It is not an instance of any form or experience - certainly not an aesthetic experience in any received sense of the word, perhaps not even an experience of an object. The modernist work is absolutely singular, outside the alternatives of universal and particular: an anomaly or heteroclite that alters (and is altered by) whatever context it invades. He is an internationally exhibited and award-winning artist, and author of Interactive Art and Embodiment: the implicit body as performance (Gylphi Limited, 2013).The title of this volume of papers recalls a famous essay by the conceptual artist Joseph Kosuth, "Art After Philosophy" (1969), in which Kosuth cheerfully turned Hegel on his head: "The twentieth century," he wrote, "brought in a time which could be called 'the end of philosophy and the beginning of art.'" By this he meant that the modernist artwork is no longer answerable to any concept except the one peculiar to itself, as in the case of a Marcel Duchamp "Readymade" (a urinal, a snow shovel), which entails the assertion, "This is a definition of art." The definition is appropriately self-defeating. Nathaniel Stern is an Associate Professor of Art and Design in Peck School of the Arts at the University of Wisconsin–Milwaukee, and a Research Associate at the Research Centre, Faculty of Art, Design, and Architecture, University of Johannesburg. (Cover image: Aeolian Ride, created by Jessica Findley) – Amanda Boetzkes, author of The Ethics of Earth Art and Contemporary Art and the Drive to WasteĮcological Aesthetics: artful tactics for humans, nature, and politics, by Nathaniel Stern, is published by Dartmouth College Press, part of the University Press of New England. Its impact lies in its consolidation of art communities, putting weight on the significance of local interventions and aesthetic engagement. Stern, an artist himself, writes with an eco-aesthetic that continually unfurls artful tactics that can also be used in everyday existence.Įcological Aesthetics shows a deepening awareness of the connectivities, relations, events, and the unfolding of reality at different registers and scales. Including dozens of color images, the print book narrativizes artists and artworks-ranging from print to installation, bio art to community activism-contextualizing and amplifying our experiences and practices of complex systems and forces, our experiences and practices of thought. Stream via Soundcloud above, or, for listening with the player of your choice: This audiobook version is read by the author, with background music by João Orecchia. It is a preview, released mid-April 2018 and available now. Stern has also made a free, Creative Commons-licensed recording of the introduction to the book for streaming or download. And aesthetics are a style of, and orientation toward, thought-and thus action.ĭownload the Ecological Aesthetics introduction (20 page PDF, 1MB). Humans, matter, concepts, things, not-yet-things, politics, economics, and industry are all actively shaped in, and as, their interrelation. An ecological approach, says Stern, takes account of agents, processes, thoughts, and relations. With this poetic and scholarly collection of stories about art, artists, and their materials, Nathaniel Stern argues that ecology, aesthetics, and ethics are inherently entwined, and together act as the cornerstone for all contemporary arts practices. Artful tactics for humans, nature, and politicsĮcological Aesthetics is a plea for us to continuously think- and act-with the world and its inhabitants, both human and nonhuman to orient ourselves in ways that we might find and express what our environments, and what they are made of, want and then to decisively help and continue those thoughts, wants, and actions toward novel aims and adventures.
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