Feeling Is First Shiff, Richard
Arts (Basel),
04/2024, Letnik:
13, Številka:
2
Journal Article
Recenzirano
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Within the fields of aesthetics and psychology, there is a long tradition of arguing that affect precedes cognition. A verbalized thought following upon a feeling and associated with it does not ...translate the feeling precisely or adequately. In fact, as C. S. Peirce would argue, the thought itself projects its own affect, which is independent of its logic. The essence of affect or feeling will always elude linguistic capture. This essay argues that experiences of belief and doubt are affective sensations, and both can be graphed on a scale of sensuous intuition or cognitive guessing (which, again, projects affect). The failure of language to grasp what we refer to as instances of emotion, feeling, sensation, affect, belief, doubt, and the like is more of an intractable problem for philosophical aesthetics than it is for the aesthetics of the art experience. Examples of the art of Cy Twombly, Barnett Newman, Donald Judd, Bridget Riley, and Katharina Grosse are invoked to argue through the gap between thought and feeling.
Digital photography and other electronic sources of representation generate images of such uniformly high resolution that the eye detects little transformation between the appearance of physical ...objects and their projected surrogates. With familiar signs of representational process and rhetoric screened out by these technologies, we find ourselves re-experiencing the anxiety of the early atomic age when humanists believed they had lost their place within a moral debate over progress in science. The scientists and even some philosophers were communicating through unvoiced mathematical symbols, not common words. It seemed then, as it may seem now, that abstract thinking had been cut loose from any foundation in the material world of physical being and feeling. With the transference of imagery from the miniature scale of cell phones to the grand scale of commercial digital projection—accomplished without apparent change in resolution—we lose the tension between our perception of the image and the materiality involved in its production. Nineteenth-century painting developed an uncomfortable rift between meaning and feel, between the projected image and the materiality of its representational basis. Contemporary work in many media—photography, film, video, computer electronics—continues to investigate the cognitive play of conceptual meaning and physical feel, but certain forms of painting continue to be the most effective. Paintings reveal factors of blur and fuzz that provide the sense of scale missing from digital projection. Blur and fuzz are experiential reminders of the arbitrary cultural codes in operation for the assessment of degrees of realism or truth in representation.
In an age where art history's questions are now expected to receive answers, Richard Shiff presents a challenging alternative. In this essential new addition to James Elkins's series Theories of ...Modernism and Postmodernism in the Visual Arts, Richard Shiff embraces doubt as a critical tool and asks how particular histories of art have come to be.
Shiff's turn to doubt is not a retreat to relativism, but rather an insistence on clear thinking about art. In particular, Shiff takes issue with the style of self-referential art writing seemingly 'licensed' by Roland Barthes. With an introduction by Rosie Bennett, Doubt is a study of the tension between practicing art and practicing criticism.
In a sense, originals and "copies", whether mock or not, are equivalent. Any object, if it is copied, becomes an original - source, model or pattern for the multiplicity of copies likely to derive ...from it. In English, such a generator original, also called a master , is referred to as the copy (or master-copy or simply master ) of all other copies, as in the following definition of the name copy : "work of art, writing, etc… original from which a copy is made 1. ”(The French change gender and speak of“ mother copy ”, or simply“ mother ”). If a "copy" is required to produce copies, then, by metonymy, it is either that the name of the source has been given to its derivatives, or, more likely, that the source has been found so closely related. to its derivatives that it (the original) took the name of the latter (copy). This copious copy generator 2 is recognized as such, but only subsequently. Here, the effect transfers to its cause, and blurs the priority relationship.
La théorie est théorique, hypothétique : elle devrait hésiter, douter, et non pas polémiquer. La polémique fait généralement appel aux oppositions et pose ces conditions-limites comme si elles ...étaient plus réelles qu’imaginaires. De telles fictions structurent le conflit idéologique, et offrent souvent un avantage stratégique. Cependant, en tant que constructions conceptuelles, les limites et les extrêmes ne mènent nulle part. Au cours des dernières décennies, les chercheurs qui ont étudié le...
A problem for photography: even when it exhibited blur, it suffered the slur of appearing mechanistic. A satisfying image of nature would need to incorporate, on the one hand, nature's essential ...animation, and, on the other hand, the animation associated with the living, sensing being of the artist--the artist as both sensing nature and recording this sensation.
"Art" has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's Fountain. But questions about the categories of "art" and "art history" acquired increased ...urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology.Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica.In addition to the twenty-two original essays, this edition includes nine new ones— performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art —as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars.Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young
According to Greenberg, Schapiro's plug-ins included "Marx, psychoanalysis, Schiller on how we see ourselves from inside. For this reason, Greenberg linked innovation to the missteps of socially ...alienated artists, hardly affected by the stains of culture.13 Benefiting from "the instantaneous shock of sight" (Greenberg's term in 1945), de Kooning ambled through art history in search of arresting images, while he also admired billboards and remained alert to the play of motor oil on pavement and coffee residue in cups.14 He identified his method as "eclectic by chance" - that is, not a method.15 His example cautions me to avoid restricting my interpretative judgments to any particular context.
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