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Displaying: 11-20 of 287 documents


11. Glimpse: Volume > 19
Marta G. Trógolo, Alejandra de las Mercedes Fernández, Rosario Zapponi Living the Body as a New Anthropocene Experience?
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In considering the performative work of the Argentinean artist, Nicola Costantino, this paper reflects on the meanings of the body as active material and conceptual support, regarding the arising of the Anthropocene. Faced with their own invention, humans engage in self-reference, which causes an estrangement and produces a given intrusion threatening the identity-integrity of the ego, inevitably resulting in repulsion. Actions performed in the process of cosmetic surgery and other scientific interventions in biological bodies manifest bodily dehiscence, in the form of expulsion and negation of morphogenetic nature. Thinkers such as Lacan and Déotte are used to examine the implementation of the “body object” as a knotting of meanings, given the impossibility of reticulate substance, humanity, and subject. What remains is to witness through the body an immanent Anthropocene experience rather than one of a transcendental character, achieved in an extreme way by organic and morphological modification, particularly through surgery. This marks the result of the historical passage to techno-science as well as interpreting an Anthropocene conversion as power-totalizing. The question is whether this convergence between knowledge and practice is shaping a new experience from the experience of a completely transformed body and under what conceptions or categories the new generations will embody the Anthropocene. That concept can accommodate the treatment of a Neo-Darwinism involving the adaptation of the human species under a new form of consciousness.
12. Glimpse: Volume > 19
Alberto Carrillo, May Zindel Anthropocene and Art
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In this paper we offer some considerations about the Anthropocene as the period in Earth’s history marked by the presence of the human being as a geological factor, which is especially apparent when considering the products of urbanization: paved roads and night-time illumination when the Earth is viewed from space. Both factors show the scale of human presence on Earth and the corresponding impact on it as our environment. Building on these factors, we reflect on the relationship between art and the consciousness of the anthropocenic character of the epoch. The main point is that the contribution of art to localized or particular ecological changes as well as to changes in the way we think and behave thereby makes both art and human nature ecological.
13. Glimpse: Volume > 19
Lisa Daus Neville Memory of the Future: Cecilia Vicuñia’s Participatory Poetics and Murray Bookchin’s Unfolding Dialectical Freedom
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Chilean poet, visual, conceptual, environmental artist, and filmmaker, Cecilia Vicuña, revalorizes the ancient Incan technology of quipu as a gathering of originary emptiness. In this empty core our essential connectedness can be realized. Vicuna’s complementary dialectic of openness and interdependence is theorized by North American philosopher, Murray Bookchin, as an ecology of freedom in which human being becomes aware of itself as nature’s own self-expression. This paper wonders the role of art in today’s field of intensifying ecological crisis and economic injustice and suggests that it may only be the art and activity that requires our participation in order to effectuate itself that has the power to heal our calcified discrete identities and return us to our evolutionary origins in an ecology of interdependence.
14. Glimpse: Volume > 19
David Romero Martín Art and Experiences of Embodied Disrupted Reality
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The purpose of this paper is to identify the way in which art can disrupt the subject’s everyday experience of the world and self. The proposal starts from the hypothesis that art offers experiences of embodied disrupted reality, and this statement is based on the parallelism between certain artistic experiences and certain psychological conditions that are known as dissociative disorders (concretely, depersonalization and derealization), which challenge the subject’s sense of reality and self, and lead the subject to experience some level of detachment and a sense of loss of familiarity with respect to the world and the self. These aspects are also particularly felt in immersive environments. Immersive technologies (virtual and augmented reality) offer an important laboratory for perception and sensoriality, taking into consideration the embodied basis and the first-person perspective of the user-experimenter. In this context, art offers a series of strategies that allow the user to undergo a shift in experience, affecting the sense of embodiment and reality. To explore these notions, I refer to some phenomenological implications of the experience of dissociative disorders and the interrelation between art, technology, and dissociative disorders. Finally, I offer an analysis of three artistic interdisciplinary projects (“Systems,” by Briand, “Labyrinth Psychotica,” by Kanary, and “Decelerator Helmet,” by Potthast”), taking into account the particular ways of embodiment and sense of reality they trigger in the user. Based on the parallelism between art and dissociative disorders and its dialogue with immersive technologies, this article aims to contribute to a phenomenology of embodied disrupted reality from art.
