Anton Raederscheidt’s Distorted Self-Portraits and Their Significance for Understanding Balance in Art

Following a right cerebral stroke, the German artist Anton Raederscheidt produced a remarkable series of self-portraits that depicted his severe visual neglect and gradual recovery. These distorted images, like those drawn by others with this disorder, inform us about lateral balance in art and why it is common in the art of cultures separated in time and space. After describing how artists in various cultures have employed lateral balance, I present Arnheim’s view that this aspect of art is the result of visual forces generated by the brain. Following a brief history of visual neglect, I present evidence that this disorder provides us with clues to the origin of the visual forces responsible for lateral balance in art. The relevant brain mechanisms control exploration of visual space by integrating orienting movements with visual spatial information. The prevalence of lateral balance in art becomes understandable when we consider that these brain mechanisms evolved to promote survival in our vertebrate ancestors. I end with a speculative neurological account of the aesthetics of lateral balance – why it is pleasing and its absence is displeasing.     

The Role of Theatre in Society: A Comparative Analysis of the Socio-Cultural Theories of Brecht,Benjamin, and Adorno

Abstract

This article analyzes the socio-cultural theories of Adorno, Benjamin, and Brecht through the lens of the theatre, most especially as it pertains to the work of actors. It explores the forces of capitalism that determine how art is produced, distributed, and consumed. Following Adorno’s reading of Marx, actors are here posited as commodities whose labor is separated from the product they create for public consumption. This commodification raises various questions: How does a market economy shape the production and consumption of art? What is technology’s function in the commodification of art? What is art’s sociopolitical role and how does it apply to theatre? To address these questions I juxtapose the cultural theory of Adorno and Benjamin with Brecht’s epic theatre. This comparison exposes the ritualistic potential of the theatre to bring an audience together as a community through sharing a socially enriching event.     

Images of Uncertainty: some thoughts on the meaning of form in in the art of Late Antiquity

Abstract

My concern is with the change in style in the visual arts which occurred with the emergence of Late Antiquity. The discussion is intended to fall into three parts; in the first part I review how art historians have approached Late Antique art and examine some of the theoretical positions that have arisen through attempts to explain style in art; in the second part I shall endeavour to formulate my own theoretical explanation and I shall go on, in the third part, using some examples, to consider how this theoretical formulation is particularly valuable in the analysis of the art of the Late Antique period.     

Quantifying Postdepositional Redistribution of the Archaeological Record Produced by Freeze–Thaw and Other Mechanisms: An Experimental Approach

Archaeologists regularly cite frost-related mechanisms as potential transport agents capable of redistributing the archaeological record. Specific data quantifying the scale of frost-induced disturbances, however, are regrettably few. In this paper I present several sets of empirical data obtained from the initial results of a long-term experiment. Test objects positioned in a control plot configured to minimize forces extraneous to frost activity (e.g., wind) demonstrated an average lateral movement of 7.8 cm over a 3-year period. In a second plot that lacked restraints on other variables, test objects migrated an average of 31.8 cm over the same period. Extrapolated over prolonged periods, these data have profound implications for the interpretation of intrasite spatial patterning.     

The Cognitive Function of Music. Part II

Abstract

Ancient and contemporary theories of the cognitive functions of music are reviewed and compared with the hypothesis (advanced in Part I) that music performs a fundamental cognitive function, helping to maintain psychic balance in the face of the diversity of the world. Considering historical evidence of the evolution of cultures and consciousness, a parallel evolution of music as a powerful and unifying emotional mechanism is demonstrated and recent cognitive experiments that have confirmed this hypothesis are summarized. The neural mechanisms of music include mental representations which unify the entire life experience. It follows that music is fundamental in making human evolution possible. The human mind and our human cultures would not exist as they do today without music. Future theoretical and experimental research directions are outlined.     

ELECTIVE AFFINITIES AND THEIR PHILOSOPHY

Elective Affinities: Musical Essays on the History of Aesthetic Theory collects a selection of Lydia Goehr's recent essays. In them she traces "a history of attraction and reaction … of music to philosophy, drama, birdsong, crime, film, and nationhood" (ix). Goehr examines the ways that philosophers, the ideas that they present, and works of art display "elective affinities". Her procedure is like that of an art historian who presents parallel slides to reveal visual affinities, even between artists who themselves were unaware of each other. Her analyses are erudite, lucid, and always suggestive, but what I found most admirable in Elective Affinities is Goehr's extraordinarily brave experimentation with a novel form of philosophy-writing, the adumbration of which is the focus of this review. Her book is strange enough to be genuinely magnificent and lastingly influential.     

