Kronos最新文献_第5页

The Searing of the University 大学的燃烧

Kronos Pub Date : 2017-01-01 DOI: 10.17159/2309-9585/2017/V43A6

John Mowitt

引用次数: 2

The Art of Life in South Africa 南非的生活艺术

Kronos Pub Date : 2017-01-01 DOI: 10.17159/2309-9585/2017/V43A14

A. Tietze

引用次数: 0

Mobile heterotopia: movement, circulation and the function of the university 流动的异托邦:运动、流通与大学的功能

Kronos Pub Date : 2017-01-01 DOI: 10.17159/2309-9585/2017/V43A9

B. Rink

{"title":"Mobile heterotopia: movement, circulation and the function of the university","authors":"B. Rink","doi":"10.17159/2309-9585/2017/V43A9","DOIUrl":"https://doi.org/10.17159/2309-9585/2017/V43A9","url":null,"abstract":"This paper explores the function of the university through the lens of mobility as seen from a South African perspective. Understanding the role of the university as one that requires the movement and circulation of academic bodies in the form of students and staff, and bodies of academic knowledge in the form of teaching, research and academic content, I use a theoretical framework from the interdisciplinary field of mobilities in order to understand the role of movement in the university and to highlight what is ruptured and catalysed by frictions enacted through power geometry, austerity and disruption. Sighted from the perspective of the University of the Western Cape in South Africa, this paper poses a series of provocations that reveal the obligations of presence that comprise the production and transfer of knowledge in the twenty-first-century university. I discuss how disruption and austerity, amongst other embedded mobility limitations, impact on the multiple/intersecting universes of the university; how the austere and disrupted university influences our engagement at various scales from local to global; and, finally, how disruption and austerity act to fix academic bodies in place even as they may allow virtual mobility to replace the face-to-face engagement that is the hallmark of the academic project. This paper demonstrates the critical role of mobility in the institution of the university and concludes that the university is a form of Foucauldian heterotopia mobilising diverse academic bodies and bodies of knowledge.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":"1 1","pages":"137-151"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79320783","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}

引用次数: 1

Red textures and the work of juxtaposition 红色纹理与作品并置

Kronos Pub Date : 2016-11-01 DOI: 10.17159/2309-9585/2016/V42A2

C. Kratz

引用次数: 3

Interment: re-framing the death of the Red Location Museum building (2006 - 2013) 埋葬:重新建构红地博物馆建筑之死(2006 - 2013)

Kronos Pub Date : 2016-11-01 DOI: 10.17159/2309-9585/2016/V42A10

Michelle Smith

{"title":"Interment: re-framing the death of the Red Location Museum building (2006 - 2013)","authors":"Michelle Smith","doi":"10.17159/2309-9585/2016/V42A10","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A10","url":null,"abstract":"The design and construction of the Red Location Precinct was the culmination of a national architectural competition, the first outcome of which was the Red Location Museum. Situated in New Brighton, Port Elizabeth, the materiality of the township impressed itself on the factory-styled museum building. However, the residents of New Brighton were not unanimously in favour of the building of a cultural precinct and museum, and through a number of protests, closed down the museum. Renaming it ‘a house for dead people’, the community began to disassemble the museum building. The museum is now a ruin, its frame decomposing. Rather than staging the porousness between an inside and an outside of the museum – and between the past and present, the real and the simulated, the living and the dead – as a problem to be worked out in dialogue, the museum has, by framing the struggle against apartheid commemoratively, incorporated the residents of New Brighton into what is called here a ‘mortificationary complex’. This article elaborates the concept of the frame as it works through the displays within the Red Location Museum and its building, reframed by Simon Gush’s installation, Red. Juxtaposing Red and the Red Location Museum allows the affects and effects of this artwork to seep beyond the confines of the events with which it explicitly grapples. Through the concept of the frame, this encounter asks that we rethink the materiality of the photograph, the commemoration of the struggle against apartheid, and the ways in which death marks the sights and sites of public history in museums after 1994.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":"10 1","pages":"155-173"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74899065","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}

