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Journal articles on the topic 'Materialism in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Soqandi, Mahnaz, and Fatemeh Sadat Basirizadeh. "Cultural Materialism in Lorca’s Poetry." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 2 (2020): 682–91. http://dx.doi.org/10.33258/birci.v3i2.879.

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The aim of the present research is to investigate Lorca’s poem from cultural materialist point of view. To do so, the researcher investigates how culture and social mechanism function in the context in which the poems have been written. Cultural materialism attempts to investigate different aspects of society, art, economy, language, and politics from an external point of view and analyze them to find out how identity and self are shaped accordingly. Cultural materialism is demonstrated in different categories including gender, ethnic studies, postmodernism, postcolonialism, and other fields.

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Stark, Trevor. "Lawrence Weiner's Materialism." October, no. 180 (2022): 105–20. http://dx.doi.org/10.1162/octo_a_00455.

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Abstract From the 1960s until his death in 2021, Lawrence Weiner developed an art practice operating in language, which he described as being that of a “materialist.” This paper examines the scope of Weiner's career to determine what he could mean by that term—to derive the specific characteristics of his linguistic materialism. Differentiating his work from existing materialist paradigms in poetics and linguistics, this paper argues that the matter of language for Weiner was not reducible to the visual character of the signifier or to the physicality of the referent. Rather than attempt to de

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Leonard, Nicholas. "The Arts and New Materialism: A Call to Stewardship through Mercy, Grace, and Hope." Humanities 9, no. 3 (2020): 84. http://dx.doi.org/10.3390/h9030084.

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During highly polarized times, issues are quickly addressed in ways that emphasize divisions. To support the healing of our polarized culture through art, new materialist theory as presented by Karen Barad and Rosi Braidotti will be entangled with art and artmaking according to Dennis Atkinson and Makoto Fujimura to argue for art as an act of environmental and cultural stewardship, creating new possibilities and differences in the virtual that are merciful, graceful, and hopeful. To form this argument, first a summary of new materialism and ethics through Agential Realism and Affirmative Ethic

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Zareei, Mo H. "Audiovisual Materialism." Organised Sound 25, no. 3 (2020): 362–71. http://dx.doi.org/10.1017/s1355771820000321.

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This article looks at the emergence of physical material in a growing number of contemporary sound-based art practices. From academic symposia to music festivals and media art exhibitions, the material presence of physical artefacts is notable in a variety of sound-based disciplines and scenarios. Considering the significance of the visual aspect of these works, this article proposes a reassessment of what audiovisual entails. I argue that our understanding of audiovisual status needs to be expanded beyond the scope of screen-based applications and move into the physical realm of objects and m

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Gogoșeanu, Mihaela-Oana. "Noul Materialism: Ipoteze Și Contexte." Lucian Blaga Yearbook 23, no. 1-2 (2022): 9–28. http://dx.doi.org/10.2478/clb-2022-0001.

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Abstract The aim of this paper is to reflect the directions proposed by the new materialism’s theorists by revealing them in a field in which the new materialist perspective has not experienced the same emergence as in cultural studies or philosophy: literature, an area whose socio-cultural implication will enable the correlations with the art of performance. For this purpose, after a brief theoretical introduction, “hypothesis”, of the approach, whose role is in fact to clarify the ideas that the new materialism supports, we reveal a series of neo-materialist “contexts” in the literatures of

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Küttel, Nora Mariella. "Material agency in art installations: exploring the interplay of art, space, and materials in Detroit." Geographica Helvetica 79, no. 2 (2024): 149–60. http://dx.doi.org/10.5194/gh-79-149-2024.

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Abstract. Decades of decline, disinvestment, and racism have left Detroit with an abundance of abandoned buildings, ruins, vacant lots, and illicit trash dumps. Though these structures and materials might have forfeited their previous purposes, they can act as catalysts, substances, and co-creators of artworks. The paper is thus interested in examining the intricate interplay between art, space, and materiality in Detroit further. Drawing from the practices of local artists Olayami Dabls and Scott Hocking, the paper adopts a new materialist framework to investigate the dynamic agency of matter

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7

Burford, Mark. "Hanslick's Idealist Materialism." 19th-Century Music 30, no. 2 (2006): 166–81. http://dx.doi.org/10.1525/ncm.2006.30.2.166.

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In the mid-nineteenth century, materialist and empiricist modes of thought characteristic of natural science increasingly called into question the speculation of German idealist philosophy. Music historians have commonly associated Eduard Hanslick's Vom Musikalisch-Sch&#x9a;nen (On the Musically Beautiful, 1854) with this tendency toward positivism, interpreting the treatise as an argument for musical formalism. His treatise indeed sought to revise idealist musical aesthetics, but in a far less straightforward way. Hanslick devotes considerable attention to the "material" that makes up mus

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8

Day, Kevin T. "The Medium Is the Environment: Digital materialism, climate crisis and digital art as pedagogy." International Journal of Education Through Art 19, no. 1 (2023): 69–82. http://dx.doi.org/10.1386/eta_00119_1.

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This article examines the environmental implications of ubiquitous information and communication technologies (ICT) manufacturing, operations and usage, using the theories of new materialism and digital materialism, and offers an interactive video installation as a case study for contemporary digital art’s pedagogical potential in response to such environmental issues. Contrary to the imageries of the cloud and the notion of immateriality as promoted by the tech industry, digital media systems are grounded in the material world and operate at the expense of the material substrate. Such a socio

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Nachtigall, Jenny, and Kerstin Stakemeier. "Art Work as Life Work: Lu Märten's Feminist “Objectivity”." October, no. 178 (2021): 35–54. http://dx.doi.org/10.1162/octo_a_00438.

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Abstract “Art Work as Life Work: Lu Märten's Feminist ‘Objectivity’” highlights the feminist stakes of German feminist-materialist art historian Lu Märten's interventions in the interwar discourses on art and labor, on objectivity (Sachlichkeit), and the new media of film and radio. The essay argues that Märten's contributions to these areas sit squarely within more familiar narratives of materialist aesthetics and Weimar culture (from Walter Benjamin's epochal Artwork Essay to the Bauhaus) and that they do so on account of her heterodox reading of Marx and commitment to Spinoza's monism. In M

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Stone, Gregory L. "Chrétien de Troyes and Cultural Materialism." Arthuriana 6, no. 2 (1996): 69–87. http://dx.doi.org/10.1353/art.1996.0040.

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11

Singh, Iona. "Vermeer, materialism, and the transcendental in art." Rethinking Marxism 16, no. 2 (2004): 155–71. http://dx.doi.org/10.1080/08935690410001676212.

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12

Nachtigall, Jenny, and Kerstin Stakemeier. "Lu Märten: An Introduction to Four Texts." October, no. 178 (2021): 3–14. http://dx.doi.org/10.1162/octo_a_00436.

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Abstract This article presents an introduction to four texts that the German feminist-materialist art historian Lu Märten (1879–1970) published between 1903 and 1928. It outlines some of the major concepts of and contexts for this unduly neglected thinker. Her writings covered a wide terrain that spanned studies on the labor conditions of female artists, polemics against “proletarian art,” and a monist, rather than dialectical, view on film, art, and what she called the “full life-work of a human.” At the core of her multiple endeavors was the demand for remaking the history of art as a histor

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13

Lynes, Philippe. "The Imagination." Philosophy Today 63, no. 4 (2019): 943–57. http://dx.doi.org/10.5840/philtoday202019303.

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This essay proposes the imagination as a new concept for materialism through an interrogation of what therein resists traditional philosophical discourse, and ultimately what Heidegger calls technological positionality or enframing. Drawing from an unpublished 1970–1971 seminar of Derrida’s on materialism, I explore the interplay between the imagination and matter, art and space, in Aristotle, Plato, Heidegger, and Ponge.

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Tuma, Kathryn A. "Ce´´zanne and Lucretius at the Red Rock." Representations 78, no. 1 (2002): 56–85. http://dx.doi.org/10.1525/rep.2002.78.1.56.

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ARGUING AGAINST CRITICAL MODELS of Céézanne's pictorial tech nique that posit a delimitable ''unit'' of manufacture as the basis for the composition of his pictures, and challenging certain idéées reççues of Greenbergian modernism that continue to frame our view of Céézanne's art, ''Céézanne and Lucretius at the Red Rock'' offers a new perspective from which to think about meaning and form in Céézanne's painting. The essay takes as its starting point evidence that during the last decade of his life Céézanne was reading Lucretius, the Roman poet whose De rerum natura espouses the ancient philos

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15

Shin, Ryan, and Xuhao Yang. "A Daoist Pedagogy Encountering New Materialism in Art Education." Studies in Art Education 62, no. 3 (2021): 236–49. http://dx.doi.org/10.1080/00393541.2021.1936802.

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16

Booth, Jack. "A capsule aesthetic: feminist materialism in new media art." Visual Studies 35, no. 2-3 (2019): 299–300. http://dx.doi.org/10.1080/1472586x.2019.1655294.

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17

Scarlett, Ashley. "Interpreting An Improper Materialism." Digital Culture & Society 1, no. 1 (2015): 111–30. http://dx.doi.org/10.14361/dcs-2015-0108.

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Abstract This paper explores catachrestic synesthesia as a key interpretive strategy that contemporary media artists are drawing upon in an effort to conceptualize and grapple with ‘digital materiality.’ I argue that these synesthetic gestures are not merely poetic flourishes. Instead they test the limits of representation, identifying gaps in language while employing the body in order to triangulate modes of computational materiality that are proving conceptually and phenomenologically evasive. Grounded within a series of materialdriven interviews that I conducted with thirty-five digital med

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18

Durrant, Sam. "Critical Spirits: New Animism As Historical Materialism." New Formations 104, no. 104 (2021): 50–76. http://dx.doi.org/10.3898/newf:104-105.03.2021.

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This essay reads the so-called 'new animism' alongside the historical materialism of Benjamin, Horkheimer and Adorno. The aim is to draw out the political dimensions of the former and the ecological dimensions of the latter. New animism shares with historical materialism a critique of modernity and the alienation produced by the separation of the human sphere of culture from the nonhuman field of nature. Both theories are interested in animism as exemplary refusals of this separation and both seek a mimetic, non-objectifying, relation to the world. New animism operates to correct historical ma

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Durrant, Sam. "Critical Spirits: New Animism As Historical Materialism." New Formations 104, no. 104 (2021): 50–76. http://dx.doi.org/10.3898/newf:103-104.03.2021.

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This essay reads the so-called 'new animism' alongside the historical materialism of Benjamin, Horkheimer and Adorno. The aim is to draw out the political dimensions of the former and the ecological dimensions of the latter. New animism shares with historical materialism a critique of modernity and the alienation produced by the separation of the human sphere of culture from the nonhuman field of nature. Both theories are interested in animism as exemplary refusals of this separation and both seek a mimetic, non-objectifying, relation to the world. New animism operates to correct historical ma

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20

Armet, Alizée. "Art of the technological world." AusArt 10, no. 1 (2022): 249–62. http://dx.doi.org/10.1387/ausart.23522.

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The objective of this article is to propose a study of the concept of "digital writing" through some artistic works. We wish to demonstrate that digital writing is more than present by its digital materialism. It teaches us that writing by and with machines makes us aware of the need to adopt a different approach to our knowledge of the history of writing. Taking up existing arguments and concepts, we wish to teach that the art of the technological world is a teaching to apprehend the existence of writing without humans.

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21

Dronyaeva, Polina. "The “Sonic Flux” as Materialism Going to the End." Ideas and Ideals 16, no. 1-1 (2024): 103–28. http://dx.doi.org/10.17212/2075-0862-2024-16.1.1-103-128.

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The article analyses both the book of American philosopher Christoph Cox “Sonic Flux: Sound, Art and Metaphysics” and a wide range of critical publications dedicated to this book. The project “Sonic Flux” belongs to sonic materialism (a branch of “New Materialism’) also known as “Deleuzian sound studies”. For Cox this means a development of “immanent metaphysics” launched by G. Deleuze. But while continuing the project of Deleuze, Cox inherits his predicaments. Their range is as broad as the specter of Cox’s sources covering philosophy, arts, theory of perception. Debates around the project “S

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22

Ford, Derek R. "Art, education and the actuality of revolution: Althusser’s aesthetic materialism." International Journal of Education Through Art 19, no. 2 (2023): 261–73. http://dx.doi.org/10.1386/eta_00130_1.

