Monthly Archives: October 2016

Inside: Artangel project in Reading prison

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Phenomenologies of art and vision: a post-analytic turn / Paul Crowther.

Phenomenologies of art and vision: a post-analytic turn / Paul Crowther.

by CrowtherPaul;

Publisher: New York : Continuum International Publishing Group, 2013.Description: 1 online resource (pages cm).ISBN: 1283950677; 1441130675; 9781283950671; 9781441130679.

Contents:
Painting as an art: Wollheim and the subjective dimension — Abstract art and transperceptual space: Wolheim, and beyond — Truth in art: Heidegger against contextualism — Space, place, and sculpture: Heidegger’s pathways — Vision in being: Merleau-Ponty and the depths of painting — Subjectivity, the gaze, and the picture: developing Lacan — Dimensions in time: Dufrenne’s phenomenology of pictorial art — Conclusion: a preface to post-analytic phenomenology.

Note: Includes bibliographical references and index.

Contemporarydiscussions of the image like to emphasize art’s societal functions. Fewstudies come close to answering why pictures and sculptures fascinate andintrigue regardless of any practical functions they might serve. In thisoriginal, thought-provoking study, Paul Crowther reveals the intrinsicsignificance of pictures and sculptures. To address thequestion of how painting becomes an art, Crowther uses the analytic philosophyof Richard Wollheim as a starting point. But to sufficiently answer thequestion, he makes an important link to a tradition much more successful ingiving voice to the deeper ontology of visual art – existential phenomenology. The result is a work that demonstrates thereciprocal relationship between phenomenology and analytic aesthetics. Toexpand its ontological scope and solve the problem of expression, analytic aestheticsneeds phenomenology; while to develop a sustained, critically balanced, and intellectually available ontology, phenomenology needs the discursive force andlucidity of analytic philosophy. This convincing case for a post-analyticphenomenology of art is an important advancement of contemporary discussions ofthe philosophy of art.

Archeology of violence / Pierre Clastres

Archeology of violence / Pierre Clastres ; introduction by Eduardo Viveiros de Castro.

by Clastres, Pierre, 1934-Clastres, Pierre, 1934-Castro, Eduardo Batalha Viveiros de.

Semiotext(e) foreign agents seriesDescription: Los Angeles, Calif. : Semiotext(e), c2010; 335 pages ; 23 cm.ISBN: 9781584350934; 1584350938.

The war machine is the motor of the social machine; the primitive social being relies entirely on war, primitive society cannot survive without war. The more war there is, the less unification there is, and the best enemy of the State is war. Primitive society is society against the State in that it is society-for-war.–from The Archeology of Violence

Anthropologist and ethnographer Pierre Clastres was a major influence on Gilles Deleuze and  Guattari’s Anti-Oedipus, and his writings formed an essential chapter in the discipline of political anthropology. The posthumous publication in French of Archeology of Violence in 1980 gathered together Clastres’s final groundbreaking essays and the opening chapters of the book he had begun before his death in 1977 at the age of 43. Elaborating upon the conclusions of such earlier works as Society Against the State, in these essays Clastres critiques his former mentor, Claude Levi-Strauss, and devastatingly rejects the orthodoxy of Marxist anthropology and other Western interpretive models of “primitive societies.” Discarding the traditional anthropological understanding of war among South American Indians as arising from a scarcity of resources, Clastres instead identifies violence among these peoples as a deliberate means to territorial segmentation and the avoidance of a State formation. In their refusal to separate the political from the social, and in their careful control of their tribal chiefs–who are rendered weak so as to remain dependent on the communities they represent–the “savages” Clastres presents prove to be shrewd political minds who resist in advance any attempt at “globalization.”The essays in this, Clastres’s final book, cover subjects ranging from ethnocide and shamanism to “primitive” power and economy, and are as vibrant and engaging as they were thirty years ago. This new edition–which includes an introduction by Eduardo Viverios de Castro–holds even more relevance for readers in today’s an era of malaise and globalization.

