By Renee C. Hoogland
Rather than asking questions on the symbolic which means or underlying “truth” of a piece of artwork, renée c. hoogland is worried with the particular “work” that it does on this planet (whether deliberately or not). Why will we locate ourselves in tears in entrance of an summary portray? Why do a little cartoons of the prophet Muhammad generate around the globe political outrage? What, in different phrases, is the compelling strength of visible photos, even—or especially—if they're nonfigurative, repulsive, or downright “ugly”? instead of describing, examining, and studying artistic endeavors, hoogland ways artwork as an occasion that obtains at the point of actualization, offering “retellings” of particular creative occasions within the mild of contemporary interventions in aesthetic conception, and providing to conceive of the cultured come upon as a almost certainly disruptive, if no longer violent, strength box with fabric, political, and sensible consequences.
“Arguing on behalf of the undefinable affective responses produced by means of photographs, A Violent include posits that reactions to paintings usually are not purely politically helpful and aesthetically insightful, yet that they take us past the boundaries of formal research, feedback, semiotics, and frequent expectancies. This ebook is key to people who are engaged in debates approximately electronic and visible tradition, paintings, and impact theory.” —Judith Roof, Rice University
“Provocative, insightful, and eloquent, hoogland engages her reader within the reconceptualization of up to date tradition as an instantaneous and embodied event. Writing with a feeling of urgency and conviction, hoogland bargains relocating discussions of latest artwork: from Louise Bourgeois’s sculpture to pictures of Detroit as nonetheless lifestyles. becoming a member of the growing to be variety of critics whose frustrations with the bounds of ideological critique have led them towards theories of impact, occasion, and come across, this ebook presents an essential addition for all these pressured through this gearshift in severe theories of paintings and culture.” —Jackie Stacey, The college of Manchester
“In this gorgeous and pressing publication, renee hoogland proposes a brand new, radical (and even militant) aestheticism, person who is healthy for the twenty first century. we are living in a time "after representation," whilst photographs don't easily depict or discuss with items, yet have an uncanny lifetime of their very own. A Violent include takes complete account of this unusual, spectral power, and mobilizes it within the curiosity of a higher lifestyles to come.”—Steven Shavir, DeRoy Professor of English, Wayne kingdom University
“[A] not easy and provocative study.” —ARLIS/NA, artwork Libraries Society of North the USA
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Extra info for A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)
To the extent that any entity exists in its relations to other entities and that it is affected by these relations, an existence of its own may thus be attributed to that which Whitehead calls an “objective datum,” but such existence is never 31 Art i s t ic Act i vi t y fully determined: both present and past relations have and continue to inform it, to affect it, and to be affected by it. ” Since subject and object are relational and thus relative terms, the critical function of “subjective form” in every act of prehension means that the “objective datum” is affected itself, informed by the encounter, by the act off feeling that calls it into being in the first place — and never once and for all, never in the same way twice.
In doing so, he repeatedly refers to what he calls the most “objectless” of all forms of art: music. Music, Bakhtin argues, is “devoid of object-related determinateness and cognitive differentiatedness, yet it has a deep content: its form takes us beyond the bounds of acoustic sounds, and certainly not into an axiological void” (“CMF,” 266). Perhaps more “palpably” than any other form of art, music hence testifies to the fact that the aesthetic object, “detached and fictively irreversible,” is neither a thing nor an object, but the “event of striving, the axiological tension,” 24 A Viol e nt E mbr ace which, to repeat his earlier quoted phrase, “arises on the boundaries of a work of art by way of overcoming its material — extra-aesthetic — determinateness as a thing” (“CMF,” 307).
Here I wish to foreground the connection between Kant as the founder of formalism in philosophical aesthetics and Bakhtin’s critique of the inadequacies of the formalist method that prevailed in literary scholarship and in the so-called Kunstwissenschaften in Russia at the time of his writing, the first decades of the twentieth century. While generally pleased with recent contributions to Russian scholarly literature by “valuable works on the theory of art, especially in the area of poetics” (“CMF,” 257), Bakhtin is critical of the “vogue for science” in contemporary art study, which he believes leads to an “extreme lowering of the level of problematics, to the impoverishment of the object under study, and even to the illegitimate replacement of this object — in this case artistic creation — by something entirely different” (“CMF,” 258).