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- Liljefors, Max, et al.
(författare)
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Ordet och djuren : En dubbel blick på det mänskliga
- 2018
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Ingår i: Bild och natur : Tio konstvetenskapliga betraktelser - Tio konstvetenskapliga betraktelser. - 2001-7510 .- 2001-7529. - 9789198369045 ; 16, s. 13-40
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Bokkapitel (refereegranskat)
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| 2. |
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| 3. |
- Cronqvist, Marie, et al.
(författare)
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Virtualiteter : sex essäer
- 2006
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Sex forskare från olika humanistiska discipliner skriver varsin essä kring temat virtualitet.
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| 4. |
- Liljefors, Max
(författare)
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‘Biospace’ : The visual rhetoric of space in micrographs
- 2018
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Ingår i: Philosophy of Photography. - : Intellect. - 2040-3690 .- 2040-3682. ; 9:2, s. 165-184
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Tidskriftsartikel (refereegranskat)abstract
- Microscopy can depict small biological entities that are invisible to the naked eye – cells, neurons, chromosomes, molecules, etc. Microbiology thereby grants us visual access to dimensions of our bodily interior that are otherwise imperceptible to us. Often, in micrographs, this infinitesimal inner realm is made to resemble the way cosmic space is represented in astronomical pictures – an ‘aesthetic leap’ that ties the microcosm of the body to the macrocosm of the universe. This article explores how aesthetic conventions in microbiological images create meaning that transcends their empirical content, and examines the historical precedents of these conventions in the history of anatomy and their contemporary cultural implications.
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| 5. |
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| 6. |
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Bild och natur : Tio konstvetenskapliga betraktelser
- 2018
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Anthology that investigates the complex relationship between nature and images. The book encompasses 10 chapters focusing on a wide range of empirical material, including photographic works, scientific images, news images, street art, public art, computer games, installation art, religious spaces and architecture.
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| 7. |
- Liljefors, Max, et al.
(författare)
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Atrocity Media: Negotiating the Abject in Images of Torture and Death
- 2013
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Ingår i: Transvisuality: the Cultural Dimension of Visuality. Volume 1: Boundaries and Creative Openings. - 9781846318917 ; , s. 185-206
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Bokkapitel (refereegranskat)abstract
- This essay discusses the dissemination of atrocity images in contemporary mass media, from the photographs of mass-graves in the Nazi concentration camps to the pictures of torture of Iraqi prisoners in Abu Ghraib. The central question is one of distances: the distance between the image and the event, between the picture and the beholder, and between the destroyed human body and the cultural forms through which it is represented. These distances, their upholding and overcoming, are analyzed through the works of three visual artists that have dealt with atrocity imagery in their art: in 1945, an Italian artist encountering the Nazi camps in 1945; a Holocaust survivor merging mass-grave photographs with pornography in the 1960s; and in 2002, a Taiwanese video artist re-enacting a century-old photograph of Chinese torture. The article interprets these artworks as reflecting processes of abjection at work in the mediatization of atrocities throughout late modern society. Julia Kristeva's theory of the abject underpins the argument, that the media, while bringing atrocities to the public’s attention, also establish a reassuring distance to the scenes of atrocity, and enthrall the viewer in a fascination with the images themselves. In the end, this tension between distance and proximity may open for critical reflection and political action.
