Journal articles: 'Subjectivity in art'

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Rush, Fred. "Art, Aesthetics and Subjectivity." European Journal of Philosophy 15, no. 2 (August 2007): 283–96. http://dx.doi.org/10.1111/j.1468-0378.2007.00262.x.

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Carrier, David. "Subjectivity and methodology in art history." Konsthistorisk Tidskrift/Journal of Art History 73, no. 1 (February 2004): 36–39. http://dx.doi.org/10.1080/00233600310001948a.

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Dyrness, William. "Subjectivity, the Person, and Modern Art." CrossCurrents 63, no. 1 (March 2013): 92–105. http://dx.doi.org/10.1111/cros.12015.

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Van Gerwen, Rob. "Art and the Vulnerability of Subjectivity." Aesthetic Investigations 1, no. 2 (December 20, 2016): i—ix. http://dx.doi.org/10.58519/aesthinv.v1i2.11988.

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We may compare art with science, but must not understand it as science. In my view, modern science brought subjectivity into trouble, whereas art itself has the subjective as its main motivating force. For one, narrative arts tell stories, and are acclaimed for conveying the subjective aspect of events. Artistic creativity aims at regulating the appreciative experience. Lastly, to assess a work's artistic merit is to look for the artist's achievement, which involves looking for the way they realised their intentions with their audiences. It is thus that one wants to say that art is concerned with the subjective, and that one wants to distinguish it sharply from how sciences treat their subject matters: aiming for quantification and universalisation, applying objectivist methodologies, and conveying the thought that all knowledge hangs together---and that it be objectivist.

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Szempruch, Matylda. "Twórczość feministyczna a kobieca podmiotowość: ujęcie monstrualne." Przegląd Humanistyczny, no. 64/4 (April 20, 2021): 73–83. http://dx.doi.org/10.31338/2657-599x.ph.2020-4.5.

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The article shows the relationship between philosophical thought and feminist art in terms of searching for subjectivity in women’s creations. This is a review of the theories proposed by Luce Irigaray, Hélène Cixous, Julia Kristeva, and by Judith Butler, Donna Haraway, and Rosi Braidotti, which, as this article proves, manifest themselves in the art that defines itself as feminist. Monstrosity is an important prospect here. The author presents écriture féminine and women’s literature, namely Charlotte Roche’s Wet Places and Izabela Filipiak’s Total Amnesia. Moreover, visual arts by Cindy Sherman, Chili Kumari Burman, Jo Spece, as well as a performance by Carolee Schneemann and ORLAN are discussed.

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이수진 and Min Kim. "Suggestions of Lacan’s Subjectivity for Art Therapy." Korean Journal of Art Therapy 15, no. 1 (February 2008): 169–94. http://dx.doi.org/10.35594/kata.2008.15.1.009.

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Soler Gallego, Silvia. "Defining subjectivity in visual art audio description." Meta: Journal des traducteurs 64, no. 3 (2019): 708. http://dx.doi.org/10.7202/1070536ar.

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HEPBURN, RONALD W. "Art, Truth and the Education of Subjectivity." Journal of Philosophy of Education 24, no. 2 (December 1990): 185–98. http://dx.doi.org/10.1111/j.1467-9752.1990.tb00233.x.

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Huacuja, Judith L. "Borderlands Critical Subjectivity in Recent Chicana Art." Frontiers: A Journal of Women Studies 24, no. 2 (2004): 104–21. http://dx.doi.org/10.1353/fro.2004.0017.

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Chepelyk, Oksana. "The Ukrainian projects at the Manifesta 14 and Ars Electronica: the problem of subjectivity in the cultural and political context of the war." CONTEMPORARY ART, no. 18 (November 29, 2022): 65–84. http://dx.doi.org/10.31500/2309-8813.18.2022.269711.

