OCTOBER最新文献_第10页

Nature, the Nonhuman, and the Critique of Representation in Dieter Roth's Biodegradable Work 迪特尔·罗斯可生物降解作品中的自然、非人类与表征批判

IF 0.3 4区社会学

OCTOBER Pub Date : 2021-04-10 DOI: 10.1162/OCTO_A_00416

Heiða Björk Árnadóttir

{"title":"Nature, the Nonhuman, and the Critique of Representation in Dieter Roth's Biodegradable Work","authors":"Heiða Björk Árnadóttir","doi":"10.1162/OCTO_A_00416","DOIUrl":"https://doi.org/10.1162/OCTO_A_00416","url":null,"abstract":"\u0000 The practice of the Swiss-German artist Dieter Roth is distinguished by his pioneering use, since the early 1960s, of biodegradable materials. This essay examines the development of Roth's practice from Concrete Art to process-oriented and biodegradable work in the context of the reconceptualization of the “concrete” within the global artistic network of Fluxus in the postwar period. Highlighting the challenge Roth's biodegradable work poses to the traditional conceptual limits of the spheres of culture and nature, it argues that the profound transformation of Roth's practice in the early 1960s was rooted in the artist's growing discontent with the idealist and ethical premises of modern art and aesthetics, at the heart of which is the distinction between the human and the nonhuman. In this, Roth's biodegradable works precede later preoccupations with how humans relate to the natural environment, both in early earthworks from the late '60s and in contemporary practice. By examining Roth's biodegradable works in the context of Fluxus, this essay points towards aspects of Fluxus work that remain unexamined, most crucially the role of the natural and the nonhuman in Fluxus critiques of representation.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47750054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Critique of Flowers: The Exigency of Life in the Era of Its Technical Reproducibility 《花的批判:技术可复制时代生命的迫切性》

IF 0.3 4区社会学

OCTOBER Pub Date : 2021-04-10 DOI: 10.1162/OCTO_A_00415

Cassandra Guan

{"title":"Critique of Flowers: The Exigency of Life in the Era of Its Technical Reproducibility","authors":"Cassandra Guan","doi":"10.1162/OCTO_A_00415","DOIUrl":"https://doi.org/10.1162/OCTO_A_00415","url":null,"abstract":"\u0000 Need, as an epigenetic concept, originated with Jean-Baptiste Lamarck, for whom it referred to the pressure of circumstances that compel animals to develop new organs in the course of evolution. It reappeared in twentieth-century science as the somatic disequilibrium that Sigmund Freud, following Psycho-Lamarckian biologists, first called “the need of life” (die Not des Lebens) and then “the drives” (Trieb). The invention of time-lapse cinematography around 1900, initially as an optical instrument in the experimental study of plant physiology, visibly enlarged the epigenetic paradigm: Plants were suddenly perceived as agential beings, attached to the physical environment not by their roots, but rather by their needs and activities. The disquieting impression of responsive behavior became the selling point of the BASF-commissioned nitrogen-fertilizer commercial Miracle of Flowers (1926), a film celebrated by Rudolf Arnheim as “the most fantastic, thrilling, and beautiful picture ever made.” This article interrogates the sovereignty of need in epigenesis, using Miracle of Flowers as a case study. Through a close reading of the animal-like organisms in this film and the emotional reactions they elicited, need is reimagined as a maladaptive force embodied in technical media that tethers unhappy individuals to punishing environments.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42395002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Art Writing and Allegory in the Anthropocene 人类世的艺术写作与寓言

IF 0.3 4区社会学

OCTOBER Pub Date : 2021-04-10 DOI: 10.1162/OCTO_A_00417

Liz Linden, Susan Ballard

{"title":"Art Writing and Allegory in the Anthropocene","authors":"Liz Linden, Susan Ballard","doi":"10.1162/OCTO_A_00417","DOIUrl":"https://doi.org/10.1162/OCTO_A_00417","url":null,"abstract":"\u0000 This essay traces the emergence of a rich and densely layered field of art writing within the Anthropocene. We ask: If the Anthropocene is all around us, where is it in art writing? We identify the emergence of Anthropocenic art writing: writing that is not art writing about the Anthropocene per se but rather art writing that takes its cue from the operations and outcomes of the Anthropocene itself, including its flagrant disregard for boundaries (disciplinary and otherwise), and its agency. We find such strategies already at work, particularly, in writing by artists such as Hito Steyerl, Martha Rosler, and Chris Kraus, as well as in writing that is polyphonic either through the collaboration of multiple writers or through collage. We map art writing's strata (its past and present delineations, some of its cardinal points) in order to identify sites of resistance to the accelerations of the contemporary era, which is to say places where deceleration and deliberation may be possible. Anthropocenic art writing claims such modes as its own. While for scientists the Anthropocene has been marked by the contestation of golden spikes, in art writing these proxy signals go far beyond employing “nature” and the environment as a theme or topic, taking the Anthropocene as an allegorical mode itself.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42875951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A Questionnaire on Decolonization 非殖民化问题单

