Le fonti, i metodi e le narrazioni della storia della videoarte in Italia negli anni Settanta

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Lisa Parola

This essay derives from the primary need to make order between direct and indirect sources available for the reconstruction of the history of video art in Italy in the seventies. In fact, during the researches for the Ph.D. thesis it became clear that in most cases it is difficult to define, in terms of facts, which of the different historiographies should be taken into consideration to deepen the study of video art in Italy. Beyond legitimate differences of perspectives and methods, historiographical narratives all share similar issues and narrative structure. The first intention of the essay is, therefore, to compare the different historiographic narratives on Italian video art of the seventies, verifying their genealogy, the sources used and the accuracy of the narrated facts. For the selection of the corpus, it was decided to analyze in particular monographic volumes dealing with the history of the origins of video art in Italy. The aim was, in fact, to get a wide range of types of "narrations", as in the case of contemporary art and architecture magazines, which are examined in the second part of the essay. After the selection, for an analytical and comparative study of the various historiography, the essay focuses only on the Terza Biennale Internazionale della Giovane Pittura. Gennaio ’70. Comportamenti, oggetti e mediazioni (Third International Biennial of Young Painting. January '70. Behaviors, Objects and Mediations, 1970, Bologna), the exhibition which - after Lucio Fontana's pioneering experiments - is said to be the first sign of the arrival of videotape in Italy (called at the time videorecording), curated by Renato Barilli, Tommaso Trini, Andrea Emiliani and Maurizio Calvesi. The narration given so far of this exhibition appeared more mythological than historical and could be compared structurally to that of the many numerous beginnings that historiographyies on international video art identify as ‘first’ and ‘generative’. In the first part of the essay the 'facts' related to Gennaio ’70, as narrated by historiography on video art, are compared. In the second part the survey is carried out through some of the direct sources identified during the research, with the aim of answering to questions raised by the comparison between historiographies. Concluding, it is important to underline that the tapes containing the videos transmitted have not been found and seem to have disappeared since the ending of the exhibition. Nevertheless, the deepening of the works and documentation transmitted during the exhibition is possible thanks to other types of sources which give us many valuable information regarding video techniques and practices at the beginning of 1970 in Italy.

2010 ◽  
Vol 6 ◽  
pp. 1079-1088 ◽  
Author(s):  
Peter C Griffiths ◽  
David W Knight ◽  
Ian R Morgan ◽  
Amy Ford ◽  
James Brown ◽  
...  

Understanding the gelation of liquids by low molecular weight solutes at low concentrations gives an insight into many molecular recognition phenomena and also offers a simple route to modifying the physical properties of the liquid. Bis-(α,β-dihydroxy ester)s are shown here to gel thermoreversibly a wide range of solvents, raising interesting questions as to the mechanism of gelation. At gelator concentrations of 5–50 mg ml−1, gels were successfully formed in acetone, ethanol/water mixtures, toluene, cyclohexane and chloroform (the latter, albeit at a higher gelator concentration). A range of neutron techniques – in particular small-angle neutron scattering (SANS) – have been employed to probe the structure of a selection of these gels. The universality of gelation in a range of solvent types suggests the gelation mechanism is a feature of the bis-(α,β-dihydroxy ester) motif, with SANS demonstrating the presence of regular structures in the 30–40 Å range. A correlation between the apparent rodlike character of the structures formed and the polarity of the solvent is evident. Preliminary spin-echo neutron scattering studies (SESANS) indicated the absence of any larger scale structures. Inelastic neutron spectroscopy (INS) studies demonstrated that the solvent is largely unaffected by gelation, but does reveal insights into the thermal history of the samples. Further neutron studies of this kind (particularly SESANS and INS) are warranted, and it is hoped that this work will stimulate others to pursue this line of research.