15. Glimpse: Volume > 19
Bjorn Beijnon Mediating Knowledges: How Theater Transmits Partial Perspectives
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This article examines how the human perception of knowledge is structured in the empirical world. It is often argued by scientists that facts in this empirical world can be perceived, which makes us believe that this world is an objective world. However, the human way of making sense of the world is individual and embodied, which causes the creation of an individual world for every human: a body-world. The empirical world is in this case a shared space for multiple bodies that agree on the causality of certain events and objects in that space. Every body-world therefore has its own partial perspective on the knowledge in this shared space, which is formed by the physiology of the body, the cultural background, and the identity of the person. The theater has the power, through the techniques of re-enactment and disruption, to give its audience insight in other situated knowledges from different partial perspectives. It can therefore connect different situated knowledges and create ecological knowledge: the awareness of the connected network of knowledges that is produced in various body-worlds on what is happening in the shared space. Only then can we emancipate knowledge and embrace the various partial perspectives that this shared space of body-worlds has to offer.
16. Glimpse: Volume > 19
Sarah Lwahas Tools for New Lifestyles: Indigenous Stone Crushing and Public Perception of Television Environmental Reporting in Jos City
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The neglect of environmental reporting in television programming in Nigeria has led to a predicament. As global interest and attention mounts, with the Western media playing a positive and vital role in how the environment can impact the lives of people now and in the future, television stations in Nigeria fail to play a constructive role in enhancing public understanding by communicating information on the environment. Consumers of news and society in general do not seem to understand the broad challenges posed, particularly by the impact of indigenous stone crushing, an activity that is fast becoming a thriving business venture in recent years for many people. This study seeks to examine the role and the frequency of coverage of television environmental news reporting in Jos city, particularly in relation to public perception of indigenous stone crushing by women in Jos city. The study is anchored in the Agenda-setting Theory and the Perception Theory, which explains how people make sense of the words and images they get from the media. The paper provides a content analysis of three television stations in Jos city and a focus-group discussion on public perception of environmental reporting in television programming. The study shows that there is an increasing depletion of rock formations, endangering indigenous culture and the aesthetics of Jos city, even while the rocky formations serve as high altitude points for broadcast masts and satellites. There is also an increasing inability to restore the environment in terms of land reclamation and other restorative or protective actions. It recommends that television stations should provide the platform for discussing and understanding issues that are germane to the environment through improved, forthright, and high-quality environmental reporting.
17. Glimpse: Volume > 19
Paul Majkut Time Machines and the Appropriation of Time: Mediated, Unmediated, Immediated
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18. Glimpse: Volume > 18
Melinda Campbell Introduction
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19. Glimpse: Volume > 18
Paul Majkut Mediated, Unmediated, and Immediated
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The philosophical context of media shifts is found in production details that occur during a cusp period of media change, when an older medium is supplanted by a newer one. The purpose here is to remove media barriers that stand between the thing-in-itself and the mediated knower. The point is not to mediate, but, first, to unmediate through detailed analysis and practice, then to immediate. The point is not to embody one’s self in media, but to disembody today’s reader trapped in Renaissance perspective. Visual tropes of Renaissance title-page frames, for example, set a pattern of participation that transforms the reader from an active to passive viewer. The Renaissance printed book is a building in which a text is stored. The architecturally-positioned reader enters through a portal on the first page. A medium is best understood from the inside, by doing rather than observing, accepting that theory arises from praxis. If we were to shed mediated communication, what would our attitude towards the natural world be? A media epoché that suspends mediated communication would be uncomfortable for those who had become dependent on such media. Heidegger and Derrida claim that it is necessary to cross out (sous rature) the printed word “Being” (“Being) because it is “inadequate but necessary.” But all words are inadequate and necessary. A text has two simultaneous and contradictory aspects: textual autonomy and intertextuality. The inability of the printed page to capture Heidegger’s meaning is not a failure of typography or language, but the consequence of pretentious typographical trickery.
20. Glimpse: Volume > 18
Lars Lundsten The Concept of Mediatization: Some Phenomenological and Ontological Remarks
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The purpose of this article is to present some central phenomenological remarks that are pertinent to the ongoing debate concerning mediatization theory. There are two extreme views in this discussion. First, proponents of mediatization theory argue that late modern (Western) societies are increasingly dependent on media and their logic. Second, some scholars see “mediatization” as an umbrella term for loosely connected descriptive studies of present-day media culture. This article introduces a third view of the topic. According to the argument presented here, the concept behind mediatization theory is valid but erroneously defined in terms of dependence relations of cause-effect type. To overcome this, mediatization theory should rely on Ingarden- and Searle-style social ontology and use ground-consequent dependence as its main explanatory tool. This approach also proposes that re-mediation and social institutions created by re-mediation are the characteristics of a mediatized society.