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-12-01 DOI: 10.1162/octo_a_00410

H. Copeland, Hal Foster, D. Joselit, Pamela M. Lee

{"title":"A Questionnaire on Decolonization","authors":"H. Copeland, Hal Foster, D. Joselit, Pamela M. Lee","doi":"10.1162/octo_a_00410","DOIUrl":"https://doi.org/10.1162/octo_a_00410","url":null,"abstract":"The term decolonize has gained a new life in recent art activism, as a radical challenge to the Eurocentrism of museums (in light of Native, Indigenous, and other epistemological perspectives) as well as in the museum's structural relation to violence (either in its ties to oligarchic trustees or to corporations engaged in the business of war or environmental depredation). In calling forth the mid-twentieth-century period of decolonization as its historical point of reference, the word's emphatic return is rhetorically powerful, and it corresponds to a parallel interest among scholars in a plural field of postcolonial or global modernisms. The exhortation to decolonize, however, is not uncontroversial-some believe it still carries a Eurocentric bias. Indeed, it has been proposed that, for the West, de-imperialization is perhaps even more urgent than decolonization. What does the term decolonize mean to you in your work in activism, criticism, art, and/or scholarship? Why has it come to play such an urgent role in the neoliberal West? How can we link it historically with the political history of decolonization, and how does it work to translate postcolonial theory into a critique of the neocolonial contemporary art world? Respondents include Nana Adusei-Poku, Brook Andrew, Sampada Aranke, Ian Bethell-Bennett, Kader Attia, Andrea Carlson, Elise Y. Chagas, ISUMA, Iftikhar Dadi, Janet Dees, Nitasha Dhillon, Hannah Feldman, Josh T. Franco, David Garneau, Renee Green, Iman Issa, Arnold J. Kemp, Thomas Lax, Nancy Luxon, Nelson Maldonado-Torres, Saloni Mathur, Tiona Nekkia McClodden, Alan Michelson, Partha Mitter, Isabela Muci Barradas, Steven Nelson, Ugochukwu-Smooth C. Nzewi, Alessandro Petti, Paulina Pineda, Christopher Pinney, Elizabeth Povinelli, Ryan Rice, Andrew Ross, Paul Chaat Smith, Nancy Spector, Francoise Verges, Rocio Zambrana, and Joseph R. Zordan.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42960399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 7

Aaron Douglas and Aspects of Negro Life∗ 亚伦·道格拉斯与黑人生活的方方面面*

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-12-01 DOI: 10.1162/octo_a_00411

Leah Dickerman

{"title":"Aaron Douglas and Aspects of Negro Life∗","authors":"Leah Dickerman","doi":"10.1162/octo_a_00411","DOIUrl":"https://doi.org/10.1162/octo_a_00411","url":null,"abstract":"In 1934, Aaron Douglas created an epic four-panel mural series, Aspects of Negro Life (1934), for the branch library on 135th Street in Manhattan, now the Schomburg Center for Research in Black Culture. The panels answered a call, issued by the first major program for federal support of the arts in the United States, to represent “an American scene.” In them, Douglas traced the trajectory of African American history in four stages and across two mass migrations: from Africa into enslavement in America; through Emancipation and Reconstruction; into the modern Jim Crow South; and then northward with the Great Migration to Harlem itself. The narrative Douglas constructed was remarkable in both its historical sweep and as a story of America seen through Black eyes. This essay explores how Douglas's approach to the trenchant and understudied Aspects of Negro Life panels was shaped by rich conversations across a decade-about what it meant to be Black in America, how the “African” in “African-American” was to be understood, and what a distinctly African-American modernism might be-with an interdisciplinary nexus of thinkers, activists, and artists that included W. E. B. Du Bois; a co-founder of the NAACP and co-editor of the Crisis, sociologist Charles S. Johnson; poet-activist James Weldon Johnson; bibliophile Arturo Schomburg; and philosopher-critic Alain Locke. Looking at Douglas's visual narrative in this context offers insight into how parallel practices of archive-building, art making, history writing, and criticism came together not only to shape a vision of America but also to champion a model of Black modernism framed through diaspora.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45709185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Sharing Seeing 分享看到的