2021 ◽  

The contributors to Nervous Systems reassess contemporary artists' and critics' engagement with social, political, biological, and other systems as a set of complex and relational parts: an approach commonly known as systems thinking. Demonstrating the continuing relevance of systems aesthetics within contemporary art, the contributors highlight the ways that artists adopt systems thinking to address political, social, and ecological anxieties. They cover a wide range of artists and topics, from the performances of the Argentinian collective the Rosario Group and the grid drawings of Charles Gaines to the video art of Singaporean artist Charles Lim and the mapping of global logistics infrastructures by contemporary artists like Hito Steyerl and Christoph Büchel. Together, the essays offer an expanded understanding of systems aesthetics in ways that affirm its importance beyond technological applications detached from cultural contexts. Contributors. Cristina Albu, Amanda Boetzkes, Brianne Cohen, Kris Cohen, Jaimey Hamilton Faris, Christine Filippone, Johanna Gosse, Francis Halsall, Judith Rodenbeck, Dawna Schuld, Luke Skrebowski, Timothy Stott, John Tyson


Author(s):  
Gerard Lee McKeever

This chapter reads James Hogg and Walter Scott within a new, revisionist history of short fiction that is particularly interested in the genre of the ‘tale’. Focusing on the half-decade between 1827 and 1831, the chapter highlights a selection of Hogg’s mature contributions to Blackwood’s Edinburgh Magazine alongside Scott’s Chronicles of the Canongate (first series). These years were marked by literary experimentation, when a confident improving persuasion in Scottish culture was threatening to unravel. The formal logic of these short fictions, defined by a curiously focused spontaneity, exacerbates a pluralistic handling of the collision between improvement and tradition. Different models of time (progress, renewal, disruption) and belief (suspension, scepticism, credulity) serve to interrogate improvement in a wide range of contexts around commercial modernisation. The chapter unpacks two specific literary innovations in this context. The first looks to acts of transmission in the literary marketplace which by turns sustain, contain and defer the dialectics of improvement. The second sees the emergence of a fully fledged aesthetic vocabulary of culture in Scott’s writing.


Author(s):  
Robert Stern ◽  
Nicholas Walker

As an intellectual tradition, the history of Hegelianism is the history of the reception and influence of the thought of G.W.F. Hegel. This tradition is notoriously complex and many-sided, because while some Hegelians have seen themselves as merely defending and developing his ideas along what they took to be orthodox lines, others have sought to ‘reform’ his system, or to appropriate individual aspects and overturn others, or to offer consciously revisionary readings of his work. This makes it very hard to identify any body of doctrine common to members of this tradition, and a wide range of divergent philosophical views can be found among those who (despite this) can none the less claim to be Hegelians. There are both ‘internal’ and ‘external’ reasons for this: on one hand, Hegel’s position itself brings together many different tendencies (idealism and objectivism, historicism and absolutism, rationalism and empiricism, Christianity and humanism, classicism and modernism, a liberal view of civil society with an organicist view of the state); any balance between them is hermeneutically very unstable, enabling existing readings to be challenged and old orthodoxies to be overturned. On the other hand, the critical response to Hegel’s thought and the many attempts to undermine it have meant that Hegelians have continually needed to reconstruct his ideas and even to turn Hegel against himself, while each new intellectual development, such as Marxism, pragmatism, phenomenology or existential philosophy, has brought about some reassessment of his position. This feature of the Hegelian tradition has been heightened by the fact that Hegel’s work has had an impact at different times over a long period and in a wide range of countries, so that divergent intellectual, social and historical pressures have influenced its distinct appropriations. At the hermeneutic level, these appropriations have contributed greatly to keeping the philosophical understanding of Hegel alive and open-ended, so that our present-day conception of his thought cannot properly be separated from them. Moreover, because questions of Hegel interpretation have so often revolved around the main philosophical, political and religious issues of the nineteenth and twentieth centuries, Hegelianism has also had a significant impact on the development of modern Western thought in its own right. As a result of its complex evolution, Hegelianism is best understood historically, by showing how the changing representation of Hegel’s ideas have come about, shaped by the different critical concerns, sociopolitical conditions and intellectual movements that dominated his reception in different countries at different times. Initially, Hegel’s influence was naturally most strongly felt in Germany as a comprehensive, integrative philosophy that seemed to do justice to all realms of experience and promised to preserve the Christian heritage in a modern and progressive form within a speculative framework. However, this position was quickly challenged, both from other philosophical standpoints (such as F.W.J. Schelling’s ‘positive philosophy’ and F.A. Trendelenburg’s neo-Aristotelian empiricism), and by the celebrated generation of younger thinkers (the so-called ‘Young’ or ‘Left’ Hegelians, such as Ludwig Feuerbach, David Strauss, Bruno Bauer, Arnold Ruge and the early Karl Marx), who insisted that to discover what made Hegel a truly significant thinker (his dialectical method, his view of alienation, his ‘sublation’ of Christianity), this orthodoxy must be overturned. None the less, both among these radicals and in academic circles, Hegel’s influence was considerably weakened in Germany by the 1860s and 1870s, while by this time developments in Hegelian thought had begun to take place elsewhere. Hegel’s work was known outside Germany from the 1820s onwards, and Hegelian schools developed in northern Europe, Italy, France, Eastern Europe, America and (somewhat later) Britain, each with their own distinctive line of interpretation, but all fairly uncritical in their attempts to assimilate his ideas. However, in each of these countries challenges to the Hegelian position were quick to arise, partly because the influence of Hegel’s German critics soon spread abroad, and partly because of the growing impact of other philosophical positions (such as Neo-Kantianism, materialism and pragmatism). Nevertheless, Hegelianism outside Germany proved more durable in the face of these attacks, as new readings and approaches emerged to counter them, and ways were found to reinterpret Hegel’s work to show that it could accommodate these other positions, once the earlier accounts of Hegel’s metaphysics, political philosophy and philosophy of religion (in particular) were rejected as too crude. This pattern has continued into the twentieth century, as many of the movements that began by defining themselves against Hegel (such as Neo-Kantianism, Marxism, existentialism, pragmatism, post-structuralism and even ‘analytic’ philosophy) have then come to find unexpected common ground, giving a new impetus and depth to Hegelianism as it began to be assimilated within and influenced by these diverse approaches. Such efforts at rapprochement began in the early part of the century with Wilhelm Dilthey’s attempt to link Hegel with his own historicism, and although they were more ambivalent, this connection was reinforced in Italy by Benedetto Croce and Giovanni Gentile. The realignment continued in France in the 1930s, as Jean Wahl brought out the more existentialist themes in Hegel’s thought, followed in the 1940s by Alexander Kojève’s influential Marxist readings. Hegelianism has also had an impact on Western Marxism through the writings of the Hungarian Georg Lukács, and this influence has continued in the critical reinterpretations offered by members of the Frankfurt School, particularly Theodor W. Adorno, Max Horkheimer, Herbert Marcuse, Jürgen Habermas and others. More recently, most of the major schools of philosophical thought (from French post-structuralism to Anglo-American ‘analytic’ philosophy) have emphasized the need to take account of Hegel, and as a result Hegelian thought (both exegetical and constructive) is continually finding new directions.


