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Since its beginnings in the 1990s, artistic research has become
established as a new format in the areas of educational and
institutional policy, aesthetics, and art theory. It has now
diffused into almost all artistic fields, from installation to
experimental formats to contemporary music, literature, dance, or
performance art. But from its beginnings--under labels like "art
and science" or "scienceart" or "artscience" that mention both
disciplines in one breath--it has been in competition with academic
research, without its own concept of research having been
adequately clarified. This manifesto attempts to resolve the
problem and to defend the term. Further, this manifesto defends the
radical potential of artistic research against those who toy all
too carefully with university formats, wishing to ally their work
with scientific principles. Its aim is to emphasize the autonomy
and particular intellectuality of artistic research, without
seeking to justify its legitimacy or adopt alien standards.
Emmanuel Levinas's interview with Francoise Armengaud in 1988 is
one of the only statements we have from the philosopher, who became
influential in various disciplines through his ethics that focuses
on the fine arts specifically. Presented in English for the first
time here, this interview brings us Levinas's understanding of
"obliteration" as an uncanny, disruptive, and even "unavailable"
concept. Discussing the work of the French sculptor Sacha Sosno,
Levinas parses the complex relationship between ethics and
aesthetics, examining how they play out in artistic operations and
practices. In doing so, he turns away from the "ease and
lighthearted casualness of the beautiful" to shed light instead on
the processes of material wear and tear and the traces of repair
that go into the creation and maintenance of works of art, and
which ultimately give them a profound uniqueness of presence. This
evocative interview uncovers a hidden thread of aesthetic thinking
in Levinas's work and introduces a new way of looking at artistic
practices in general.
Theodor Adorno's famous aesthetic theory was not merely a theory of
the aesthetic; it also made a wider claim about the aesthetic
implications of all theory. At the same time we have to deal with
aesthetic objects and events in which an aesthetic theory is
inherent, which show themselves as art. From both sides--theory and
aesthetics--a link can be made to the etymological meaning of
theoria, which understands the theoretical as a seeing or
perspective. Featuring lucid essays by major thinkers, the book
examines this link, focusing equally on the aesthetic implications
of theory and the theoretical implications of aesthetic events.
Schmerzen, korperliche Erschopfung, Erosionen oder Spuren
zeitlichen Verfalls und ahnliches verweisen auf Erfahrungen, die
sich diskursiver Einholung nicht ohne weiteres fugen. Mit dem
Formlosen, der blossen Materialitat oder dem Chaos assoziiert,
widersetzen sie sich den generellen Begriffen des Textes und des
Verstehens. Zudem verweigern sie sich ihrer Entschlusselung als
Konstruktion im Sinne ihrer begrifflichen Bezeichnung und
Unterscheidung wie auch ihrer Inszenierung als einer asthetischen
Praxis, weil sie in allen ihren Hervorbringungen als eine nicht
aufgehende Heterogenitat immer schon mitschwingen. Denn es gibt
keine Arbeit ohne den Rest, keinen Diskurs ohne das Nichteinholbare
oder Undarstellbare, keine Technik ohne Versagen, kein Denken ohne
die Widerstandigkeit der Dinge, worin sie ebenso sehr verwickelt
sind, wie sie diese verleugnen. Posthermeneutik ist der Versuch,
diese andere, negative Seite neu zu denken und damit das mit
einzubeziehen, was nicht Verstehen ist, aber ins Verstehen eingeht,
was nicht Zeichen ist, aber notwendige Voraussetzung aller
Zeichenprozesse bleibt, was nicht Sinn ist, aber die Bedeutungen
stort, was nicht Medium ist, aber alle Medialitat mitpragt."
