Alle Publikationen
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2017
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(2017): The aesthetics of minorities against the correlation of strong institutionalism, scientism and technicality. on the voice-praxis of the minorities as art-literature. In: CLAREIRA-REVISTA DE FILOSOFIA DA REGIAO AMAZONICA (4/1), S. 13-48
Abstract: In the paper, we defend that the aesthetic voice-praxis allows to social movements, citizen initiatives and political-cultural minorities the self-expression and self-affirmation from themselves and by themselves in terms of lyrical-political I-We, so that to frame and overcome the correlation of strong institutionalism, scientism and technicality which characterizes the constitution, legitimation, evolution and social-political linking of modern institutions, such as science, law, political parties and economy. These modern institutions or social systems are logical-technical, non-political and non-normative structures-subjects, marked and streamlined for a self-referential and self-subsisting dynamics which is eminently endogenous, autonomous and overlap in relation to the spontaneity and informality of the epistemological-political subjects, values and practices proper to civil society, centralizing and monopolizing the constitution, programming and functioning of their fields of research and objects and, from here, framing the own voice-praxis of these civil society's epistemological-political subjects in their nowadays action and relatively to institutions. In this sense, in the correlation of strong institutionalism, scientism and technicality, the institutions become the basis, the arena, the value and the epistemological-political subject par excellence and exclusive of the foundation of themselves and even relating to the social-cultural structuration and evolution, peripherizing the informal and spontaneous epistemological-political subjects of civil society. Against this apolitical and depoliticizing tendency assumed by modern social systems, we argue in favor of an aesthetics of the minorities that enables both their spontaneous and informal, political, politicizing and normative self-affirmation and self-expression, with no scientist and institutionalist mediations, and a political-normative praxis which is alternative and opposed to strong institutionalism and its scientism and technicism, because it is inclusive, participative and direct. Therefore, the social criticism, political-normative praxis and cultural resistance need a non-systemic, non-institutionalist, non-technicist and non-scientificist voice-praxis that can be founded and allowed by aesthetics in its anti-paradigmatic, non- institutionalist and anti-scientificist sense.
Keywords: Ästhetik, Bruch, Diskriminierung, Fehlverhalten, Gesellschaft, institutionalism, Interaktion, Kunstgeschichte, Minderheiten, minorities, Normativität, Normen, Poesie in der Politik, scientism, social systems, Soziale Klasse / Schicht, Soziale Systeme, soziokulturelle Strukturen, Subjekte, subversive, technicism, Technizität 2014
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(2014): Managing subjects, manufacturing citizens. Picturing sites of social control in nineteenth-century America. In: Early Popular Visual Culture 12 (2), S. 104-126. DOI: 10.1080/17460654.2014.923160
Abstract: This article examines structures of social control that became institutionalized in the United States in the 1870s and 1880s. In particular, it examines how key philanthropic and penal institutions within New York City, including the school, workhouse and prison, were represented in the illustrated popular press as sites for both controlling and training an industrializing workforce. Examining how the language of scientific management seeped into the social realm, this essay argues that visual representations of these sites helped to reinforce normative middle-class ideals about education, work and punishment. Examining the ways that artists interpreted and framed these sites for a group of primarily middle-class viewers and readers, this essay argues that social systems helped to construct an ideal, imagined citizen who is, first and foremost, an efficient worker. The purpose of these institutions was, in main part, to teach their inmates to labor and to replicate the state apparatus by maintaining social order. This article also deals with the increasingly structured and professional implementation of education and social work during the years leading up to the Progressive Era.
