Absorption and Theatricality: Painting and Beholder in the Age of Diderot

Stafford, Barbara Maria; Fried, Michael

doi:10.2307/2906255

Cited by 129 publications

(7 citation statements)

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“…(Michaels 2004, 13-14) [I]nsofar as exploitation is at the core of class difference, class difference is ineluctably linked to inequality, where cultural difference, of course, is not. Michaels' account of meaning/intention and its relation to experience was influenced to a significant degree by the work of Michael Fried (whose distinctions between art and objecthood (Fried 1998), and theatricality and absorption (Fried 1980), remain among the key points of reference for the articles published in this issue of Theoretical Practice). In turn, Michaels' argument has served as an important influence for various other works in the theory and history of art, including the comprehensive account of aesthetic autonomy under late capitalism recently put forward by Nicholas Brown (2019).…”

Section: ***mentioning

confidence: 99%

Embracing Autonomy

Kaczmarski,

Koronkiewicz

2024

prt

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Section: ***mentioning

confidence: 99%

Embracing Autonomy

Kaczmarski,

Koronkiewicz

2024

prt

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“…A reflexão teria sido essencial para a construção de uma ideia positiva da solidão, estando ligada ao pensamento independente. A conexão da reflexão com a delimitação de um mundo interior privado já estaria consolidada na segunda metade do século XVIII, como Fried (1988) indica em seu estudo sobre o tema da absorção na pintura francesa desse período.…”

Section: A Fragilidade Do Humanounclassified

A Máquina, O Fantasma E a Sombra Do Eu: Configurações Da Identidade Em “Tóquio” E Movimento 78

Cardoso

2023

abusoes

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Nos últimos anos, tem-se assistido ao surgimento de um número significativo de romances, novelas e contos brasileiros de caráter marcadamente distópico. Essa tendência se explica em parte pela vivência traumática da pandemia de covid-19 e pelo recrudescimento de um ideário político autoritário no Brasil. Por outro lado, ela envolve também uma releitura crítica da história nacional e das contradições estruturais da sociedade brasileira. Narrativas como “Tóquio” (2021), de Daniel Galera, e Movimento 78 (2022), de Flávio Izhaki, adotam o tropo da inteligência artificial como meio de discutir os efeitos de novas tecnologias em um país à margem dos principais centros produtores, assim como as condições materiais em que se dá sua penetração. A associação da inteligência artificial com a fantasmagoria aponta para as nebulosas relações de poder que caracterizam o capitalismo tardio, bem como para uma figuração da subjetividade ligada ao mistério, à indefinição e à fragilidade do indivíduo diante das pressões do mundo externo. Este artigo tem o objetivo de examinar algumas das estratégias formais adotadas pelas duas narrativas como base para essa modulação da noção moderna de subjetividade, calcada no modelo paradigmático do personagem do romance realista. Ao discutir o conceito de humano em oposição à máquina, “Tóquio” e Movimento 78 testam os limites desse modelo de personagem, inserindo-o no entrecruzamento do realismo com outras vertentes literárias, como a distopia, a ficção científica e o gótico.

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“…Michael Fried, seorang sejarawan dan kritikus seni, meringkas "primordial convention" sebuah lukisan dalam kata-kata sabit ini: "sebuah lukisan ... pertama-tama harus menarik (attract) orang yang melihatnya, kemudian menangkap (arrest) dan akhirnya memikat/mengikat (enthrall) mereka, atau dengan kata lain sebuah lukisan harus memanggil-manggil orang, membuat mereka berhenti di depan nya dan menahan mereka di sana seolah-olah tersihir-pesona dan tidak bisa bergerak." 16 Singkatnya, hasrat dari lukisan adalah bertukar tempat dengan si penatap-nya, untuk memaku dan melumpuhkan si penatap, menjadikan mereka sebuah imaji untuk ditatap oleh lukisan -ini adalah apa yang umumnya disebut sebagai "Efek Medusa".…”

Section: Naratifi Kasi Dan Bumbu-bumbu Visualunclassified

Mata Bestari, Benak Meraki: Menuju Budaya Post-Visual

Bawono

2023

MEL

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The history of philosophy can be seen from a perspective as a story about the struggle between vision and visuality. In this space, at least during the Enlightenment period, seeing becomes one of the most decisive factors for knowing. ‘Seeing’ is no longer understood simply as a biological activity leading to knowing (“seeing is knowing”) but also a category and a catalog of knowledge (“seeing is believing”). Postmodernism shows that what actually happens is often exactly the opposite (“believing is seeing”). By starting with some kind of trust, people claim that they can see. There is a very close relationship and also a wide separation between seeing and knowing, that is, between the eye and the mind. However, in today’s cinematic society or visual and digital culture, the boundaries or bridges between the eye and the mind are becoming increasingly blurred. In this blurring of boundaries, the eye becomes simply a sort of camera machine: whatever is in front of it becomes a ‘prey’ and becomes something that is considered finished, and is threatened of being defined definitively and coldly. This is a challenge for philosophy. This article is an invitation to an awareness of the trend towards the fading boundaries, and simultaneously deals with the dangers of its unawareness. Insofar as one is aware of this tendency, can the bestari eyes (the educated eyes) and the meraki minds (the beautiful minds) be created.

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Absorption and Theatricality: Painting and Beholder in the Age of Diderot

Cited by 129 publications

References 0 publications

Embracing Autonomy

Embracing Autonomy

A Máquina, O Fantasma E a Sombra Do Eu: Configurações Da Identidade Em “Tóquio” E Movimento 78

Mata Bestari, Benak Meraki: Menuju Budaya Post-Visual

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