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1.
Marcel Cobussen 《Culture, Theory & Critique》2013,54(1):29-42
This essay investigates the possible relationship between noise and ethics through the music of improvising musician Evan Parker and the ‘post‐post‐structuralist’ philosophy of Alain Badiou. According to Badiou, one of the most important features of an ethical attitude is the recognition of a void in a situation, that is, the attention for something that cannot be thought, felt, or experienced within a conventional system, something that always already escapes established and existing structures. This seems to bear some resemblance to the way French thinker Jacques Attali describes noise. According to Attali, noise interrupts and disconnects. It is an aggression against all sorts of code, against all kinds of order. Noise is an evental break from the status quo or ordinary situation, which compels recognition of something new. Rethinking noise this way means that noise does not exist in and of itself, but only in relation to the system within which it is inscribed. Noise is a void in a situation and can therefore be connected to Badiou's ideas about ethics. In a relative rather than an absolute sense, the improvised music of Evan Parker – and this essay especially draws attention to one of his projects, Drawn Inward, in which electronics and acoustical instruments meet and hold a dialogue – produces noise, precisely in and through improvisation; in many ways it disrupts musical conventions. The essay thus explores the space within the triangle noise–improvisation–ethics. 相似文献
2.
From finding to making: Jacques Rancière,Richard Rorty,and the antifoundationalist story of progress
Ulf Schulenberg 《Culture, Theory & Critique》2017,58(3):275-293
What is the contemporary significance of the modern antifoundationalist story of progress? By offering a critique of foundationalism and representationalism, pragmatists like John Dewey and Richard Rorty elucidate the far-reaching implications of this question. This article argues that Jacques Rancière’s critique of traditional philosophy and of Louis Althusser’s version of Marxism can be regarded as an important part of the antifoundationalist story of progress. Furthermore, it highlights suggestive affinities (and some differences) between Rorty’s postmetaphysical scenario of a poeticised culture and Rancière’s notion of the aesthetic regime of art. This article seeks to prepare the ground for a comparison between Rancière’s topographical and horizontal critique and Rorty’s pragmatist humanism as nominalist historicism. 相似文献
3.
《Journal of Cultural Economy》2013,6(2):120-136
This paper uses empirical work on a piece of performance art to think through the relation between ‘work’ and ‘art’, and by implication, ‘culture’ and ‘economy’. Beginning with the idea that the intelligibility of both is produced through similar forms of rule following and rule breaking, I suggest that this throws into question the empirical and historical novelty of the idea of the creative worker. As institutionalists have argued, the work of art is produced through its relation to various organizations, just as work organizations rely on creative rule bending and elaboration. Examples of contemporary art are enrolled in the argument along the way in order to suggest that we can find many insights into the nature of work, culture and economy in comparing the practices of artists with the practices of workers. 相似文献
4.
We address the question of the quality of movies produced between 1950 and 1970. A first outcome of our analysis is that the quality assessments made during the Cannes Festival, and to a lesser degree, by the U.S. Academy are short-lasting. In contrast to this, consumers seem consistent over time. There is, however, one issue on which experts agree as well as consumers: American movies dominate both in terms of commercial success and in terms of quality. There is less agreement, and sometimes there is even dissent concerning other dimensions. This does not come as a surprise and merely indicates that there is hardly a common yardstick along which the quality of a movie can be measured. Therefore, decomposing a work of art into quantifiable characteristics – even in a subjective but possibly unanimous way – would make it possible to explain the divergences between audiences and changes of appreciation over time. 相似文献
5.
Babette Babich 《Culture, Theory & Critique》2013,54(2):151-169
This essay revisits Meyer Schapiro's critique of Heidegger's interpretation of Van Gogh's painting of a pair of shoes in order to raise the question of the dispute between art history and philosophy as a contest increasingly ceded to the claim of the expert and the hegemony of the museum as culture and as cult or coded signifier. Following a discussion of museum culture, I offer a hermeneutic and phenomenological reading of Heidegger's ‘Origin of the Work of Art’ and conclude by taking Heidegger's discussion of the strife between earth and world to the site of the ancient temple of Apollo Epicurius at Bassae as an example of the insistent foreclosure of the ancient work of art and the conflicts of the pervasive efforts of modern conservation. 相似文献
6.