Providing a solid media-philosophical groundwork, Beyond Mimesis
contributes to the theory of mimesis and alterity in performance
philosophy while serving to stimulate and inspire future inquiries
where studies in media and art intersect with philosophy. It
collects a wide range of philosophical and artistic thinkers' work
to develop an exacting framework with clear movement beyond mimesis
in aesthetic experiences in uncanny valleys. Together, the chapters
ask if intersubjective acts of relating that are defined by
alterity, responsivity or witness and trust can be transferred to
artificial beings without remainder. The proposed framework uses a
particularly fruitful theoretical model for this inquiry known as
the “uncanny valley”—a fictitious schema developed in 1970 by
Japanese roboticist Masahiro Mori. According to Mori, artificial
beings or animated dolls become more eerie to us the more
“humanlike” they appear. The model’s utility requires
distinguishing between visual media and real life, but in general,
it suggests that there is a fundamental incommensurability between
people and artificial beings that cannot be ignored. This
necessitates that all-too realistic representations as well as
fictional encounters with artificial beings do not transgress
certain limits. According to Mori, it is an ethical imperative of
their design that they evidence a certain degree of dissimilarity
with people. This notion seems especially applicable to artistic
projects in which animated dolls or robots make explicit their
“doll-ness” or “robot-ness” and thus inscribe a moment of
reflexivity into the relations they establish. List of
contributors: Carolin Bebek, Nadja Ben Khelifa, Misha Choudry,
Elena Dorfman, Nicole Kuʻuleinapuananiolikoawapuhimelemeleolani
Furtado, Stephan GĂĽnzel, Simon Makhali, Dieter Mersch, Grant
Palmer, Jörg Sternagel, Anna Suchard, James Tobias, Allison de
Fren.
This volume offers transdisciplinary perspectives on the study of
acting and performance in moving image forms. It assembles 26
international scholars from dance, theatre, film, media and
cultural studies, art history and philosophy to investigate the art
of acting and the presence of the human body in analog and digital
film, animation and video art. The volume includes classical case
studies and essays devoted to acting history and acting and genres,
but its particular emphasis is on introducing a wide range of
groundbreaking theoretical approaches - from continental and
analytic philosophy to new media theory and cognitivist research -
all of which interrogate the fundamental conceptions of "act" and
"actor" that underwrite both popular and academic notions of
performance in moving image culture.
The figure of the 'other' is fundamental to the concept of
communication. Online or offline, communication, which is commonly
defined as the act of sending or imparting information to others,
is only possible in the face of others. In fact, the reason we
communicate is to interact with others-to talk to another, to share
our thoughts and insights with them, or to respond to their needs
and requests. No matter how it is structured or conceptualized,
communication is involved with addressing the other and dealing
with the ontological, epistemological, and ethical questions of
otherness or alterity. But who or what can be other? Who or what
can be the subject of communication? Is the other always and only
another human? Or can the other in these communicative interactions
be otherwise? This book is about others (and other kinds of
others). It concerns the current position and status of the other
in the face of technological innovations that can, in one way or
another distort, mask, or even deface the other. Ten innovative
essays, written by an international team of experts, individually
and in collaboration with each other, seek to diagnose the current
situation with otherness, devise innovative solutions to the
questions of alterity, and provide insight for students, teachers
and researchers trying to make sense of the opportunities and
challenges of the 21st century.
The figure of the 'other' is fundamental to the concept of
communication. Online or offline, communication, which is commonly
defined as the act of sending or imparting information to others,
is only possible in the face of others. In fact, the reason we
communicate is to interact with others-to talk to another, to share
our thoughts and insights with them, or to respond to their needs
and requests. No matter how it is structured or conceptualized,
communication is involved with addressing the other and dealing
with the ontological, epistemological, and ethical questions of
otherness or alterity. But who or what can be other? Who or what
can be the subject of communication? Is the other always and only
another human? Or can the other in these communicative interactions
be otherwise? This book is about others (and other kinds of
others). It concerns the current position and status of the other
in the face of technological innovations that can, in one way or
another distort, mask, or even deface the other. Ten innovative
essays, written by an international team of experts, individually
and in collaboration with each other, seek to diagnose the current
situation with otherness, devise innovative solutions to the
questions of alterity, and provide insight for students, teachers
and researchers trying to make sense of the opportunities and
challenges of the 21st century.
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