The brains in Brain: the coevolution of localization and its images

Images of brain localization from Brain's inception to the present are analyzed. Textual representations and their accompanying images are shown to coevolve; that is, the technological and conceptual development of the research program of localization is shown to evolve simultaneously with the exploitation of visual resources that support these developments. The semiotics of Peirce, the social semiotics of Kress and van Leeuwen, and the insights of Gestalt psychology provide a critical vocabulary with which to describe and to analyze these visual resources. I conclude that brain images evolve in a manner that reflects the uniformity in measuring instruments and the increase in their precision in the localization of brain functions; at the same time, they draw attention away from a persistent constraint: the brain functions so precisely localized are just those that are not constitutive of our humanity.     

Truth as historical recapitulation: the dead of Cape Town’s District One

In this essay, I reflect on the massive and dramatic re-emergence of the dead of Cape Town’s District One in 2003, and its aftermath. I discuss how the resurfacing of these ancestors helps us understand how heritage discourses operate in Cape Town, and how their agency forces us to consider what it means to live in the city during post-apartheid urban renewal. I argue that the agency of the District One dead hinges on their exposure of the internal workings of discourse and the associated disciplinary practices through which we experience Cape Town and its heritage. This story ends ambiguously. I discuss how, following the storage of the District One dead in the Prestwich Ossuary, the gaze on Cape Town was redirected away from the city’s past and towards its future; I explore how their reinterment foreclosed a series of discussions regarding the reconciliation of past events with the present realities of Cape Town. I argue, finally, that truth at District One can be understood as a form of historical recapitulation.     

Face-Work: Making Hair Matter in Sixteenth-Century Central Europe

Bringing gender history, the history of the body and art history into a conversation with material culture studies, this article argues that the sudden fashionability of beards in Renaissance Europe has been intricately linked with a culture of material and visual experimentation. I propose shifting perspectives from a focus on the symbolism of beards towards examining how early modern ways of material engagement with the matter of hair crafted a visual attention to facial hair that made up the sociocultural significance of beards. Focusing on how people made hair matter, I suggest working with the concept of face-work. In particular, this article maps how the Reformation upheavals and the rise of new visual practices dynamised Renaissance protagonists’ creative engagement with facial hair as a means for staging the self.     

A Platform for Art: Infrastructural Citizenship Beyond Monumentality in Toronto’s Transit Art

The flourishing of transit art globally reflects a widespread belief in the power of aesthetic practices to promote infrastructural and civic revitalisation. This article analyses how transit art engages spaces and practices of publicness and how art explores ideas of mobility in Toronto. It argues that while arts are frequently deployed to reproduce status quo relations of power and to bolster elite and exclusionary forms of urbanisation, they can also work to challenge these. Through the notion of infrastructural citizenship, I show how arts can unsettle grounds of public space and public life and illuminate the contentious relations that cohere in public transit space. Overall, I claim that transit networks are a key platform through which the politics of public art are staged and that despite existing constraints, there are many affordances for transit art to critically intervene into neoliberal urban processes.     

‘Eternity's commissioner’: Thomas Carlyle,the Great Irish Famine and the geopolitics of travel

In 1846 and again in 1849 the Scottish born historian and social critic, Thomas Carlyle, travelled Ireland accompanied by the Irish nationalist Charles Gavan Duffy. Significantly, these dates profile the beginning and the deadly culmination of the Great Irish Famine. It is somewhat surprising, therefore, that Carlyle's published memoirs of his travels and his various pamphlets on Ireland have merited little scholarly attention. As well as addressing this oversight this paper attempts to place Carlyle's travel writing within the ideological contours of the Great Famine and, to this end, I outline a specific example of what I call the ‘geopolitics of travel’. Principally this paper offers an empirical and theoretical analysis of how powerful political rationalities are produced at the ‘contact zone’ of two cultures. I consider Carlyle's shift from being a critic of laissez-faire to being a defender of property and argue that this parallels his propensity to qualify what amounts to human value through environmental and racial readings of the Famine. Finally, I briefly suggest that such calculations take us into the domain of ‘governmentality’ and capitalist political economy, perhaps the two most powerful forces directing the course of the Irish Famine.     

