourage us to reexamine not only the role of radio but also the transmission and communication in or via art – which perhaps could be understood as a way towards the possible sonic turn.

How a Brain Sees: Constructing Reality

2021 ◽  
pp. 86-121
Author(s):  
Stephen Grossberg
Keyword(s):  
Visual Arts ◽  
Explanatory Power ◽  
General Purpose ◽  
Image Features ◽  
Color Spreading ◽  
New Concepts ◽  
Artistic Styles ◽  
Neon Color Spreading ◽  
Boundary Completion

The distinction between seeing and knowing, and why our brains even bother to see, are discussed using vivid perceptual examples, including image features without visible qualia that can nonetheless be consciously recognized, The work of Helmholtz and Kanizsa exemplify these issues, including examples of the paradoxical facts that “all boundaries are invisible”, and that brighter objects look closer. Why we do not see the big holes in, and occluders of, our retinas that block light from reaching our photoreceptors is explained, leading to the realization that essentially all percepts are visual illusions. Why they often look real is also explained. The computationally complementary properties of boundary completion and surface filling-in are introduced and their unifying explanatory power is illustrated, including that “all conscious qualia are surface percepts”. Neon color spreading provides a vivid example, as do self-luminous, glary, and glossy percepts. How brains embody general-purpose self-organizing architectures for solving modal problems, more general than AI algorithms, but less general than digital computers, is described. New concepts and mechanisms of such architectures are explained, including hierarchical resolution of uncertainty. Examples from the visual arts and technology are described to illustrate them, including paintings of Baer, Banksy, Bleckner, da Vinci, Gene Davis, Hawthorne, Hensche, Matisse, Monet, Olitski, Seurat, and Stella. Paintings by different artists and artistic schools instinctively emphasize some brain processes over others. These choices exemplify their artistic styles. The role of perspective, T-junctions, and end gaps are used to explain how 2D pictures can induce percepts of 3D scenes.

scholarly journals Art across Frontiers: Cross-cultural Encounters in America. Introduction

2013 ◽  
Vol 47 (2) ◽  
pp. 301-311
Author(s):  
STEPHANIE LEWTHWAITE
Keyword(s):  
Visual Arts ◽  
Cultural Exchange ◽  
Cross Cultural ◽  
Special Issue ◽  
Artistic Practice ◽  
Short Introduction ◽  
Cultural Encounters ◽  
Individual Contributions ◽  
The Individual

This short introduction provides a brief overview of the special issue, by addressing the main historiographical and theoretical concerns that unite the individual contributions and by placing the essays in comparative, inter-American and interdisciplinary perspective. What do comparative analyses tell us about patterns of cross-cultural exchange in the visual arts? More specifically, what do these analyses tell us about the role of ethnic agency and audience, and the complex relationship between artistic practice and the “mainstream,” the local and the global?

The Icon and Visual Arts During the Russian Religious Renaissance

2020 ◽  
pp. 411-431
Author(s):  
Clemena Antonova
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Russian Culture ◽  
Avant Garde ◽  
Simple Observation ◽  
Cultural Life ◽  
The One ◽  
Role Of Religion ◽  
Artistic Tradition

This chapter begins from a simple observation, namely, that what has been called ‘the Russian religious renaissance of the twentieth century’ coincided in time with two important movements in the sphere of the visual arts. On the one hand, there was a sweeping revival of interest in the medieval icon at the beginning of the twentieth century, which left almost no sphere of cultural life untouched. On the other, in artistic terms, the whole period was largely defined by the advent of the Russian avant-garde. I would like to consider the junction at which these three developments overlapped, informed, influenced, even opposed and clashed with one another. According to the interpretation proposed here, it is the mixture and the coexistence of a revived Orthodoxy, a reawakened focus on the medieval artistic tradition, and the rise of avant-garde modernism that gave a unique flavour to early twentieth-century Russian culture. The debates on the function and the meaning of the icon in the period between the 1910s and the early 1920s ultimately suggested different answers to the problem of the role of religion in modernity.

scholarly journals ‘Crush! Crush! Crush!’: Towards a Finished Story of Pol Pot’s Trial and Death?

2021 ◽  
pp. 1-18
Author(s):  
Stéphanie Benzaquen-Gautier
Keyword(s):  
Visual Arts ◽  
Khmer Rouge ◽  
Performance Theory

Abstract To this day, the trial of Pol Pot in July 1997 in Anlong Veng remains an underexplored topic, possibly because it is seen as a parody of justice organised by a rival Khmer Rouge faction. Images of the event show an old and fragile man who has to be supported by guards to the meeting hall. Drawing on anthropologist Ashley Thompson’s study of the ‘substitute body of the king’, the paper examines the corporeal strategies at play in the trial and in the display and cremation of Pol Pot’s body in April 1998. Using a range of materials (articles in media, pictures, videos, and artworks), it brings into conversation ‘forensic aesthetics’, performance theory, and contemporary visual arts to investigate the role of Pol Pot’s body as a political tool in the troubled context of post-transition Cambodia.

scholarly journals The Metaphysical Paintings of Giorgio de Chirico and the Latency of Synesthesia

Tahiti ◽  
2021 ◽  
Vol 10 (4) ◽  
Author(s):  
Altti Kuusamo
Keyword(s):  
Slow Time ◽  
De Chirico

My analysis will address the following questions: What is the role of time and silence in the melancholy scenes of de Chirico’s early “metaphysical period” (1911–1918) and his articles prior to the year 1920, and how can the question of time be seen as a participant or catalyst in the phenomenon of synesthesia in de Chirico’s early works? How is it that, involuntarily, we find ourselves at the brink of synesthesia when describing de Chirico’s “enigmatic” paintings? It is symptomatic of the case that there is no description of de Chirico’s early works without reference to silence. With a conjuring trick he makes time the fifth sense. Slow time and high silence unite in his scenes, the beholder’s eye moves in the petrified, naked world, where the projective process of synethesia abounds.

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