Spectres of Marx : the state of the debt, the work of mourning, and the new international / Jacques Derrida

Specters of Marx : the state of the debt, the work of mourning, and the new international / Jacques Derrida; translated by Peggy Kamuf; with an introduction by Bernd Magnus and Stephen Cullenberg.

by Derrida, Jacques.

Publisher: New York ; Routledge, 1994.Description: xx,198 pages ; 24cm.ISBN: 0415910447; 0415910455

Specters of Marx is a major new book from the renowned French philosopher Jacques Derrida. It represents his first important statement on Marx and his definitive entry into social and political philosophy. “Specter” is the first noun one reads in The Manifesto of the Communist Party. But that’s just the beginning. Once you start to notice them, there is no counting all the ghosts, spirits, specters and spooks that crowd Marx’s text. If they are to count for something, however, one must question the spectropoetics that Marx allowed to invade his discourse. In Specters of Marx, Derrida undertakes this task within the context of a critique of the new dogmatism and “new world order” that have proclaimed the death of Marxism and of Marx.

Scores – Saâdane Afif, Christian Marclay, Ari Benjamin Meyers, Jorinde Voigt

SCORES
Saâdane Afif, Christian Marclay, Ari Benjamin Meyers, Jorinde Voigt
October 28–November 13, 2016

Hamburger Bahnhof – Museum für Gegenwart – Berlin
Invalidenstrasse 50/51
10557 Berlin
Germany
Hours: Tuesday–Friday 10am–6pm,
Thursday 10am–8pm,
Saturday–Sunday 11–6am

www.freunde-guter-musik-berlin.de
www.musikwerke-bildender-kuenstler.de
www.smb.museum

SCORES, the latest in the series Works of Music by Visual Artists, is an exhibition and concert project devoted to the musical score, a subject that gets constantly re-examined in the visual arts as well as in music. Particularly since the 1960s, the score has been appreciated, above and beyond conventional musical notation, as a multivalent medium of recording which may take the form of spontaneously free drawings, individual symbolic systems, or instructions for activities.

With projects by Saâdane Afif, Christian Marclay, Ari Benjamin Meyers and Jorinde Voigt, the score theme now becomes the focus of an exhibition accompanied by concerts. Despite their differing approaches, all the selected artists are interested in the transformation of one medium into another, a process that is accomplished in close collaboration with the participating musicians. The scores are presented as drawings, objects, lyrics, graphic-photographic-film notation, and as concepts that generate musical events and performances. Almost all of the works presented on a grand scale in the Rieckhallen of the Hamburger Bahnhof have been recently created on commission; they will be performed, piece by piece, in the spaces in which they are exhibited.

Vice de forme: Das Kabarett, a work developed by Saâdane Afif together with the composer Augustin Maurs, will be presented in both an opening event Vice de forme (First Notes) and a concert Vice de forme (In Songs) on the last day of the exhibition. A Yamaha player piano will play First Notes, recorded at the opening, during the exhibition.

Christian Marclay’s new comic book To Be Continued will be performed by ensemBle baBel. Also on view by the artist is the video Screen Play and the slideshow Zoom Zoom, which both serve as musical scores for the ensemble as well as performers Shelley Hirsch and Elliott Sharp. All of these works are being presented for the first time in Berlin.

The first four chapters of Song of the Earth, a projected eight-part cycle of drawings currently being created by Jorinde Voigt, will be on view and partly performed by Ensemble zeitkratzer. Audio recordings from the concerts devoted respectively to the works of Marclay and Voigt will afterward play in their areas of the exhibition.

Ari Benjamin Meyers has developed a series of “Meta-Scores,” inspired by Sol LeWitt’s “Instruction Pieces”; each day, they will be newly translated and performed by the composer Wojtek Blecharz and the flautist Susanne Fröhlich. On the exhibition’s last day, all the interpretations created and rehearsed during the exhibition will be performed once more, now by heart.

