๐‹๐ข๐ง๐ค๐ฌ ๐ญ๐จ ๐ฆ๐ฒ ๐ฉ๐ž๐ž๐ซ ๐ซ๐ž๐ฏ๐ข๐ž๐ฐ๐ฌ 1

https://blogs.ed.ac.uk/s2321841_themes-in-contemporary-art-2022-2023sem1/2022/10/14/42/

https://blogs.ed.ac.uk/s2339972_themes-in-contemporary-art-2022-2023sem1/2022/10/14/week4-play๏ผš-orange/

https://blogs.ed.ac.uk/s2457669_themes-in-contemporary-art-2022-2023sem1/2022/10/18/reflective-analysis-2/#comments

https://blogs.ed.ac.uk/s2413068_themes-in-contemporary-art-2022-2023sem1/2022/10/14/week-34-play/

https://blogs.ed.ac.uk/s2358907_themes-in-contemporary-art-2022-2023sem1/2022/10/14/ๅ‘จ34-ๆ’ญๆ”พ/

https://blogs.ed.ac.uk/s2321841_themes-in-contemporary-art-2022-2023sem1/2022/11/04/sprint3-beyond-the-visual-assignment/#comment-20

https://blogs.ed.ac.uk/s2321841_themes-in-contemporary-art-2022-2023sem1/2022/09/30/sprint-1-weird-assignment-1000-words-that-critically-responds-to-this-scenario/#comment-21

๐‹๐ข๐ง๐ค๐ฌ ๐ญ๐จ ๐ฆ๐ฒ ๐ฉ๐ž๐ž๐ซ ๐ซ๐ž๐ฏ๐ข๐ž๐ฐ๐ฌ 2

https://blogs.ed.ac.uk/s2339972_themes-in-contemporary-art-2022-2023sem1/2022/11/21/sprint-4-the-commons/#comment-28

https://blogs.ed.ac.uk/s2414944_themes-in-contemporary-art-2022-2023sem1/2022/11/18/commons/?unapproved=15&moderation-hash=d469ec1789750f16f7c9cd1252e73a9f#comment-15

https://blogs.ed.ac.uk/s2321841_themes-in-contemporary-art-2022-2023sem1/2022/11/21/themes-learning-sprint-4-the-commons/#comment-15

https://blogs.ed.ac.uk/s2358907_themes-in-contemporary-art-2022-2023sem1/2022/11/18/101/#comment-17

https://blogs.ed.ac.uk/s2339972_themes-in-contemporary-art-2022-2023sem1/2022/09/30/sprint-1-weird/#comment-31

https://blogs.ed.ac.uk/s2339972_themes-in-contemporary-art-2022-2023sem1/2022/11/04/reflective-analysis-beyond-vision/#comment-32

๐’๐ฉ๐ซ๐ข๐ง๐ญ 4: ๐“๐ก๐ž ๐œ๐จ๐ฆ๐ฆ๐จ๐ง๐ฌ

โ€˜โ€ฆconsider how the arts and contemporary theory structure โ€œthe commonsโ€ anew: how the commons becomes both a goal and a trope in post-millennial art and cultural theory.โ€™ (Amy J. Elias)

  • What is the relationship between art and the commons?

The understanding of art as a common has broader significance when we begin to look at what happens when an artistโ€™s creativity is expressedโ€”when we make or do something with our creative energy. While we each may experience any given artwork differently, art is part of the glue that connects us. Our differing interpretations and experiences of art resonate throughout the commons. The commons is a process, and it is in flux.

Eric Kandel, a Nobel Prize-winning neuroscientist who studies memory and how it works, has said, โ€œIt took us a year to realize what should have been obvious from the start: the cellular mechanics of learning and memory reside not in the special properties of the neuron itself, but in theย connectionsย it receives and makes with other cells in the neuronal circuit to which it belongs.โ€https://www.nobelprize.org/prizes/medicine/2000/kandel/facts/

  • Why, when and how has this theme emerged in the field of contemporary art practice? What are the consequences of this?

The word queer first appeared in the special issue of “Lesbian and Gay Sex” in “Difference” magazine published by feminist Teresa Lolidis.

De Lauretis suggests that the threefold critique she imagines might be drawn together under the rubric of queer theory making it possible “to recast or reinvent the terms of our sexualities, to construct another discursive horizon, another way of thinking the sexual” (de Lauretis, p. iv).

Read more:ย Queer Theory – Origins Of Queer Theory – Lauretis, Critical, Sexual, and Lesbian – JRank Articlesย https://science.jrank.org/pages/10938/Queer-Theory-Origins-Queer-Theory.html#ixzz7kklFJR1c

She still hopes to use it to replace the references to lesbians and gays, and to understand the multiplicity of sexuality in the history, material, and context of their respective experiences.

Although queer theory has been put forward since the 1980s and has been developed in combination with history, culture, philosophy, and literature, it has not been applied deeply and extensively in the field of literary creation and research. Therefore, the combination of queer theory and queer writing, while the theory guides and promotes the creation of literary criticism, is also conducive to the acceptance of queer theory and queer phenomenon by people from all walks of life in society, especially heterosexual hegemons

  • Who has been key in constructing discourse and practice on this theme, why and what do they say? What do you think about what they say?

