1994 research outputs found
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Soudain Salò (S.S.):Avec toi, contre toi Sade
No full textDans ce chapitre, nous concentrerons notre analyse sur la place de Sade dans l’œuvre de Pasolini. Pour ce faire, nous présenterons d’abord de quelle manière Sade peut être perçu comme un test de Rorsach, puis nous retracerons les occurrences de Sade dans l’œuvre de Pasolini, pour terminer avec l’avènement Salò. Au terme de ce chapitre, nous suggérerons que c’est avec Salò que Pasolini dialogue le plus avec la France, mais c’est un dialogue qui achoppe et qui trouve peut-être le nœud de son achoppement dans l’apathie sadienne, qui fait écho au désintéressement surréaliste auquel Pasolini ne pourra jamais complètement adhérer
Artist-Curator Collectives in Southeast Asia
No full textEva Bentcheva analyses artist-curator collectives in Southeast Asia that reject colonial art systems by redefining collaboration through community, responsibility, and presence. Drawing on the case studies of The Artists Village in Singapore, the Chiang Mai Social Installation in Thailand, and Green Papaya in the Philippines, she shows how collectivity is harnessed to produce localized publics and pedagogies, as well as self-organized spaces that reimagine art as social infrastructure
Scale:A Fragmentary Atlas for the Humanities
Full text linkThe concept of scale has become ubiquitous across the humanities, from discussions of the nonhuman and the planetary to artistic, political, and poetic reflections on the contemporary. Yet, despite this new theoretical attention to scale, much remains uncertain about the term’s usage. ‘Scale’ is a shifting, polyvalent, relational term. Rather than a fixed measure, it is a fluid mode of inquiry involving manifold analytical approaches such as reducing and zooming out, focusing and expanding, dislocating and recontextualizing, or close and distant reading. To focus on a specific scale, be it the cosmic or the everyday, is to focus on objects and processes that become visible or invisible, central or marginal, at this scale compared to others, or to trace how our categories shift with a shift in scale. The relationality of scale makes it hard to define yet fruitful for engaging with complex experiences and phenomena.
This workshop reflects the ongoing collective inquiry by ICI Fellows into the concept of scale. Contributions to the workshop explore scale as it appears in various thematic and disciplinary contexts ranging from theories of artificial intelligence to anthropology and philosophy, and from literary studies to media studies to gender and queer theory. As such, the workshop aims to constellate some theoretical fragments on scale into a (necessarily incomplete) atlas crossing the human and non-human, modern and pre-modern, individual and social, local and cosmic, as well as artistic, political, and poetic
Intense Play with Light and Sound:Reading Su Friedrich’s <i>Seeing Red</i> (2005) together with Walter Benjamin’s and Gilles Deleuze’s Philosophies of Technology
No full textShe Is Inseminating:Thanatopolitics and Reproduction in Claire Denis’s Science Fiction Film <i>High Life</i> (2018)
No full textThe Exophonic Lyric:A Poetics
Full text linkSituated within the author’s own creative practice and, more broadly, Philippine anglophone literature, this chapter analyses how exophony affirms Jahan Ramazani’s contemporary model of the lyric, which is ‘intergeneric, transnational, [and] translingual’. The intergeneric and transnational qualities of the lyric emerge in its exophonic iteration through the communion of the genre’s transplanted tradition and one drawn from vernacular poetics. A scrutiny of the author’s poetry also exhibits how the ‘compressed heteroglossia’ located within the lyric — the fusion of multiple voices into an ostensibly singular enunciatory phenomenon — may be deployed to signify cultural irreconcilabilities. Supplementing the essay’s preoccupations are sample poems from the author’s manuscript
Time and the Everyday in Slow Cinema
No full textTime and the Everyday in Slow Cinema examines the phenomenon of Slow cinema, a style defined by its lingering focus on quotidian activities and extended durations. Rosa Barotsi argues that while the style emerges from a tradition of durational filmmaking and resonates with movements advocating for deceleration, it is also deeply entangled in the structures of late capitalism, creating a dynamic tension between radicalism and conservatism. This book situates the trend between artistic innovation and institutional commodification, ultimately raising critical questions about spectatorship, cinematic time, and the politics of cultural value.AcknowledgmentsIntroduction | 1-81. A Slow Revolution? | 9-972. Time | 99-1603. The Everyday | 161-2244. The Politics of Cinematic Time | 225-290Conclusion | 291-295ReferencesInde
‘The Only Art Form that Works’:Reflections on Collectivity from South Korea [2023]
No full textSoyoon Ryu examines collectivism in South Korea, tracing its shifting vocabularies and feminist articulations through the Rice Brewing Sisters Club. Reflecting on care, sustenance, and embodied collaboration, she argues that collective practices operate as both art and social survival strategy, redefining efficacy, authorship, and community within Korean contemporary art