Writing in Visual Art

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

There are many stories, and histories, of animation film. Yet there are other ways of telling a story of animation that peel back and go below the material, historical and factual surface of this cinematic technique. Because the seven thematic concepts of Watch Me Move have a specific thematic focus, it allows permeation between different animation techniques and historically and stylistically discrete canons. This essay concentrates on four of the themes that consider the viewer's experience of animation: apparitions, structures, fragments and visions. Many works in these themes share certain features, properties and experiential phenomena for viewers. They tend to:  undermine conventional narrative; lack dialogue and are sound and music driven; feature imaginative, impossible 'worlds' and non-anthropomorphic figures; offer philosophical/perceptual concepts that diverge from our everyday experience of 'reality', and they are often self-reflexive. Tex Avery, one of the most radical Hollywood cartoon directors, is purported to have said "You can do anything in an animated cartoon." Looking beyond the cartoon, this essay reveals the fabulous experimentation of some of the exhibition's works that fall outside the realm of commercial popular culture, foregrounding the viewers' experience of the creative imagination that the animated form presents.

Suzanne Buchan was a Curatorial Advisor for the exhibition.

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

The idea here is to provide a clear, arguable definition, in order to clarify some of the ongoing discussions about what counts as ink painting. These debates are especially important given the claim that Chinese ink painting should be considered as the central Chinese contemporary art. It has a 3,000 year history, and it is not centrally or necessarily influenced by the West like so much Chinese art of the last few generations. One of the things standing in the way of a general acceptance of ink painting is that there is no general agreement about what counts as ink painting: is it the use of ink? Rice paper? Traditional techniques? Can photographs influenced by ink painting count? Can Gu Wenda's paintings count? Xu Bing's calligraphy? Ai Weiwei's architecture, furniture, or painted vases?

The definition proposed here is non-visual: I suggest that it is helpful to think of ink painting as not dependent on any particular materials,  but rather on the quality and nature of its references to the past. In that sense, much of Chinese contemporary art is neither ink painting nor especially Chinese; and much contemporary Chinese ink painting does not use ink, paper, or traditional brush marks.

The essay is unpublished. It was commissioned, fully edited, paid, and then rejected, for an exhibition of contemporary ink painting at the Metropolitan Museum of Art, 2012-13. (It was rejected because it is more art criticism than art history. Exhibition catalog essays for larger museums need to appear as art history and scholarship, and not as criticism or theory, even if the exhibition they accompany is itself a critical or theoretical contribution.)

A brief discussion of some of the crucial elements of art comprehension and creation. While primarily pertaining to comics per se, I try to be philosophically comprehensive and holistic both in terms of subject matter as well as life in general.

Originally posted at my blog: http://elysiumisnow.weebly.com/

Dall’osservazione dello spazio urbano della città di Roma, effettuato fra gennaio 2011 e giugno 2012, sono stati censiti e documentati 247 graffiti. Ciò che viene presentato in questo saggio è una prima analisi tematica del materiale raccolto. A questa centrale riflessione se ne accompagnano altre incentrate sul contributo che lo studio del graffitismo, osservato e documentato nello spazio urbano e linguistico della capitale italiana, può offrire relativamente a tematiche quali, per esempio, il rapporto diamesico fra lingua scritta e parlata, l’analisi delle varietà giovanili, le interferenze del dialetto e la creazione di neologismi.

A beautifully illustrated argument that reveals how notebooks were extraordinary paper machines that transformed knowledge on the page and in the mind.

Information is often characterized as facts that float effortlessly across time and space.  But before the nineteenth century, information was seen as a process that included a set of skills enacted through media on a daily basis. How, why, and where were these mediated facts and skills learned? Concentrating on the manuscripts created by students in Scotland between 1700 and 1830, Matthew Daniel Eddy argues that notebooks functioned as workshops where notekeepers learned to judge the accuracy, utility and morality of the data they encountered.  He explores how notekeepers transformed information gleaned from the arts and sciences into knowledge and shows that, in an age preoccupied with ‘enlightened’ values, the skills and materials required to make and use notebooks were not simply aids to reason—they were part of reason itself.

Covering a rich selection of material and visual media ranging from hand-stitched bindings to watercolored pictures, the book problematizes John Locke’s comparison of the mind to a blank piece of paper, the tabula rasa. Although one of the most recognizable metaphors of the British Enlightenment, scholars seldom consider why it was so successful for those who used it. Eddy makes a case for using the material culture of early modern manuscripts to expand the meaning of the metaphor in a way that offers a clearer understanding of the direct relationship that existed between thinking and notekeeping. Starting in the home, moving to schools, and then ending with universities, the book explores this argument by reconstructing the relationship between media and the mind from the bottom up. Eddy’s book is early awaited by those drawn to book history, manuscript culture, history of education, history of childhood, Scottish philosophy, and the Enlightenment broadly understood.