Keywords: Bildsemantik, education, Identitätsstiftung, Kulturtechnik, Kunst, Kunstgeschichte, labor, Rollen, social control, Social Rank, social systems, Soziale Klasse / Schicht, Soziale Ordnung, United States, Vergangenheit / Erziehung, visual culture, Vorurteile, Zuschreiben einer erwarteten Rolle -
(2014): Art as behaviour – an ethological approach to visual and verbal art, music and architecture. In: Anthropologischer Anzeiger 71 (1), S. 3-13. DOI: 10.1127/0003-5548/2014/0371
Abstract: In recent years, the fine arts, architecture, music and literature have increasingly been examined from the vantage point of human ethology and evolutionary psychology. In 2011 the authors formed the research group 'Ethology of the Arts' concentrating on the evolution and biology of perception and behaviour. These novel approaches aim at a better understanding of the various facets represented by the arts by taking into focus possible phylogenetic adaptations, which have shaped the artistic capacities of our ancestors. Rather than culture specificity, which is stressed e.g. by cultural anthropology and numerous other disciplines, universal human tendencies to perceive, feel, think and behave are postulated. Artistic expressive behaviour is understood as an integral part of the human condition, whether expressed in ritual, visual, verbal or musical art. The Ethology of the Arts-group's research focuses on visual and verbal art, music and built environment/architecture and is designed to contribute to the incipient interdisciplinarity in the field of evolutionary art research.
Keywords: Aesthetics, architecture, built environment, Communication, culture specificity, Disziplin, Ethologie, Ethologie der Kunst, ethology of arts, Evolution, evolutionary musicology, human ethology, Kognitive Skills/Social Cognition, Kulturtheorie, Kunstgeschichte, lyrics, music, poetry, SEXUAL SELECTION, universal human tendencies, universals, urban ethology, visual arts, VOCAL EXPRESSION, Voraussetzungen für sozial angemessenes Verhalten, ZEBRA FINCHES 2012
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(2012): The self-promoting playful pen in graphic and literary rhino-caricatures. In: HUMOR-INTERNATIONAL JOURNAL OF HUMOR RESEARCH 25 (2), S. 179-198
Abstract: From ancient times to the present, artists’ and authors’ creative, critical, and diverting pens have caricatured the human nose. Their amusing games express the power of the artistic imagination to turn their subjects into game pieces by (1) poking fun at their sociopolitical status through exaggerating or diminishing the size and shape of their noses; (2) playing upon hilarious, multifaceted links between their noses, phalluses, and the mocking pen; and (3) building canonical play frames that expand the artists’ and authors’ ability to mock the sociopolitical competition for power and influence. Though these games at times transgress the boundaries of decorum, they also underscore graphic and verbal caricaturists’ self-promotional creativity, as they address the many inequalities in actual and fictive worlds.
2006
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(2006): The decorum of the sacred image. A French interpretation?. In: DIX-SEPTIEME SIECLE (230), S. 81-99
Abstract: Dans le discours sur l’art qui s’élabore en France dans les années 1660, et dont les Conférences de l’Académie sont le lieu d’expression privilégié, la dimension théologique intervient sous deux formes. Sous forme positive, pour dire que la peinture exprime Dieu et son amour en le rendant visible à travers ses intermédiaires, la Vierge et les anges, selon un motif issu du concile de Trente et renforcé par la spiritualité française, qui devient un topos sur l’expression (ainsi dans la Conférence sur la Vierge au lapin de Titien par Boullogne, ou celle de Mignard sur la Sainte famille de Raphaël)1 . Ou bien sous forme négative, pour censurer les abus comme autant Paleotti (1582), Borghini (1584), auxquels il faut ajouter le Flamand Molanus2 . Mais d’écarts au décorum de l’image sacrée défini dans les traités italiens : Gilio (1564), les Français, dont on sait l’hésitation à entériner les décrets du concile, sont tout aussi réticents à l’idée d’une théorie de l’art soumise à des motivations religieuses. C’est pourquoi, inversant la hiérarchie des traités italiens, ils privilégient la composante séculière du décorum et le déclinent en règles poétiques : composition, expression générale, fidélité à l’histoire (le peintre doit être érudit, mais pas spécialement pieux, tandis que cette exigence est primordiale pour les Italiens), théo
2005
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(2005): The decorum of a defecating dog. In: PRINT QUARTERLY 22 (2), S. 119-132
Abstract: In his otherwise grandiose, monumental woodcut, the "Submersion of Pharaoh's Army in the Red Sea", Titian included a realistic depiction of a defecating dog (figs. 39-40). The dog is one small figure in a huge work, but is prominently placed in the foreground, so that it and Moses' commanding arm are the only elements projecting into a block otherwise filled with water. The few scholars who have commented on this detail have tended to dismiss it as an insignificant vulgarity or tasteless lapse in decorum.
