Art has the power to affect our thinking, changing not only the way we view and interact with the world but also how we create it. Art can be considered as a commanding force with the capacity to shape our intellect and intervene in our lives. Art is a historical agent, or a cultural creator, that propels thought and experience forward. The author demonstrates that art serves a socially constructive function by actually experimenting with the parameters of thought, employing work from artists as Picasso, Watteau, Bacon, Dumas and Matthew Barney. Art confronts viewers with the 'pain points' of cultural experience, and thereby transforms the ways in which human existence is concieved.
Since his death in April 12 Francis Bacon has been acclaimed as one of the very greatest of modern painters. Yet most analyses of Bacon actually neutralize his work by discussing it as an existential expression and as the horrifying communication of an isolated individualâe"which simply transfers the pain in the paintings back to Bacon himself. This study is the first attempt to account for the pain of the viewer. It is also, most challengingly, an explanation of what Baconâe(tm)s art tells us about ourselves as individuals. For, during this very personal investigation, the author comes to realize that the effect of Baconâe(tm)s work is founded upon the way that each of us carves our identity, our âeoeself,âe from the inchoate evidence of our senses, using the conventions of representation as tools. It is in his warping of these conventions of the senses, rather than in the superficial distortion of his images, that Bacon most radically confronts âeoeart,âe and ourselves as individuals.
In the face of strong moral and aesthetic pressure to deal with the Holocaust in strictly historical and documentary modes, this book discusses why and how reenactment of the Holocaust in art and imaginative literature can be successful in simultaneously presenting, analyzing, and working through this apocalyptic moment in human history. In pursuing his argument, the author explores such diverse materials and themes as: the testimonies of Holocaust survivors; the works of such artists and writers as Charlotte Salomon, Christian Boltanski, and Armando; and the question of what it means to live in a house built by a jew who was later transported to the death camps. He shows that reenactment, as an artistic project, also functions as a critical strategy, one that, unlike historical methods requiring a mediator, speaks directly to us and lures us into the Holocaust. We are then placed in the position of experiencing and being the subjects of that history. We are there, and history is present--but not quite. A confrontation with Nazism or with the Holocaust by means of a re-enactment takes place within the representational realm of art. Our access to this past is no longer mediated by the account of a witness, by a narrator, by the eye of a photographer. We do not respond to a re-presentation of the historical event, but to a presentation or performance of it, and our response is direct or firsthand in a different way. That different way of "keeping in touch is the subject of inquiry that propels this study.
The essays in this volume demonstrate how the performance of sincerity is culturally specific and is enacted in different ways in different media and disciplines, including law and the arts.
Dedicated to art practices that mobilize the model of the archive, Staging the Archive demonstrates the ways in which such “archival artworks” probe the possibilities of what art is and what it can do. Through a variety of media, methodologies and perspectives, the artists surveyed here also challenge the principles on which the notions of organization, evidence, and documentation are built. The earliest examples of the modern archival artwork were made in the 1930s, but only since the 1960s have artists really embraced archival principles to inform, structure, and shape their works. This includes practices that consist of archive construction, archaeological investigation, record keeping, and the use of archived materials, but also interrogations of the principles, claims, and effects of the archive. Staging the Archive shows how artists read the concept of the archive against the grain, questioning not only what the archive is and can be but what materials, images, or ideas can be archived. Ernst van Alphen examines these archival artists and artworks in detail, setting them within their social, political, and aesthetic contexts. Exploring the works of Marcel Duchamp, Marcel Broodthaers, Christian Boltanski, Annette Messager, Fiona Tan, and Sophie Calle, among others, he reveals how modern and contemporary artists have used and contested the notion of the archive to establish new relationships to history, information, and data.
Since his death in April 12 Francis Bacon has been acclaimed as one of the very greatest of modern painters. Yet most analyses of Bacon actually neutralize his work by discussing it as an existential expression and as the horrifying communication of an isolated individualâe"which simply transfers the pain in the paintings back to Bacon himself. This study is the first attempt to account for the pain of the viewer. It is also, most challengingly, an explanation of what Baconâe(tm)s art tells us about ourselves as individuals. For, during this very personal investigation, the author comes to realize that the effect of Baconâe(tm)s work is founded upon the way that each of us carves our identity, our âeoeself,âe from the inchoate evidence of our senses, using the conventions of representation as tools. It is in his warping of these conventions of the senses, rather than in the superficial distortion of his images, that Bacon most radically confronts âeoeart,âe and ourselves as individuals.
Art has the power to affect our thinking, changing not only the way we view and interact with the world but also how we create it. Art can be considered as a commanding force with the capacity to shape our intellect and intervene in our lives. Art is a historical agent, or a cultural creator, that propels thought and experience forward. The author demonstrates that art serves a socially constructive function by actually experimenting with the parameters of thought, employing work from artists as Picasso, Watteau, Bacon, Dumas and Matthew Barney. Art confronts viewers with the 'pain points' of cultural experience, and thereby transforms the ways in which human existence is concieved.
