Art and Phenomenology

Poet and playwright Johann Wolfgang von Goethe’s scientific studies grew out of a disenchantment with the reductionist science of his time. He believed a more accurate description of nature was possible. Goethe’s scientific method paralleled the methodology of art current in his era, and very likely arose, at least in part, from pre-existing traditions of knowledge in the visual arts. The study of similarities between Goethe’s scientific method and the methodology of art could provide insights into both disciplines, and insights into the intentions that drove Goethe’s scientific studies.

Une même procédure : construire des objets, les mettre en scène puis les peindre ou les dessiner avec une exactitude égale à la part laissée à l’aléatoire dans leur création. Rosalie Gamache laisse du plâtre dégouliner et se figer sur des bibelots et autres objets du quotidien ; Olivier Moisan Dufour construit des assemblages improbables en bois de palette. Marie-Claude Lacroix conçoit de petits théâtres où se rencontrent sous haute tension des matériaux de construction. Alexandre Pépin modèle des objets informes en plasticine et les dispose sur un plan imaginaire comme on liste un inventaire. L’opération de départ de Sébastien Gaudette est plus lapidaire : froisser des feuilles de papier.

Tous ces assemblages, fruits du hasard et du jeu, se retrouvent fixés en des images lisses qui les métamorphosent, précisément parce que la matière dont ils sont faits - celle du plâtre figé dans son écoulement, du papier froissé, des planches de bois usées, de la viscosité et du tranchant des matériaux de construction ou de la ductilité de la pâte à modeler et de l’argile - est parfaitement figurée. Si les techniques illusionnistes ont pour fin de rendre invisible la surface du tableau et la matérialité des pigments, qui disparaissent dans la fonction de figurer quelque chose, la démarche singulière de ces artistes a pour résultat que la matière se retrouve de l’autre côté de la toile, comme objet de représentation : la peinture cherche à se faire à l’image de quelque chose qui lui ressemble, quelque chose d’éminemment indéterminé, à savoir la texture, la concrétude des objets.

Figuration minutieuse de l’indistinct, aseptisation de l’informe : tout l’intérêt de ces pratiques est de nous confronter à une ressemblance parfaite, héritière du perfectionnement introduit par des siècles de tradition picturale, mais paradoxalement ressemblante à rien de reconnaissable, une ressemblance qui offre moins la possibilité d’identifier ce qui apparaît qu’elle nous livre à un troublant effet de présence, à un flottement.

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Plongeant dans la pratique de cinq artistes de la relève, Les imagiers de la matière est un essai portant sur le statut de la matérialité dans la production d’illusion picturale. Le texte, puisant à la philosophie, à la psychanalyse et aux théories de l’histoire de l’art, explore les paradoxes liés au phénomène de la ressemblance pour tenter de cerner la corporéité singulière des œuvres de Rosalie Gamache, Sébastien Gaudette, Marie-Claude Lacroix, Olivier Moisan Dufour et Alexandre Pépin. Avant-propos de Maxime Coulombe.

This article investigates Robert Morris's much-discussed 'minimal art' of the 1960s.  It argues that the well known 'phenomenological account' of minimalism, which developed in relation to Morris's work, was conditioned by the space of the commercial gallery and the rise of a 'gallery network'.  Drawing on fresh archival research as well as close readings of particular objects and exhibitions, it argues that, as well as the 'environmental' space of their immediate surroundings, these sculptures were equally keyed to the logistical arena of transportation, circulation and exchange.  The article hence an alternative approach to the notion of art's commodification, linking Marx's theory of exchange with the concrete details of artistic labour in the 1960s.

https://academic.oup.com//oaj/article/39/3/421/2680337/Robert-Morriss-Minimal-Sculpture-the-Rise-of-the?guestAccessKey=89eb49c0-4017-40d9-a819-ca919881cd06

Este artículo busca proporcionar nuevas perspectivas para una lectura reflexiva de la Teoría de los colores de Goethe, que permitan su puesta en valor más allá de la reconocida polémica con las ideas científicas de Newton, a partir del reconocimiento de la actitud proto-fenomenológica del poeta alemán y su interés en la experiencia directa y subjetiva del fenómeno cromático. Además se abordan otros aportes de la Teoría, fundamentales para comprender la importante influencia de Goethe en la configuración del conocimiento contemporáneo sobre color.