Reconnecting with darkness: gloomy landscapes,lightless places

This paper investigates the effects and affects of darkness, a condition that is progressively becoming less familiar for those of us in the over-illuminated West. In countering the prevailing cultural understanding that darkness is a negative condition, I draw attention to other historical and cultural ways of positively valuing darkness. Subsequently, in drawing on two sites, a gloomy landscape at a dark sky park in South Scotland, and a tourist attraction in which a simulation of New York is experienced in a completely dark environment, I explore the multivalent qualities of darkness. In foregrounding the becoming of sensory experience in gloomy space, I highlight the mobilisation of alternative modes of visual perception in as well as the emergence of non-visual apprehensions, and suggest that the potentialities of darkness might foster progressive forms of conviviality, communication and imagination.     

Critical artistic interventions into the geopolitical spaces of islands

Something about the apparent romanticism of islands prompts creative reflections such as those comprising visual artworks in the Dis-covery exhibition touring Australia for 2 years from 2011. The exhibition forms the basis for this paper, written by its progenitor and curator—an artist, and its essayist—a cultural geographer. The curatorial premise was that islands and island cultures are at risk from global and multinational forces, as well as from amplified local impacts internal to the limits of their boundaries. In turn, the exhibition's aim was to trouble the layered cultural clichés that represent island conditions especially in terms of the romantic. Participating artists—all of whom have lived on islands—were invited to explore how islands and romanticism are both containers for disparate yet overlapping ideas, among them references to imagination, projected desire, unsatisfied longing, rising tides, exoticism, resource mining, militarism and marginalization. Drawing on conversations with the artists, and on their writings and works, this paper captures insightful reflections about islands, arts and the geopolitical imagination; reveals significant artistic interventions into the geopolitical spaces of islands; and underscores the productive relations that derive from critical and creative engagements between geography and art.     

Multiple Horizons: Phenomenology,Cubism, Architecture

Phenomenology is often described as a paradigm shift that calls for a re-assessment of inherited themes and concepts. One of its most important contributions is the central role given to the embodied subject as opposed to the conception of the disembodied subject that has dominated philosophy since Descartes. If perspectival painting best represents the paradigm of modern philosophy since the Renaissance, it is the multiple perspectives of Cubist painting that best represent the phenomenological paradigm. While the relationship between phenomenology and art has been widely studied, my aim in this article is to focus on the way in which Cubism represents the embodied, horizonal structure of our perception, and then to discuss the new form of contemporary art installation as an actualization of Cubist principles in the age of digital reproduction. The embodiment of the subject necessarily involves intersubjectivity, for others appear in the subject’s contextual frame of public space. While for Arendt the shift from private subjective space to public intersubjective space is effected through dialogue, I argue that it is also effected architecturally, for architecture facilitates dialogue by offering multiple perspectives on common space and shared time. I suggest, finally, that architecture’s multiperspectival strategies offer the humanities a useful model of a multidisciplinary methodology.     

HOW THE VISUAL IS SPATIAL: CONTEMPORARY SPATIAL HISTORY,NEO-MARXISM,AND THE GHOST OF BRAUDEL

Contemporary spatial history is founded on the potential for maps and other visualizations to show the historical constructedness of space, usually in broadly neo-Marxist terms, yet neo-Marxist geographical theory is famously critical of visual representation, especially mapping. At stake in this contradiction isn't just the relationship between digital enthusiasm and spatial theory (or the wider spatial turn), but the theoretical status of the visual itself in spatial scholarship. It raises a crucial question: how does visual material—everything from today's statistical maps and cutting-edge data graphics to the broader use of primary-source photographs or drawings—in fact shape our understanding of space, and what theoretical work does it do? By extension, how can humanists make critical theoretical interventions through their own visual production? This article proposes an analytic vocabulary of “visual argument” grounded in an image-focused rereading of two canonical bodies of work: the neo-Marxist theory most cited by spatial history (Henri Lefebvre, David Harvey, Doreen Massey, and Edward Soja) and the conspicuously uncited work of Fernand Braudel. By focusing on how these authors’ illustrations make claims about spatial subjectivity and the historicity of space—especially through visual relationships of background and foreground—I argue for a new way of understanding and responding to this work and to the visual project of spatial history today. A visual analysis highlights not only the limitations of neo-Marxism but also the pervasiveness of certain assumptions—shared across the neo-Marxists, Braudel, and digital visualization—about temporality, the natural/human dichotomy, and the methodological tensions between argument and visualization. I present my own mapping of Phoenix as one possibility for an argument-driven rethinking of familiar visual commitments, which also suggests a broader meditation on the relationship between visual and textual scholarship.     

