1,720,955 research outputs found
History of Installation Art. Situational Experience in Modern Art
No full textDiese Studie liefert den ersten übergreifenden Zugang zu einer bislang noch wenig erschlossenen Kunstform. Modelle und Funktionen installativer Kunst wurden typologisch erfasst und ihre allgemeinen Züge durch werkimmanente Analyse herausgestellt. Ausgangspunkt der Studie ist die These, dass installative Kunst nicht nur zeitgenössische Entwicklungen, sondern auch Tendenzen der historischen und Neo-Avantgarden umfasst. Dadurch wurde sowohl die Genese installativer Kunst rekonstruiert, als auch die werkimmanente Kontinuität der Kunstform und deren Rekontextualisierung kunsthistorisch begründet. In dem ersten Teil der Studie wurden demnach die Hauptmerkmale des installativen Kunstwerks anhand ausgewählter Beispiele in der Kunst der 1960er und 1970er Jahre begründet, während dessen zentrale Strategien der Installationskunst wie Orts- und Situationsspezifität, das Einbeziehen der Körperlichkeit des Betrachters, die Medienhybridität, die Kontextkritik und damit einhergehende Institutionskritik konsolidiert und weiterentwickelt wurden. Die daraus gewonnenen Einsichten wurden anschliessend in den fünf eher monographisch orientierten Kapiteln des zweiten Teils dieser Studie zur Disposition gestellt. Folgende Werke wurden im Kontext der installativen Schwerpunktsetzung untersucht.: Ausstellungskonzepte und die dazu gehörende Raumgestaltung der Orangerie (1927) von Claude Monet, Atelier- und Interieurgestaltungen von Piet Mondrian, wie im Atelier der Rue de Départ (1921-1936), „Demonstrationsräume“ von El Lissitzky, wie der Prounen-Raum (1923), Rauminszenierungen und Interventionen von Kurt Schwitters, wie der MERZ-Bau (1923 - 1936/37) sowie die vielfältigen Ausstellungsinszenierungen (Surrealistenausstellung von 1938 in Paris und von 1942 in New York), ortsspezifischen Platzierungen von Ready-mades (Trébuchet (um 1917) und Porte 11 Rue Larrey (1927)) und Sehinstallationen (Étant donnés:... (1946-66)) von Marcel Duchamp. Ziel ist es hierbei, die Entwicklung des installativen Kunstwerkes sowohl in der Künstlertheorie, als auch in den neu bestimmten Funktionen, Absichten und Rezeptionen der jeweiligen Werke sichtbar zu machen. Ausgangspunkt der Untersuchung ist die These, dass Installation die Idee der objekt- und werkorientierten, modernistischen Ästhetik in Frage stellt, indem sie sich der Idee der Betrachter- und Kontextabhängigkeit verpflichtet. Entscheidender als der offensichtliche Raumbezug oder das Modifizieren des Ausstellens, wie es installative Kunstwerke vorweisen, ist der Anspruch, erfahrungsbedingte Situationen zu gestalten. Da die Art und Weise, wie die BetrachterInnen ihre Eindrücke gewinnen, zeit- und bewegungsabhängig ist, basiert die Analyse darauf, die zeit – räumliche Struktur dieser Kunstwerke aus rezeptionsästhetischer Perspektive zu beleuchten. Das im Rahmen dieser Studie begründete Modell der ‚situativen Erfahrungsgestaltung’ steckt damit nicht nur die grundlegende Produktionsmethode der Installation ab, sondern auch die Entwicklung eines perzeptiven Paradigmas. Die Auflösung des autonomen Objektes zu Gunsten einer, einerseits, in den Raum expandierenden und einer, die Körperlichkeit des Betrachters involvierende Wahrnehmungssituation andererseits kennzeichnen als primäre Haupttendenzen installativer Kunst das Aufkommen der ästhetischen Spätmoderne.Now a historically established art form, installation art has undergone major developments from being an experimental art practice of the late 1960s to the main art form of the late 1980s and 1990s. One must point out, that installation is a broader concept that categorizes not only artworks of the Neo Avant-gardes, but also practices of the early modernism. In these terms the study gives an account of main characteristics of installation art and explains its emergence. Installation generally describes work produced for and at the exhibition site that modifies various forms of art display and thematizes structures of the reception. With this focused goal, the most crucial requirement of installation has been, to arrange experience-conditioned situations for the viewer, and in doing so to incorporate the actual viewer into the structure of each work. It is clear that the main focuses shifts towards a specific interrelation of space and spectator. This thematic was further developed into two sections, a) an analysis of key characteristics and practices of installation