Le fondateur de la phénoménologie, Edmund Husserl, philosophe allemand ou plutôt germanophone originaire de la Moravie 2 , a célébré le XX e siècle naissant en publiant ses six Recherches Logiques. La deuxième était entièrement consacrée à l'abstraction et aux théories afférentes. C'était un ouvrage savant qu'on ne pourrait taxer de « pré-phénoménologique », qu'en sachant où cette voie devait mener son auteur. L'abstraction y est traitée pour l'instant exclusivement de manière traditionnelle (sinon scolastique), c'est-à-dire du point de vue de la formation des notions générales, notamment scientifiques : Begriffsbildung. Comment la pensée déduit, en les abstrayant, certaines qualités de l'objet et les élève au niveau d'une notion ? Douze ans plus tard, en 1913, le tirage étant épuisé, il réédite ses Recherches logiques et en profite pour les corriger. Quand on a en tête les événements qui, dans l'histoire de l'art, séparent l'an 1901 de 1913, il n'y a rien d'étonnant à ce que les modifications du texte intervenues dans la deuxième édition témoignent d'un bouleversement dans la perspective husserlienne sur l'abstraction. Nulle doute que la raison provienne de sa découverte de l'art abstrait, dont l'amateur d'art Edmund Husserl a pris connaissance en visitant des galeries, en parcourant les nouvelles revues d'art et en s'intéressant à l'oeuvre, entre autres, de son compatriote tchèque (bohémien, lui, né à quelques 200 km de la ville natale de Husserl et une douzaine d'années son cadet) František Kupka. Commence alors une longue histoire de connivence entre la phénoménologie et l'art abstrait qui ont trouvé, l'un dans l'autre, leurs partenaires et interlocuteurs privilégiés. Que mes auditeurs et lecteurs me pardonnent cet exercice de virtual history ou plutôt cette boutade. Husserl fut un homme, comme on dit, cultivé, mais son amour de l'art n'a 1 Publié dans : Ligeia. Dossiers sur l'art [Art et Abstraction, sous la dir. de N. Podzemskaia] 89-90-91-92 (2009) 204-14. 2 Allemand par sa langue et par le lieu de sa vie et de son travail postérieurs (de Halle à Fribourg en Brisgau),

Christian Metz is remembered today as having almost single-handedly transformed the culture of film studies. This widely held view was summarized by one commentator, who wrote that "with Metz a new research paradigm is born, as well as a new generation of scholars. The ontological theories are followed by methodological theories." 2 According to another, "Metz exemplified a new kind of film theorist, one who came to the field already 'armed' with the analytic instruments of a specific discipline, who was unapologetically academic and unconnected to the world of film criticism." 3 Of course, Metz didn't just surge like a meteor on the scene of film studies. His arrival was "prepared" by the filmologie movement spearheaded in Paris by Gilbert Cohen-Séat and by two early film semiology essays published by Roland Barthes in La Revue internationale de filmologie. 4 Yet it is Metz who is rightly remembered as the figurehead of film semiology.

This paper sets Maurice Merleau-Ponty and Nishida Kitarō in dialogue and explore the interpretations of artistic expression, which inform their similar phenomenological accounts of perception. I discuss how both philosophers look to artistic practice to reveal multi-perspectival aspects of vision. They do so, I argue, by going beyond a "positivist" representational under-standing of perception and by including negative aspects of visual experience (the invisible, absent, unseen) as constitutive of vision. Following this account, I interpret artworks by Cézanne, Guo Xi, Rodin, and Hasegawa according to the versions of multi-perspectival vision articulated by Nishida and Merleau-Ponty. I conclude by highlighting a difference between Merleau-Ponty's "depth" and Nishida's "seeing without a seer" regarding the extent to which each of their philosophies de-substantialize and de-localize human vision.