"I was asked to write the entry on "Art Criticism" for the (then) Grove Dictionary of Art; the version I submitted contained the observation that, according to some notions of art criticism, all of art history is also a form of criticism. I noted that "by that definition, all thirty-seven volumes of this 'Grove Dictionary of Art,' which has involved over 7,600 scholars, is actually art criticism." The edited MS was returned with the sentence deleted; I complained to the editor of the dictionary, and I was told the sentence would be restored. It never was. (That's a little cautionary tale about the institutional differences between art history and art criticism.)

Aside from that, this essay is an attempt to gather and arrange the major theories of art criticism."

This creative project is designed to be a multimedia package about Coffee Art for artist communities, social media platforms, and the current art market. This project has produced artworks, articles, videos, informational guide (eBook), and social media materials for the public to learn more about the art of coffee painting. Interviews and surveys have been conducted to coffee painters and art enthusiasts to get a general view of how they view coffee painting and their endeavors in using coffee as a painting medium.

In the pursuit of promoting coffee painting as a unique and creative art form, the author has discovered ways on how an artist can be sustainable through his or her art in the present era. Social media has been a powerful tool for present-day artists to promote their work, build a following, and connect to a larger customer base. Online and offline methods have been tested on how they can be effective in promoting oneself as an artist and how they can be a source of livelihood for creative individuals.

The culminating activity of this project was held at the gallery of the National Commission for Culture and the Arts in Intramuros, Manila. The author got an opportunity to observe people’s interest in coffee painting and collected survey data during the exhibit period.

This research investigates ‘body-sites’ as a situational context for designing and encountering wearable artefacts in relation to the phenomenological body.

As a body-site, skin is a probable location for experiences and practices of dress, including adornment with wearable artefacts such as clothing, jewellery, and cosmetics. This research builds a deeper understanding of the potential for wearable artefacts to engage with corporeal and conceptual qualities of skin as a body-site, thereby opening up avenues to create alternative modes of dress.

The body-site is studied through projects that investigate the transformative qualities of skin as it shifts between lived (Leib), object (Körper), and speculative states of being. This gives rise to the conceptual framework of 'a skin that wears'. Produced out of the relationships between skin and dress, 'a skin that wears' is revealed through the projects to be a complex network of intermingling functions: skin is a sensitive and perceptive integument, a physical organ that envelops the human form, and a structure invested with personal and social meaning that can be enhanced through relationships with dress.

Over the course of the research, embodied processes including writing, drawing, and making develop as ways to identify and describe qualities of the body-site and a skin that wears. Through embodied processes, projects reveal that temporal forms of dress can emphasise small details of the body-site by drawing attention to subtle and ephemeral states of skin. It is shown that wearable artefacts can become integrated into body image, act as a medium for imagining alternative states of being, and can visually symbolise social ideas and values. This suggests that dressing skin holds the potential to transform embodied and culturally constituted experiences and understandings of the body. Furthermore, design processes refined through the projects are shown to amplify subjective awareness of the body-site. This reveals opportunities for developing wearable artefacts that could be experienced, attached, and imbued with meaning by interacting with particular qualities of skin.

This PhD forms a precedent ‘skin-based’ model for design practice. It situates the body-site as the locus of an investigation conceptualised through the layered anatomical structure of human skin. In the research this is illustrated through projects that integrate a research topology, which draws together ideas and processes from across different disciplines (such as literature and art), as well as an overlaid research topography that generates knowledge through iterative making and cumulative action.  ‘Skin-based’ inquiry becomes a way to analyse and speculate on alternative ways that skin and wearable artefacts can interact and be given meaning.

Resumen
En el arte conceptual la idea o concepto prima sobre la realización material de la obra y el mismo proceso —notas, bocetos, maquetas, diálogos— al tener a menudo más importancia que el objeto terminado puede ser expuesto para mostrar el origen y desarrollo de la idea inicial. La verdadera obra de arte es la idea.
El arte conceptual es un arte crítico y corrosivo, pone énfasis en lo mental, en la ideación de las obras, relegando en importancia su realización material o sensible. Junto a este reduccionismo de lo manual, existe en las obras de arte conceptual una hipervaloración del trabajo de arte, como una actividad reflexiva, tanto mental como experiencial.
Los artistas conceptuales abogan por un decidido rechazo de los aspectos mercantiles del consumo de arte y, al mismo tiempo, muchos de ellos intentaban imbricar su actividad artística en un contexto más amplio de preocupaciones sociales, ecológicas e intelectuales, por oposición a la producción de objetos diseñados según criterios utilitaristas y funcionales al establishment cultural.
Dr. Adolfo Vásquez Rocca