James Elkins 《Culture, Theory & Critique》2013,54(1):5-22
Art history has lost and rediscovered semiotics several times since the 1950s, and at the moment writers employ an eclectic mixture of theories derived mainly from Ferdinand de Saussure and Charles Sanders Peirce. Of the two, Peirce is possibly the more influential model, on account of his tripartite theory of iconic, indexical, and symbolic signs. (The Saussurean model is identified more closely with the poststructuralist moment in art history, beginning in the 1970s.) The question of semiotics is once again topical now that visual culture is consolidating as a discipline, because the new field can choose from a wide range of semiotic practices – or it can choose to bypass semiotics altogether. This essay is a contribution to that current state of affairs. My principal point is that Peirce is much stranger than he is taken to be: he is idiosyncratic and demanding, and at times outlandishly hermetic. For most of what art history and visual studies aim to do, Peirce is simply not necessary; and when he is pertinent, he is so mainly as a model for concertedly logical thinking of a sort that is rare in visual studies or art history. 相似文献
7.
International Trade in Art 总被引：9，自引：0，他引：9
Günther G. Schulze 《Journal of Cultural Economics》1999,23(1-2):109-136
This paper investigates the extent to which trade theory is applicable for explaining trade in art. Reproducible art is distinguished from unique art and it is argued that the trade in reproducible art is, at least in principle, governed by the same economic laws as trade in other differentiated products. However, trade theory needs to be amended in order to account for the addictive character of art consumption: culture specific consumption capital is built up with art consumption. Moreover, trade in unique art is mainly trade between consumers, a phenomenon largely ignored by standard trade theory. Empirical evidence on trade in art is presented and a gravity model of international trade in works of art is estimated. Finally, the paper discusses open questions for future research. 相似文献
8.
《Journal of Cultural Economy》2013,6(2):161-177
The central argument in this paper is that actor-network theory (ANT) does not do ‘cultural economy’ symmetrically: it has had a lot to say about economy but much less to say about culture. This rejection of culture is ontological and epistemological: culture appears in ANT largely as an artefact of modernist thought rather than as an empirical aspect of agents' performances. And yet if ‘economy’ can be critiqued and reinstated as performative, so too can ‘culture’. To explore this, we focus on objects of concern that – unlike the financial markets that have formed the core of ANT-inspired thinking about the economy – are assembled by actors in and through what they themselves understand to be cultural materials, cultural calculations, cultural processes, cultural institutions. In such examples, ‘culture’ is continuously invoked and enacted by actors in constructing their actions, whatever critical sociologists might have to say about its ontological status. It seems paradoxical that a theoretical approach that makes sacrosanct the associations constructed by agents who assemble their own world, generally discusses ‘culture’ only from the point of view of critical epistemology. Bearing all this in mind, we argue that it is time for us to ‘reassemble’ the cultural. 相似文献
9.
Jennifer Deger 《Culture, Theory & Critique》2013,54(3):355-371
This essay describes the ways that an indigenous aesthetics of the new informs emerging forms of digitally-driven creativity in Aboriginal north Australia. Central is the media art project Christmas Birrimbirr (Christmas Spirit), which began as an ethnographic experiment with digital media and ritual aesthetics. Taken up by Yolngu collaborators as something new and exciting, the project explores uses of video art and more supposedly traditional media to produce ritual in a gallery setting. The imagistic dynamics of the project gave rise to dream visions and ritual innovation resulting in the production of a Christmas unlike anything previously seen in Arnhem Land, or for that matter, anywhere else. The aim of thinking through the idea of newness itself is to get closer to a sense of what the project leader, Paul Gurrumuruwuy, means when he says about our media work: ‘When you make gamununggu (ochre painted sacred design) yuta (new), you make it talk’. 相似文献
10.
