memory-metaphor-and-aby-warburgs-atlas-of-images

Download Book Memory Metaphor And Aby Warburgs Atlas Of Images in PDF format. You can Read Online Memory Metaphor And Aby Warburgs Atlas Of Images here in PDF, EPUB, Mobi or Docx formats.

The work of German cultural theorist and art historian Aby Warburg (1866–1929) has had a lasting effect on how we think about images. This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg’s death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully, intuitively arranged some thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying through these constellations of images to make visible the many polarities that fueled antiquity’s afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought. While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, Christopher D. Johnson traces several thematic sequences in the panels. By drawing on Warburg’s published and unpublished writings and by attending to Warburg’s cardinal idea that "pathos formulas" structure the West’s cultural memory, Johnson maps numerous tensions between word and image in the Atlas. In addition to examining the work itself, he considers the literary, philosophical, and intellectual-historical implications of the Atlas. As Johnson demonstrates, the Atlas is not simply the culmination of Warburg’s lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture.

Warburgian Studies. Editoriale Monica Centanni, Anna Fressola e Maurizio Ghelardi Aby Warburg, Manet’s Déjeuner sur l’herbe Maurizio Ghelardi Aby Warburg, Frammenti tra Manet e Mnemosyne [102.1.2] Maurizio Ghelardi e Monica Centanni Estudios Warburgianos en España (2015-2019) Victoria Cirlot Studi warburghiani in Germania (2018-2019) Marilena Calcara Warburgian Studies in Belgium (2016-2019) Stephanie Heremans Warburgian Studies in Russia Ekaterina Mikhailova-Smolniakova Warburgian Studies in the UK (2014-2018) Laura Leuzzi Études sur Raymond Klibansky en Canada Daniela Sacco (versione francese e italiana) Aby Warburg negli studi latino-americani Cássio Fernandes Bibliography. Works by Aby Warburg and secondary literature Anna Fressola B. Baert Fragments. Studies in Iconology. A presentation Barbara Baert e Stephanie Heremans Mondo delle immagini. Immagini del mondo Natalia Mazur e Alessia Cavallaro Super-Powering Warburg Studies Beyond Art History’s Patriarchal Ancestor Cults Emily Verla Bovino

World-leading philosopher Andrew Benjamin presents a radically new materialist philosophy of art and a rethinking of the history of art in that context.

This is a book about artistic modernism contending with the historical transfigurations of modernity. As a conscientious engagement with modernity's restructuring of the lifeworld, the modernist avant-garde raised the stakes of this engagement to programmatic explicitness. But even beyond the vanguard, the global phenomenon of jazz combined somatic assault with sensory tutelage. Jazz, like the new technologies of modernity, re-calibrated sensory ratios. The criterion of the new as self-making also extended to names: pseudonyms and heteronyms. The protocols of modernism solicited a pragmatic arousal of bodily sensation as artistic resource, validating an acrobatic sensibility ranging from slapstick and laughter to the pathos of bereavement. Expressivity trumped representation. The artwork was a diagram of perception, not a mimetic rendering. For artists, the historical pressures of altered perception provoked new models, and Ezra Pound's slogan 'Make It New' became the generic rallying cry of renovation. The paradigmatic stance of the avant-garde was established by Futurism, but the discovery of prehistoric art added another provocation to artists. Paleolithic caves validated the spirit of all-over composition, unframed and dynamic. Geometric abstraction, Constructivism and Purism, and Surrealism were all in quest of a new mythology. Making it new yielded a new pathos in the sensation of radical discrepancy between futurist striving and remotest antiquity. The Paleolithic cave and the USSR emitted comparable siren calls on behalf of the remote past and the desired future. As such, the present was suffused with the pathos of being neither, but subject to both.

Explores the contemporary history of Lebanon, scarred by civil war. Here, the author asks if and when experiences of a guerilla war can ever be documented.

"With love from Haha invites readers to explore the open-ended methods and socially-oriented practice of the art collective Haha. Essays by writers from the fields of art, urbanism, and anthropology consider their own work in relation to Haha's, and address relationships to place and to everyday life, the pleasures and benefits of getting lost, the changing coordinates of art practice, and the radical potential of collaboration now. This collection provides a point of access to a timely conversation about critically engaged practice as a process for learning, growth, and social action."--BOOK JACKET.