1997 ◽  
Vol 17 (1) ◽  
pp. 16-22 ◽  
Author(s):  
W. Brian Harland

Useful records of observations perhaps began in 1596 with Barents' voyage and resulting chart. The many expeditions until the middle of the eighteenth century were primarily for whaling with minor additions to the charts. In 1758 A. R. Martin led a Swedish voyage and in 1773 C. J. Phipps commanded a British naval expedition, the first of several, to seek a northeast passage to the Pacific. They penetrated no further than Spitsbergen and made useful observations. At that time and for many years the British Admiralty was concerned with extensive Arctic exploration. The elaborate nature of these expeditions was not so much designed for scientific purposes as for useful employment for enterprising officers, with ships in numbers no longer needed in the period of naval supremacy after 1805. Hydrographic survey was often the principal achievement. In terms of efficiency and Arctic know-how the early whalers such as Scoresby were superior.1827 may be considered as the year when geological work began, with expeditions from Norway (B. M. Keilhau 1831) and Britain (Capt. Parry, e.g. Horner 1860; Salter 1860). Keilhau, a geologist, visited Edgeoya and Bjornoya. Admiral Parry, Hydrographer of the Navy, wintered on HMS Hecla in Sorgfjorden where further specimens were collected. In 1837 an early Swedish expedition was directed by Loven. Then, 1838 to 1840, the French voyage of La Recherche took place under the Commission Scientifique du Nord (e.g. Robert 1840).Only a selection of the many expeditions in the second half of the century are noted here.


1997 ◽  
Vol 81 (2) ◽  
pp. 623-626 ◽  
Author(s):  
Mark I. Holbrook

Inflicting harm on others after a perceived wrong is called revenge and has been implicated in a wide range of criminal and antisocial behaviors. Revenge is defined as a retaliatory act and may be ruled out when antecedent to instrumental aggression if hurting someone is secondary to the primary goal of acquisition. Revenge is considered the Impetus for reactive aggression, however, if the primary goal is to hurt someone. 26 male inmates were chosen for training in anger management using cognitive behavioral methods. Selection of inmates was based on their history of reactive aggression. As predicted, inmates showed a significant reduction in posttest scores on the Vengeance scale.