我曾几次访问过一位白衣布履的智者,他就是来自台湾的著名学者、禅人、文艺评论家林谷芳先生。他贯通中国传统文化中的音乐、绘画、文史哲各大门类,在台湾被称为几十年来唯一持中国牌的文化标杆。少年时泛舟湖面,一曲空灵笛乐触发了林谷芳的生命情思。如此这般不可思议之因缘使得音乐最终成为林谷芳生命观照中的焦点。三十多年后,他出版了著作《谛观有情—中 相似文献
11.
Arjan van Rooij 《Minerva》2013,51(1):25-48
This article aims to clarify and improve thinking on normative government laboratories: partly publically funded laboratories that work to improve the functioning of society, particularly through boosting innovation. This article focuses on a case study of TNO, a large Dutch laboratory, and an exemplary case of this type of laboratory. This article argues that TNO is perceived as a plug to fill a gap between knowledge production and use, in a belief that there is a direct and causal link between laboratory knowledge production and use. As a plug to fill a gap, however, TNO, and laboratories like it, can never perform satisfactorily, making an enduring cycle of negative performance evaluations and major reorganizations inevitable. This article suggests that a network model of innovation might provide a way out of the impasse. 相似文献
12.
左翼新诗是汉语现代化过程的重要收获之一。1928-1937年,近十年的左翼文艺在阶级论和工具论的语言观指导下,对汉语现代化方案提出了新的要求,并以讨论、辨析的方式有组织地进行预设。左翼新诗是其语言观在新诗领域的实践,是汉语现代化的言语行为,但是一次并不成功的汉语现代化实践。 相似文献
13.
《Journal of Cultural Economy》2013,6(6):539-551
ABSTRACTIn this article, I discuss how changes in the economic infrastructure of mass consumption have changed the values and attitudes of consumer culture. By focusing on an online community of Israeli sex consumers and applying the theoretical framework of the prosumer economy, this article suggests its innovative potential for understanding the intersections of cyberspace, capitalism, and sex work consumption. Using the context of the dynamic cultural terrain of prosumerism, the article examines how commercial way of thinking is encouraged, understood, and adopted by sex consumers in the practice of purchasing sexual encounters and sharing them online. The main argument is that the online community of sex consumers has become a collaborative project in which consumers simultaneously produce and consume – that is, they become ‘prosumers’ and thus occupy positions of power within the capitalist market-place. They, therefore, not only responding to market rules but also producing them. I claim that the change in the nature of the community has impacted both the nature of online writing and the way clients perceive sex workers. 相似文献
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15.
《Journal of Cultural Economy》2013,6(3):379-394
This article develops the concept of ‘alternative cultural tourism’ through an in-depth study of the Prague Fringe Festival (PFF). In doing so, it argues that existing approaches to cultural tourism often fail to differentiate between different forms of culture (i.e. alternative versus mainstream), whilst also interrogating the criteria by which festivals can be understood as examples of alternative cultural tourism. Utilising a combination of both quantitative and qualitative data, involving audiences, festival performers and workers/volunteers, it is asserted that the PFF brings together a diverse mix of cultures, and seeks to create a more participatory and engaging tourist experience. Additionally, its more egalitarian organising structure produces different kinds of work and social relations in the production of art and culture – particularly between various groups working within the festival, but also in the creation of different ideas about audience engagement, performer relations, and engagement with the local community (through the idea of the ‘festival participant’). The article concludes by briefly exploring the potential of alternative cultural tourism to provide more meaningful and sustainable models of urban cultural development. 相似文献
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17.
