Search results

You are looking at 1 - 10 of 45 items for :

  • "Jacques Rancière" x
  • Art, Architecture and Visual Culture x
  • Refine by access: All content x
Clear All
Yulia Karpova

in art theory or in the philosophy of art. Instead, I interpret aesthetics in a broader sense, one first proposed by Jacques Rancière, as ‘a specific regime for identifying and reflecting on the arts: a mode of articulation between ways of doing and making, their corresponding modes of visibility, and possible ways of thinking about their relationships’.3 This new aesthetics came to replace the Stalinist regime of arts, which, following Rancière, can be deemed representative, that is, it adhered to a hierarchy of genres and subject matter and privileged speech over

in Comradely objects
Abstract only
Anne Ring Petersen

observation made by Jacques Rancières in The Night of Labor: The Workers’ Dream in Nineteenth-Century France (Philadelphia: Temple University Press, 1989). 2 Meskimmon, Contemporary Art and the Cosmopolitan Imagination, p. 92. 3 Ibid., p. 92. 4 Julien, ‘Planet’, p. 176. 5 De Angelis et al., ‘Introduction: Disruptive Encounters – Museums, Art and Postcoloniality’, p. 11. 219

in Migration into art
Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s
Author: Yulia Karpova

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

Jane Chin Davidson

artistic expression. This viewing position is a reminder that the video installation is a quasi-philosophical form with its legacy in theatrical conceptualism as well as ontological models of film and performance that have been informed by a diversity of critical theories, such as those articulated by Rey Chow and Shu-mei Shih, whose work addresses cinema and Chineseness, but also aligns with the feminist perspectives of Trinh T. Minh-ha and Teresa de Lauretis and the philosophical influences of Maurice Merleau-Ponty, Henri Bergson, and Jacques Rancière. Chang offers a

in Staging art and Chineseness
Caroline Turner and Jen Webb

modes of social organisation; and this is critical for any movement seeking social change. Jacques Rancière writes: Within any given framework, artists are those whose strategies aim to change the frames, speeds and scales according to which we perceive the visible, and combine it with a specific invisible element and a specific meaning. Such strategies are intended to make the invisible visible or to question the self-evidence of the visible.11 Art is at the heart of such strategies because of its capacity to offer alternative ways of seeing and knowing and

in Art and human rights
Abstract only
Activism and design in Italy
Author: Ilaria Vanni

Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.

Abstract only
On the humanism of precarious works
Anna Dezeuze

Postscript Postscript: on the humanism of precarious works Against ‘de-humanising’ abstractions Concrete, here and now, everyday, relative, immanent: the vocabulary that describes the precarious works in this study outlines a specific field of experience. This is a field on a human scale – unspectacular, unmonumental, as fragile as our relations and as finite as our brief lives. It is the space of the human condition, variously described by Hannah Arendt, Jacques Rancière, Giorgio Agamben, Maurice Blanchot and Michel de Certeau, but also D.T. Suzuki and Robert

in Almost nothing
Abstract only
Political, cultural, green
Andrew Patrizio

Gaia’ (2011) and ‘Facing Gaia: A New Enquiry into Natural Religion’ (2013) coopt the deep ecological vocabulary of James Lovelock to mediate on climate change, science and culture (including art practice). 48 Latour follows others we have already noted in raising the problem of scale, seeking to address ‘the total disconnect between the range, nature, and scale of the phenomena and the set of emotions, habits of thoughts, and feelings that would be necessary to handle those crises’, 49 moving to reframe Jacques Rancière’s new landscape of the sensible in ethical

in The ecological eye
Abstract only
Chari Larsson

that has dominated French intellectual thought since the 1980s. This is a line of thought that can be traced from Theodor Adorno’s oft-cited warning not to write lyric poetry after Auschwitz, through to Jean-François Lyotard’s reading of the Kantian sublime. Lyotard famously compared the attempt to exterminate the Jews to an earthquake that exceeds the tools used to measure its impact. 5 More recently, philosophers such as Giorgio Agamben, Jean-Luc Nancy and Jacques Rancière have all, in various and interconnected ways, questioned the prohibition of representation

in Didi-Huberman and the image
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.