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The article raises issues of the subjectivity of Ukrainian art and culture, in particular in its theoretical and practical aspects, which was developed by the artistic projects of Ukrainian authors, implemented abroad during the war within the framework of representative art forums and exhibitions of Manifesta 14, Ars Electronica, EDAF and others. The purpose of the article is the formation of professional awareness of the practices of Ukrainian contemporary art regarding the problem of the subjectivity of Ukraine on the international arena, through the prism of critical thinking and sensitivity in the cultural and political context of the war, for the sake of modern cultural creation, as well as to facilitate further research studies, of the Ukrainian art projects, implemented abroad during the war within the framework of representative art forums and exhibitions, for their full involvement in the national art discourse. The process of struggle for the subjectivity of Ukraine both within the country and on the international arena is explored. The methodology of the study consists in theoretical and field research on the topic of the subjectivity of Ukrainian art and in the author’s experiments development. The main method is a comprehensive and systematic approach to highlighting issues of subjectivity in culture and art, visual and photometric methods, analysis of concepts, of the artistic realizations, of the relationship between content and form, contexts and discourses. The concept of sensitivity was involved, which includes feelings of empathy and solidarity. The peculiarities of the Ukrainian projects’ presentations within the framework of the top forums of contemporary art were explored, including Manifesta Biennale 14 with the theme «It matters what worlds world worlds: how to tell stories otherwise», Festival for Art, Technology and Society Ars Electronica with the theme «Welcome to Planet B: A different life is possible. But how?» and EDAF, which served as a training ground for the formation of the subjectivity of Ukrainian contemporary art. The case studies were researched of projects by such Ukrainian artists: Stanislava Pinchuk, Alevtina Kakhidze, Oksana Chepelyk, Daria Pugacheva, Danyil Revkovskyi, Andriy Rachinskyi, the art group Sviter and Ivan Svitlychnyi, fantastic little splash, Oleksandr Burlaka and DE NE DE, shown within the framework of representative art exhibitions. The role of the curator and the artist as an agent of the subjectivity of Ukrainian contemporary art in the cultural and political context of the war have been analyzed. Given the fact that the basis of the interaction between contemporary art and the audience is discursive, the signs of the blurred subjectivity of Ukraine are revealed and the prospects for the establishment of Ukraine as an independent subject of culture in the system of global forces are outlined.

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Eisenhauer, Jennifer F. "Beyond Bombardment: Subjectivity, Visual Culture, and Art Education." Studies in Art Education 47, no. 2 (January 2006): 155–69. http://dx.doi.org/10.1080/00393541.2006.11650491.

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Oja, Martin. "Darkness on Screen: Subjectivity-Inducing Mechanisms in Contemporary Estonian Art Film." Baltic Screen Media Review 2, no. 1 (November 1, 2014): 76–95. http://dx.doi.org/10.1515/bsmr-2015-0016.

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Abstract The main purpose of the article is to bring more clarity to the concept of art film, shedding light on the mechanisms of subjective reception and evaluating the presence of subjectivity-inducing segments as the grounds for defining art film. The second aim is to take a fresh look at the littlediscussed Estonian art cinema, drawing on a framework of cognitive film studies in order to analyse its borders and characteristics. I will evaluate the use of darkness as a device for creating meaning, both independently of and combined with other visual or auditory devices. The dark screen, although not always a major factor in the creation of subjectivity, accompanies the core problem both directly and metaphorically: what happens to the viewer when external information is absent? I will look at the subjectivity- inducing devices in the films of two Estonian directors, Sulev Keedus and Veiko Õunpuu. For the theoretical background, I rely mostly on Torben Grodal’s idea about the subjective mode as a main characteristic of art film, and the disruption of character simulation as the basis for the film viewer’s subjectivity.

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Patin, Thomas. "Discipline and Varnish: Rhetoric and Subjectivity at the Museum of Modern Art." Prospects 26 (October 2001): 639–65. http://dx.doi.org/10.1017/s036123330000106x.

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Literary and Cultural Theorist Terry Eagleton argues that “the aesthetic” was from its very inception a development toward a representation of human subjectivity. For Eagleton, the discourse of aesthetics assigned the body to “a subtly oppressive law … a specious form of universalism … [that] blocks and mystifies the real political movement towards … community.” The aesthetic became a “coercion to hegemony,” by informing and regulating sensuous life while at the same time allowing for what seemed like a prospering autonomy. For Eagleton, aesthetics is not ultimately concerned with art objects but with the project of “reconstructing the human subject from the inside.” Autonomy, as it has been described by many theories of the aesthetic, becomes for many a desirable model of independent subjectivity and individual subjective experience. Even though aesthetics works on the subject “from the inside,” as Eagleton writes, it does so through material means. Architecture, art theory, and curatorial practices provide other instances of what Eagleton describes as “apparatuses” of power in the cultural field. One of the things I want to suggest is that cultural practices represent possibilities for subjectivity. Critical, architectural, and museological representations seem to concern artistic production, but also function as subtle suggestions about what it means to be human. These practices work to affect the formation of subjects by attempting to limit and pre-scribe the possibilities for subjectivity. Joel Fineman has similarly argued that subjectivity is constructed from “subjectivity effects” that are in turn produced in a web of discourses. One of Fineman's primary concerns is for how rhetoric can be used to establish compelling and realistic representations of subjectivity, while providing evidence of the artificial nature of the subject at the same time.

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Miles, Malcolm. "Post-modernism and the Art Curriculum: A New Subjectivity." Journal of Art & Design Education 18, no. 1 (February 1999): 27–32. http://dx.doi.org/10.1111/1468-5949.00150.