A project by Freunde Guter Musik Berlin e.V.
in cooperation with Nationalgalerie im Hamburger Bahnhof
Museum für Gegenwart – Berlin, Staatliche Museen zu Berlin.
Made possible by funding from Hauptstadtkulturfonds and Ernst Schering Foundation.

Curators:
Ingrid Buschmann / Freunde Guter Musik Berlin e.V.
Gabriele Knapstein / Nationalgalerie im Hamburger Bahnhof – Museum für Gegenwart – Berlin

Programme:

October 27
7pm: exhibition opening
8pm: Saâdane Afif

Vice de forme (First Notes)
with Augustin Maurs
Opening event

October 28, 8pm
Christian Marclay

Screen Play, Zoom Zoom, To Be Continued
Performances with
Shelley Hirsch & Christian Marclay
ensemBle baBel & Elliott Sharp
In cooperation with Kunstraum Innsbruck and Klangspuren Schwaz.
Supported by Pro Helvetia, Swiss Arts Council.

October 30, 8pm
Jorinde Voigt

Song of the Earth
Chapter 1: Radical Relaxation – Stress and Freedom
Chapter 2: The Shift

Concert with Ensemble zeitkratzer
In cooperation with Kunstraum Innsbruck and Klangspuren Schwaz.

November 13, 6:30pm
Ari Benjamin Meyers

Who’s Afraid of Sol La Ti? (Invention I)
Final concert with Wojtek Blecharz & Susanne Fröhlich

November 13, 8pm
Saâdane Afif

Vice de forme (In Songs)
Concert with Anna Clementi & Martin Grütter
Composer: Augustin Maurs

Animism – e flux journal and HKW exhibition

animism-in-the-sciences-then-and-now-cornelius-borck animism_booklet-hkw animism-notes-on-an-exhibition-anselm-franke anselm-franke-introduction-animism assemblages-felix-guattari-and-machinic-animism-e-flux biometry-and-antibodies-modernizing-animationanimating-modernity-edwin-carels much-trouble-in-the-transportation-of-souls-anselm-franke on-animism-modernitycolonialism-and-the-african-order-of-knowledge-harry-garuba reclaiming-animism-isabelle-stengers

A geology of media / Jussi Parikka.

geology of media / Jussi Parikka.

by Parikka, Jussi, 1976- [author.].

Series: Electronic mediationsPublisher: Minneapolis, Minnesota ; University of Minnesota Press, [2015]Description: xiv, 206 pages : illustrations (black and white) ; 22 cm.ISBN: 9780816695515; 0816695512; 9780816695522; 0816695520.

Contents:
Materiality: grounds of media and culture — An alternative deep time of the media — Psychogeophysics of technology — Dust and the exhausted life — Fossil futures — Afterword: so-called nature — Appendix. Zombie media: circuit bending media archaeology into an art method.

Note: Incl

 Media history is millions, even billions, of years old. That is the premise of this pioneering and provocative book, which argues that to adequately understand contemporary media culture we must set out from material realities that precede media themselves–Earth’s history, geological formations, minerals, and energy. And to do so, writes Jussi Parikka, is to confront the profound environmental and social implications of this ubiquitous, but hardly ephemeral, realm of modern life. Exploring the resource depletion and material resourcing required for us to use our devices to live networked lives, Parikka grounds his analysis in Siegfried Zielinski’s widely discussed notion of deep time–but takes it back millennia. Not only are rare earth minerals and many other materials needed to make our digital media machines work, he observes, but used and obsolete media technologies return to the earth as residue of digital culture, contributing to growing layers of toxic waste for future archaeologists to ponder. Parikka shows that these materials must be considered alongside the often dangerous and exploitative labor processes that refine them into the devices underlying our seemingly virtual or immaterial practices.”