Quantum Theory of Solids develops its subject from the basic principles of quantum mechanics. The emphasis is on a single statement of the ideas underlying the various approximations that have to be used. The electron theory of metals is included.
This book is a collection of the major scientific papers of Sir Rudolf Peierls (1907-95), including the Peierls-Frisch Memoranda of 1940 on the feasibility, and the predicted human effects, of an atomic bomb made of uranium-235. His papers range widely in topic. They include much on the fundamentals of solid state physics, the thermal and electric conductivity of materials as a function of temperature T (especially T→0), the interpretation of the de Haas-van Alphen effect observed for a metal in a magnetic field, and the basics of transport theory. Many are on problems in statistical mechanics, including his constructive paper demonstrating the existence of a phase transition for Ising's model for a two-dimensional ferromagnet. In nuclear physics, they include the first calculations (with Bethe) on the photo-disintegration of the deuteron (made in response to a challenge by Chadwick), the Kapur-Peierls theory of resonance phenomena in nuclear reactions, the Bohr-Peierls-Placzek continuum model for complex nuclei (which first explained the narrow resonances observed for low energy neutrons incident on very heavy nuclei), and the Peierls-Thouless variational approach to collective phenomena in nuclei. Several of Peierls's wartime papers, now declassified, are here published for the first time.Brief commentaries on most of the papers in this book were added by Peierls, to indicate subsequent developments and their relationship with other work, or to correct errors found later on. A complete bibliography of his writings is given as an appendix.
Noncommutative differential geometry is a novel approach to geometry that is paving the way for exciting new directions in the development of mathematics and physics. The contributions in this volume are based on papers presented at a workshop dedicated to enhancing international cooperation between mathematicians and physicists in various aspects of frontier research on noncommutative differential geometry. The active contributors present both the latest results and comprehensive reviews of topics in the area. The book is accessible to researchers and graduate students interested in a variety of mathematical areas related to noncommutative geometry and its interface with modern theoretical physics.
The 3rd edition, the first new one in ten years, includes coverage of molecular levels of detail arising from the last decade's explosion of information at this level of organismic organization. There are 5 new Associate Editors and about 2/3 of the chapters have new authors. Chapters prepared by return authors are extensively revised. Several new chapters have been added on the topic of pregnancy, reflecting the vigorous investigation of this topic during the last decade.The information covered includes both human and experimental animals; basic principels are sought, and information at the organismic and molecular levels are presented. *The leading comprehensive work on the physiology of reproduction*Edited and authored by the world's leading scientists in the field*Is a synthesis of the molecular, cellular, and organismic levels of organization*Bibliogrpahics of chapters are extensive and cover all the relevant literature
Problems in theoretical physics often lead to paradoxical answers; yet closer reasoning and a more complete analysis invariably lead to the resolution of the paradox and to a deeper understanding of the physics involved. Drawing primarily from his own experience and that of his collaborators, Sir Rudolf Peierls selects examples of such "surprises" from a wide range of physical theory, from quantum mechanical scattering theory to the theory of relativity, from irreversibility in statistical mechanics to the behavior of electrons in solids. By studying such surprises and learning what kind of possibilities to look for, he suggests, scientists may be able to avoid errors in future problems. In some cases the surprise is that the outcome of a calculation is contrary to what physical intuition seems to demand. In other instances an approximation that looks convincing turns out to be unjustified, or one that looks unreasonable turns out to be adequate. Professor Peierls does not suggest, however, that theoretical physics is a hazardous game in which one can never foresee the surprises a detailed calculation might reveal. Rather, he contends, all the surprises discussed have rational explanations, most of which are very simple, at least in principle. This book is based on the author's lectures at the University of Washington in the spring of 1977 and at the Institut de Physique Nucleaire, University de Paris-Sud, Orsay, during the winter of 1977-1978.
Physical properties and models of electronic structure are analyzed for a new class of high-TC superconductors which belong to iron-based layered compounds. Despite their variable chemical composition and differences in the crystal structure, these compounds possess similar physical characteristics, due to electron carriers in the FeAs layers and the interaction of these carriers with fluctuations of the magnetic order. A tremendous interest towards these materials is explained by the prospects of their practical use. In this monograph, a full picture of the formation of physical properties of these materials, in the context of existing theory models and electron structure studies, is given. The book is aimed at a broad circle of readers: physicists who study electronic properties of the FeAs compounds, chemists who synthesize them and specialists in the field of electronic structure calculations in solids. It is helpful not only to researchers active in the fields of superconductivity and magnetism, but also for graduate and postgraduate students and all those who would like to get acquaintained with this vivid area of the materials science.