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Arnold, Marion. "Review: Marsha Meskimmon, Women Making Art: History, Subjectivity, Aesthetics." Art Book 11, no. 2 (March 2004): 46–47. http://dx.doi.org/10.1111/j.1467-8357.2004.00415.x.

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Avgitidou, Angeliki. "The artist in digital art: self-portraiture and subjectivity." Digital Creativity 14, no. 3 (September 2003): 129–30. http://dx.doi.org/10.1076/digc.14.3.129.27875.

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Elsden-Clifton, Jennifer. "Negotiating transformative waters: students exploring their subjectivity in art." International Journal of Education through Art 1, no. 1 (April 2005): 43–51. http://dx.doi.org/10.1386/etar.1.1.43/1.

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سليمان, سماء. "The Art of Musical Performance between Subjectivity and Objectivit." المجلة العربية للعلوم الإنسانية 37, no. 146 (April 4, 2019): 11–34. http://dx.doi.org/10.34120/ajh.v37i146.2743.

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تعتبر المادة الموسيقية واحدة من أكثر المواد التعبيرية تجريدية، ويتطلب التعامل معها - عازفين أو متلقين - قدرة إدراكية خاصة، تجعل من هذه المادة «حالة» شعورية وفكرية وروحية مؤثرة. وفي إطار أعمال الموسيقا الغربية الكلاسيكية المرتبطة بالتدوين؛ أي المعتمدة على «النوتة» في قراءتها وترجمتها، لن تتجلى الفكرة الموسيقية إلا بالعبور من صيغتها الموضوعة على الورق إلى صيغتها المسموعة. إن حالة العبور هذه من ضفة الساكن إلى ضفة المتحرك، ومن ضفة الثابت إلى ضفة المتحول هي صلب ما يدعى بفن الأداء الموسيقي Performance. وقد حاولنا في بحثنا أن نتناول هذه الحالة بالدراسة؛ كونها المقوِّم الأساسي في تجسد العمل الموسيقي، آخذين بعين الاعتبار مجموع العناصر والمعطيات التي تتدخل في تشكيله وتتموضع في مستويات شتى؛ متدرجة من السطح إلى العمق ومتفاوتة من حيث الأهمية والأولوية. وإن كنا قد ركزنا هنا على تنازع الرؤى الأدائية بين مفهومين متباينين ومتكاملين في آن معاً، هما: الموضوعي والذاتي، وعلى تبدل علاقة الموسيقيين مع هذين المفهومين تبعاً لتبدل اللغة الموسيقية، وتقنيات الكتابة والنظرة إلى عملية الأداء عبر الزمن، فإن هذا المحور الأساسي لم ينئنا عن تناول الإشكاليات الأخرى التي تكتنف هذا الفن والتي توجّه بدورها الرؤية الأدائية في تناول النص الموسيقي. فإذا كان النص وليد المؤلف وخلاصة تجربته الفكرية والروحية في مرحلة ما، فإن النص الموسيقي بشكل خاص يحتاج إلى عملية إعادة خلق أخرى تحوله - عبر الآلة أو الصوت - من مادته المكتوبة إلى مادته الموسيقية المسموعة. لذا فقد توقفنا طويلاً عند البحث في دور المؤدي - الجسر الواصل بين المؤلف والمتلقي- في حيوية هذا الدور وضرورته في ترجمة النص، وتجاوز ظاهره إلى باطنه وفي الكشف عما يختبئه من أفكار وتقنيات؛ ليتجلى لنا تفاوت الرؤى الأدائية بتفاوت قدرة المؤدين على تخليق النص، تفاوت شخصياتهم، انتماءاتهم الفكرية والروحية والجغرافية، وليبدو فن الأداء الموسيقي بذلك، منفلتاً من أي محاولة للأدلجة والتأطير في مفهوم أو توجه مسبق الوضع.

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王, 兴珍. "Study on Subjectivity and Emotion of AI Art Design." Design 08, no. 04 (2023): 4095–99. http://dx.doi.org/10.12677/design.2023.84502.

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Cuesta Fernández, Elisa, María Victoria De la Torre Luque, and Pedro Arnanz Coll. "A.I.R.: From Radical Individuality to Connected Subjectivity." Temes de Disseny, no. 37 (July 22, 2021): 60–91. http://dx.doi.org/10.46467/tdd37.2021.60-91.

