| 1. |
|
|
| 2. |
- Flodin, Camilla, 1977-
(författare)
-
Adorno and Schelling on the art–nature relation
- 2018
-
Ingår i: British Journal for the History of Philosophy. - : Taylor & Francis. - 0960-8788 .- 1469-3526. ; 26:1, s. 176-196
-
Tidskriftsartikel (refereegranskat)abstract
- When it comes to the relationship between art and nature, research on Adorno’s aesthetics usually centres on his discussion of Kant and Hegel. While this reflects Adorno’s own position – his comprehension of this relationship is to a large extent developed through a critical re-reading of both the Kantian and the Hegelian position – I argue that we are able to gain important insights into Adorno’s aesthetics and the central art–nature relation by reading his ideas in the light of Schelling’s conception of this relationship. The article focuses on the similarities between Schelling’s notion of nature’s productivity and Adorno’s understanding of natural beauty. It concludes with a discussion on Adorno’s re-evaluation of the reconciliatory power of the exemplary unity of the artwork in conjunction with Schelling’s comparison between artwork and organism, as well as his concept of the construction of nature.
|
|
| 3. |
- Flodin, Camilla, 1977-
(författare)
-
Art and the Possibility of a Liberated Nature
- 2019
-
Ingår i: Adorno Studies. - 1927-8748. ; 3:1, s. 79-93
-
Tidskriftsartikel (refereegranskat)abstract
- In this article, I argue that Adorno's conception of a possible reconciliation with nature is neither one of complete synthesis, nor absolute alienation. The most elaborated formulations regarding the possibility of such a reconciliation, which would be tantamount to a liberated nature, are to be found in Adorno's aesthetics, and particularly in his discussion of the art–nature relation. The article engages Simon Hailwood’s recent criticism of the concept of the Anthropocene and his discussion of Adorno's conception of the domination of nature. While I concur with Hailwood's insistence on the idea of "alienation from nature" in order to reach a more appropriate understanding of our current predicament, his analysis of Adorno's take on this idea is problematic. I conclude by discussing another recent work on our troubled relationship with nature. While more attentive to artistic expressions than Hailwood's work, Andreas Malm's The Progress of This Storm constitutes an inverted parallel to the former through its negligence of Adorno’s contribution to the discussion of the human–nature dialectic.
|
|
| 4. |
- Flodin, Camilla, 1977-
(författare)
-
I den andres ögon
- 2016
-
Ingår i: The Chosen Ones. - Stockholm : Journal. - 9789187939198 ; , s. 41-43
-
Bokkapitel (populärvet., debatt m.m.)
|
|
| 5. |
- Flodin, Camilla, 1977-
(författare)
-
In the Eyes of the Other
- 2016
-
Ingår i: The Chosen Ones. - Stockholm : Journal. - 9789187939198 ; , s. 41-43
-
Bokkapitel (populärvet., debatt m.m.)
|
|
| 6. |
|
|
| 7. |
- Flodin, Camilla, 1977-
(författare)
-
"The eloquence of something that has no language" : Adorno on Hölderlin's Late Poetry
- 2018
-
Ingår i: Adorno Studies. - 1927-8748. ; 2:1, s. 1-27
-
Tidskriftsartikel (refereegranskat)abstract
- This article focuses on the importance of Hölderlin for Adorno's comprehension of the art–nature relationship. Adorno's most detailed discussion of Hölderlin appears in the essay, "Parataxis: On Hölderlin's Late Poetry." Adorno has been accused of projecting his own philosophical beliefs on Hölderlin. However, I will show that there is valid support in Hölderlin's poetry as well as in his philosophical and poetological writings to reinforce Adorno's claim that Hölderlin’s late poetry is striving to give voice to what is traditionally thought to be art's opposite: nature. The ability of art to mediate nature, and specifically natural beauty, is also of central importance in Adornos Aesthetic Theory, and many of the claims of the "Parataxis" essay re-emerge in this later work.
|
|
| 8. |
- Granath Lagercrantz, Mari, 1966-
(författare)
-
Terrakottaföremål från Ghana på British Museum : Materiella och immateriella assemblage
- 2018
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The purpose of the thesis is to identify, describe and interpret two series of terracotta objects from southern Ghana originally donated by Robert P. Wild to the British Museum in London between 1933 and 1936. The dissertation does not seek to answer questions of origin, intention and meaning, but seeks instead to show how phenomena such as production, distribution and consumption may better be understood as processes and situations that the object passes several times in its “social life”. The terracotta items donated by Wild to the British Museum can be related to what is commonly referred to as “Akan terracottas”, “Memorial terracottas” or “Terracotta funerary sculptures” in art- and cultural history-literature. These names identify a group of terracotta objects (mainly sculpture heads but also vessels) from southern and central Ghana, which have come to hold iconic positions in global cultural history, but also in the international art trade. As many researchers have shown, such terracotta objects are likely to be linked to some kind of funeral tradition, but they may also have had a number of other functions throughout their history. The dissertation is based on the study of a variety of materials relating to the institutional practices at the British Museum, and analyzes both material impressions left on the objects and also intangible aspects of them. By examining and analyzing the museal ethnographic object, the study highlights and discusses how such concepts as time, geographical space and institutional space have been materialized throughout history. In the study, the aim is related to Deleuze and Guattari’s thoughts about assemblage, rhizom and agency, which also assume that each body or object is a combination of different materials, ideas, and their abilities to connect to other bodies, objects, categories and concepts. The investigation also turns to the contemporary artist El Anatsui. The aim here is to show how El Anatsui’s work allows for a new interpretation of the terracotta objects. In the dissertation, it is shown that the circulation of the terracotta objects leaves its marks on them, transforming them, and that it is this ongoing process which creates the objects over and over again.
|
|
| 9. |
- Zeitler, Hendrik, 1975, et al.
(författare)
-
The Chosen Ones : De Utvalda
- 2016
-
Bok (övrigt vetenskapligt/konstnärligt)abstract
- Porträttserien De Utvalda/The Chosen Ones påbörjades 2002 och avslutades under 2015. Bildserien utgår från tanken om överenskommelsen vid porträttfotografering, som manifesteras genom blickkontakten med den avbildade och vad som händer när blicken tillhör någon som inte är medveten om kameran. Till boken har Zeitler samarbetat med skribenten Camilla Flodin som utgår i sin text från Theodor W. Adorno och tanken om det verkligen är djuren som sörjer över att de inte är människor, eller om det är vi som borde sörja?
|
|
