A Questionnaire on Materialisms

Apter, Emily; Atkins, E. M.; Avanessian, Armen; brown, bill; Bruno, Giuliana; Bryan-Wilson, Julia; Burnett, D. Graham; Chen, Mel Y.; Cole, Andrew; Cox, Christoph; Malik, Suhail; Demos, T; Dolven, Jeff; Doris, David T.; Draxler, Helmut; Falguières, Patricia; Galison, Peter; Galloway, Alexander; Haidu, Rachel; Harman, Graham; Henrot, Camille; Holmes, Brooke; Ingold, Tim; Jones, Caroline; Kitnick, Alex; Lewitt, Sam; Molesworth, Helen; Nemerov, Alexander; Newman, Michael; Papapetros, Spyros; Pfeffer, Susanne; Quack, Gregor; Ray, Charles E.; Ritchie, Matthew; Rottmann, André; Siegel, Amie; Stakemeier, Kerstin; Vierkant, Artie; Wark, McKenzie; Weizman, Eyal; Wood, Christopher S.; Zhang, Ga

doi:10.1162/octo_a_00243

Cited by 9 publications

(4 citation statements)

References 9 publications

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“…For some time, critics and historians alike have been more concerned with what we might call an object‐first picture, that is, with the power that objects have over perceivers as fallible, non‐idealized, politically situated subjects. This shift may be observed, for example, in the interest in the ‘living presence’ effect that objects have on viewers (Gaiger ; van Eck ); in the attributions of agency to images, objects and artworks (Bredekamp ; Apter et al ); and in the interest in interactive and relational artworks (Bourriaud ). In a way to be still explored, metaphysics of powers may have conceptual resources to offer such recent undertakings.…”

Section: Ontology and The Manifest Imagementioning

confidence: 99%

Aesthetic Properties as Powers

Simoniti

2017

European J of Philosophy

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Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about secondary properties such as colours. By contrast, I advance a novel realist position about aesthetic properties, which is based on a disanalogy between aesthetic properties and colours. Whereas colours are usually perceived as relatively steady features of external objects, aesthetic properties are perceived as unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic properties as causally efficient powers. Beauty is not merely in the mind of the observer; it is a power of an object to bring about a certain effect, as much instantiated in the object as its fragility or poisonousness. To show how such a view can be made ontologically respectable, I draw on recent ‘dispositionalist’ accounts of powers in philosophical metaphysics. I then offer two arguments in favour of this view. First, the view matches the phenomenology of aesthetic judgement. Second, the view offers an explanation of how it is that critics can demand agreement with their aesthetic judgements.

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Section: Ontology and The Manifest Imagementioning

confidence: 99%

Aesthetic Properties as Powers

Simoniti

2017

European J of Philosophy

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“…This is perhaps unfamiliar territory for many contemporary philosophers. As Hodder (2012) and Ingold (2016) point out, we scarcely look at things. We humans are far more interested in humans and their society, and thus fail to consider the ways in which things make society possible, and how society and things are co-entangled.…”

Section: Everything Thinks: Imaginative Experiments In Educationmentioning

confidence: 99%

Spinoza, experimentation and education: How things teach us

O’Donnell

2017

Educational Philosophy and Theory

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This essay focuses on three primary issues i. The conceptual resources offered by Spinoza to challenge the idealism and perfectionism underpinning much educational theory and dominant educational imaginaries; ii. His descriptions of a non-ideal, practical and systematic approach to developing understanding that could be applied to educational theorising and practice; and iii. The potential for a different vision of education premised upon understanding the human as simply a part of nature. Decentring the human and treating affective and mental life as one would lines, planes, and bodies, as Spinoza claims we must in Ethics, invites another way of thinking about the politics and ethics of educational practice. Enacting experimental approaches to pedagogy produces new subjectivities and also invents new connections and relations between different bodies and different ideas. I argue that a properly Spinozist understanding of education would require it to be understood through practices of experimentation, in short, developing capabilities to compose relations in such a way that one also develops a the awareness of oneself as finite, dependent, vulnerable and as a part of nature. Seemingly paradoxically then, having understood how and that one is determined, and which bodies agree or disagree with one, one becomes more capable of agency and thus an ethical life.

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“…At the same time, it is a discussion about how today new materialisms can be fruitful and innovative for art. They find out the list of functions, what new materialism promises as philosophical approach to art and show some features that are typical for this phenomenon (Apter et al, 2016):…”

Section: Introductionmentioning

confidence: 99%

Dissenting Body and Its Creative Recontextualisation in Lithuanian Visual Arts

Nikiforova¹,

Šapoka²

2019

Creativity Studies

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The body is an important starting point concept throughout deconstruction, reconstruction and recontextualization of the body’s concept. This change of focus in research that stems from the results to the process of contextualization means that the researcher should engage with texts or images, as they are reflected in the process of cultural development and exchange, through which decontextualization is exhibited. This article deals with the concept of new materialism and endeavors to explain, how discourses come to matter. It examines the issue of how new materialism tackles visual art in innovative ways – through the intersections of artistic practice, art-as-research, and philosophical analysis. Such definitions as Maurice Merleau-Ponty’s “a bodily being”, Julia Kristeva’s “the abjection of the self”, Arjun Appadurai’s “the aesthetics of decontextualization” and “singularized object”, Igor Kopytoff’s “the cultural biography of things”, and Nicholas Thomas’ “entangled objects”, constitute the methodological frameworks of our research. We will analyze such approaches as Hans Belting’s concept of body as a “living medium”, Giorgio Agamben’s view on body as an object of commodification and Jacques Derrida’s “trust in painting”. An attempt to understand body reconceptualization and deconstruction through the categories of new materialism is the most important aim of this article. Karen Barad’s concept of intra-action (that implies a clear-cut subject-object distinction) is crucial to our research, which underlines that bodies have no inherent boundaries and properties and that the analyzed representations are “material-discursive phenomena”. The artworks under consideration will be confronted with a diagnosis that, according to Barad, all bodies come to matter thanks the intra-activity and its performativity. The case studies of Svajonė Stanikienė and Paulius Stanikas, Evaldas Jansas and Eglė Rakauskaitė works show how the image of the body is developed through the processes of their deconstruction and decontextualization.

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A Questionnaire on Materialisms

Cited by 9 publications

References 9 publications

Aesthetic Properties as Powers

Aesthetic Properties as Powers

Spinoza, experimentation and education: How things teach us

Dissenting Body and Its Creative Recontextualisation in Lithuanian Visual Arts

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