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Humans are part of an interlinked world crossed by overlapping flows: substances, beings and information. The major global events that have unfolded throughout 2020 have profoundly altered the social system, revealing deep structural weak spots, and pushed its resilience to the limit, nearly causing its suffocation. This context has called into question our anthropocentric mindset and has led us to critically revise how we think about the (eco)systems we are part of, how we act within them, what is our agency to drive meaningful shifts, and with which tools we can do so. For nine months during which life and art became part of a single space, we, three artists and designers in collaboration with a diverse team of researchers, explored the way in which our individual and collective agency is affected by how close – both emotionally and physically – we feel to others, whether human or not. By navigating through art and design approaches, we imagined perspectives to defy our dualist, linear and Cartesian point of view to question how, as our system regains its speed, we can move towards a more connected sense of being. A systemic thinking toolkit, dozens of conversations, a breathing body, a poem and a visual essay have unfolded during this time, giving shape to the project A.I.R. Air[noun, uncountable], the mixture of gases we breathe; air[noun, uncountable], the space that circulates everything; but also A.I.R., an acronym for “artists in residency”, or more accurately, artists in remoteness. Air that we have lacked too often during these nine months. Air that can be the deepest kind of embrace, in these times pierced by radical forms of isolation. We start weaving our ideas around the notions of systems, agency and closeness by asking: how close do you feel?

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Walcott, Rinaldo. "The Black Aquatic." liquid blackness 5, no. 1 (April 1, 2021): 63–73. http://dx.doi.org/10.1215/26923874-8932585.

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Abstract This essay argues that thinking through black diasporic life as birthed through a unique and ongoing relationship with bodies of water (sea, oceans, rivers, creeks) can and does aid in analyses of contemporary art and its engagement with black subjectivity. I am concerned with how bodies of water are foundationally formative of blackness. And secondarily I pursue how this foundational aspect of blackness is both an act of representation worth engaging contemporary art and also a limit on what some representations of contemporary art can do to undo the brutal history of the aquatic birth of blackness and its perpetuation.

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Becker, Daniel. "The Intelligent Work of Art: How the Narcissus Theme Echoes in New Media Art." INSAM Journal of Contemporary Music, Art and Technology, no. 2 (July 15, 2019): 115–26. http://dx.doi.org/10.51191/issn.2637-1898.2019.2.2.115.

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This paper will deal with the mythological figure of Narcissus in new media art. In visual arts in general, this myth is usually used to reflect on the relationship between the artist and his actual work. There are countless examples of artists from antiquity to the present age that deal with subjectivity in their work by recurring the Narcissus theme. But different to those adaptations, works of the New Media Art since the 1970s reflect more about the technology and subjectivity of the observer through the theme of Narcissus. The use of time-based media allows the artists to address the observer immediately through interaction and let him become a part of the work and therefore become a part of the cognitive process. The argument of this paper is that only through the use of time-based art could the self-awareness of the observer be discussed instead of only a reflecting on the work itself and the reception-process. Against this backdrop, the paper will focus on the use of AI as a ‘material’ in contemporary art and how it extends this cognitive process. In addition to other works from the history of new media art the work Narciss (2018) by the German art collective Waltz Binaire will be in the center of this discussion about AI in and as artistic practice.

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Badowska, Eva. "Choseville: Brontë's Villette and the Art of Bourgeois Interiority." PMLA/Publications of the Modern Language Association of America 120, no. 5 (October 2005): 1509–23. http://dx.doi.org/10.1632/003081205x73362.

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The essay argues that Charlotte Brontë's Villette (1853) grapples with the role of things in the constitution of persons. It is a paradigmatic novel about the fortunes of private, psychological interiority under commodity culture; its immediate context is the empire of things after the Great Exhibition of 1851. Villette represents subjectivity as a cabinet of curiosities, an interior–like a parlor–filled with intensely meaningful, even fetishized, bibelots. Lucy, the novel's narrator, longs to retreat from the public spectacles of commodity culture but, ironically, finds her identity also through relations with things. The novel suggests that bourgeois subjectivity, though it points to a thorough intimacy with objects, is paradoxically defined by the nostalgic notion that true interiority has been beset by or even lost to the pressure of things.

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Arutynyan, J. I. "Contemporary art criticism: judgment and interpretation." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 177–80. http://dx.doi.org/10.30725/2619-0303-2020-3-177-180.

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An important question of contemporary art studies is the problem of expanding the methodological base of the discipline. Modern art criticism refl ects the fundamental problems of contemporary art. Clash of the axiological approaches and the principle of interpretation, subjectivity, the infl uence of requests of the art market and commercialization are the main problems of formation of the expressive language of art criticism in the 20th–21st centuries

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DMITROCHENKO, Tatyana V. "STUDENT CRITICAL THINKING AND SUBJECTIVITY DEVELOPMENT AT A PEDAGOGICAL UNIVERSITY." Lifelong education: the XXI century 30, no. 2 (June 2020): 80–90. http://dx.doi.org/10.15393/j5.art.2020.5690.

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Lee, Hae-Lee. "A Study on the Subjectivity and Objectivity of Dance Art." Korean Journal of Sports Science 31, no. 1 (February 28, 2022): 651–64. http://dx.doi.org/10.35159/kjss.2022.2.31.1.651.

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JACHEC, N. "Committed Practices: Intentionality, Radical Subjectivity, and the History of Art." Oxford Art Journal 18, no. 2 (January 1, 1995): 110–12. http://dx.doi.org/10.1093/oxartj/18.2.110.

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Yoo, Wonjoon. "Nature-Human-Technology, A study on Hybrid Subjectivity of Art." Korean Society of Culture and Convergence 40, no. 2 (June 30, 2018): 197–226. http://dx.doi.org/10.33645/cnc.2018.06.40.3.197.

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Bachman, Clover. "Criticism Against Itself: Joshua Reynolds' "Discourses on Art" and Subjectivity." International Journal of the Humanities: Annual Review 3, no. 8 (2006): 69–78. http://dx.doi.org/10.18848/1447-9508/cgp/v03i08/41773.

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Nefedova, L. K. "THE SUBJECT IN THE GENESIS OF RELIGION AND ART." Review of Omsk State Pedagogical University. Humanitarian research, no. 37 (2022): 48–52. http://dx.doi.org/10.36809/2309-9380-2022-37-48-52.

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The article presents the identity and difference in the manifestation of subjectivity in religious and artistic cognition, the basis of which is the natural foundations of man as a subject of culture in his attitude to the world as an object of practice and cognition. At the same time, the great freedom and creativity of the subject of art is justified, which is associated with the nature of artistic activity, in which the subject definitely stands out as a direct creator — artist. At the same time, the proximity of religious and artistic knowledge is emphasized, including revelation, faith, experimental knowledge, creative imagination, fantasy as the natural foundations of these types of knowledge. The principle of subjectivity ensures the strength and power of the existence of religious and artistic phenomena, ensures the diversity and development of such forms of consciousness as faith, philosophical thinking, emotional experience.

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Hanrahan, Siún. "An Exploration of How Objectivity Is Practiced in Art." Leonardo 33, no. 4 (August 2000): 267–74. http://dx.doi.org/10.1162/002409400552649.

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In the binary economy of art and science, art's subjectivity is widely perceived as undermining its contribution to knowledge. Even when invoked by those with a vested interest in art, the potential ascribed to art within this economy does not do justice to the range and critical power of art. Trans-gressing this art-science binary, the author explores how objectivity is practiced within art and argues that the relationship between art and science is not a matter of boundaries but of intertwined in-flections of understanding.

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MENDY, Dominique François. "Dialectique de la communication. À propos d’un texte de S. Kierkegaard (1847)." Revue Africaine de Communication Spécial, Aw (December 1, 2023): 227–49. http://dx.doi.org/10.61585/pud-rac-nsea7.

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What is the link in the communicative act with existing subjectivity ? In other words, in the transmission of the message, would the only concern be, to ensure that the receiver can receive what is presented, as it is, without distortion ? Would it not not be possible to envisage a certain duplicity on the part of the issuer ? The objective of this article is to show how Kierkegaard, in an unfinished text from 1847, prepared « lessons » on communication. For him, it is a question of marking the communication of Knowledge, focused on the object and which aims for certainty, that is to say, the accuracy of the message, the symbol being ex cathedra teaching. There are, however, other forms of communication which, by emphasizing the transmitter and the receiver, introduce other types of communication such as those of power or ethics which focus on existing subjectivity, with its intentions, and specially on contradiction introduced into speech and action. With this consequence of recalling the complexity of any art of communication suceptible to duplicity, misunderstanding and which can even become art.

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Athanasopoulou-Kypriou, Spyridoula. "and/Or the Art of Living." Samuel Beckett Today / Aujourd'hui 15, no. 1 (November 1, 2005): 311–23. http://dx.doi.org/10.1163/18757405-015001027.

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Taking exception to the psychoanalytic and theological interpretations, I stress the play's resistance to interpretation and suggest that the play might well be about the art of living in a meaningless world. Borrowing the term 'semiotic chora' from Julia Kristeva, I read as a representation and dramatization of the space where subjectivity has not yet been constructed and thus many possibilities are still open. I also suggest that the play offers a therapeutic journey to the abject elements of human life.

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Thompto, Chelsea. "Trans (In)Visibility in Art." TSQ: Transgender Studies Quarterly 9, no. 4 (November 1, 2022): 653–78. http://dx.doi.org/10.1215/23289252-10133845.

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Abstract Through an examination of how the art world engages with transness, the piece begins with an exploration of why we need an understanding of trans subjectivity that is not beholden to or subsumed by the art world's overriding attention and interest in queer subjectivities and concerns. The author then describes how trans methodologies are applied within their artistic and curatorial practice and how those methodologies are situated within the broader context of the art world. Particular focus is given to codes as both the subject (social, governmental, and technical codes) and medium (visual and computer codes) of the author's work.

