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- Yanagisawa Avén, Elisabet, 1966
(författare)
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Att röra sig över, under och på en yta
- 2013
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Ingår i: ArtMonitor no. 10/2013 p.. - 1653-9958.
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 2. |
- Yanagisawa Avén, Elisabet, 1966
(författare)
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Conatus and Love: Nietzsche, Spinoza, Lou Salomé
- 2014
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Ingår i: International Friedrich Nietzsche Society, Conference “Love and War” in.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In May 1882 Malwida von Meysenbug introduced Paul Rée and Friedrich Nietzsche to a twentyone year old intellectual woman from St. Petersburg named Lou Salomé, with whom Nietzsche fell in love. Salomé and Nietzsche had an exceptional intellectual exchange during a short but intense period. This paper presents Lou Salomé from the perspective of her ethical stance, informed by her philosophical practice as a dedicated student of Spinoza’s metaphysics, and considers the influence that she had on Nietzsche’s perspective on love. With respect to ethics and morality, Lou Salomé was a liberated individual. Yet, she advocated a chaste life and chose not want to engage emotionally with men for much of her life, preferring instead an independent intellectual community. Thus she maintained her own individual ethics apart from the norms of society. Salomé’s intellectual and physical ethics was a manifestation of Spinoza’s notion of conatus and the principal of affect. Conatus means desire or appetite. According to Spinoza’s thinking, conatus is the individual power each being has as a potential. Conatus is immanent and physical, and is discernible in the two attributes of thought and matter. Attracted to Nietzsche’s radical ethics, Salomé’s own ethical ground was affirmative. She embraced conatus together with selfcultivation and embodied her philosophy of conatus throughout her life. In her conversations with Nietzsche 1882, Lou Salomé may have influenced Nietzsche with her dedication and profound interest in Spinoza’s philosophy of the body, “and what a body can do” (Spinoza, Ethics). Thus Spoke Zarathustra is consistent with a Spinozist philosophy, which embraces the body and the affects. Addressing the relation between conatus and love in light of a possible Spinozist influence, this paper will also consider some of the ways that Nietzsche’s writings after 1882 may have been affected by his affinity for Lou Salomé. In fact, Nietzsches notion of power has many similarities with Spinoza’s conatus. This paper presents what Nietzsche has in common with Lou Salomé, in terms of metaphysics. They shared an intellectual community, an understanding of the importance of creating a new philosophy, a post-theologian thinking, derived from affect philosophy and intuitive knowledge.
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| 3. |
- Yanagisawa Avén, Elisabet, 1966
(författare)
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Ikebana and contemporary plant art
- 2014
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Ingår i: Uppsala Botaniska trädgårdar.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)
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| 4. |
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| 5. |
- Yanagisawa Avén, Elisabet, 1966
(författare)
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The Fold, A Physical Model of Abstract Reversibility and Envelopment
- 2017
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Ingår i: The Dark Precursor: Deleuze and Artistic Research. - Leuven : Leuven University Press. - 9462701180 - 9789462701182
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Bokkapitel (refereegranskat)abstract
- For artistic research, the model of the fold is exceptionally interesting because it deals with how form and contents intertwine in a physical model, and how concrete and abstract interrelate on the plane of consistency. In my chapter I focus on chapter two in "The Fold" by Gilles Deleuze, and take up the concept of inflection as an elastic point in the model of the fold that discloses a reality of reversibility. Deleuze states that for Paul Klee the point as a “nonconceptual concept of noncontradiction” (15) moves along an inflection. “It is the point of inflection itself, where the tangent crosses the curve. That is the point-fold” (ibid). Through a simple sketch, Deleuze demonstrates how the point of inflection is the point where the concave turns to be convex. This is the point of inflection. What happens in the point of inflection? Is it a conjunction? A passage? It would seem that this very special point is a point that conceals a profound metaphysical realization. It is a physical point in the attribute of extension that corresponds to an invisible point of abstraction in the attribute of thought. Deleuze wants to draw attention to this point by referring to the thinking of Leibniz, the Neoplatonists, and Whitehead. Because of the existence of concave and convex, there are different point of views, depending on which place we see from. The enfolding reality has multiple points of views; each point of view is a perspective. It appears that we are captured in our point of view. There is always a reversible side of a point of view, and by the power of the imagination we can think the concept of reversibility. A physical model of the fold reveals, in fact, a metaphysical reality of the attributes, and the power of the attributes, according to Deleuze’s references to Spinoza. This thinking of Deleuze encompasses several crucial things: First, we assume that reality has a mirroring construction; in other words, reality corresponds to an abstract reality that the model of the Fold demonstrates. That is to say, physical reality and abstraction are two sides of the same coin. Second, the model of enfolding implies an innate life, the life of a monad, a singularity as a soul. Deleuze writes, “We are moving from inflection to inclusion in a subject, as if from virtual to the real, inflection defining the fold, but inclusion defining the soul or the subject, that is, what envelops the fold, its final cause and its complete act.” (24). Finally, Deleuze asks, “in order that the virtual can be incarnated of effectuated, is something needed other than this actualization in the souls? Is a realization in the matter also required, because the folds of this matter might happen to reduplicate the folds in the soul?” (29). I explore whether the way of creating folds in matter leads to a life of sensibility, by making sculptoral models of folds though a process of autogenesis. The art work consists of a preparation of a material for making folds in matter. By letting them coagulate, I thereby “freeze” the process to a fixed form, in order to let a “nondimensional point between dimensions” (16) be visible. Reference: Gilles Deleuze. The Fold: Leibniz and the Baroque. Trans. with foreword by Tom Conley. Minneapolis: University of Minnesota Press, 1992.
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| 6. |
- Yanagisawa Avén, Elisabet, 1966
(författare)
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Thixsis ; Vestures ; Isis ; Eleven
- 2013
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Ingår i: Asashimachi Museum and Saito Villa, Niigata, Japan.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Thixis, Vestures, Isis and Eleven are parts in the Art Exhibition ”Wave from Sweden” 27 July-25 Aug 2013, Saito Villa, Asashimachi, Niigata , Japan
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