Tender Beauty: Victorian Painting and the Problem of Sentimentality

One of the most enduring critical legacies of modernism has been the condemnation of the sentimentality of Victorian art. This essay argues that recent art historical attempts to discuss Victorian sentimentality are condemned to repeat modernist critical judgements about sentimental art because of their espousal of historicist methodologies which produce historical distance between artwork and the critical viewer in the present. Instead, I argue, our own emotional involvement with Victorian paintings should form part of our scholarly accounts of their meanings, because their affective power is central to their aesthetic qualities. To look properly, I argue, is also to feel. To exemplify this I discuss Augustus Mulready's Remembering the Joys that Have Passed Away (1873), in order to show how a sentimental look at this painting undermines approaches that absorb sentimentality into historicist, social-constructionist and ideological accounts of such a picture.     

In Sight,Out of View: A Tale of Three Monuments

Three monuments in Vancouver, British Columbia, located closely in time and geography and all concerning violence, were created not by one, but rather by three separate groups of advocates. Given that in each case the advocates were drawn from the socially marginalized, it would seem logical that the groups would have had to work together to accomplish something as complex as gaining access to public space with the permanence of monuments. But instead, a close examination of the development and uses of these three monuments reveals the profundity of several mechanisms of social distance. Those noted here include (a) the intransigence of structures of social exclusion, (b) the dispossession caused by the legacy of colonialism, and (c) the nature of trauma. In this essay, I argue that these mechanisms each created specific dynamics that amplified, rather than reduced, barriers between the three groups of advocates. Following an introduction to the Vancouver neighbourhood and each monument, I detail how each mechanism worked to show that what is in sight may nevertheless be out of view.     

The Calderstones,Near Liverpool

Abstract

This article is a contribution to the revisionist literature on the monastic orders in late medieval England and their art and architecture. It discusses the visual and material cultures of the Cistercians in northern England in the period immediately before the Dissolution of the Monasteries, demonstrating the enduring popularity of the Order in the late Middle Ages and that patronage of art and architecture continued until the very moment of the Suppression. Evidence is also discussed showing that monks and nuns salvaged property from their houses in the hope that their monasteries would be restored.     

Fashion fades,Chanel No. 5 remains: Epistemology between Style and Technology

Perfumes embody a chemical record of style and technology. Blurring the boundary between what counts as natural and artificial in both a material and a perceptual sense, perfumery presents us with a domain of multiple disciplinary identities relevant to social studies: art, craft, and techno-science. Despite its profound impact as a cultural practice, perfume has seldom featured in historical scholarship. The reason for this neglect is its inherently qualitative dimension: perfume cannot be understood via codified representation but requires direct acquaintance with its sensory and material basis. The historical study of perfumery thus necessitates an experimental approach that comes not without challenge. This article looks at contemporary recreations of old perfumes to identify the difficulties involved in the experimental recreation of fragrances as sensory and performative artifacts. We highlight the need for a reconceptualization of methodology for inconcrete objects of study as part of the broader interest in experimental approaches to the humanities.     

The Mysterious Lives of Words,Sounds, and Images: Now I Only Know This Far,Too…

Discerning art in verbal messages, a primary concern of ethnopoetics, is contested and complex. Skeptical linguists argue that linguistic richness is epiphenomenal and should be reduced to underlying principles. Even sympathetic anthropologists and linguists often dismiss the aesthetic uses of language in favor of semantics or social structure. Dell Hymes and Saskia Kersenboom suggest that such attitudes cause us to miss much, and show that the means of narration, editing, and transmission of verbal art are key to both its local appreciation and wider dissemination. I argue that a preoccupation with universals versus particulars is not very beneficial.