Everybody collects something, sometime. Many artists have discovered collecting and saving as a means of artistic expression and have made the storage of objects and information the subject of their work. This ranges from digital memory to rows and stacks of materials to shelves, packaging crates, installations, and entire areas filled with diverse objects stored systematically or in states of utter chaos.

In this book, the author creates "rooms'" of a series of imaginary exhibitions in which women artists such as Frida Kahlo mingle with Sigmund Freud and others, conversing with one another out of time and place. Pollock creates a new, feminist history for the future, challenging the dominant museum models of art and history that have been so exclusive of women's artistic contributions to the twentieth century.

Trauma, Hysteria, Philosophy includes two essays which investigate philosophically the psychoanalytic categories of trauma and hysteria; each essay seeks a new way to understand such varied concepts as the dialectical theater and the linguistic turn. Media Identity is an attempt to reinvestigate the concept of hysteria as a philosophical notion. Beginning with the roots of Freud s development of the unconscious, moving to Bergson s concept of ontological memory and the body, and utilizing Deleuze s work on the virtual this essay attempts to navigate and describe the possibilities of identity in an age of ubiquitous media. Far from accepting a pessimistic outlook on the state of the subject this work considers the possibility of an aesthetics of hysteria. Turn: theories of trauma in the age of linguistics explores the not-so-implicit relationship between the linguistic turn in critical theory and the growing field of trauma studies. Drawing from psychoanalysis, critical theory, linguistic philosophy and literature, Kamens discusses the ways in which language and trauma have grown increasingly interdependent. Hannes Charen is an independent scholar, writer and book designer based in Brooklyn, New York. He has his Masters in Philosophy from the European Graduate School and is currently a Ph.D. candidate. Sarah Kamens is a Ph.D. student in Media and Communications at the European Graduate School, where she also received her M.A., and in Clinical Psychology at Fordham University. During the past few years, she lived in Palestine and Israel, where she conducted psychosocial research and worked in film.

Includes section: Notes and reviews.

Anne et Patrick Poirier réunissent leurs idées, leurs sensibilités, et leurs travaux signés en commun deviennent les fruits de ce partage. Voyageurs, arpenteurs, découvreurs de civilisations, de religions et de cultures, refusant les rôles conventionnels de sculpteur et de peintre, ils endossent ceux d'archéologue et d'architecte. Il ne s'agit plus d'une recherche artistique formelle, mais par une approche des sciences humaines, d'un voyage dans la mémoire qu'ils considèrent comme une valeur fondamentale, la base de toute intelligence entre les êtres et entre les sociétés. Dénonçant la fragilité des civilisations, des cultures et des êtres, leur esthétique est souvent celle du fragment, de la ruine, de la catastrophe ; leur oeuvre, une métaphore du temps où passé et futur sont étroitement mêlés. Artistes pluridisciplinaires, ils ne s'interdisent l'usage d'aucune mode d'expression.

The reception of Walter Benjamin's work has vindicated his own insight into the ways in which the optic of the present continually transforms the past. With particular focus on the city, glass architecture and themes of historiography, collecting, and ethnography, Benjamin's methodology of 'telescoping the past through the present' is put into practice. Contributors include: Benjamin Buchloch, Mark Dion, Detlef Mertens, Esther Leslie and Jane Rendell. 72 b/w illustrations203

The artworks in 'Synthetic Times' explore a trajectory of uncanny visions ranging from the desire to transcend the corporal to the construction of synthetic worlds.

The art historian Aby M. Warburg and the philosopher Walter Benjamin are widely respected as two of the most significant cultural theorists of the twentieth century. Their common interests in historiography, the function of collective memory, and the relation of modern society to earlier stages of human social existence, were important examples of the attempt to articulate, analyse and represent the experience of modernity. Drawing on a variety of discourses from aesthetics, art history, anthropology and psychology, they presented an account of modernity and human development that represented an important counter to the optimistic belief in progress prevalent amongst their contemporaries. Rarely, however, have the connections between these two thinkers been explored in depth. This volume consists of an exploration of the intellectual relation between them, considering their varying responses to the question of the meaning of modernity, and above all their common legacy for the present.

Top Download: