Livre - Embodied fantasies
160 ANK
Description
Livre
Peter Lang
Anker Suzanne 1946 - ...
Flach Sabine
Embodied Fantasies International Conference
Presentation materielle : 1 vol. (272 p.)
Dimensions : 24 cm
Embodied Fantasies, a concept central to art history, theory and practice is concurrently a topic debated in the fields of the neuro- and cognitive sciences, philosophy and phenomenology. This volume focuses on notions of embodiment as they relate to sexuality, aesthetics, epistemology, perception, and fantasy itself. Approaches to modes of fantasies are explored beyond traditional conceptions to include complex thinking processes, subjectivity and inter-subjective experiences. What function do fantasies and their images possess in relation to art as a form of knowledge production? Suzanne Anker is a visual artist and theorist working at the nexus of art and the biological sciences. Her work has been shown both nationally and internationally in museums and galleries including the Walker Art Center, the Smithsonian Institute, the Phillips Collection, P.S.1 Museum, the JP Getty Museum, and the Museum of Modern Art in Japan. Her seminal text The Molecular Gaze: Art in the Genetic Age (co-authored with the late Dorothy Nelkin) was published in 2004. She is the Chair of the Fine Arts Department of School of Visual Arts in New York since 2005. Sabine Flach is Professor for Contemporary Art and Art Theory (visiting) at School of Visual Arts in New York. Her current research focuses on Epistemology and Methodology of Contemporary Art; Praxis and Theory of Contemporary Art; Aisthesis and Media of Embodiment; Epistemology and Aesthetics of Visual Thinking; Emotions and Culture of the Senses; Knowledge of the Arts; Art and Art Theories of the 19th and 20th Centuries; Concepts of Nature.
INTRODUCTION, p. 7 ACKNOWLEGMENTS, p. 15 1. IMAGINING IMAGINATION MEIJNS C.S., What’s Imagining Got to Do with Images?, p. 19 ANKER Suzanne, Bio-ethers and Luminous Ores: Welcome to Wonderland, p. 33 RAÚL GÓMEZ VALVERDE by FLACH Sabine, Sometimes I Begin with a Title, p. 49 2. SENSIBLE DIFFERENCES ELO Mika, (Dis) Synchronies of Vision and Touch, p. 63 KIRKKOPELTO Esa, What Does Imagination Look Like? Notes on the Schematism of the Modalities, p. 73 FLACH Sabine, Negotiation and Metamorphosis: Carsten Höller’s SOMA and Matthew Barney’s Cremaster, p. 83 SCHULD Dawna, Plato’s Shade: Embodying the Cave in Phenomenal Art, p. 99 3. THWARTED EXPECTATIONS SCHARBERT Gerhard, Fantasias - Experimental Induced Psychosis and Modern Aesthetics in 19th Century France, p. 115 MILLER Arthur I., Creative Processes within Fantasies: The Strange Friendship of Wolfgang Pauli and Carl Jung, p. 125 BRANDSTETTER Gabriele, Fantasies of the Catastrophe: Embodiment and Kinaesthetic Awareness in the Performance-Installation of Naoko Tanaka’s «Die Scheinwerferin», p. 139 GILLETTE Frank, Patterns Which Connect: Embodied Fantasies, p. 151 4. PLACES AND SPACES GOESL Boris, Star Arts or Celestial Embodiments: Culturally Conventionalized Constellations and Ambiguous Artistic Asterisms in the Modern Projection Planetarium, p. 159 JOACHIM Mitchell, The Necessity of All Scales: Planetary Design in the Age of Globality, p. 177 KESSLE Mathias by FLACH Sabine, Staging Nature, p. 187 ARTEAGA Alex, Fantasy in a Non-Given World?, p. 195 MARGARETA Hesse by FLACH Sabine, Seeing Red, p. 203 5.POSE AND EXPOSE SCHWAN Alexander, Body-Calligraphies: Dance as an Embodied Fantasy of Writing, p. 217 RICE Shelley, The Grass is Always Greener: Self-Portraiture in the Age of Facebook, p. 229 TALER Laura, Spiegelei, p. 241 GOODEVE Thyrza Nichols, Twilight of the Artworld: From Representation to Ontology in the Work of Matthew Barney, p. 249 ESROCK Ellen, The Phantasmagoria of Everyday Life: The Visceral-Somatic Viewer of Hiroshi Sugimoto and Adolph Menze, p. 257 CONTRIBUTORS, p. 267
Bibliogr. en fin de contributions. Notes bibliogr.
