| 1. |
- Andersson, Fred, et al.
(författare)
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Skriftens Teknologi som visuellt tema – Ett historiskt perspektiv
- 2002
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Ingår i: Perspektiv på samtiden, samtida perspektiv: Forskning om det sena 1900-talets och det nya millenniets konst och visuella kultur.
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- To talk about Writing Technology instead of just Writing is tantamount to turning one's attention towards the material circumstances of Writing and Printing - the materiality of the textual Signifier. Defined very broadly, technology is everything that is an extension of the human body. In this sense, Writing Technology is the technology that makes it possible to make external representations of Thinking and Speech, these representations being Extensions outside of the body in which the thinking and speaking takes place. To talk about different kinds of writing technology is to talk about different degrees of separation between Body and Writing, and between Word and Image. According to Marshall McLuhan, this separation culminates in the Gutenberg technology of printing and the appearance of a totally new human type - the Typographical Man. Using, in a characteristically selective manner, the scientific findings and speculations of others, McLuhan states that the age of typography is an age in which Sight dominates over the other senses. However often regarded as one of the forerunners of postmodernism, McLuhan is a highly ambiguous writer. Texts like The Gutenberg Galaxy may as well count as typical examples of modernist art theory. From a McLuhanesque point of view, the idea of audio-visual unity in both Italian and Russian futurism may represent the final perversion and alienation of writing technology and textual culture - a stage in which not only letters but also sounds are regarded as visual, material objects in space. Like Walther J Ong, one may ask whether visual or concrete poetry could even exist without the dominance of sight.
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| 2. |
- Bydler, Charlotte
(författare)
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The Global Art World, Inc. : On the globalization of contemporary art
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study examines certain segments of the art world-system in which geographical distances seemed to vanishing as a result of faster and more intense interaction levels. This particular art world-system has been conceptualized in contradictory ways. It has been called a “global village”, and has been seen as homogenized and diversified, as well as both expanding, and contracting. Experiences of mutual understanding and shared artistic values underly the possibilities of particular art world expanding. This premise was identified as a “western art concept”, so-called institutional art theory. However, the expectations of audiences, critics, and artists are changing. The widening cultural labour-market supplies new and unfamiliar historical references to the authoritative literature and artworks of the “western art concept”. I have sought out both shared and diverse authorities through case studies of contemporary art biennials held in Venice, Havana, Istanbul, and Kwangju, as well as the itinerant Manifesta. All of the above constitute an important labour-market for the increasing numbers of freelancing art world professionals.The thesis derived from these examples is that the identification of the art concept as a western phenomenon, which is based on claiming the origins and even the ownership of practices represented within historical (historicist) institutions, is untenable. The avant-garde art world, in contrast, attempts to globally break with art concepts. It seeks out resistance to art world discourse, that which sits on the walls of educational institutions, museums, and the knowledge represented therein. Art worlds, however, are connected regionally. They are not stable, and are even less identifiably western. It is thus difficult to historicize the art concept in order to create this resistance. Nevertheless, it may be legitimate to attempt this, in order to provide a means of inspection and comparison. Individuals within the art world-system are nevertheless interpelled as subjects of history in reference to institutionalized precedents. This calls for a re-writing of art history, taking into account multiple discontinuities instead of relying on chronology.
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| 3. |
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| 4. |
- Hayden, Hans
(författare)
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Diskursens oordning
- 2002
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Ingår i: Perspektiv på samtiden/samtida perspektiv. ; , s. 145-153
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Bokkapitel (refereegranskat)
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| 5. |
- Hayden, Hans
(författare)
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Konsthistoria som universitetsdisciplin
- 2000
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Ingår i: 8 kapitel om konsthistoriens historia i Sverige. - : Raster förlag, Stockholm. ; , s. 63-91
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Bokkapitel (refereegranskat)
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| 6. |
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| 8. |
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| 9. |
- Hayden, Hans
(författare)
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Professorer i konstvetenskap
- 2000
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Ingår i: 8 kapitel om konsthistoriens historia i Sverige. - : Raster förlag, Stockholm.
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Bokkapitel (populärvet., debatt m.m.)
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| 10. |
- Liljefors, Max, et al.
(författare)
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Fotografiet som historiskt och virtuellt minne
- 2002
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Ingår i: Perspektiv på samtiden/Samtida perspektiv. Forskning om det sena 1900-talets och det nya milleniets konst och visuella kultur. - 9197410012 ; , s. 69-74
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Konferensbidrag (refereegranskat)abstract
- This paper examines the role of the photograph as vehicle for historic and virtual memory, in the remembrance culture of the Holocaust.
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