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This article contributes to research on materialism, art and education by introducing the aesthetic, political and pedagogical theories of Louis Althusser. It begins by situating the argument within the contemporary conjuncture of the global class struggle, particularly in the West, which is defined by an ideological break with the Marxist tradition in which the actuality of revolution is denied. Such a conjuncture demands not only scientific critique and persuasion but also, more importantly, an aesthetic experience in the possibility of a revolutionary transformation of society. Analysing Al

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23

Paquete, Hugo. "OOO Sound Art and Technology as Speculative Realism." AVANCA | CINEMA, no. 14 (January 5, 2024): 422–32. http://dx.doi.org/10.37390/avancacinema.2023.a526.

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This article presents a conceptual elaboration that was created from an interview with the philosopher Graham Harman. It makes linkages between art, technology, communication and philosophy while focusing on object-oriented ontology philosophy applied to sound art. The argument involves aesthetics and social contextual ideas such as post-digital, techno-cultural, and post-techno aesthetics. Examining how technology, as a technical, symbolic and contextual dominant object of material and symbolic meaning, affects society and the arts and impacts perception, by pointing out the analytical and ph

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24

Hood, Emily Jean, and Amelia M. Kraehe. "Creative Matter: New Materialism in Art Education Research, Teaching, and Learning." Art Education 70, no. 2 (2017): 32–38. http://dx.doi.org/10.1080/00043125.2017.1274196.

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25

Tatzel, Miriam. "The Art of Buying: Coming to Terms with Money and Materialism." Journal of Happiness Studies 4, no. 4 (2003): 405–35. http://dx.doi.org/10.1023/b:johs.0000005770.92248.77.

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26

Domenichelli, Mario. "Lukács and the Marxist ›Living Art‹." Zagreber germanistische Beiträge 29 (2020): 125–43. http://dx.doi.org/10.17234/zgb.29.7.

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This essay draws a line of continuity linking Lukács’ early work to his later ›official‹ role as a communist intellectual. "Soul and Form" ("Die Seele und die Formen") is not read as an expression of Lukács’ early idealism. Rather, the book bears witness to a much more complex vision. "Soul and Form" may be read as the first surprising movement in Lukács’ impending conversion to his peculiar materialism. Literature and art ceaselessly struggle for freedom and autonomy from any, either religious or political, function. Yet at the same time, there is a philosophical awareness that forms can be c

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27

Scheer, Edward. "Robotics as New Media Dramaturgy: The Case of the Sleepy Robot." TDR/The Drama Review 59, no. 3 (2015): 140–49. http://dx.doi.org/10.1162/dram_a_00476.

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It doesn’t matter if the actor is a robot; the virtual context of art and theatre is a site where a “vibrant materialism” might offer useful insights on the status of the actor, the object, and especially the robotic object, in an expanded dramaturgy.

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Popovic, Radovan. "The work of art as a manifestation of form: Formalistic materialism in the theory of art." Zbornik Akademije umetnosti, no. 3 (2015): 57–74. http://dx.doi.org/10.5937/zbakum1503057p.

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29

French, Aaron. "Esotericism against Capitalism?" Approaching Religion 14, no. 2 (2024): 170–89. http://dx.doi.org/10.30664/ar.137451.

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This article seeks a better understanding of how Rudolf Steiner envisioned his reform pedagogy as a site of spiritual learning (for example through art, seasonal festivals, ritual drama, etc.), but also as a specific site intended to resist the encroaching influence of capitalism, materialism, and corporatism spreading in Germany following the First World War. Steiner’s ideas about education did not emerge in a vacuum. He was inspired by and connected with other forms of communist, socialist, and Lebensreform movements in his time. Yet Steiner more actively embraced and incorporated esotericis

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30

Cox, Christoph. "Beyond Representation and Signification: Toward a Sonic Materialism." Journal of Visual Culture 10, no. 2 (2011): 145–61. http://dx.doi.org/10.1177/1470412911402880.

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Why does sound art remain so profoundly undertheorized, and why has it failed to generate a rich and compelling critical literature? It is because the prevailing theoretical models are inadequate to it. Developed to account for the textual and the visual, they fail to capture the nature of the sonic. In this article, the author proposes an alternative theoretical framework, a materialist account able to grasp the nature of sound and to enable analysis of the sonic arts. He suggests, moreover, that this theoretical account can provide a model for rethinking the arts in general and for avoiding

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Bittner, Wiseman. "Contemporary Chinese art: Mao's legacy and Danto's definition." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 191–200. http://dx.doi.org/10.5937/saj1502191b.