as they emerged during the Neo-Avant-gardes (1955-1975) and b) a historical account of key precedents during the historical Avant-gardes. The analysis in the first section focuses on generic characteristics of installation such as, the emergence of site- specific installations (Robert Morris, Robert Smithson), artist’s interventions that form a situation (Joseph Beuys, Yves Klein), active spectator participation in environments (Alan Kaprow), critique of the institutional and discursive framework of the site (Michael Asher, Marcel Broodthaers), perceptual and behavior modifying arrangements (Bruce Nauman, Dan Graham). The second section concentrates on the analysis of major, room-size scale works of artists who figure among the most significant pioneers of modernism: Claude Monet, Piet Mondrian, El Lissitzky, Kurt Schwitters and Marcel Duchamp. These proto-installations have been analyzed in five chapters and compared with each other within a common theoretical and methodological framework. This section reviews these works in relationship to the generic characteristics of installation discussed in the first section. The first chapter explores how the spatial concepts of the 19th Century Modernist exhibition have been developed to an organized environment. Through the use of panorama techniques and the artful re-arrangement of traditional 19th Century intérieur Decorations, Claude Monet developed in his Orangerie (1927) a closed space that focuses on the activation of a viewer. The viewer is made a participator, who perpetually moves in the manipulated space. The second chapter focuses on Piet Mondrian’s studio arrangements in Paris (Rue de Départ 1921-1936) as well as his interior design for Ida Bienert in Dresden (1926). This section explores the differences between the De Stijl painted abstract environments. It focuses on early uses of photographic documentation as ‘installation view’. It proves also that specific spatial arrangements had been used by Mondrian as motifs for his paintings. The third chapter concentrates on El Lissitzky’s Proun Room (1923) an early environment that established continuity between space and pictures, made an entire room into an autonomous, constructivist work, which incorporates the viewer. The forth chapter focuses on Kurt Schwitter’s interventions in his studio and adjacent spaces in his house in Hanover, known as Merzbau (1923-1936/37). The analysis concentrates on the issue of installation as temporary work-in-progress, produced at the exhibition site. It also makes reference to the understanding of the Merzbau as an all-encompassing, ever-expanding, mix-media environment invested with private meanings or as an organic museum of stiles undergoing continual transformation. The fifth and last chapter examines extensively the work of Marcel Duchamp focusing on the following subjects: - the development of ready-mades such as Trébuchet (around 1917) and Porte 11 Rue Larrey (1927)) into site specific installations. - the interpretation of Large Glass (1915-1923) as optical appliance. By using the spectator’s body as interlinking between object and space, this incorporation accomplishes the iconographical program of the Large Glass. - the development of installations as spaces of sensory irritation and multiple dis-orienting, as ‘psychophysical’ environments (during both the first international exhibition of Surrealism in Paris (1938) as well as the first seminal presentation of Surrealist Art to the American public 1942 in new York). The analysis focuses on how Marcel Duchamp developed the concepts of site specificity and viewer participation in major installations. -the development of dioptric environment Étant donnés:... [Given] (1946-1966) as not only Duchamp’s apex of researches on visual perception but also as a final commentary on Western traditions of representation
Dispositif in Media Philosophy or What Kittler Learned from Foucault, and Foucault from Kittler