Deep Ecology in the Cognitive Capitalocene
SFSIA 2022 | New York City
in collaboration with The Brooklyn Rail June 23 - July 1
253 36th Street,3rd Floor, Ste. C304
Industrial City, Brooklyn, NY 11232

PRIORITY DEADLINE: MAY 15
For 2022, Saas-Fee Summer Institute of Art has partnered with The Brooklyn Rail to present “Deep Ecology in the Cognitive Capitalocene,” an in-person program in Brooklyn, New York, alongside a free public lecture series held online.
APPLICATION:  https://sfsia.art
The theme “Deep Ecology in the Cognitive Capitalocene” builds on Gregory Bateson’s book Steps to an Ecology of Mind (1972) to produce a deep ecology of the expanded brain in the twenty-first century. In the transition from the Holocene to the Anthropocene human activity becomes the dominant influence on global climate and the environment. During this time, cosmotechnics, “the unification of the cosmos and the moral through technical activities, whether craft-making or art-making,” (Yuk Hui) is based upon conspicuous consumption and resultant destruction. Following Arne Næss’s model of a multidisciplinary deep ecology, the well-being and importance of all (non-human) life is inextricably bound to our own in a facile network of mutual respect and shared dignity. As such, we need to adapt to ecocentrism rather than anthropocentrism and give precedence to the ecosphere rather than the biosphere. In this respect, the program will aim towards developing a means to decolonize ecology by recognizing the importance of the Anthropocene’s relationship to capitalism, racism and sexism to constitute a new ecological ethics. As Jedediah Purdy has suggested, we need to produce a new environmental imagination.
We have now entered the century of the brain in which precarity, immaterial labor, the financialization of capital, and valorization from early cognitive capitalism have transitioned to late-stage cognitive capitalism in which the brain's neural plasticity, its capacity to be modified, is the new focus of power and forms of cognitive laboring. For instance, brain- computer interfaces linked to the internet may produce a new opportunity for surfing the web using brainwaves but also produce new means to extract data emanating from thought itself. The expanded brain model is not restricted by the bony carapace we call the skull, and is not a crystalized, determined entity made up of neurons and their glial counterparts but rather is a becoming brain entangled with the environment of which accelerating technology, sociology and culture play important roles. By focusing on this expanded brain model, this situated intra-extracranial brain complex, “Deep Ecology in the

Cognitive Capitalocene” aims to create a renewed ecocentric vision Timothy Morton calls ecognosis. This gnosis, a result of an unfinished evolutionary process of the becoming brain, gives us hope.
Is the refusal to tackle climate change a process of endocolinization of the brain’s neural architecture sculpted by anthropocentric technologies and their associated media conglomerates (Fake News) that enfeeble the brain and its critical capacities, creating a kind of neglect? With the sixth mass extinction at hand, we propose the need to sculpt a new neural architecture based on an assortment of ecocentric technical devices. Technologies for caring for the brain also means caring for our ecosystem as the two are entangled in a dependent coevolutionary process that has ramifications for the future. To find such a model, “Deep Ecology in the Cognitive Capitalocene” will consider the work of Bernard Stiegler, especially his concept of exosomatic organogenesis in which technical evolution of exterior artificial organs, like the handheld calculator, becomes internalized through a process of epiphylogenesis, the process through which the phylogeny of the technical species (or the evolution of technical apparatuses in time) is transmissible. Through a process of multiple exteriorizations, human (organic) matter becomes entangled with technic (organized inorganic) matter. In cognitive capitalism, one might say that the brain's architecture has been sculpted to create an anthropocentric brain whose image of thought has been constituted by capitalism and continues its legacy. If the Anthropocene, or Capitalocene, has generated exploitive techne to dominate the ecosystem in the transformation of nature into capital then “Deep Ecology in the Cognitive Capitalocene” aims to explore new materiality based upon an ecocentric cosmotechnics, such as the Chthulucene or Ecocene, in order to transform the brain as a tool to be used in our struggle for survival.
Faculty
Franco Berardi, Nicolas Bourriaud, Phong Bui, Mareike Dittmer, Thyrza Goodeve, Joan Jonas, Agnieszka Kurant, Reza Negarestani, Warren Neidich (founder/director), Romy Opperman, Eliana Otta, Lucia Pietroiusti, Florencia Portocarrero, David Rothenberg, Tomás Saraceno, Barry Schwabsky (co-director), McKenzie Wark, Bruce Wexler, and others to be announced.