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In this paper I am going to do three things: First, identify several themes in contemporary Chinese art that show its essentially social nature and its robust materialism. Second, suggest a way that contemporary art in China is post-modern in the way that Western art is and claim, moreover, that as different as the themes and recent history of this art are from contemporary Western art, the works satisfy a definition of art constructed by Arthur Danto. Finally, in a coda, I present the work of a woman artist that is unlike most recent Chinese and Western art. It positions itself at the far rea

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Maldonado, Tomás. "The Abstract and the Concrete in Modern Art." ARTMargins 12, no. 1 (2023): 135–42. http://dx.doi.org/10.1162/artm_a_00343.

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Abstract This introductory study analyzes two key texts from the short-lived Argentine collective, the Asociación Arte Concreto-Invención (Association of Concrete Art-Invention, or AACI). Published in 1946 in the same issue of the group's official organ, they collectively theorize the “co-planar,” the AACI's key contribution to the history of abstract and concrete painting. While Maldonado's text offers a historical reconstruction of the genealogy of the co-planar as the culmination of modernist investigations of the plane and the problem of composition, Hlito's text outlines the understanding

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Hou, Shuchun. "On the Nationalized Artistic Creation under Marxist Theory of Literature and Art." Highlights in Art and Design 3, no. 3 (2023): 76–78. http://dx.doi.org/10.54097/hiaad.v3i3.11250.

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Marxist theory of literature and art is a theoretical result of in-depth analysis and examination of literary and artistic phenomena on the basis of practical materialism philosophy and the basic principles of aesthetics. It is not only a profound revelation of the nature and law of art, but also an advanced theoretical thought with distinct national characteristics and times characteristics, which plays an important role in promoting the prosperity of literature and art. From the perspective of Marxist literature and art theory, this paper summarizes the close connection between nationalized

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34

Lee, Jaejoon. "Layers of the Discarded: Discarded Things in Contemporary Art and New Materialism." Journal of History of Modern Art 53 (June 30, 2023): 23–46. http://dx.doi.org/10.17057/kahoma.2023..53.002.

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35

Spry, Tami. "Picturing the Body." Departures in Critical Qualitative Research 10, no. 1 (2021): 117–20. http://dx.doi.org/10.1525/dcqr.2021.10.1.117.

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The essays in this Critical Intervention forum continue work on posthumanism in performance studies where the elemental performance tools of body, word, and thing activate studies in materialism, vital materialities, and engagement with non/human others. Through methods of performative writing, these works assist in deepening our potential to understand the intersections of art, materiality, and political intervention.

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36

Platt, Verity. "The Matter of Classical Art History." Daedalus 145, no. 2 (2016): 69–78. http://dx.doi.org/10.1162/daed_a_00377.

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Though foundational to the study of art history, Greco-Roman visual culture is often sidelined by the modern, and overshadowed by its own cultural and intellectual reception. Recent scholarship, however, has meticulously unpacked the discipline's formative narratives, while building on archaeological and literary studies in order to locate its objects of analysis more precisely within the dynamic cultural frameworks that produced them, and that were in turn shaped by them. Focusing on a passage from Pliny the Elder's Natural History (arguably the urtext of classical art history), this paper ex

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Gruber, David R. "Toward a Critical NeuroArt for a Critical Neuroscience." Leonardo 53, no. 2 (2020): 123–27. http://dx.doi.org/10.1162/leon_a_01606.

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Responding to advances in the brain sciences, numerous artists are now engaged in art-neuroscience collaborations, taking the brain as an object of creative representation or adopting the tools of neuroscience. This article reviews several prominent works of ‘brain art,’ examining their critical cultural potentials in relationship to the tenets of New Materialism. The discussion results in recommendations for a Critical NeuroArt to contribute to the burgeoning field of Critical Neuroscience. Analysis of two representative artworks, including the author‘s own computational work, Neuro News Gene

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Filipovic, Andrija, and Bojana Matejic. "Art=life? Deleuze, badiou and ontology of the human." Filozofija i drustvo 26, no. 2 (2015): 392–413. http://dx.doi.org/10.2298/fid1502392f.