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Yana, Tsyrlina. "The Self-Styled Amateur: the Imagined Subject and Self-Organisation in the Post-Capitalist Era." TECHNOLOGOS, no. 3 (2022): 27–38. http://dx.doi.org/10.15593/perm.kipf/2022.3.03.

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This study addresses two interrelated issues: separating various forms of subjectivity in the context of contemporary artistic production and constructing a postcapitalist subject. The mechanisms of such construction are considered in connection with the concept of space outlined in contemporary philosophical and critical studies. Forms of space are understood in terms of the conceptual framework defined by David Harvey and Felix Guattari, on the one hand, and Karl Marx, on the other. It is assumed that representative forms of art have the capacity to reflect certain types of subjectivity. In defining a potential model of the postcapitalist subjectivity, the study deals with two chosen positions: the amateur and "just doing” focusing on another foundational element of the research – the notion of "work” – and following in the path of John Holloway and J.C. Gibson Graham. The capabilities of out-of-work practices and "just doing" are explored through the example of exhibitions and art projects while artistic practices are provided to demonstrate the capacity of self-organized cultural activity and amateur practices. The theory of "dark matter" art by Gregory Sholette is discussed helping to identify the characteristics of the postcapitalist subject as non-essentialist ones. In both cases, it has been shown that the subjects are enmeshed in capital, however, acceptance of such an entanglement as represented by art is a starting point for articulating new forms of activity and creating an alternative to capitalism.

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Nakaue, Melanie Dana. "Of Other Places: The Garden as a Heterotopic Site in Contemporary Art." Brock Review 10, no. 1 (November 14, 2008): 60–71. http://dx.doi.org/10.26522/br.v10i1.30.

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According to Michel Foucault, a heterotopia is a site where the differentiation between a location and its temporality is related to theoretical and societal concerns that challenge the notion of history, location, and subjectivity. Contemporary artists such as Stan Douglas and Hew Locke utilize the garden as heterotopic space for intervention in their work in order to investigate and challenge linear notions of time, space and subjectivity. Stan Douglas examines the historical and social underpinnings of the community gardens in early nineteenth century Northern Europe, otherwise known as the potsdamer schrebergärten, and recreates the tableau of the garden in his piece, Der Sandman. Similarly, artist Hew Locke draws upon the art of the topiary and creates an assemblage topiary sculpture, titled Black Queen, where found objects are utilized to recontextualize the concept of the garden topiary as a site of a postcolonial experience. This article investigates the way that nature, in this case the garden, is utilized and represented in contemporary art. By analyzing and applying Foucault’s lecture, “Of Other Spaces” and definition of heterotopias to the work of artists such as Douglas and Locke, the paper aims to illuminate the connection between site and subjectivity, and the multiplicity of meaning that results from the garden as being the quintessential site of postmodern experience.

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Bashmanova, Elena L., and Tatiana V. Trofimenko. "SUBJECTIVITY MANIFESTATION OF ADOLESCENTS IN THE INFORMATION ENVIRONMENT OF BLENDED LEARNING." Lifelong Education: the XXI century 36, no. 4 (December 2021): 30–46. http://dx.doi.org/10.15393/j5.art.2021.7166.

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Xilin, You. "Information, Communication and Art." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 233–49. http://dx.doi.org/10.1515/yewph-2018-0017.

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AbstractFrom Karl Marx to Martin Heidegger, the dialectical relationship between technology and art has become an ontological question of social reality. Marshall McLuhan’s theory of cool-hot media provides an analytical framework for the information age. “Cool-hot media” is McLuhan’s truly original concept. However, while McLuhan determined electronic media to embrace printing media which was regarded as a typical representative of hot media, he could not foresee that electronic media is properly speaking the latest representative of the split type of hot media. Through Gödel’s Incompleteness Theorems which underlies formalization and Embodied Cognition Theory, this article argues that there exists an ontological difference between computers and human existence and explores the position of art from the contemporary cool media perspective. This contribution is not only intended to be a philosophical critique of the philosophy of technology of the media age, but also a repositioning of contemporary art and its function from the media perspective. The technological division and abstraction represented in hot media becomes the basic premise for a holistic approach to computer science and artificial intelligence. Their rich information context leads to multiple interpretations of meaning instead of a one-dimensional definition; the everyday actions of cold media have become a type of life art in a broad sense, and manifest their social function as an art of the information age, i.e. to balance the cognitive narrative of hot media and to ensure that its communication does not suppress the audience’s individual creativity, so that they can maintain their subjectivity by tracing the source of information. Art facilitates active audience participation and so allows participants to overcome a one dimensional way of thinking and promotes imagination and creativity in liberal arts education. Following the rules of art, cold media obtains its greatest significance as the guardian of the free subjectivity of all humans, which is alien to modern technology. Cold media and hot media balance each other to create a new way of producing and living that not only discovers but also safeguards the world.