Applications
Applications for SFSIA 2022 are open to students, practitioners and scholars from the fields of art (including video, photography, installation and multimedia), ecology, science and technology studies, philosophy, design, architecture, critical theory, cultural studies, film and media studies, and beyond. Please see our application for more information.
About SFSIA
Saas-Fee Summer Institute of Art (SFSIA) is a nomadic, intensive summer academy with shifting programs in contemporary critical theory that stresses an interdisciplinary approach to understanding the relationship between art and politics. SFSIA originated in Saas-Fee, Switzerland in 2015 and then migrated to Berlin, Germany where it has been hosted by Import Projects (2016) and Spike (2017-2019). Additional programs have been hosted by Otis College of Art and Design in Los Angeles, Performance Space New York, and sonsbeek20→24 in Arnhem, The Netherlands. SFSIA was founded and is directed by Warren Neidich and is co-directed by Barry Schwabsky. Sarrita Hunn is the assistant director.
About The Brooklyn Rail
Founded in October 2000, The Brooklyn Rail provides an independent forum for arts, culture, and politics throughout New York City and far beyond. Our journal features criticism of visual art, music, dance, film, theater and literature, alongside thoughtful political commentary and original fiction and poetry. The Rail is distributed free of charge both in print and online, and further fulfills its mission by curating art exhibitions, panel discussions, reading series and film screenings that reflect the complexity and inventiveness of the city’s artistic and cultural landscape.
Please see our website or contact [email protected] for more information.
Saas-Fee Summer Institute of Art also thanks Industry City for hosting our program.
 
     
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The present paper focuses on the concepts of urban and linguistic space. It considers the city as a diamesic melting pot. Graffitism is seen as a communication channel that needs to be examined in order to better understand the urban language and its many forms.
Key words: graffiti, linguistics, diamesia

Dalam menunjang kebutuhan dan untuk mengetahui serta memahami
karakteristik anak, maka seorang pendidik seni perlu mempelajari karakteristik gambar anak berdasarkan periodisasi perkembangan yang dikemukakan oleh para ahli di bidang pendidikan seni rupa anak. Pembagian masa atau periodisasi dimaksudkan untuk lebih mengenal karya seni rupa anak dalam hal melakukan kegiatan dan penilaian

The study focuses on the republican murals painted on the walls of two cities, Belfast and Derry, in May 2009. The idea for the study was born during a trip to Northern Ireland during which I had the opportunity to observe the murals and to talk with some of the authors and with persons who had actually experienced
the events represented in the murals.
The nationalist murals have been studied by the author under different perspectives: language, iconography, political symbolism and social environment. Murals are, for sure, the community’s reaction to the British political and violent domination on Northern Ireland and they become instruments of rebellion representing
a collective request for freedom and independence. But they also represent a more complex phenomenon as they embody values and perspectives of the entire nationalist community in Northern Ireland. The study analyses the murals both as single artworks and as a collective phenomenon.A strong focus is given at all the political and social themes represented in the murals and at the different linguistic and iconographic styles of communication
as well as how different themes and styles combine. The nationalist murals are also examined under an artistic perspective with a special focus on the figure of the “artista armato”, the artist as a warrior that uses art as an instrument for communicating higher, collective (moral, social, religious, political) values. This
perspective brings the author to draw and analyse a parallel between the phenomenon of nationalist murals and Futurist art: a comparison based on the themes represented in the artworks, on the placing of the art pieces and on the social role of the artists.
If words, pictures and colours used in the nationalist murals become, as analysed in the study, the voice of the Catholic community in Northern Ireland, a voice not so often listened in the EU, it becomes crucial to understand what the artists
want to communicate, why and how. This study aims also to open up to a new research perspective based on a multidisciplinary approach through the integrated use of semiotics and semantics in ethnography in order to offer a more complete and holistic interpretation of the phenomenon of the Northern Irish republican
murals.

First published in "The '60s in Abstract: 13 statements and an essay," Art in America 71 (October 1983) 9, pp. 136-137. On the occasion of the exhibition Abstract Painting: 1960-69 at P.S.1, New York, 1983, Maurice Poirier and Jane Necol interviewed the participating artists. Besides Baer, they were Agnes Martin, Brice Marden, Robert Ryman, Al Held, Sally Hazelet Drumond, Ralph Humphrey, Marcia Hafif, James Bishop, Will Insely, Lee Lozano, Robert Mangold, Agnes Martin, David Novros, and Dough Ohlson. (Tony Smith, who died in 1980, was also included.) Rather than answering the interviewers' questions, Baer sent the following text from London.

Text is also published in 'Broadsides & Belles Letters', 2010, p. 111-112.