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The idea of the relation between art and life as becoming-life of art is a consequence of specific modern developments ranging from the Enlightenment to capitalism. This assemblage of thought and practice is present in one of the most dominant art forms today, and the task of this paper is to reassess the current state of affairs in art considering that the current state of affairs in art is a symptom of the global society of control. In order to be emancipatory art, on the one hand, Art presupposes de-substantialization and deessentialization of the biopolitically formed life and the category

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Mao, Douglas. "Rebecca West and the Origins of A Room of One's Own." Modernist Cultures 9, no. 2 (2014): 186–212. http://dx.doi.org/10.3366/mod.2014.0083.

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This essay argues that Virginia Woolf's treatment of the wellsprings of valid art in A Room of One's Own (1929) is significantly indebted to Rebecca West's exploration of similar questions in “The Strange Necessity” (1928). Noting substantial evidence that Woolf was familiar with West's text by the time she wrote Room, the essay observes that both authors argue for the power of material conditions in art-making even as they work to deflect charges of succumbing to a reductive or soul-deadening materialism. In mounting this proactive defense, West relies in part upon a peripatetic narrator whos

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Bacsó, Beáta. "Karinthy Frigyes, újgnosztikus áramlatok: spiritizmus; teozófia; antropozófia." Kaleidoscope history 13, no. 26 (2023): 123–58. http://dx.doi.org/10.17107/kh.2023.26.7.

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In the early 20th century there were emerging many intellectual currents at the same time as an organic continuation of the Enlightenment, the materialist-based scientific thinking, such as Darwinism, Haeckelism, Marxism, and Einstein’s theory of relativity. At the same time, Goethe’s spiritual science, Kant’s moral philosophy, and pure Hegelian idealism were still influential, but there appeared already Nietzsche’s amoral philosophy, which was a contemporary philosophical response to the secularization of the world. A little bit later, were emerging Freudian psychoanalysis and its psychologic

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Nikiforova, Basia, and Kęstutis Šapoka. "DISSENTING BODY AND ITS CREATIVE RECONTEXTUALISATION IN LITHUANIAN VISUAL ARTS." Creativity Studies 12, no. 2 (2019): 361–75. http://dx.doi.org/10.3846/cs.2019.11178.

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The body is an important starting point concept throughout deconstruction, reconstruction and recontextualization of the body’s concept. This change of focus in research that stems from the results to the process of contextualization means that the researcher should engage with texts or images, as they are reflected in the process of cultural development and exchange, through which decontextualization is exhibited. This article deals with the concept of new materialism and endeavors to explain, how discourses come to matter. It examines the issue of how new materialism tackles visual art in in

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Hlito, Alfredo. "Notes Toward a Materialist Aesthetics." ARTMargins 12, no. 1 (2023): 143–46. http://dx.doi.org/10.1162/artm_a_00344.

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Abstract This introductory study analyzes two key texts from the short-lived Argentine collective, the Asociación Arte Concreto-Invención (Association of Concrete Art-Invention, or AACI). Published in 1946 in the same issue of the group's official organ, they collectively theorize the “co-planar,” the AACI's key contribution to the history of abstract and concrete painting. While Maldonado's text offers a historical reconstruction of the genealogy of the co-planar as the culmination of modernist investigations of the plane and the problem of composition, Hlito's text outlines the understanding

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43

Abbas, Mujahid, and Dr. Kamran Abbas Kazmi. "Theoretical Foundations of Cultural Materialism and Understanding of Literary Text." DARYAFT 15, no. 02 (2023): 1–11. http://dx.doi.org/10.52015/daryaft.v15i02.371.

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Cultural Materialism theory is proposed by an American Anthropologist Marvin Harris. This theory has a scientific strategy to find the facts about human cultures. This theory suggests that in every sociocultural system, three major parts, infrastructure, structure, and superstructure, interact with each other. Infrastructure refers to material resources of the culture that man established to get energy and food from his physical environment. Structure refers to the laws and procedures of social institutions which regulate the distribution of food and power among the members of the society. Sup

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PERTEL, OKSANA O. "Digital Fashion Bodies: Posthuman Perspectives." Art and Science of Television 19, no. 3 (2023): 69–93. http://dx.doi.org/10.30628/1994-9529-2023-19.3-69-93.

