Embodied Fantasies, an idea imperative to paintings background, concept and perform is at the same time a subject matter debated within the fields of the neuro- and cognitive sciences, philosophy and phenomenology.
This quantity makes a speciality of notions of embodiment as they relate to sexuality, aesthetics, epistemology, belief, and myth itself.
Approaches to modes of fantasies are explored past conventional conceptions to incorporate complicated considering approaches, subjectivity and inter-subjective reviews. What functionality do fantasies and their photos own relating to paintings as a sort of information construction?
Read or Download Embodied Fantasies: From Awe to Artifice (Art - Knowledge - Theory) PDF
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Additional info for Embodied Fantasies: From Awe to Artifice (Art - Knowledge - Theory)
2 Our interest is to clarify the meaning of “overlooking”: what kind of relationship exists between visibility, that implies a special physical existence of objects, and its counterpart, overlooking, which points to a possible ephemeral quality concerning objects during the process of perception? How could something be the subject of an art piece, or even the art piece itself, that is not there? 1 2 Description by the artist Groys: “Politics of Installation”, p.
3: Chimera Plush. Courtesy of Toy Vault, Inc. 10 In this parable, which was read aloud to children in Victorian England, a young chimney sweep, Tom, appears filthy and uncouth, a clear indication of his lowly social status. In an effort to escape his master and others running after him, he falls into a stream where he descends into a deep sleep. Here he meets up with the fairies who transform him into a 9 10 Balaban: “Brain switching”. Kingsley: The Water Babies.
The artist turns into the fabricator of real experience; a mise-en-scène is staged, and analytic methods refer back to personal experience. The relationship between presence and absence, between immediacy and reproduction is made problematic in those arts and situated in the field of tension between the work and the event. The observing subject is constituted in this process, and at the same time it is perpetually destabilized. The work of art always produces something: namely a hypothesis to see what will happen.