Full text linkThe philosophy of media, although rooted in the reflection on the conceptual problems arising from the use of technologies, represents the general examination of questions related to the theory and practice of mediation. Based on the concept of the dispositive, the article explores the conceptual affinities of Michel Foucault’s late work with the work of the main co-creator of the techno-materialist version of media philosophy Friedrich Kittler. The Foucauldian dispositive, composed of discursive and non-discursive elements, is explored as an analogue of Kittlerian discourse networks. The techno-material dimension of the mediation process in Kittler’s theory expands the Foucauldian archive within the material-signifying systems for forming and transmitting this discourse. The article’s central thesis is that through the heuristic notion of the dispositive, the Foucauldian archaeology of knowledge is understood as a Kittlerian archaeology of media since the media situation of our trading with artifacts determines the analysis of épistémè. Kittler’s and Foucault’s work focuses on critiquing the rational Cartesian subject on which conventional philosophical reflection and the anthropocentric narrative are grounded while outlining a fundamental revision of philosophy. Drawing on the Berlin School of media theory (Wolfgang Ernst, Dieter Mersch, Sibylle Krämer, Dionysios Kavvathas), it is argued that we can only have a mediated relationship with ourselves and our environment since the means involved in subjectification have always been technical. The article argues that the two philosophers’ non-anthropocentric or post-humanist stances concern the view of subjectivity as interwoven with the existence of machines and techniques that constantly reconstitute it.The philosophy of media, although rooted in the reflection on the conceptual problems arising from the use of technologies, represents the general examination of questions related to the theory and practice of mediation. Based on the concept of the dispositive, the article explores the conceptual affinities of Michel Foucault’s late work with the work of the main co-creator of the techno-materialist version of media philosophy Friedrich Kittler. The Foucauldian dispositive, composed of discursive and non-discursive elements, is explored as an analogue of Kittlerian discourse networks. The techno-material dimension of the mediation process in Kittler’s theory expands the Foucauldian archive within the material-signifying systems for forming and transmitting this discourse. The article’s central thesis is that through the heuristic notion of the dispositive, the Foucauldian archaeology of knowledge is understood as a Kittlerian archaeology of media since the media situation of our trading with artifacts determines the analysis of épistémè. Kittler’s and Foucault’s work focuses on critiquing the rational Cartesian subject on which conventional philosophical reflection and the anthropocentric narrative are grounded while outlining a fundamental revision of philosophy. Drawing on the Berlin School of media theory (Wolfgang Ernst, Dieter Mersch, Sibylle Krämer, Dionysios Kavvathas), it is argued that we can only have a mediated relationship with ourselves and our environment since the means involved in subjectification have always been technical. The article argues that the two philosophers’ non-anthropocentric or post-humanist stances concern the view of subjectivity as interwoven with the existence of machines and techniques that constantly reconstitute it
Platonic hypermodernism: the politics of mimesis and construction
No full textΕίναι ευρέως γνωστό πως η μίμηση αποτέλεσε ίσως τη σημαντικότερη κατηγορία της αισθητικής και της τέχνης των νεότερων χρόνων, ακριβώς επειδή διατύπωσε με επιστημολογικούς όρους το βασικό ερώτημα περί της σχέσης του έργου τέχνης με την εμπειρική πραγματικότητα, αλλά και επειδή έθεσε εκ νέου το ερώτημα περί της κοινωνικοπολιτικής διάστασής της. Ο όρος μίμηση πρωτοεμφανίζεται ήδη στον Πλάτωνα και χρησιμοποιείται κυρίως για να απαντηθούν συγκεκριμένα ζητήματα που άπτονται γνωσιολογικών θεμάτων στο ευρύτερο πλατωνικό έργο, και σε δεύτερο στάδιο για να χρησιμοποιηθεί ως αισθητική κατηγορία, δηλαδή ως χρηστική κατηγορία για την ερμηνεία των καλών τεχνών.It is widely known that mimesis was perhaps the most important category of aesthetics and art in modern times, precisely because it formulated in epistemological terms the fundamental question concerning the relationship between the work of art and empirical reality, but also because it raised anew the question of its sociopolitical dimension. The term mimesis first appears in Plato and is primarily used to address specific issues related to epistemological matters in the broader Platonic work, and secondarily to be used as an aesthetic category, that is, as a practical category for the interpretation of fine arts
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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