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The paper analyzes the concept of digital corporeality and identity and their representation in virtual images of digital fashion. Digital fashion is a new field of fashion that develops in the interdisciplinary space made of information technology, gaming industry and digital art. The article assumes that the digital fashion body depends neither on the human nor the human body. The digital body is non-human and it explicitly represents a posthumanist corporeality as a cyborg formation (D. Haraway). It assembles through machinery and becomes randomly fixed assemblages (G. Deleuze, F. Guattari;

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Borroni, Roberta. "A puppet’s monologue on the possibility of a playful materiality." JAWS: Journal of Arts Writing by Students 8, no. 1 (2022): 119–31. http://dx.doi.org/10.1386/jaws_00046_1.

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This article, written as a puppet show, presents playfulness as a tool that can be used to formulate a new understanding of matter, following the elaboration of this concept by the philosophical movement ‘new materialism’. The relation between human and non-human, together with the boundaries that separate them, is explored through examples of contemporary art practices. The text is shaped in a theatrical and playful manner to test these concepts, considering both their potentialities and risks.

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Kim, Ki-Jeong. "Cultural Materialism: Deconstruction of Idealistic Cultural Theory and Reconciliation of Art and Everyday Life." Humanities Contents 54 (September 30, 2019): 103–22. http://dx.doi.org/10.18658/humancon.2019.09.54.103.

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Li, Dazhuang, and Emad Saadi Alkathir. "Implementation of Computer-Based Vision Technology to Consider Visual Form of Ceramic Mural Art." Mathematical Problems in Engineering 2021 (August 30, 2021): 1–15. http://dx.doi.org/10.1155/2021/4236572.

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As one of the cultural forms of human beings, ceramic murals transcend the dimension of time and space and transcend the single cognition of materialism in the sense of purely material materials. The emergence of computer vision technology has also provided conditions for developing ceramic murals in terms of concepts and technical forms. This article first studies the visual communication language research in ceramic mural art, at the same time comprehensively analyzes the design principles of ceramic mural art, and interprets the visual form of ceramic mural art from the perspective of actua

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Greeley, Robin Adèle. "The Logic of Disorder: The Sculptural Materialism of Abraham Cruzvillegas." October 151 (January 2015): 78–107. http://dx.doi.org/10.1162/octo_a_00209.

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Two models of object experience dominate definitions of sculpture today. One argues that commodification is a universally uniform experience of relentless violence that frames all materialities everywhere within the demands of the globalized market. The second argues that the "unruliness of things" can still disrupt the "rule of the commodity." The autoconstrucción sculptural practice of Abraham Cruzvillegas, argues Greeley, marks a third position. Derived from the "self-building" architecture of the squatter settlement on the edge of Mexico City where he grew up, Cruzvillegas’s work is locate

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Leung, Beatrice. "China's Religious Freedom Policy: The Art of Managing Religious Activity." China Quarterly 184 (December 2005): 894–913. http://dx.doi.org/10.1017/s030574100500055x.

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This article examines how the policy of “religious freedom” has been used to enable the CCP to retain institutional and ideological control over the religious sector of Chinese society. In particular, it looks at how the clash between religious and communist ideologies has evolved, first in the Maoist period and then in the context of reform and openness with the attendant growth of materialism and social change since 1978. A softening in the control of religion to encourage national reconstruction and foreign investment led to a proliferation of religious activity that alarmed Party leaders a

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Hamilakis, Yannis, and Andrew Meirion Jones. "Archaeology and Assemblage." Cambridge Archaeological Journal 27, no. 1 (2017): 77–84. http://dx.doi.org/10.1017/s0959774316000688.

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Assemblage is a concept common to a number of academic disciplines, most notably archaeology and art, but also geology and palaeontology. Archaeology can claim a special link to the term assemblage, though novel approaches to the concept of assemblage have recently been adopted from the fields of philosophy and political theory. These approaches, bracketed under the term ‘new materialism’, are discussed here. The introduction to this collection of papers outlines these approaches and evaluates their usefulness for archaeological practice and interpretation.

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