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| 8. |
- Liljefors, Max
(författare)
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Bilder av Förintelsen. Mening, minne, kompromettering
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis examines the representation in visual culture of the Holocaust, the Nazi genocide of European Jewry. It is divided into three main parts, each one focusing on a particular aspect of Holocaust representation. Part 1, "Meaning" (chapter 1-3), begins by considering the important role played by documentary photographs from the concentration camps for the public knowledge and conception of the Holocaust. The thesis then proceeds to study the work and reception of five artists, between 1945 and 1998, who have used these atrocity photos as a basis for their art: Corrado Cagli, Gerhart Frankl, Rico Lebrun, Boris Lurie and Robert Morris. In some of them, the motive of the mass grave is found to take on new cultural meanings through the passage from documentary- to artistic image. In others, the atrocity imagery instead undermines the conventions of meaning in art. The author proposes the theory of abject and abjection, by the French-Rumanian psychoanalyst Julia Kristeva, as an interpretational model of these negotiations between the motif of the mass grave and visual culture. Part 2,"Memory" (chapter 4-5), first considers the visualisation of Holocaust memory in the forms of video interviews with Holocaust survivors, Holocaust monuments (Buchenwald and Berlin), and photographs of Jewish life before and during the Holocaust. These are analysed with regard to different understandings of Holocaust memory as either "traumatic" or "constructed", borrowed from historiography. The thesis then proceeds to examine Holocaust memory in digital media, such as the Internet and CD-rom, in which the technology seems to foster ideas about memory as programmable and re-programmable. The author detects a shift from "historical" to "virtual" Holocaust memory, when the interactive features of digital media are combined with a pedagogy that stresses empathetic insight and identification. Clashes between competing collective memories over official Holocaust monuments are contrasted to the simultaneous individualisation and universalisation of Holocaust memory in the new media. Part 3, "Incrimination" (chapter 6-8), examines the visual representation of Nazism and forms an antipole to the focus on processes of meaning and identification in the previous parts of the book. "Incrimination" is here understood as a kind of cultural, negative signification of a secondary order, a "counter-meaning" always consisting of the destruction of a pre-existing positive meaning or identity. From this perspective, the author discusses various forms of the visualisation of Nazism, including some adopted by the Nazi regime itself as well as today’s post-modern appropriations of the aesthetics and iconography of Nazism. From the conflict within Nazism over German Expressionism to the censoring of contemporary artists like Melvin Charney, Zbigniew Libera and Ronald Jones from international exhibitions, this study points to the problems involved in visually defining Nazism and its ties to both European cultural traditions and to modernity.
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| 9. |
- Liljefors, Max, et al.
(författare)
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Bilder från det frivilliga våldets arenor: verklighet och representation i nya kampsporttävlingar
- 2006
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Ingår i: Våld. Representation och verklighet. - 9189116879
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- This essay reflects on the strive for realism and intensified experiences in contemporary forms of Mixed Martial Arts contests. It elaborates on the cultural meaning of violence and on the representation of violence in television versus the experience of real, bodily violence. The main theoretical tools are theories of culture, visuality, masculinity, and violence, developed by Roland Barthes, George L. Mosse, and Jacques Lacan.
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| 10. |
- Liljefors, Max, et al.
(författare)
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Prime time trauma - historia och television
- 2005
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Ingår i: Hedendomen i historiens spegel - bilder av det förkristna Norden. - 9189116801
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- A full century ago, H. G. Wells said that a hand seemed to have descended from the sky and turned man’s face towards the future. Wells wrote in an era which saw a new world appear through the progress of technology. Today we may be just as attracted to new technology, but that great hand seems to have come down again and turned man’s head back towards the past. Our own time is characterized by an urge to experience the past. From school journeys to Auschwitz, to reconstructed Viking villages and medieval role-playing, to the History Channel and historical docusoap series, the past is reconstructed to offer intensified experiences of authenticity. This essay relates the contemporary desire to experience the past to the medium of television and video. Television – meaning “distant viewing “, implicating a vision unbound by geographical horizons – is particularly associated with the dimension of time and temporality. As much as by its capacity to reach geographically separate receivers, television has been determined by real-time transmission – it has been the medium of the present, of “now”. With the ability of video technology to liberate the televised “now” from the flow of time and replay it, TV provides the experience of seeing other people’s suffering live or in constant repeats – as with the collapsing WTC towers or the tsunami in Southeast Asia – and the feeling of witness history in its making. Thus, History Channel can promote its coming program about the French revolution in the future tense: “The Revolution Will Be Televised!” Television progressively dominates as source for our knowledge and experience of the world. The implications for our understanding of the past is explored through a juxtaposition of two TV/video reconstructions of history: the popular scientific documentary Virtual History (2003) and the video artwork The Eternal Frame (1975) by the artists’ collectives T.R. Uthco and Ant Farm. The former is an attempt to create through computer animation a “virtual documentary” of the attempted assassination against Hitler in 1944. The latter is a reconstruction of the murder of John F. Kennedy in 1963. Whereas the problem that the creators of Virtual History had to solve was that “nobody actually filmed the attack against Hitler”, T.R.Uthco’s and Ant Farm’s problem was rather the opposite – the Kennedy assassination was filmed and subsequently televised innumerable times.
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