Posts tagged ‘aesthetics’
The Autonomy of the Aesthetic Process
With introduction by Bruno Bosteels
by Alain Badiou / RP 178 (Mar/Apr 2013) / Article
After achieving considerable critical acclaim with Almageste and Portulans – two avant-garde novels that promptly caught the attention of his long-time intellectual model Jean-Paul Sartre – Alain Badiou published ‘The Autonomy of the Aesthetic Process’, his first work as a philosopher.1 Written in 1965 as part of a seminar presented under the aegis of his …
Strategies of distinction
Rancière's Aisthesis and the two regimes of art
by Nicolas Vieillescazes / RP 177 (Jan/Feb 2013) / Article
At the root of Jacque Rancière’s work lies a gesture of dissociation: to unfasten the people, the poor and the proletariat from the Marxist discourses to which they were so firmly fixed that one might think them to be sewn from the same cloth; to reveal the will to mastery and domination inherent in …
Claire Fontaine
Giving shape to painful things
by Claire Fontaine, Andrew Culp and Ricky Crano / RP 175 (Sep/Oct 2012) / Interview
Parisian artist Claire Fontaine is a fraud, a forgery, her name casually lifted from a generic brand of school notebooks, her existence only present in the art that bears her signature. She was first brought to life in 2004 by Fulvia Carnevale and James Thornhill. She resides now in the neon gas, the …
Who Was Oscar Masotta? Response to Derbyshire
Letter
by Daniel R. Quiles / RP 164 (Nov/Dec 2010) / Extras
Philip Derbyshire (‘Who Was Oscar Masotta? Psychoanalysisin Argentina’, RP 158) should be commended for his insightful consideration of the literary and psychoanalytic writings of Oscar Masotta, one of the most important Argentine intellectuals of the 1960s and 1970s. I would like to make a case for juxtaposing these texts with Masotta’s idiosyncratic and interdisciplinary explorations …
Notes on the photographic image
Dossier: Undoing the Aesthetic Image
by Jacques Rancière / RP 156 (Jul/Aug 2009) / Article, Dossier, Undoing the Aesthetic Image
People exposed, people as extras
Dossier: Undoing the Aesthetic Image
by Georges Didi-Huberman / RP 156 (Jul/Aug 2009) / Article, Dossier, Undoing the Aesthetic Image
Body without image: Ernesto Neto’s Anti-Leviathan
Dossier: Undoing the Aesthetic Image
by Éric Alliez / RP 156 (Jul/Aug 2009) / Article, Dossier, Undoing the Aesthetic Image
[T]he great Leviathan is that one creature in the world which must remain unpainted to the last.
– Herman Melville, Moby-Dick
The IMAGE-grip is dislocated and a more fundamental element emerges … in short, IMAGE is not the work’s supreme motive or unifying end.
– Hélio Oiticica, Block Experiments
In the immense emptiness and sepulchral …
This is not my body
Dossier: Undoing the Aesthetic Image
by Elisabeth Lebovici / RP 156 (Jul/Aug 2009) / Article, Dossier, Undoing the Aesthetic Image
Commodity aesthetics revisited
Exchange relations as the source of antagonistic aesthetization
by Wolfgang Fritz Haug / RP 135 (Jan/Feb 2006) / Article
The sublime from Lyotard to Schiller
Two readings of Kant and their political significance
by Jacques Rancière / RP 126 (Jul/Aug 2004) / Article
Deleuze and Neo-aesthetics,Tate Modern, 21–22 September 2001
by Jon Beasley-Murray / RP 111 (Jan/Feb 2002) / Conference Report
New German aesthetic theory
Martin Seel’s art of diremption
by Austin Harrington / RP 109 (Sep/Oct 2001) / Article
On autonomy and the avant-garde
by John Roberts / RP 103 (Sep/Oct 2000) / Article
Surveying the current state of Anglophone art criticism, cultural theory and philosophical aesthetics, I am repeatedly struck by how disoriented or effervescently celebratory this writing is in the face of the art of the last thirty years. Indeed, the problem of how the last thirty years of art might be assessed and periodized after the …
Backwoods musicology
Roger Scruton’s aesthetics of music
by Ben Watson / RP 099 (Jan/Feb 2000) / Commentary
Arthur C. Danto
Art and analysis
by Arthur C. Danto and Peter Osborne / RP 090 (Jul/Aug 1998) / Interview
RP: Your philosophical work appears to be made up of two fairly distinct strands: what one might call a mainstream analytical strand and a more unconventional aesthetic strand. The second strand is dissident, first because itʼs about aesthetics – it takes art seriously, philosophically – and second because itʼs broadly Hegelian in inspiration. Historically, analytical …
The Autonomy of the Aesthetic Process
With introduction by Bruno Bosteelsby Alain Badiou / RP 178 (Mar/Apr 2013) / Article
After achieving considerable critical acclaim with Almageste and Portulans – two avant-garde novels that promptly caught the attention of his long-time intellectual model Jean-Paul Sartre – Alain Badiou published ‘The Autonomy of the Aesthetic Process’, his first work as a philosopher.1 Written in 1965 as part of a seminar presented under the aegis of his …
Strategies of distinction
Rancière's Aisthesis and the two regimes of artby Nicolas Vieillescazes / RP 177 (Jan/Feb 2013) / Article
At the root of Jacque Rancière’s work lies a gesture of dissociation: to unfasten the people, the poor and the proletariat from the Marxist discourses to which they were so firmly fixed that one might think them to be sewn from the same cloth; to reveal the will to mastery and domination inherent in …
Claire Fontaine
Giving shape to painful thingsby Claire Fontaine, Andrew Culp and Ricky Crano / RP 175 (Sep/Oct 2012) / Interview
Parisian artist Claire Fontaine is a fraud, a forgery, her name casually lifted from a generic brand of school notebooks, her existence only present in the art that bears her signature. She was first brought to life in 2004 by Fulvia Carnevale and James Thornhill. She resides now in the neon gas, the …
Who Was Oscar Masotta? Response to Derbyshire
Letterby Daniel R. Quiles / RP 164 (Nov/Dec 2010) / Extras
Philip Derbyshire (‘Who Was Oscar Masotta? Psychoanalysisin Argentina’, RP 158) should be commended for his insightful consideration of the literary and psychoanalytic writings of Oscar Masotta, one of the most important Argentine intellectuals of the 1960s and 1970s. I would like to make a case for juxtaposing these texts with Masotta’s idiosyncratic and interdisciplinary explorations …
Notes on the photographic image
Dossier: Undoing the Aesthetic Imageby Jacques Rancière / RP 156 (Jul/Aug 2009) / Article, Dossier, Undoing the Aesthetic Image
People exposed, people as extras
Dossier: Undoing the Aesthetic Imageby Georges Didi-Huberman / RP 156 (Jul/Aug 2009) / Article, Dossier, Undoing the Aesthetic Image
Body without image: Ernesto Neto’s Anti-Leviathan
Dossier: Undoing the Aesthetic Imageby Éric Alliez / RP 156 (Jul/Aug 2009) / Article, Dossier, Undoing the Aesthetic Image
[T]he great Leviathan is that one creature in the world which must remain unpainted to the last.
– Herman Melville, Moby-Dick
The IMAGE-grip is dislocated and a more fundamental element emerges … in short, IMAGE is not the work’s supreme motive or unifying end.
– Hélio Oiticica, Block Experiments
In the immense emptiness and sepulchral …
This is not my body
Dossier: Undoing the Aesthetic Imageby Elisabeth Lebovici / RP 156 (Jul/Aug 2009) / Article, Dossier, Undoing the Aesthetic Image
Commodity aesthetics revisited
Exchange relations as the source of antagonistic aesthetizationby Wolfgang Fritz Haug / RP 135 (Jan/Feb 2006) / Article
The sublime from Lyotard to Schiller
Two readings of Kant and their political significanceby Jacques Rancière / RP 126 (Jul/Aug 2004) / Article
Deleuze and Neo-aesthetics,Tate Modern, 21–22 September 2001
by Jon Beasley-Murray / RP 111 (Jan/Feb 2002) / Conference Report
New German aesthetic theory
Martin Seel’s art of diremptionby Austin Harrington / RP 109 (Sep/Oct 2001) / Article
On autonomy and the avant-garde
by John Roberts / RP 103 (Sep/Oct 2000) / ArticleSurveying the current state of Anglophone art criticism, cultural theory and philosophical aesthetics, I am repeatedly struck by how disoriented or effervescently celebratory this writing is in the face of the art of the last thirty years. Indeed, the problem of how the last thirty years of art might be assessed and periodized after the …
Backwoods musicology
Roger Scruton’s aesthetics of musicby Ben Watson / RP 099 (Jan/Feb 2000) / Commentary
Arthur C. Danto
Art and analysisby Arthur C. Danto and Peter Osborne / RP 090 (Jul/Aug 1998) / Interview
RP: Your philosophical work appears to be made up of two fairly distinct strands: what one might call a mainstream analytical strand and a more unconventional aesthetic strand. The second strand is dissident, first because itʼs about aesthetics – it takes art seriously, philosophically – and second because itʼs broadly Hegelian in inspiration. Historically, analytical …
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