Ines Lukin

Faculty of Textile Technology, University of Zagreb, Theory and Culture of Fashion, Alumna

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Conference Presentations by Ines Lukin

Spaces of intimacy: Transgressing the visual simulation of desire

Bataille writes that man lives in constant fear of himself; his erotic urges terrify him. Using t... more Bataille writes that man lives in constant fear of himself; his erotic urges terrify him. Using this as my starting point, I want to question genesis of erotic desire through the concept of seduction (Baudrillard) and intimacy. Eroticism is not merely a biologic urge or melancholic longing; it is a desire of human being to be, if only for a moment, " the only one " to another human being, and not merely " one of the many ". Eroticism is thus unique experience of time and space through temporary unification with another human being, that though briefly violates the transient nature of life. The main question of this paper is how to define eroticism and transgression in the age of simulation and visual seduction of sign? Baudrillard shows that the turning point is now contained in the state of simulation, characterized by the seducing nature of repetitive Oneness. Instead of being one among many others, we are now faced with the challenge of being one among many that are, essentially, the same. This brings out the new aspect of erotic desire in relation to another human being, as man is never alone among those that are different, yet he is indeed alone among those that are the same. How is then possible to define seduction, as the prerequisite for seducing is the desire for the other, and not for the same? If desire is a source of inner life, then there can be no seduction without desire, and no eroticism without seduction. Transgression of a simulated desire is not possible if we confine eroticism to the inner life. This does not mean that eroticism does not derive from it; the problem is that the immanence of desire has become questionable under the proliferation of signs, so that the concept of " innerness " needs to be fundamentally questioned. I would like to open spaces of intimacy by reinterpreting the concept of seduction through transgression and eroticism in the context of the new understanding of intimacy. Seduction of the intimate, as opposed to the seduction of a sign, contains traces of fascination by another being. This fascination is not merely infatuation as it carries the connotation of temporal duration; it is encounter in time. Transgression thus becomes a quest for intimacy beyond the simulation of erotic desire. Instead of replicating itself, it appears as a pure coincidence. In the world of visual imagery of sameness, the only sanctuary of our desire appears to be beyond internal/external geography of being. In which ways can we define spaces of intimacy so that we could, instead of being seduced, become those who are seducing in the pure aberration of our intimate desire?

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Papers by Ines Lukin

Petra von Kant i izazovi subjekta: Zašto ljubav među ženama i dalje nije moguća

Je li dramski tekst ujedno i filozofijski? Ukoliko zanemarimo akademska ograničenja, granice su č... more Je li dramski tekst ujedno i filozofijski? Ukoliko zanemarimo akademska ograničenja, granice su često fluidne, no kao jedna od temeljnih razlika filozofskog i dramskog teksta ostaje perspektiva; dok filozofijski tekst polazi od introspektivne refleksije o svijetu pa se, uvjetno rečeno događa “od unutra prema van”, dramski tekst polazi od situacije u koju su likovi “bačeni”, u kojoj su primorani da budu subjekti ili se pak za vlastitu subjektnost tek trebaju izboriti.

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Feministička kritika Hegela

Feministička kritika seli tzv. "žensko pitanje" (B. Despot), koje nije tek pitanje "žene" ili "mu... more Feministička kritika seli tzv. "žensko pitanje" (B. Despot), koje nije tek pitanje "žene" ili "muškarca", iz sfere privatnog u sferu javnog. Hegel, koji je razvio momente privatnog i javnog do njihovih konsekvenci razriješenih u apsolutnom duhu (filozofiji) kao konkretnom ţivotu ideje, omogućio je, kako ističe Blaženka Despot, feminizam ne samo kao privatnu misao, nego kao društvenu teoriju i kritiku. S tim u vezi feministička teorija pojavljuje se ponajprije kao reinterpretacija postojećeg, tj. onog što je postavljeno kod Hegela u filozofiji prava i filozofiji povijesti.

Ključne riječi: feministička kritika, Hegel, postfeminizam, identitet, subjekt

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Repolitizacija suvremene umjetnosti - seminarski rad

Repolitizacija suvremene umjetnosti i mode postavlja „stara“ pitanja odnosa društva, umjetnosti i... more Repolitizacija suvremene umjetnosti i mode postavlja „stara“ pitanja odnosa društva, umjetnosti i umjetnika kao političkog subjekta. Umjetničko djelo pritom nije više estetsko u smislu zasebne discipline, nečeg odijeljenog od društvenog života kao vlastitog uvjeta nastanka i „pročišćenog“ od politizacije. Politizacija je za Rancierea odnos subjektivacije tj. način na koji se kroz politiku kao odnos utemeljuje i omogućuje identitet subjekta, ne kao kvalitativni ili kvantitativni dio društva, nego u smislu dovođenja do cjelovitosti. Pitanje o politizaciji suvremene umjetnosti i mode stoga nije političko u svakodnevnom značenju, nego ontologijsko pitanje kojim se nastoji premostiti opreka subjekta-objekta, tj. politike kao teorije naspram tzv. „života u praksi“. (...)

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Diplomski rad: Vrijeme i konceptualna moda

Rad se bavi problemom određenja mode kao znanstvene discipline kroz pojmove fenomena i vremena.... more Rad se bavi problemom određenja mode kao znanstvene discipline kroz pojmove fenomena i vremena. U skladu s tim, pokušava se preispitati je li moguća svojevrsna „fenomenologija“ mode komparacijom Husserlovog i Heideggerovog određenja vremena pojmom epohe. Pritom se napominje kako je aktualnost suvremene mode i umjetnosti utemeljena u reduktivnom pojmu vremena kao slijeda Sada-trenutaka, odakle potječe želja umjetnika i modnih dizajnera za neprestanim „pomicanjem granica“. Cilj rada je pokazati mogućnost suvremenosti mode kroz Heideggerovo određenje vremena koje proizlazi iz budućnosti kao nadolazećeg. Time se ne izvršava puko obrtanje redoslijeda modaliteta vremena, nego se upućuje na trans-metafizičku otvorenost mode putem njenog utjelovljenja/rastjelovljenja u eks-tatičnosti povijesno-epohalno određenog tijela (totalni dizajn tijela).

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Proceedings by Ines Lukin

Taboo-Transgression-Transcendence in Art & Science 2016

"Taboo-Transgression-Transcendence in Art & Science" started as a wish to explore three different... more "Taboo-Transgression-Transcendence in Art & Science" started as a wish to explore three different levels of conception and perception of the aesthetics and ethics in the field of art & science. During its maturing process the project developed towards the exploration of the line where art and science meet and therefore also the border where they divide. The three "T" initials condensate three ideas. First the forbidden, a convention that is so deeply rooted that few seem to be willing to break it. Second the defiance, the challenge to the convention itself either through the resistance to execute an order or through the direct action against the status quo. Third, the sublimation, the transition to an alternative state that overcomes the expected intermediary stages in linear conceptualization, here connected with the expansion of limits.

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