OCTOBER最新文献_第10页

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

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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

Ilse Bing: A Frankfurt School Photographer in Paris and New York 伊尔丝·宾:在巴黎和纽约的法兰克福学派摄影师

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-09-01 DOI: 10.1162/octo_a_00407

B. Buchloh

引用次数: 1

Photography's Exiles: from Painting, Patriarchy, and Patria 摄影的流亡者：从绘画、父权和父权

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-09-01 DOI: 10.1162/OCTO_A_00401

B. Buchloh

引用次数: 1

From Material to Infrastructure: Germaine Krull's Métal∗ 从材料到基础设施：Germaine Krull的Métal*

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-09-01 DOI: 10.1162/octo_a_00405

M. Boersma

引用次数: 0

ringl + pit and the Queer Art of Failure∗ 环形坑和失败的古怪艺术*

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-09-01 DOI: 10.1162/OCTO_A_00403

Elizabeth A. Otto

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引用次数: 1

Practice in Color: Gisèle Freund in Paris∗ 色彩的实践:巴黎的gis<e:1> Freund *

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-09-01 DOI: 10.1162/octo_a_00402

Hye-Joon Yoon

引用次数: 0

Totality 合计

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-07-31 DOI: 10.1162/016228704322790926

Carl Einstein

{"title":"Totality","authors":"Carl Einstein","doi":"10.1162/016228704322790926","DOIUrl":"https://doi.org/10.1162/016228704322790926","url":null,"abstract":"OCTOBER 107, Winter 2004, pp. 115–121. © 2004 October Magazine, Ltd. and Massachusetts Institute of Technology. “Totality” © 2004 Fannei & Walz Verlag, Berlin. Published in three installments in Die Aktion, a freewheeling left-wing journal edited by his brother-in-law Franz Pfemfert, Carl Einstein’s “Totality” essay is one of the most hermetic texts from a century that had no shortage of them. Part of its hermeticism is owed to the fact that it is at once fiercely nondiscursive and intensely referential. The essay’s argument is apodictic; it does not name names, and yet it is deeply engaged in contemporary philosophical debates in order to make its case, a case for visual art as a totality that would work to disrupt models of subjectivity, which hinge on a subject’s experience of art as visual knowledge. To make matters more complicated, “Totality” is animated by a deep tension that is ultimately not resolved but rather internalizes the very qualitative difference which, according to the text, is the enabling condition of any totality—including “Totality” itself. This tension is generated by a clash between two heterogeneous intellectual resources: a number of aggressively transcendental neo-Kantian philosophemes on one hand, a Bergsonian vitalism of immanence on the other. The neo-Kantian part of the argument, most noticeable in sections I and II, tries to merge a radicalized Fiedlerian autonomy aesthetic with a critique of the Marburg School’s (neo-Kantian) “transcendental logic” even as it endorses that school’s crit ique of late-nineteenth-century (neo-Kantian) “psychologism.” Einstein, that is to say, rejects the idea that a work of art is a form of knowledge that is grounded in spatio-temporal categories—whether those are considered intellectual a prioris, as Immanuel Kant had claimed, or are thought to be incorporated in the subject as the very structure of embodied perception, as Hermann von Helmholtz had argued. If art is a totality, this totality is not the unity of the spatio-temporal manifold. But Einstein goes on to reject the claims of Marburg","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"115-121"},"PeriodicalIF":0.3,"publicationDate":"2020-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/016228704322790926","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42809196","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

Florence Henri's Oblique∗ 弗洛伦斯·亨利的Oblique*

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-05-01 DOI: 10.1162/octo_a_00391

S. Kriebel

引用次数: 0

A (Still) Marginal Modernity, or The Artist as Stenographer 一种（静止的）边缘现代性，或者说作为速记员的艺术家

IF 0.3 4区社会学

OCTOBER Pub Date : 2020-05-01 DOI: 10.1162/octo_a_00390

Jordan Troeller

引用次数: 0