Compositional Risks Essays

Compositional Risks Essays-4
In the process of making images of our environment, different bodily experiences, like affects, emotions, feelings and movements are mobilised in the creation of meaning.As Johnson argues, this happens in every process of meaning-making, which is always based on ‘deep-seated bodily sources of human meaning that go beyond the merely conceptual and propositional’ (Ibid., p. The specificity of art simply resides in the fact that it actively engages with those non-conceptual, non-propositional forms of ‘making sense’ of our environment.

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What could be the place of artistic research in current contemporary scholarship in the humanities?

The following essay addresses this question while using as a case study a collaborative artistic project undertaken by two artists, Remco Roes (Belgium) and Alis Garlick (Australia).

In fact, they may even prove most suited to establish the kind of space that comes close to this multi-threaded, embodied Denkraum.

In order to illustrate this, we would like to present a case study, a short visual ‘essay’ (however, since the scope of four spreads offers only limited space, it is better to consider it as the image-equivalent of a short research note).

Likewise, the beholder or the reader of a work of art does not need to learn from it to appreciate it.

No doubt, he may have gained some understanding about ‘human existence’ after reading a novel or visiting an exhibition, but without the need to spell out this knowledge or to further explore it.Therefore, while we agree with Ingold and Johnson, the problem remains how to explicate and communicate the knowledge that is contained within works of art, how to make it discursive?How to articulate artistic practice as an alternative, yet valid form of scholarly research?Art is thus able to take into account (and to explore) many other different meaningful aspects of our human relationship with the environment and thus provide us with a supplementary form of knowledge.Hence Ingold’s remark in the introduction of Making: anthropology, archaeology, art and architecture (2013): ‘Could certain practices of art, for example, suggest new ways of doing anthropology?Here, we set out to defend the visual essay as a useful tool to explore the non-conceptual, yet meaningful bodily aspects of human culture, both in the still developing field of artistic research and in more established fields of research.It is a genre that enables us to articulate this knowledge, as a transformative process of meaning-making, supplementing other modes of inquiry in the humanities.We argue that the recent integration of arts into academia requires a hybrid discourse, which has to be distinguished both from the artwork itself and from more conventional forms of academic research.This hybrid discourse explores the whole continuum of possible ways to address our existential relationship with the environment: ranging from aesthetic, multi-sensorial, associative, affective, spatial and visual modes of ‘knowledge’ to more discursive, analytical, contextualised ones.It is projected along different lines in this virtual Denkraum, lines that cross and influence each other: an existential line turns into a line of form and composition; a conceptual line merges into a narrative line, a technical line echoes an autobiographical line.There is no strict hierarchy in the different ‘emanations’ of a problem.


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