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Taplin, Roslyn. "Contemporary Climate Change Art as the Abstract Machine: Ethico-Aesthetics and Futures Orientation." Leonardo 47, no. 5 (October 2014): 509–10. http://dx.doi.org/10.1162/leon_a_00827.

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The fusion of visual art and climate science to produce something new to mediate the urgency of the climate change issue is explored in relation to Simon O’Sullivan’s conception of contemporary art invoking Deleuze and Guattari’s ethico-aesthetics and futures orientation. The question considered is: Can and does climate change art crystallize a different subjectivity within viewers? Conclusions are that the visual art considered in this article does have the prospect of connecting viewers with some realization of future climate change implications.

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Larrain, Antonia, and Andrés Haye. "The dialogical and political nature of emotions: A reading of Vygotsky’s The Psychology of Art." Theory & Psychology 30, no. 6 (December 2020): 800–812. http://dx.doi.org/10.1177/0959354320955235.

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A significant number of articles published in Theory & Psychology have been inspired by, or discuss, Vygotsky’s contribution to psychology. However, most of the available publications and discussions on Vygotsky overlook his theory of art and emotions and, more broadly, his view on subjectivity. In this article we offer a reading of Vygotsky’s The Psychology of Art. According to our interpretation, art is conceived in this theory as a social technique for (re)constructing life and transforming bodies; human emotions are dialogical processes, culturally and semiotically created, and historically transformed. Our theoretical perspective differs from some other interpretations of Vygotsky’s work because of its emphasis on the centrality of emotions in psychological life, and particularly on the intertwining of sociogenesis and microgenesis. Through emotions, discourse practices and cultural techniques have transformative effects on bodily reorganization ( catharsis) and subjective experience ( perezhivanie). This is discussed in relation to the political implications of a theory of emotions and its relevance for the theorization of subjectivity.

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Rohr, Doris. "Good art, bad art – what is a ‘good’ drawing?" Visual Inquiry 2, no. 1 (March 1, 2013): 11–26. http://dx.doi.org/10.1386/vi.2.1.11_1.

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The article addresses subjectivity in relation to assessment of drawing as fine art practice within higher education contexts. How can we measure the quality of a drawing in contemporary fine art? What standards can one take recourse to, or use, to define boundaries and definitions for excellence? The role of outsider art, and of art not produced or valorized within institutional norms, is an area of tension within academic contexts. Do we overly valorize rejection of norms and traditions, or to the contrary, do we create neo-conformism in the way we teach drawing within fine art? This article asks to reconsider aesthetics as a potential way of redressing the need to build overarching standards and measuring codes, independent from agents and institutions that have become interested parties and stake holders: the curatorial function of museum and gallery, market forces, Research Council and Arts Council. A more meaningful dialogue with different types of public needs to be sought, to redress criticism that contemporary arts practices are elitist and removed from the realities of everyday life.

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Wang, Aihe. "Apolitical Art, Private Experience, and Alternative Subjectivity in China’s Cultural Revolution." China Perspectives 2014, no. 4 (November 25, 2014): 27–36. http://dx.doi.org/10.4000/chinaperspectives.6577.

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Jung, Joachim. "The Significance of Subjectivity in the Creation and Reception of Art." International Studies in Philosophy 31, no. 4 (1999): 53–65. http://dx.doi.org/10.5840/intstudphil199931467.

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Tulloch, Janet. "Roman eyes visuality and subjectivity in art and text Elsner, Jaś." Material Religion 4, no. 3 (November 2008): 363–64. http://dx.doi.org/10.2752/175183408x376737.

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Kikuchi, Yuko. "Minor Transnational Inter-Subjectivity in the People’s Art of Kitagawa Tamiji." Review of Japanese Culture and Society 26, no. 1 (2016): 266–84. http://dx.doi.org/10.1353/roj.2016.0003.

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Muhammad, Zarina. "obj///subj—ectivity." Journal of Writing in Creative Practice 13, no. 1 (January 1, 2020): 55–61. http://dx.doi.org/10.1386/jwcp.13.1.55_3.

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This text is from ‘Art Thoughts’; a collection of texts shared on The White Pube’s website that discuss art more broadly than the Reviews section. The piece investigates how the critic positions themselves in terms of objectivity and subjectivity when their identity does not afford them the supposed authority and neutrality of the cis-het white male writer.

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Espada-Brignoni, Teófilo, and Frances Ruiz-Alfaro. "Culture, Subjectivity, and Music in Puerto Rico." International Perspectives in Psychology 10, no. 1 (January 2021): 3–12. http://dx.doi.org/10.1027/2157-3891/a000001.

