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The Symbolist Roots of Modern Art
With the words ?A new manifestation of art was ... expected, necessary, inevitable,? Jean Mor? announced the advent of the Symbolist movement in 1886. When Symbolist artists began experimenting in order to invent new visual languages appropriate for representing modern life in all its complexity, they set the stage for innovation in twentieth-century art. Rejecting what they perceived as the superficial descriptive quality of Impressionism, Naturalism, and Realism, Symbolist artists delved beneath the surface to express feelings, ideas, scientific processes, and universal truths. By privileging intangible concepts over perceived realities and by asserting their creative autonomy, Symbolist a...
Landscape Theory in Design
Phenomenology, Materiality, Cybernetics, Palimpsest, Cyborgs, Landscape Urbanism, Typology, Semiotics, Deconstruction - the minefield of theoretical ideas that students must navigate today can be utterly confusing, and how do these theories translate to the design studio? Landscape Theory in Design introduces theoretical ideas to students without the use of jargon or an assumption of extensive knowledge in other fields, and in doing so, links these ideas to the processes of design. In five thematic chapters Susan Herrington explains: the theoretic groundings of the theory of philosophy, why it matters to design, an example of the theory in a work of landscape architecture from the twentieth ...
Thinking Space, Advancing Art
Existing art theory is obsessed by theories of spectatorship based on concepts of signification derived from language. This book shows the weakness of such a perspective, and, as an alternative, argues that individual aesthetic transformations of pictorial structure change one’s experience of space. In addition, it proves that this transformation is an ongoing process; pictorial art is progressively articulated through historical development, and is, therefore able to increase its cognitive and aesthetic scope. To support such a perspective, the book brings together ideas from Ernst Cassirer and Paul Crowther. Cassirer’s philosophy of symbolic forms offers a profound way of understanding historical transformations in our experience of space, and Crowther’s work on imagination and aesthetics shows how this can be extended to pictorial space and the uniqueness of pictorial art. By combining the two approaches, it is demonstrated how pictorial art extends our basic involvement in, and cognition of, space, and provides it with a special kind of aesthetic meaning.
Immigrant Industry
After the end of the Second World War, migrants were critical to the spatial making of modern Australia. Major federally funded industries driving postwar nation-building programs depended on the employment of large numbers of people who had been displaced by the war. Directed to remote, rural and urban industrial sites, migrant labor and resettlement altered the nation’s physical landscape, providing Australia with its contemporary economic base. While the immigrant contribution to nation-building in cultural terms is well-known, its everyday spatial, architectural and landscape transformations remain unexamined. This book aims to bring to the foreground postwar industry and immigration to comprehensively document a uniquely Australian shaping of the built environment.
Gender, Sexuality and Museums
Gender, Sexuality and Museums provides the only repository of key articles, new essays and case studies for the important area of gender and sexuality in museums. It is the first reader to focus on LGBT issues and museums, and the first reader in nearly 15 years to collect articles which focus on women and museums. At last, students of museum studies, women’s studies, LGBT studies and museum professionals have a single resource. The book is organised into three thematic parts, each with its own introduction. Sections focus on women in museum work, applications of feminist and LGBT theories to museum exhibitions, exhibitions and collections pertaining to women and individuals who are LGBT. ...
Being Modern
In the early decades of the twentieth century, engagement with science was commonly used as an emblem of modernity. This phenomenon is now attracting increasing attention in different historical specialties. Being Modern builds on this recent scholarly interest to explore engagement with science across culture from the end of the nineteenth century to approximately 1940. Addressing the breadth of cultural forms in Britain and the western world from the architecture of Le Corbusier to working class British science fiction, Being Modern paints a rich picture. Seventeen distinguished contributors from a range of fields including the cultural study of science and technology, art and architecture, English culture and literature examine the issues involved. The book will be a valuable resource for students, and a spur to scholars to further examination of culture as an interconnected web of which science is a critical part, and to supersede such tired formulations as 'Science and culture'.
Art, Agency and the Continued Assault on Authorship
This book presents a counter-history to the relentless critique of the humanist subject and authorial agency that has taken place over the past fifty years. It is both an interrogation of that critique and the tracing of an alternative narrative from Romanticism to the twenty-first century which celebrates the agency of the artist as a powerful contribution to the wellbeing of the community. It does so through arguments based on philosophical aesthetics and cultural theory interspersed with case histories of particular artists. It also engages with a second issue that cannot be separated from the first. This is the question of what the role and purpose of art is in society. This has become p...
The Cognitive Basis of Aesthetics
This book seeks to fill a void in contemporary aesthetics scholarship by considering the cognitive features that make the aesthetic and artistic worthy of philosophical study. Aesthetic cognition has been largely abandoned by analytical philosophy, which instead tends to focus its attention on the ‘non-exhibited’ properties of artwork or issues concerning semantic and syntactic structure. The Cognitive Basis of Aesthetics innovatively seeks to correct the marginalization of aesthetics in analytical philosophy by reinterpreting aesthetic cognition through an integration of Ernst Cassirer’s philosophy of symbolic forms with Paul Crowther’s theory of imagination and philosophy of art. This integration has three important outcomes: 1) it explains why the aesthetic and artistic constitute a unique form of knowledge; 2) it shows the role this plays in the formation of aesthetics as a discipline; and 3) it describes why aesthetic cognition is so deeply engaging. This book’s unique theoretical approach engages with important works of visual, conceptual, and digital art, as well as literature, music, and theatre.
The Art of Ectoplasm
The legacy of the Hamiltons’ psychic archive In the wake of the First World War and the 1918–19 pandemic, the world was left grappling with a profound sense of loss. It was against this backdrop that a Winnipeg couple, physician T.G. Hamilton and nurse Lillian Hamilton, began their research, documenting and photographing séances they held in their home laboratory. Their extensive study of the survival of human consciousness after death resulted in a stunning collection of hundreds of photographs, including images of tables flying through the air, mediums in trances, and, most curious of all, ectoplasm—a strange, white substance through which ghosts could apparently manifest. The Art o...
Biocentrism and Modernism
Examining the complex intersections between art and scientific approaches to the natural world, Biocentrism and Modernism reveals another side to the development of Modernism. While many historians have framed this movement as being mechanistic and "against" nature, the essays in this collection illuminate the role that nature-centric ideologies played in late-nineteenth to mid-twentieth-century Modernism. The essays in Biocentrism and Modernism contend that it is no accident that Modernism arose at the same time as the field of modern biology. From nineteenth-century discoveries, to the emergence of the current environmentalist movement during the 1960s, artists, architects, and urban planners have responded to currents in the scientific world. Sections of the volume treat both philosophic worldviews and their applications in theory, historiography, and urban design. This collection also features specific case studies of individual artists, including Raymond Duchamp-Villon, Paul Klee, Wassily Kandinsky, and Jackson Pollock.