Naslov "umjetnost kao mogućnost filozofije" isprva se čini nekako čudnim i problematičnim, možda čak i pretencioznim. Kako bi umjetnost mogla biti mogućnost filozofije? Ako i namjeravamo progovoriti o umjetnosti kao mogućnosti filozofije, ne umišljamo da bi i kako bi postojeća umjetnička proizvodnja mogla utjecati ili čak morala utjecati na filozofiju u tom smislu da bi nju samu učinila produktivnijom. To bi bila tek neka izvanjska, producentska mogućnost, koja se također već itekako afirmirala, ali je ipak nebitna, budući da ne proizlazi iz unutarnje biti filozofije niti se u nju vraća. Želimo progovoriti o umjetnosti kao unutarnjoj i bitnoj mogućnosti filozofije-kao nutrini filozofije, da upotrijebim tu duboku Hölderlinovu riječ. Nije li to još čudnije, još problematičnije i pretencioznije?

This paper investigates the involvement of the flesh in the contemplation of depictive images. Against the apparent disincarnation of the gaze in front of such images, we argue that the phenomenalisation of the depicted world implies not only the empirical body but that diving into an image awakens a bodily dimension proper to phantasy. Our point of departure is the contrast between the functioning of the body in the experience of the objective world and its role in the constitution of the place of the image in the empirical space. The image opens up on a different space, a space of unreality in the space of reality that modifies the way I inhabit my body. In a second step, we show, in a Husserlian context, that the spatialising function of my body is maintained – to some extent – even in the world of the image. This matter of fact calls for the thematisation of kinestheses in phantasy. In the third part, we show that kinestheses related to the contemplative gaze, besides being related to possible positions, also have a tempo and a rhythm that reveal a dimension of kinestheses that transcends the apparent cleavage between the real and the imaginary

https://search.proquest.com/openview/3e7f22e6df150c04c9d363a8a702c231/1?pq-origsite=gscholar&cbl=436390
https://www.ceeol.com/search/journal-detail?id=691

El trabajo se propone realizar una aproximación fenomenológica al llamado “teatro callejero”, de fuerte presencia en Quito-Ecuador. Dada la variedad de grupos y teatreros que lo practican, se ha optado por limitar el análisis a un hecho común de este tipo de teatro en Quito: la disposición circular de la escena, pues el público se coloca alrededor. Para ello es necesario reconocer sus características y repasar sus incidencias tanto en la técnica actoral y la puesta en escena como en la relación con el público.

Si bien desde la década de 1990, se vienen realizando estudios, principalmente sociológicos y antropológicos, que indagan las relaciones comunicativas, políticas y simbólicas, que artistas y grupos callejeros mantienen con el público y las diferentes instituciones estatales, sin embargo, aún falta por comprender los procedimientos técnicos, transmitidos por oratura, que emplean estos artistas para construir y presentar sus obras en la calle: ¿cómo se percibe/n, se presenta/n y acciona/n el/los cuerpo/s en un permeable espacio escénico circular, que no tiene, por definición, un solo punto de vista para la elaboración de imágenes visuales como en un espacio escénico convencional? Esta relación con el espacio no convencional y el público toca, asimismo, una problemática importante para el performance y el/la performer.

El estudio, en primera instancia, parte de recoger la experiencia propia en la construcción de tres obras de teatro callejero y cómo durante estos procesos los elementos corporales y espaciales que caracterizan al trabajo del teatro callejero se comprenden con las propuestas fenomenológicas de Phillip Zarrilli (modos de experiencia corporizada del actor) y Stanton Garner (el cuerpo espacializado), además del planteamiento sobre la producción performativa hecho por Erika Fischer-Lichte. Así se concluye que el teatro popular posee valores estéticos muy potentes tanto para el teatro contemporáneo como para la performance.

Parfois, les images de l’art nous donnent l’occasion d’élargir notre expérience, de sentir et de voir autrement. Parfois, elles nous captivent, et c’est alors comme si notre regard s’éteignait sur elles. C’est cette diversité d’expériences de l’image qui nous intéresse, et que tenterons de comprendre en suivant le développement de la description de la conscience d’image chez Husserl, des premiers travaux phénoménologiques dans le cadre des Recherches logiques jusqu’aux œuvres relevant de la phénoménologie génétique. Nous chercherons à mettre en lumière comment, à chaque fois, c’est un autre rapport entre l’image et ce qu’elle figure qui est décrit, mobilisant des structures intentionnelles différentes. Les bonheurs et les malheurs de nos rencontres avec les images apparaîtront en bout de piste motivés par leur caractère institué, leur origine comme artefacts.

