By Renee C. Hoogland
Rather than asking questions on the symbolic which means or underlying “truth” of a piece of paintings, renée c. hoogland is anxious with the particular “work” that it does on the earth (whether deliberately or not). Why can we locate ourselves in tears in entrance of an summary portray? Why perform a little cartoons of the prophet Muhammad generate around the world political outrage? What, in different phrases, is the compelling strength of visible pictures, even—or especially—if they're nonfigurative, repulsive, or downright “ugly”? instead of describing, studying, and analyzing works of art, hoogland methods artwork as an occasion that obtains at the point of actualization, proposing “retellings” of particular inventive occasions within the mild of contemporary interventions in aesthetic idea, and providing to conceive of the classy come upon as a possibly disruptive, if now not violent, strength box with fabric, political, and functional consequences.
“Arguing on behalf of the undefinable affective responses produced via photographs, A Violent include posits that reactions to paintings will not be merely politically important and aesthetically insightful, yet that they take us past the boundaries of formal research, feedback, semiotics, and general expectancies. This publication is vital to people who are engaged in debates approximately electronic and visible tradition, paintings, and impact theory.” —Judith Roof, Rice University
“Provocative, insightful, and eloquent, hoogland engages her reader within the reconceptualization of latest tradition as a right away and embodied event. Writing with a feeling of urgency and conviction, hoogland bargains relocating discussions of up to date artwork: from Louise Bourgeois’s sculpture to images of Detroit as nonetheless lifestyles. becoming a member of the turning out to be variety of critics whose frustrations with the bounds of ideological critique have led them towards theories of have an effect on, occasion, and come across, this e-book presents an essential addition for all these pressured via this gearshift in severe theories of artwork and culture.” —Jackie Stacey, The college of Manchester
“In this pretty and pressing ebook, renee hoogland proposes a brand new, radical (and even militant) aestheticism, one who is healthy for the twenty first century. we are living in a time "after representation," whilst photographs don't easily depict or check with items, yet have an uncanny lifetime of their very own. A Violent include takes complete account of this unusual, spectral energy, and mobilizes it within the curiosity of a higher lifestyles to come.”—Steven Shavir, DeRoy Professor of English, Wayne kingdom University
“[A] not easy and provocative study.” —ARLIS/NA, paintings Libraries Society of North the USA
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Extra info for A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)
The given,” Shaviro writes, “always exceeds our representation of it” (WC, 49). For Kant, our perceptual or sensible reality is the reality of appearances; we do not perceive the reality of “things in themselves,” because to perceive objects/ entities in time and space is a function of our minds, not something unchangeable or absolute in the world. It is the faculty of reason that enables us to invest structure into the randomness and order the chaos of our sensible experience. Kantian cognition is thus a dual process involving both intuition and understanding.
I do so by first elaborating on Deleuze’s and Whitehead’s respective notions of the “event” from within their shared neovitalist focus. ” My concluding suggestion is that art and aesthetic activity are as essential for change for the new as they are for the invention of sustainable modalities of being on both individual and collective levels, now and in worlds yet to come. For art to exist, for any sort of aesthetic activity or perception to exist, a certain physiological precondition is indispensable: intoxication.
Whitehead takes Bakhtin’s post-Kantian critique a step further by, in Steven Shaviro’s gloss, defining aesthetics as both the “immanent criterion for order” and as the mark of “our concern for 27 Art i s t ic Act i vi t y the world, and for entities in the world,” thereby placing aesthetics “at the center of philosophical inquiry” per se. 18 I will have occasion to turn to Whitehead directly in later chapters. 19 Becoming, Shaviro submits, is “not continuous, because each occasion, each act of becoming, is unique,” and any appearance of duration, of endurance or continuity, needs to be actively produced, over and over again (WC, 19).