tba: Journal of Art, Media, and Visual Culture最新文献

{"title":"'No Long Shadows'","authors":"Miles Rufelds","doi":"10.5206/tba.v5i1.16480","DOIUrl":"https://doi.org/10.5206/tba.v5i1.16480","url":null,"abstract":"‘No Long Shadows’ is a parafiction project developed between 2018 and 2020, made up of 4 photographic installations and an essay film. The project was built from an extensive body of research exploring historical connections between chemical science, military technology, and artistic production, with specific focus on the sordid history of the DuPont chemical company.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"1 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139593193","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Kiskisom","authors":"N. Forbes","doi":"10.5206/tba.v5i1.16563","DOIUrl":"https://doi.org/10.5206/tba.v5i1.16563","url":null,"abstract":"As an urban Indigenous academic, I struggle to comprehend and work within the schism between Indigenous and Western ways of knowing and being.  Kiskisom, a Cree verb meaning 'to remind [someone],' argues that the cultivation of a plastic brain provides a unique opportunity for Indigenous sovereignty through the decolonizing action of reading Indigenous stories. The understanding that we have the power to rewire the brain through the mindful engagement of colonial ontology, or neurodecolonization, is a unique opportunity for change.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"33 35","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139595347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dialogue in the Katacene Interglacial","authors":"Matthew Toffoletto","doi":"10.5206/tba.v5i1.16488","DOIUrl":"https://doi.org/10.5206/tba.v5i1.16488","url":null,"abstract":"","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"36 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139594256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Black Mirror in Diamond Leadlight","authors":"Maxwell Hyett","doi":"10.5206/tba.v5i1.16473","DOIUrl":"https://doi.org/10.5206/tba.v5i1.16473","url":null,"abstract":"n/a \u0000see PDF document for details","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"48 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139593888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Temporalities of Agony","authors":"Lucile Cordonnier","doi":"10.5206/tba.v4i1.14924","DOIUrl":"https://doi.org/10.5206/tba.v4i1.14924","url":null,"abstract":"In 1893, painter Maurice Denis collaborated with his friend, the novelist André Gide, for the illustrations of Le Voyage d'Urien. This short novel narrates the story of a symbolic and fantasised journey, which leads Urien and his fellow travelers to land on an island struck by the plague. With the lithograph on page 48, representing four plague-stricken individuals, I argue that Denis transposed his theories on the decorative, formulated in his \"Définition du Néo-Traditionnisme\" in 1890. I contend in this essay that through this lithograph Denis synchronizes multiple temporal levels by representing the same figure four times. On the level of the subject, the agony of the plague-stricken relates to a private time distinct from society’s public time. Moreover, the sequencing of the disease into four stages partakes in the journey towards absolution. Regarding the composition of the work, the decorative elements belong to their own temporality which is integrated on the spatiality of the page and recalls a so-called “archaic” and “primitive” time. ","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131846717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Paper Monuments","authors":"OK Pedersen","doi":"10.5206/tba.v4i1.15026","DOIUrl":"https://doi.org/10.5206/tba.v4i1.15026","url":null,"abstract":"When we return to certain memories, whether they be stored for us as images in the mind, or as binary data, we imagine these figments to be essentially siteless, floating. We think of \"the cloud\" as existing immanently, all around us, hanging in the air between screens. And it is. But it is also anchored to real, monumental amounts of physical space. It is not just everywhere, it is somewhere on Earth, sitting on millions of square feet of land, ready to be called up in front of any eye with the right keywords. Paper Monuments examines the substance of memory, our relationship to the unseen, and the narrative scaffolding we build around these figments. Analyzing the ever-evolving technologies of memory, this paper reflects on the unending loop between seeing, remembering, and knowing, and the funciton of images within this cycle. It proposes that images are not pointing us toward the past histories or narratives to which they appear to be anchoreed, but towards a future past—a past which has not yet come to be, a perfect past, where we had it all. ","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123456030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"As If","authors":"Grayson Richards","doi":"10.5206/tba.v4i1.15019","DOIUrl":"https://doi.org/10.5206/tba.v4i1.15019","url":null,"abstract":"Regardless of any human pretense to foresight or omniscience, we are stuck with thereality that for now the future is, and remains, an open-ended question. In pursuing theissue of humankind’s preoccupation with its mastery and the ensuing contests over itscharacter, this essay begins with a tracing of future-oriented thinking’s development and thevarious manners of foresight which result, considering the future’s indeterminacy in light ofthe fundamental human impulse to plan around its projected, imaginary image. It