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-12-01 DOI: 10.1162/octo_a_00412

G. Baker

引用次数: 0

Surrealism's Homophobia 超现实主义的憎恶

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-09-01 DOI: 10.1162/octo_a_00408

C. Miller

{"title":"Surrealism's Homophobia","authors":"C. Miller","doi":"10.1162/octo_a_00408","DOIUrl":"https://doi.org/10.1162/octo_a_00408","url":null,"abstract":"The primary document of Surrealist homophobia is a transcript, published in 1928 in the magazine La Révolution surréaliste, entitled “Research on Sexuality/ Extent of Objectivity, Individual Determinations, Degree of Consciousness.” The text records the first two of twelve closed, mostly men-only meetings, held in Paris between 1928 and 1932 by members and fellow travelers of the Surrealist group, at which the participants, according to the collective ethos of Surrealist practice, discussed their sexual preferences, experiences, and beliefs. In the published sessions, the group's leader, André Breton, who convened the meetings and edited the transcript, repeatedly denounced male homosexuality. The problematics of these repudiations are the topics of this article, the intention of which is to map the historical conditions of Breton's heteronormativity and to outline the latter's function in his theory of Surrealism. To this end, the essay displaces the psychoanalytic emphasis customary in Surrealism's reception in order to locate the movement in the historical discourse of sexuality. In the French culture wars of the 1920s, Surrealism mobilized a sexual negativity against the mainstream. Yet in certain key respects, Breton's thought preserved a heterosexist logic of conjugality. Ultimately, a historical reading of Surrealism's homophobia indicates the family ties between dialectical idealism and heteronormativity.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/octo_a_00408","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47412182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

A Pariah Among Parvenus: Anne Fischer and the Politics of South Africa's New Realism(s)∗ Parvenus中的Pariah:Anne Fischer与南非新现实主义政治

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-09-01 DOI: 10.1162/OCTO_A_00406

Jessica R. Williams

引用次数: 0

Portrait Under Construction: Lotte Jacobi in Soviet Russia and Central Asia∗ 建构中的肖像:洛蒂·雅可比在苏俄和中亚*

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-09-01 DOI: 10.1162/OCTO_A_00404

Maria Gough

{"title":"Portrait Under Construction: Lotte Jacobi in Soviet Russia and Central Asia∗","authors":"Maria Gough","doi":"10.1162/OCTO_A_00404","DOIUrl":"https://doi.org/10.1162/OCTO_A_00404","url":null,"abstract":"Traveling in Russia and Central Asia in 1932–33, the German-Jewish portrait photographer Lotte Jacobi produced an extraordinary archive of several thousand photographs documenting Soviet industrialization, collectivization, modernization, and, most profoundly, the revolution's human face. Yet she never assembled a photo book or other reflection about her experience. Based on a study of the archive in its entirety, this essay tells the story of Jacobi's journey through the lens of her photographs, building a portrait of the worlds in which she moved under the auspices of the Soviet photo agency Soiuzfoto. It discusses her portrayal of a diverse array of workers, collective farmers, peasants, street traders, intellectuals, and political figures, first in Moscow and Michurinsk and then in the newly established socialist republics of Tajikistan and Uzbekistan, where she was hosted by leading indigenous communists such as Abdurahim Hojiboyev and Fayzulla Xo'jayev. The essay theorizes some of the key problems that her corpus raises: the relative weight of political commitment and external control in its production; whether it operates in a realist or mythic mode; the extent to which it presents Soviet Russia's role in Central Asia as that of a modernizing state or colonizing empire, as its tsarist predecessor had been; and the critical status of what she called “types” with respect to the nineteenth-century racist “type” photograph. A coda considers Jacobi's belated return to her Soviet corpus for the first time in the late 1950s and early '60s, a period characterized by a post-Stalinist thaw and the nominal end of the Red Scare in the United States, to which she had emigrated in 1935 in the wake of Hitler's appointment as chancellor and Germany's subsequent transformation into a one-party dictatorship.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/OCTO_A_00404","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41575949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Face Time, Pandemic Style∗ Face Time, Pandemic Style *

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-09-01 DOI: 10.1162/OCTO_A_00409

Pamela M. Lee

引用次数: 2