Search results

You are looking at 1 - 10 of 315 items for :

  • "Existence" x
  • Art, Architecture and Visual Culture x
Clear All
A. Altmann
Bulletin of the John Rylands Library
Jenefer Cockitt

For over a hundred years, palaeopathologists have studied the ancient Nubian population, examining the patterns of disease and trauma evident in the surviving human remains. Despite the remarkable amount of progress made in this area, there have been few attempts to discern whether there is enough available evidence to support the existence of a defined ancient medical tradition in the country, akin to that in neighbouring Egypt. Given the lack of textual sources for prehistoric Nubia, evidence for such a tradition must be sought in the human remains themselves. Here, an assessment will be provided of the possible palaeopathological evidence for healthcare practices in ancient Nubia, focusing in particular on the artefacts from the first Archaeological Survey of Nubia. The data presented, although tentative, represent the first point on the road to greater understanding of ancient Nubian medical traditions.

Bulletin of the John Rylands Library
David R. Law

The theological energies released by Martin Luther in 1517 created a set of theological insights and problems that eventually led to the development of kenotic Christology (i. e., the view that in order for the Son of God to become incarnate and live a genuinely human life, he emptied himself of his divine prerogatives or attributes). This article traces how kenotic Christology originated in the Eucharistic Controversy between Luther and Zwingli, before receiving its first extensive treatment in the debate between the Lutheran theologians of Tübingen and Giessen in,the early seventeenth century. Attention then turns to the nine-teenth century, when doctrinal tensions resulting from the enforced union of the Prussian Lutheran and Reformed churches created the conditions for a new flowering of kenotic Christology in the theologies of Ernst Sartorius and, subsequently, Gottfried Thomasius. Kenotic Christology ultimately originates with Luther, however, for it owes its existence to the creative theological energies he unleashed and which remain his lasting legacy.

Bulletin of the John Rylands Library
Abstract only
Observations on precarious practices in contemporary art
Author: Anna Dezeuze

This book proposes a new reading of contemporary art between 1958 and 2009 by sketching out a trajectory of ‘precarious’ art practices. Such practices risk being dismissed as ‘almost nothing’ because they look like trash about to be thrown out, because they present objects and events that are so commonplace as to be confused with our ordinary surroundings, or because they are fleeting gestures that vanish into the fabric of everyday life. What is the status of such fragile, nearly invisible, artworks? In what ways do they engage with the precarious modes of existence that have emerged and evolved in the socio-economic context of an increasingly globalised capitalism?

Works discussed in this study range from Allan Kaprow’s assemblages and happenings, Fluxus event scores and Hélio Oiticica’s wearable Parangolé capes in the 1960s, to Thomas Hirschhorn’s sprawling environments and participatory projects, Francis Alÿs’s filmed performances and Gabriel Orozco’s objects and photographs in the 1990s. Significant similarities among these different practices will be drawn out, while crucial shifts will be outlined in the evolution of this trajectory from the early 1960s to the turn of the twenty-first century.

This book will give students and amateurs of contemporary art and culture new insights into the radical specificities of these practices, by situating them within an original set of historical and critical issues. In particular, this study addresses essential questions such as the art object’s ‘dematerialisation’, relations between art and everyday life, including the three fields of work, labour and action first outlined by Hannah Arendt in 1958.

Leah Modigliani

-European replication and the establishment of a “civilized” pattern of life.’1 Settler groups are insecure in their settlement because they are continually faced with non-settlers’ refusal or inability to join the settler collective; the latter’s very existence is a reminder of the settlers’ dubious claim(s) over territorial ownership, and a setback in the path towards settler indigenization. Using such theory as a guide we can understand how in the cultural realm the establishment of an avant-garde in Vancouver was dependent on controlling new discursive territory in that city

in Engendering an avant-garde
J.W.M. Hichberger

– are considered individually, since their career patterns and choice of pictoral sources indicate the range of practitioners of the battle painting genre in the early 1840s. The reviews of their pictures suggest that the Westminster Hall competition should be considered in the context of the continuing dispute about the existence and nature of the ‘English school’. Thomas

in Images of the army
ACT’s procedures of ‘pure creation’, 1993–96
Angela Harutyunyan

strategies attempts to situate them within those structural changes that took place in the aftermath of independence following the collapse of the USSR in 1991 and defined the trajectory for this decade. I investigate, describe and critically revisit those spaces and possibilities that emerge in the gaps between ‘pure creation’, a key concept developed by artist David Kareyan and made operational throughout the group’s existence, and the intensity of everyday life in Armenia in the mid-1990s. I argue that the concept of ‘pure creation’ emerges in the clash between

in The political aesthetics of the Armenian avant-garde
Jane Chin Davidson

– longer in existence, more intelligent, more scientific, more valuable, and ultimately beyond comparison.’20 Chineseness: theoretical, historical, political But, as related to film, an entirely different and largely neglected debate in Chineseness can be reviewed by the intellectual formation of interpellation in a Marxist intellectual history, which involves Louis Althusser and the Tel Quel school (including Julia Kristeva, Philippe Sollers, Roland Barthes, and Marcelin Pleynet). The books by fellow Italian intellectual Maria-Antonietta Macciocchi – Letters from

in Staging art and Chineseness
Representing the Chartist crowd in 1848
Jo Briggs

demonstration and the petition. This led to a complex, even contradictory, set of valences in the textual and visual sources that recorded this event and its immediate aftermath. Working-class bodies had  been  conjured into existence to justify the large police presence on  the street, the recruitment of special constables, and other government actions, including ultimately the prevention of the procession marching to Westminster, but just as rapidly these bodies were seen to disappear. The Chartist crowd ­dispersed, and, in a report delivered to the House of Commons on

in Novelty fair
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.