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Abstract. Understanding human phenomena requires an in-depth analysis of the interconnectedness that arises from a particular culture and its history. Subjectivity as well as a collective subjectivity emerges from human productions such as language and art in a specific time and place. In this article, we explore the role of African-based popular music genres such as bomba and plena as ways of negotiating narratives about Puerto Rican society. Popular music encompasses diverse meanings. Puerto Rican folk music’s subjectivity provides narratives that distance Puerto Ricans from an individualistic cosmovision, allowing us to understand the social and political dimensions of this complex Caribbean culture. The events of the summer of 2019, which culminated in the ousting of governor Ricardo Rosselló from his position, illustrate how music can foster social change.

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Rubinstein, Daniel. "Failure to Engage: Art Criticism in the Age of Simulacrum." Journal of Visual Culture 16, no. 1 (April 2017): 43–55. http://dx.doi.org/10.1177/1470412917690970.

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In this article, the author explores the metaphysical underpinnings of Fried’s Art and Objecthood (1998[1967]) in order to tease out its reliance on several of the tenets of conservative art criticism: Plato’s theory of forms, Kant’s aesthetics and the unquestioning acceptance of subjectivity and representation. He argues that it is due to these investments that Art and Objecthood fails to come to terms with the condition of art in the age of advanced technology and virtual (simulated) reality. This argument develops by means of clarification of three key concepts: simulacrum, theatricality and truth.

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Sari, Anisa Rahmatika, and Mugijatna Mugijatna. "SUBJECTIVITY IN STEPHEN DEDALUS, THE MAIN CHARACTER IN JAMES JOYCE’S A PORTRAIT OF THE ARTIST AS A YOUNG MAN." Kajian Linguistik dan Sastra 5, no. 1 (August 11, 2020): 37–46. http://dx.doi.org/10.23917/kls.v5i1.7852.

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Subjectivity is a philosophical concept of how one, as a subject, gains the sense of identity through the interaction with the external world. The theorization on the conception of subjectivity itself has ranged from the early modern thinkers to post-modern thinkers. This research’s objectives are to describe the struggle of Stephen Dedalus, the main character in James Joyce’s novel entitled A Portrait of The Artist As A Young Man, to gain his identity as a form of subjectivity, and to describe how the model of subjectivity is reflected through the character of Stephen Dedalus. This research is a descriptive qualitative library research with philosophical approach using Descartes, Kant, Freud and Lacan theories. From the analysis, first, it is found out that Stephen Dedalus underwent a journey of figuring himself out through a series of events that profoundly shape his sense of identity. The involvement of many external factors like the field of art, religion, and nationality is important in constructing Stephen Dedalus’ subjectivity. Secondly, by taking into account the theorization on the idea of subjectivity from the early modern philosophers such as Rene Descartes and Immanuel Kant, to the post-modern philosophers such as Sigmund Freud and Jacques Lacan, it can be seen that Stephen Dedalus’ stream of consciousness as the main tool in perceiving his journey of life embodies the early modern conception that subjectivity is grounded on one’s independent consciousness. Keywords: subjectivity, modernity, philosophy

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Kim, Keun A. "Mutation Aesthetics: A Study of Laurie Hogin’s Artworks." Sookmyung Research Institute of Humanities 15 (October 31, 2023): 101–24. http://dx.doi.org/10.37123/th.2023.15.101.

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This study explores Laurie Hogin’s unique ecological approach by examining her artworks, which have not been extensively studied in South Korea. The analysis of her works focuses on the salient feature of ‘mutation’, highlighting the ecological perspective rooted in the major concepts of Félix Guattari’s ecosophy. First, through the lens of Guattari’s “Three Ecologies”, it is shown that Hogin’s mutation is not just biological reproduction, but a combination of non-human minorities, human-as-animal, and consumer subjectivity with in the ecosystem. Hogin’s mutation is ecological in its ability to facilitate the transformation of human subjectivity through sensory experiences that deviate from the everyday. It is a delicate endeavor to assess the capacity of artworks to produce new subjectivities. However, Hogin’s works actively reveal non-human others and raise questions about the capitalism’s subjugation through symbols and consumer subjectivity. Consequently, this has the potential to serve as a catalyst for some viewers in their ecological departure. Furthermore, this study argues that art, as a platform for experimentation and exploration, can play an important role in solving ecological problems and facilitating paradigm shifts in human behavior and cognition. Art can be a powerful catalyst in addressing ecological crises by promoting shifts in perception, diverse perspectives, sensory sharing and connection, social dialogue, and interdisciplinary research. Accordingly, this paper concludes by emphasizing that mutation in art is an important key to a future that respects the values of diversity and heterogeneity.

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Journal articles on the topic 'Subjectivity in art'

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