引用次数: 3

Blood Lines: Cecil the Lion, Mandela, and art in history 血统:狮子塞西尔，曼德拉，历史上的艺术

Kronos Pub Date : 2016-11-01 DOI: 10.17159/2309-9585/2016/V42A11

P. Vig

{"title":"Blood Lines: Cecil the Lion, Mandela, and art in history","authors":"P. Vig","doi":"10.17159/2309-9585/2016/V42A11","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A11","url":null,"abstract":"This article takes three events as a cue to examine the connections between race and development in the history of hunting. First, the killing of Cecil the lion in July 2015 by Walter Palmer. Second, Nelson Mandela’s hunting trip in 1991 that was reported on under the title ‘Mandela Goes Green’. Thirdly, the art installation and film Red that explores the building of a red Mercedes for Nelson Mandela in 1991. Serendipitously, these three events come together in a way that enables a look at how art, technology and history can be thought differently. The workshop ‘Red Assembly’ in East London and the careful thought given to a retelling of the building of Mandela’s red Mercedes collides with the hyper-technological online protest and commentary in response to the killing of Cecil. Their near simultaneity, each referencing Mandela in a different way, draws attention to the continuing concerns over labour and race in a post-apartheid South Africa that continues to look to Mandela as a figure of positive change. The contentious debates around the wildcat strike at the East London Mercedes-Benz factory in 1991 as well as the killing of Cecil 25 years later illuminate how claims to development and progress are caught up in globally connected flows of capital and material goods that persist in the tendency to view the figure of the black body only as labour, despite protests that point to the need for more critical thought. At the same time, these contentious debates and a reading of the installation Red through the ‘Red Assembly’ workshop reflect the anxieties of writing history in a post-apartheid South Africa that struggles to reinsert the human into understandings of the past without falling prey to the temptation of producing history as an uncritical act of recovery or a celebration agency.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":"23 1","pages":"174-194"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81070222","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}

引用次数: 0

Hearing Red: Aurality and performance in a film by Simon Gush 《听觉红色:西蒙·古什电影中的听觉和表演》

Kronos Pub Date : 2016-11-01 DOI: 10.17159/2309-9585/2016/V42A9

Brett Pyper

{"title":"Hearing Red: Aurality and performance in a film by Simon Gush","authors":"Brett Pyper","doi":"10.17159/2309-9585/2016/V42A9","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A9","url":null,"abstract":"Focusing on the film that accompanies Simon Gush’s installation Red, this article positions itself within the ‘ambient humanities’ and explores sound as its primary mode of inquiry. I consider how sound constitutes not just the soundtrack but also, at particular moments, becomes the subject of the film itself. I believe these moments are worth attending to because, empirically speaking, they render audible some aspects of history that might otherwise literally be overlooked. Taking my cue from a striking aural performance recounted in the film, I consider possible archaeologies of insurrectionary noise in South Africa and beyond. Beyond the empirical, I am interested in theorising not only about but also with sound, and reflecting on how doing so with respect to history might be productive. I thus tease out thinking about sound in history, sound with history, sounding history and the like, in the process asking what aesthetics can do for the work of history. Drawing on ideas advanced recently by John Mowitt (2015), I consider how the notions of echo and resonance illustrate the kinds of alternative epistemological perspectives that attention to sound might enable for historiography. In the conclusion, I tie these back to the foregrounding of performance – particularly performance with a strong aural dimension – in the constitution of social and public memory.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":"28 1","pages":"143-154"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78854399","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}

引用次数: 0

The factory as a battlefield 工厂就像战场

Kronos Pub Date : 2016-11-01 DOI: 10.17159/2309-9585/2016/v42a6

P. Hayes

引用次数: 0

Red light: Reflections at the crossroads of history and art 红灯:历史与艺术十字路口的反思

Kronos Pub Date : 2016-11-01 DOI: 10.17159/2309-9585/2016/V42A14

Thomas C. Wolfe

{"title":"Red light: Reflections at the crossroads of history and art","authors":"Thomas C. Wolfe","doi":"10.17159/2309-9585/2016/V42A14","DOIUrl":"https://doi.org/10.17159/2309-9585/2016/V42A14","url":null,"abstract":"The article suggests that Simon Gush’s Red is an installation that projects two intersecting paths for anyone confronting it: the path of history, specifically the history of the freedom struggle in South Africa right up to the present day, and the history of contemporary art. The essay is an effort to articulate this position at a crossroads. I respond to the first path by engaging in an exercise of imaginative reverse-engineering. Red seems to invite the viewer to reflect on its own construction and how the different dimensions of its construction might be connected to political meanings and readings. Secondly, I engage in the more familiar work of interpreting an artwork, of saying what it means. I grapple with this task by explaining how Red evokes for me the philosophical problem of ordinary life, as it has appeared in various channels of reflection, from the transcendentalists through the pragmatists, through Wittgenstein and the ordinary language philosophers, through the microsociologists, and down to the present in writers like Stanley Cavell. I argue that a work like this, which operates in and through fragments, points to repair as a central process in ordinary life. The work stages repair by contrasting its object-fragments with filmed voices placed in carefully constructed dialogue with each other. On display is both the fragility of the everyday and the necessity of repair.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":"28 1","pages":"232-248"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80313399","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}

引用次数: 0

Red, Ann Bryant Gallery, East London 红色，安·布莱恩特画廊，东伦敦

Kronos Pub Date : 2016-11-01 DOI: 10.17159/2309-9585/2016/V42A3

S. Gush

引用次数: 0