1998 ◽  
Vol 61 (7) ◽  
pp. 311-315 ◽  
Author(s):  
Catherine F Paterson

Much of the history of occupational therapy is associated with the history of the National Health Service (NHS). As the nation celebrates the 50th anniversary of the founding of the NHS on 5 July 1948, it is fitting to reflect on the development of the profession over the past half century and how it has adapted to the many medical, technological, demographic and social changes. In 1948, the profession comprised a small band of mainly middle-class women, who worked under medical direction with long-stay patients in a hospital setting. In 1998, over 18,000 occupational therapists are state-registered. Having gained degree-entry status practitioners are increasingly self-directed and research-focused, and they work in a wide range of settings with all age-groups: a profession reflecting the ideals of the NHS to provide a service from ‘the cradle to the grave’.


Author(s):  
Terry Smith

As an art-critical or historical category––one that might designate a style of art, a tendency among others, or a period in the history of art––“contemporary art” is relatively recent. In art world discourse throughout the world, it appears in bursts of special usage in the 1920s and 1930s, and again during the 1960s, but it remains subsidiary to terms––such as “modern art,” “modernism,” and, after 1970, “postmodernism”––that highlight art’s close but contested relationships to social and cultural modernity. “Contemporary art” achieves a strong sense, and habitual capitalization, only in the 1980s. Subsequently, usage grew rapidly, to become ubiquitous by 2000. Contemporary art is now the undisputed name for today’s art in professional contexts and enjoys widespread resonance in public media and popular speech. Yet, its valiance for any of the usual art-critical and historical purposes remains contested and uncertain. To fill in this empty signifier by establishing the content of this category is the concern of a growing number of early-21st-century publications. This article will survey these developments in historical sequence. Although it will be shown that use of the term “contemporary art” as a referent has a two-hundred-year record, as an art-historical field, contemporary art is so recent, and in such volatile formation, that general surveys of the type now common for earlier periods in the history of art are just beginning to appear. To date, only one art-historiographical essay has been attempted. Listed within Contemporary Art Becomes a Field, this essay (“The State of Art History: Contemporary Art” (Art Bulletin 92.4 [2010]: 366–383; Smith 2010, cited under Historiography) is by the present author and forms the conceptual basis of this article. Contemporary art’s deep immersion in the art market and auction system is profiled in the separate Oxford Bibliographies article Art Markets and Auction. This article does not include any of the many thousands of books, catalogues, and essays that are monographic studies of individual contemporary artists, because it would be invidious to select a small number. For similar reasons, entries on journals, websites, and blogs are omitted. A select listing of them may be found in Terry Smith, Contemporary Art: World Currents (Upper Saddle River, NJ: Prentice Hall, 2011; Smith 2011 cited under Surveys). Books on art movements are not to be found because contemporary art, unlike modern art, has no movements in the same art-historical sense. It consists of currents, tendencies, relationships, concerns, and interests and is the product of a complex condition in which different senses of history are coming into play. With regret, this article confines itself to publications in English, the international language of the contemporary art world. This fact obscures the importance and valiance of certain local-language publications, even though many key texts were issued simultaneously both in the local language and English, and many others have subsequently been translated. In acknowledgment of this lacuna, a subsection on Primary Documents has been included.


2015 ◽  
Vol 27 (1) ◽  
pp. 89-116 ◽  
Author(s):  
José Luis Blas Arroyo ◽  
Javier Vellón Lahoz

AbstractBased on a corpus of ego-documents (private letters, diaries, memoirs) from the 19th and the first half of the 20th centuries, this paper presents a variationist comparative study to determine the fate of the modal periphrasishaber de + infinitive in the history of modern Spanish. Detailed analysis of the envelope of variation enables us to show that, despite an abrupt decline in the selection ofhaber derelative totener que, both ‘to have to’, grammatical environments that favor its use remain in the mid-20th century. Many of the factor groups and the hierarchy of constraints during this period are similar to those that operated in previous periods. Nevertheless, a generalized decrease in the explanatory power of these factor groups, as well as some divergent patterns within several of these groups are also observed, mainly as a result of the fact thathaber de + infinitive is increasingly relegated to some restricted areas of the grammar and lexicon. Based on these results, some theoretical implications for changing rates and constraints in language change and grammaticalization are discussed.


Author(s):  
Michael F. Leruth

This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.


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