will brieflychart the evolution of foresight as a means by which humans plan for—and in effectcreate—their futures. From early conceptions of the not-yet as a phenomena observable inthe rhythms and patterns of nature, to the later methodological rigours of modern foresightpractice, it centres the foundational concept of the ‘image of the future’ (as what is “seen” byforesight) and it’s mythopoetic function in bringing the future under a measure of humancontrol, providing placeholder knowledge and the certainty necessary to the carrying out ofactions calculated to either increase or decrease the likelihood of any particular imagesactualization. Foresight is presented as a defining characteristic of modern capitalistdynamics, operating in its most common institutional form as a means for extending thereach of presently powerful political and economic actors into the future, generating thefictional expectations that underlie the complimentary practices of speculative investmentand risk securitization. Following this, the essay turns to alternative formations which queer futurityand foresight, productively exploiting the fact that the images generated by foresight andspeculation, regardless of the power of their authors, are necessarily fictional. Relishing in(rather than retreating from) the future’s indeterminacy, queer futures proliferate possibility,disrupt reproduction, and instrumentalize desire in the performance of emancipatory futuresthrough their rhetorical and material instantiation in the present. As a counterpoint to thecapitalist and queer future imaginaries discussed, the paper closes on a consideration ofindigenous anti-futurisms which regard the imaginaries at the heart of foresight andpretensions of humankind’s command of the future as necessarily apocalyptic, thereforeincorporating foresight only insofar as it articulates the anticipation of a decline and eventualcollapse of ‘the future’ as such.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115572071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Prophesying Statues","authors":"Mateusz J. Ferens","doi":"10.5206/tba.v4i1.14919","DOIUrl":"https://doi.org/10.5206/tba.v4i1.14919","url":null,"abstract":"The Byzantine apocalyptic tradition proliferates with vibrant prophecies. Many of these were associated with monuments and statues within Constantinople, and many of them played a pivotal role in the decisions of the Byzantines and their emperors in political crises. In my paper, I focus on key examples of prophesying statues that showcase the active attempts made by emperors and citizens to harness omens and prophesies and to conform them to desired narratives. I support Paul Magdalino’s thesis that prophesies functioned actively in Byzantine society – as causes and not just effects of history. The evidence leads me to conclude that prophecies functioned as living narratives in Byzantine society. Grounded in material objects, they could be used to control history and fate.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"108 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116132736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"hard ground / long road","authors":"Maria Kouznetsova","doi":"10.5206/tba.v4i1.14885","DOIUrl":"https://doi.org/10.5206/tba.v4i1.14885","url":null,"abstract":"My work is anchored in analog technology, found materials, field recordings, and the search for constellations of micro-narratives. In August 2021, I drove from San Francisco, California to London, Ontario. During the seventeen days on the road, I recorded radio noise (AM, FM picket-fencing) as well as my voice describing the environment surrounding the road at the times when I could not stop to take a photo. The sounds collected from the long road are recorded chronologically in an intaglio print. These recordings are the foundation of multidisciplinary sound and visual projects that coalesce as an installation exploring place/no-placeness, transience, precognition, repetition, delays, disappearance, and noise. \u0000Works selected for tba journal are pinhole photographs, a double-sided intaglio print, and a sound composition, that are all a part of the series described in my artist statement and share the title hard ground / long road. The print is reproduced at its original scale; the text is followed by the reverse side of the print, which is a line drawing. Two pinhole photographs bookend the works on paper. The sound companion to the visual works is a composition created on and with magnetic tape. The composition foregrounds incidental sounds of the process of making the work: tape splicing and rewinding. recorder fixing, road noise and tape hiss, woven with cut-up radio recordings.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131704188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Yield to the figural—communicating the unconscious in montage","authors":"Elijah Young","doi":"10.5206/tba.v4i1.15044","DOIUrl":"https://doi.org/10.5206/tba.v4i1.15044","url":null,"abstract":"Psychoanalytic approaches to dreams and the method of their interpretation are considered as foundational for the sorts of theories of montage editing and cinematic movement presented in the written works of Sergei Eisenstein, and collected in the Pool Group’s journal Close-Up.  The film Borderline (1930) is taken as a case study of this relationship, and analysis focuses on instances of correlation between the models for dream interpretation presented by Sigmund Freud and the new medium of film.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125334409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}