《Journal of Cultural Economy》2013,6(1):103-119
In this paper we examine the emergent field of art-science, part of a heterogeneous space of overlapping interdisciplinary practices at the intersection of the arts, sciences and technologies. Art-science is often thought to exemplify Nowotny et al.'s (2001) ‘mode-2’ knowledge production; indeed the institutions supporting art-science invariably claim that art-science contributes to the ‘contextualization of science’ by rendering scientific and technical knowledge more accessible and accountable to its publics. Our argument, however, is that this approach fails to capture the ways in which art-science exhibits its own complex trajectories, which cannot be grasped in terms of an epochal transition in the mode of knowledge production. Drawing on ethnographic research on art-science practitioners and institutions in the USA, UK and Australia, our first aim is to indicate the heterogeneity of art-science by contrasting distinctive forms and genealogies of art-science. A second aim follows. Rather than simply multiplying the connections between science and its publics, we suggest that art-science is instructive in highlighting radically divergent conceptions and practices of publicness, and point to two such forms. We examine, first, the relations between science, art and the public in the UK from C. P. Snow's ‘two cultures’ essay to the activities of the Wellcome Trust and Arts Council England. In these developments, art that is in dialogue with science is conceived primarily as a means by which the (absent) public for science can be interpellated: science is understood as complete, and as needing only to be communicated or applied, while art provides the means through which the public can be assembled and mobilized on behalf of science. We contrast this with a novel institutional programme in art-science pedagogy at the University of California, Irvine: the Masters programme in Arts, Computation and Engineering (ACE). Through the contents of the ACE teaching programme and the case of an art-science project concerned with the measurement of air pollution by ACE faculty member Beatriz da Costa, and with reference to the work of Hannah Arendt and Barbara Cassin, we suggest that art-science can act not so much as a way of assembling a public for science, but as a public experiment. 相似文献
18.
《Journal of Cultural Economy》2013,6(6):673-688
Academic treatments of distributive justice normally adopt a static approach centred on resource allocation among a set of individual agents. The resulting models, expressed in mathematical language, make no allowance for culture, as they never engage with the society's way of life or the moulding of individuals within society. This paper compares the static approach to distributive justice with a cultural one, arguing that a case for redistribution should rest upon its cultural effects in assisting well-being and social cohesion. Unless we recognise culture, we can have little understanding of why inequalities matter, where they come from, and how they might be reduced. Redistribution may be motivated by universal value judgements taken from external sources, but it also entails internal cultural changes that refashion social relations through cumulative causation. In practical terms, it has to penetrate beyond reallocating resource endowments to bring revised attitudes in a society less tolerant of unequal outcomes. Egalitarian reforms will flourish only if they generate and reflect an egalitarian culture. 相似文献
19.
Sunil Manghani 《Culture, Theory & Critique》2013,54(1):23-36
This article focuses on a debate between Mieke Bal and James Elkins regarding the nature and scope of visual semiotics. Their research, which is concerned with the conceptualisation of the smallest ‘subsemiotic’ marks of pictures, is examined here in terms of the broader issues of visual theory and critique. The exchange between them is used to illuminate a number of key concerns about the nature of visual semiotics and the critical practice it inaugurates for visual culture research. The developments in recent visual culture discourse are presented first with the suggestion that a re-evaluation of the very ‘object’ of visual culture is required, which would bring the differing positions of Bal and Elkins to accord. The contesting positions of Bal and Elkins represent the vacillating need in visual culture for a critical discursive framework and a specifically visual orientation. By drawing much insight from the writings of Roland Barthes, the overall argument is that in order to (ad)venture forth in (sub)semiotics it is crucial to (re)consider past semiotic theory and the very ‘object’ of visual culture in and as writing itself. 相似文献
20.
Carlos Garrido Castellano 《Culture, Theory & Critique》2018,59(1):59-73
This text analyses the relationship between institutionalism, context and cultural criticism. Its main objective is to identify how universalism has permeated the different waves of Institutional Critique, conditioning the subversive potential conferred to creative practices and locating radical, alternative institutionalism within the narrow geo-cultural landscape of mainstream biennials. Taking as point of departure Cildo Meireles’s participatory public intervention in documenta 11, I consider how representational concerns are privileged vis-à-vis visual practices related to coloniality and difference. From that position, the article argues that only by challenging the assumed universality of the debates on cultural institutionalism will we be able to stress the relevance of critique in addressing cultural policies and non-representational practices. This implies confronting the troublesome relationship between Institutional Critique and modernity from a ‘geographically-informed’ position capable of recognising institutionalism as a heterogeneous body of practices that are being globally transformed. 相似文献