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Sometimes, images of art allow us to broaden our experience, to feel and see differently. Other times they captivate us, and it is as if our gaze was dying on them. It is this diversity of experiences that interests us, and we will try to understand it by following the development of the description of image consciousness in the thought of Husserl, starting with the first phenomenological research in the Logical Investigations to the works pertaining to genetic phenomenology. We will highlight how, at each step, it is another relationship between the image and what it figures that is described, mobilizing different intentional structures. The joys and misfortunes of our encounters with images will ultimately appear motivated by their instituted character, their origin as artifact.

欧美剧场表演分析的基本方法由符号学与现象学奠定。前者发端于二十世纪上半叶先锋主义戏剧兴起之后，旨在关注意义的生成，并随戏剧实践的发展而历经数次演变。九十年代左右，符号学方法已无法完全应对日益去符号化的当代戏剧和展演艺术。作为符号学研究方法的补充，现象学为剧场表演分析开辟了新的路径。现象学悬置符号学赖以生存的观念体系，强调第一人称视角体验，关注剧场表演中的物性与感触的流动。二者在与社会文化批判理论相结合之后，阐释力得以释放，从而在兼顾美学的同时更全面地应对作品中的伦理、社会和政治诸问题。
From Semiotics to Phenomenology: The Establishment of the Basic Research Methodologies in Euro-American Performance Analysis

Semiotics and phenomenology play fundamental roles in Euro-American performance research. The former, which began in the early twentieth century after the rise of avant-garde theatre, focuses on the production of meaning and has constantly responded to shifting theatre practices. Around the 1990s, the semiotic approach became less useful for the analysis of contemporary theatre and performance art that deemphasize or defy signification. As a complement to semiotics, phenomenology was introduced to performance analysis. It suspends the conceptual system on which semiotics is based and highlights the first-person experience, the flow of affect, and thingness in the theatre. Both methodologies take real effect after their integration with critical theories, to address the ethical, social, and political issues in theatre works without overlooking aesthetics.

In this article will be recognized the main contributions of Goethe in relation to a symbolic consideration of color for its use in the pictorial practice, from the connection of the chromatic polarities theory proposed by Goethe in the Farbenlehre with its section on the ‘Effect of Color with Reference to Moral Associations’. A review of Goethe’s Color Circle as the visual manifesto of his work and also to his previous Rose of Temperaments will be useful to understand how the German poet was visually thinking in giving a guide for the pictorial color application to the receptors of his Theory of Colors. Finally, the reception of this symbolical section of the Theory in the contemporary painters Philipp Otto Runge and J. M. William Turner will also be reviewed, and how each painter enriched the chromatic symbology proposed by Goethe from his own interest in religious and / or allegorical themes.

Esta aportación busca, en primer lugar, caracterizar qué es la pose, afinar hasta cierto punto qué podemos entender por ese tipo de configuración intencional del cuerpo que llamamos pose, y, en segundo lugar, exponer de qué manera la ilustración editorial ha contribuido a ampliar el espectro de la pose, especialmente en el caso de las ilustradoras que trabajan en la actualidad y principalmente desde España, aunque el hecho es de rango internacional. Esto implicará también abordar determinados aspectos y funciones de lo que llamamos ilustración, analizar de qué manera ésta ha llegado a jugar en nuestros días un papel nuevo dentro y fuera del contexto editorial.

The category of beauty is at the heart of our interest in contemporary art and architecture, forming its ontological determinant. Viewed through the lens of the transcendence of a work of art, the category of beauty manifests itself as a criterion that differentiates current art into pre-contemporary and contemporary, which define beauty in a fundamentally different manner. The model also defines the domains of the connections and divergences between contemporary art and architecture. The crucial point at which they part company is the understanding of social standards. Programmatically, contemporary art is searching for the lost substance of life, questioning the (re)creation of social norms, while the starting point for contemporary architecture is ready-made norms, which it does not question. Whereas the former, seemingly at odds with beauty, discovers the new/old category of "phenomenological beauty" that lies beyond the visual, the latter arrives at branded standards of beauty, striving to be purely visual (as a painting in frame). Despite the emphasis on the visual, there is also present in architecture a diminution in its quality. In essence, contemporary architecture is introverted, inaugurating forms of social and urban exclusion and disintegration. Architecture becomes "blind", restoring itself into pre-generic state - the cave situation.