In the face of strong moral and aesthetic pressure to deal with the Holocaust in strictly historical and documentary modes, this book discusses why and how reenactment of the Holocaust in art and imaginative literature can be successful in simultaneously presenting, analyzing, and working through this apocalyptic moment in human history. In pursuing his argument, the author explores such diverse materials and themes as: the testimonies of Holocaust survivors; the works of such artists and writers as Charlotte Salomon, Christian Boltanski, and Armando; and the question of what it means to live in a house built by a jew who was later transported to the death camps. He shows that reenactment, as an artistic project, also functions as a critical strategy, one that, unlike historical methods requiring a mediator, speaks directly to us and lures us into the Holocaust. We are then placed in the position of experiencing and being the subjects of that history. We are there, and history is present--but not quite. A confrontation with Nazism or with the Holocaust by means of a re-enactment takes place within the representational realm of art. Our access to this past is no longer mediated by the account of a witness, by a narrator, by the eye of a photographer. We do not respond to a re-presentation of the historical event, but to a presentation or performance of it, and our response is direct or firsthand in a different way. That different way of "keeping in touch is the subject of inquiry that propels this study.
Failed Images' attempts to understand the divergence between photography and the reality it portrays, analysing the various ways the photograph transforms that which exists before the camera. Because the photographic medium enables very different practices, which in turn results in many kinds of images, it must also be examined from a perspective outside of the dominant approach to the medium, generally called the 'snapshot.' This book therefore explores the photographic image by focusing on practices which refuse this conventional approach, namely staged, blurred, under- and overexposed, and archival photography.
Dedicated to art practices that mobilize the model of the archive, Staging the Archive demonstrates the ways in which such “archival artworks” probe the possibilities of what art is and what it can do. Through a variety of media, methodologies and perspectives, the artists surveyed here also challenge the principles on which the notions of organization, evidence, and documentation are built. The earliest examples of the modern archival artwork were made in the 1930s, but only since the 1960s have artists really embraced archival principles to inform, structure, and shape their works. This includes practices that consist of archive construction, archaeological investigation, record keeping, and the use of archived materials, but also interrogations of the principles, claims, and effects of the archive. Staging the Archive shows how artists read the concept of the archive against the grain, questioning not only what the archive is and can be but what materials, images, or ideas can be archived. Ernst van Alphen examines these archival artists and artworks in detail, setting them within their social, political, and aesthetic contexts. Exploring the works of Marcel Duchamp, Marcel Broodthaers, Christian Boltanski, Annette Messager, Fiona Tan, and Sophie Calle, among others, he reveals how modern and contemporary artists have used and contested the notion of the archive to establish new relationships to history, information, and data.
In times of intercultural tensions and conflicts, sincerity matters. Traditionally, sincerity concerns a performance of authenticity and truth, a performance that in intercultural situations is easily misunderstood. Sincerity plays a major role in law, the arts--literature, but especially the visual and performing arts--and religion. Sincerity enters the English language in the sixteenth century, when theatre emerged as the dominant idiom of secular representation, during a time of major religious changes. The present historical moment has much in common with that era; with its religious and cultural conflicts and major transformations in representational idioms and media. The Rhetoric of Sincerity is concerned with the ways in which the performance of sincerity is culturally specific and is enacted in different media and disciplines. The book focuses on the theatricality of sincerity, its bodily, linguistic, and social performances, and the success or failure of such performances.
Marjan Teeuwen creates large-scale architectural installations in buildings that are subsequently demolished following her interventions. She disrupts the materials of construction and structure and builds new artistic images in which floors are tilted, walls are removed, and stacks of debris either run rampant or are painstakingly ordered into architectural sculptures. Constructive forces go hand in hand with destruction and decay in Teeuwen's work. This book presents several installations from her 'Destroyed House' series, including the recent project 'Destroyed House Gaza'. By choosing to work in occupied territory, Teeuwen allows the socio-political context to penetrate her method.
One minute and thirty seconds is the average length allotted to a news feature. For more than ten years, artist Monika Huber has been photographing images from daily news reports that bear witness to protest, riots, war and violence, as well as their consequences. She saves the images digitally, prints them out and reworks them by means of painting and drawing. Over the years, an archive has been created; it reveals a "grammar" of news images and invites us to examine the crisis reporting of television news in a critical way. This selection of over 100 images from the archive is accompanied by contributions positioning Archive OneThirty from art-historical, philosophical, political-scientific and journalistic perspectives. Artistic exposure of media images and their rhetoric With contributions by Ernst van Alphen, Mieke Bal, James W. Davis, Antje Kapust, Ute Schaeffer, Ulrich Wilmes, and an introduction by Bernhart Schwenk
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.