2001
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(2001): Shopping the leftovers. Warhol’s collecting strategies in ’Raid the Icebox I’. In: Art History 24 (2), S. 278-291
Abstract: Andy Warhol’s little-known commission in 1969 to ‘curate’ an exhibition from basement storage at the Museum of Art at the Rhode Island School of Design opens a window on the artist’s complex attitudes toward class. While the many manifestations of Warhol’s queer aesthetic have been illuminated in recent scholarship, little attention has been paid to how his sensibility was also shaped by his working-class roots in the slavic enclave of Depression-era Pittsburgh. While Warhol created a uniquely ‘cool‘ persona in the New York art world, he never repudiated his background and its values. His writings, from Popism and The Philosophy to the Diaries, are full of sharp insights on American class politics and aspirations. One can see in Warhol’s signature elevation of icons of mass consumption to the status of art and in his treatment of high subjects as mass products a radical proletarianizing will. Raid the Icebox I shows Warhol’s levelling aesthetic in its full glory as he makes a series of curatorial selections that directly assault the principles of connoisseurship that undergirded professional museum practice. Twenty years before postmodern artists would view the museum as a context for critical ‘reinstallations’, Warhol’s Raid the Icebox– the only such intervention he ever made – profoundly disrupted museum decorum by exposing the usually well-concealed links between elite collecting and its low-class other – shopping.
1977
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(1977): Blake and the Artistic Machine. An Essay in Decorum and Technology. In: PMLA 92 (5). DOI: 10.2307/461845Keywords: Aufklärung, Blake, decorum, geschriebene Sprache, gesprochene Sprache, Ideengeschichte, Im (wissenschaftlichen) Diskurs, Kunst als Technik, Kunstgeschichte, Kunstmaschinen, Literaturwissenschaft, Maschinenkunst, Mechanismus, Mechanismus und Organismus, mechanistisches Weltbild, Mechanizismus, Mensch und Maschine, Mensch/Maschine (Maschinetheorie des Lebens), Mensch-Technik-Relationen (MTR), Ontologische Differenzierungen: Tier, Mensch, Maschine, Reflexionen über MTR, Schrift, Schriftkultur, Sprache, Sprachtheorie, Technikgeschichte, Technologie, Verschriftlichung
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: ’Female petitioners can lawfully be heard’. Negotiating female decorum, United States politics, and political agency, 1829-1831. In: JOURNAL OF THE EARLY REPUBLIC 23 (4), S. 573-610
Abstract: Catharine Beecher kept it a secret for decades. In 1829 Beecher, best known as a leader of the nineteenth-century domestic economy movement and as an active, life-long proponent of women's education, went home to Boston to visit her family. Her visit coincided with the visit of her father's friend, Jeremiah Evarts. Evarts and Lyman Beecher worked together in evangelical reform, and a prominent national issue troubled both men: the federal government's plan to remove Native Americans from within the boundaries of six southern states. Almost fifty years later, in "Educational Reminiscences and Suggestions", Catharine remembered Evarts describing to her the "distressing and disastrous consequences that would result from the cruel measures undertaken" by the federal government against the Cherokee, Chickasaw, Choctaw, Creek, and Seminole southern tribes. Catharine also remembered Evarts telling her that "American women might save these poor, oppressed natives." Inspired by Evarts's personal request that she "devise some method for intervention," Catharine returned to Hartford Female Seminary, the school for girls of which she was founder and principal. Upon her return, Catharine Beecher granted Evarts's request. She initiated and orchestrated the first national women's petition campaign in United States history. Amazingly, nearly 1,500 women followed her lead.
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