Before the idea of ‘work’ takes shape and affects the imaginary/ imagery, it is the preliminary germination of a flimsy thought that begins work. The state before ‘work’ begins is the stage that is replete with theatricalities, embedded in delicate forms and obscure materiality.Cultivating the Craft is a series of five sculptural panels that immerse the viewer within this theatrical stage of delicate conversations. The work is brought to shape (cultivated) in the mind as a series of disparate images, which represent the tedium of any skilled craft. Often, the tasks are broken down into a series of infinite steps hinging on absurdity and non-meaning (abstractions).

Catalogue essay for Simon Finn's "Instability". All images are the property and copyright of Simon Finn (2018), and reproduced with his permission.

Exhibition at [MARS] Art Gallery, Melbourne from the 19th of July to the 18th of August 2018.

Wa nd events represent broader ideas and messages. Is allegory's level of abstraction and distancing still a powerful method for communicating underlying meanings? In our epoch, how capable are we of deciphering subtexts and identifying with deeper human conditions folded into stories? Are we able to pause in order to question our perceptions about stereotypical mass-media representations of conflicts and the violence that mark our era?

Artworks worth thinking about do not simply satisfy their audience, but also frustrate them by intimating ideas, questions, desires, or images, beyond those made fully visible in the work itself. They immerse us in problems and paradoxes over and above what can be resolved within the confines of the canvas, the stage or the gallery. This absence calls on us to seek resolution elsewhere and to follow an artwork's implications in different disciplines, in literature, history, philosophy, in our own lives and histories, and in dialogue with others. Netherlands-based movement artist Natalie Heller's remarkable recent performance, First Impressions (2013-14) brings us within this tension of the present and the absent. Its implications are given on stage but are also much wider than that space. We could follow its incitements and explore what the work alludes to in art history, dance theory, or performance studies, yet there is a deployment of motion and perception in this work that calls for a sophisticated conception of the body as put forth in phenomenology. In particular, Merleau-Ponty's phenomenology is very well suited for illuminating these aspects of Heller's choreography. His account of motor-perception remains one of Western philosophy's most rigorous explorations of the expressive body. Heller's performers enact a kind Watch documentation at

The role of language in constituting being and reality was an abiding concern of existential philosophers but not all ways of being are discursive. How we build musicality into an existential understanding of being and reality? Can existential concepts be developed to understand a specifically musical kind of Being, distinguishable from the kind of reality or consciousness constituted by words? Heidegger understands being-in-the-world in terms of temporality, as thrownness, fallen-ness and projection, a stream of consciousness through past, present and future, which makes it possible to orient ourselves in the world, as care. Care is structured by our being in time, which we can realise authentically or inauthentically. Musical care then would be how we can orient ourselves to the world through music. Merleau-Ponty emphasised the self as a lived worldly body, on knowing others through shared physical experience, which can include non-discursive being as manifest through music, and more generally the sensual musicality inherent to being. Merleau-Ponty develops an analogy between Heraclitus’ discussion of the flow of a river as analogous to lived time (temporality). I suggest that music is like Heraclitus’ river of being, that can situate us back in embodied, lived time. Music can therefore be a corrective to our ‘rational’ capacity to view space/time objectively, returning us to pre-rational lived time, being lived sensuously, temporally, in a structure of care, rather than as a succession of objective nows. Foregrounding our musicality foregrounds the tactileness of our being, and strengthens our subjectivity as a relation, disclosure and unfolding of self/world, in a way that the discursive intentionality cannot. Through music a sense of self that can be strengthened, by strengthening the sense of being as a dynamic sensuous self/world shared with others. Hopefully such reflections can help us understand the importance of human musical being in a viable society.