Claude Cahun, one of the notable artists in Queer.http://www.artnet.com/artists/claude-cahun/2

All of her works revolve around gender and sexual orientation. Dare to make such content in that era is undoubtedly a heavy hammer to society. In addition to revealing the status of LGBTQIA people to the public, her works also aim to allow the public to accept this new pattern of interpersonal relationships and a new way of life as a non-traditional artistic challenge. Indeed, without pioneers like Claude Cahun daring to stand up, it would be difficult to inspire Heather Glazzard’s idea of โ€‹โ€‹using a camera to record real group portraits of LGBTQIA people.

  • What methods have been used about it within the field of art and why? How do other disciplines approach it?

In the exploration of this art field, I mainly used methodology and data collection methods. It includes the collection and arrangement of data to reflect the population size distribution. Including the attitudes of different occupations, different groups, and different age groups towards queer comments. The process of collecting and organizing can more intuitively show the Chinese people’s misunderstanding of queer.

  • What does this theme โ€˜lookโ€™ like today, and how does it manifest itself? How does it appear in your own life?

In China, marriage/family is a particularly important component of society, and only heterosexuals have the sole right to belong to marriage/family.

Queer theory implements the construction from practice to theory and then feedback and practice. At the same time, it also emphasizes a flow and a deconstruction of power discourse, which confuses the existing boundaries between genders. But this charming ambiguity is not a kind of chaos. On the contrary, as an umbrella term, it emphasizes the deconstruction of intersubjectivity, so that gender/gender can be regarded as a real whole to seize further rights. At present, a well-known LGBT+ community in China, “Queer as Folk”, has taken its English name “Queer as folk”; Beijing Queer Film Festival has changed its name several times over the years, from the original China homosexual Film Festival, Beijing Gay&Lesbian Film Festival and Beijing Queer Film Forum were finally named Beijing Queer Film Festival. The use of the word Queer in the Chinese context has hardly encountered any resistance, and its degree of destigmatization can be seen.

https://www.bjqff.com/

  • What are the limitations and possibilities of exploring this theme within and through contemporary art practice and theory?
Possibility:

Queer’s theory expresses a political ideal of full “gender cooperation”, and equal participation of men and women, it refuses to be labeled, appreciates the fluidity of sexual expression, and reveals the deep structure of the entire society and its operating mechanism. So the possibility of being queer is very high.

For example, in the fashion industry, Indya Moore is an American transgender actress and model, and she is also the first transgender person to be featured in the American ELLE magazine. Michael Kors has released a cotton T-shirt with a rainbow embroidered pattern, and 100% of the proceeds of this product will be donated to non-profit organizations.ย https://www.nylon.com/fashion/rickey-thompson-is-the-face-of-coach-we-c-you-campaign-for-prideCoach even invited Rickey Thompson, Kim Petras, Bob the Drag Queen and other stars to shoot a montage-style video: “What makes you feel seen by the world? The cooperation between these queer and fashion brands is undoubtedly to express that no matter what you are Regardless of your appearance or sexual orientation, you must have the courage to discover and demonstrate your value to be recognized.

Limitation:

Queer’s theory essentially reflects a process of “decentralization” of postmodern identities. Excessive pursuit of such dispersion and mobility may cause society to overemphasize individual needs and create a series of new problems. In China, the queer form is difficult to promote under Chinese politics (for example, holding some activities and publishing-related speeches and articles will be restricted), let alone access relevant materials for in-depth research.

๐’๐ฉ๐ซ๐ข๐ง๐ญ 3 โ€˜๐๐ž๐ฒ๐จ๐ง๐ ๐ญ๐ก๐ž ๐•๐ข๐ฌ๐ฎ๐š๐ฅโ€™ ๐€๐ฌ๐ฌ๐ข๐ ๐ง๐ฆ๐ž๐ง๐ญ

This week we examine how artists develop work that appeals to senses beyond sight – taste, touch, smell and hearing. Then in the Western philosophical tradition, vision is often associated with thinking, and I agree with the question of whether Neimanis’ knowledge of the senses is open to another mode of relationship. As we all know, humans have five sensory channels: sight, hearing, smell, taste, and touch. Usually these sensory channels perform their respective functions, receiving and processing all kinds of information around people. The visual and other senses seem to be parallel to each other without interfering with each other. The form language is perfectly connected and blended, which in turn promotes the formation of a more perfect experience effect. This is a generalization of the transformation and combination of vision and other senses.
In many works of art, people can read the meaning of other senses from the visual language. When vision and other senses are integrated and interlaced, they will present people with dual or multiple sensory stimulation from vision to other sensory perceptions, which will strengthen people’s senses and realize the conversion and combination of vision and other senses.
The “immersive art” that is often popular now uses the combination of the “five senses” of sight, hearing, touch, smell, and taste to have a wonderful sensory interactive experience with the audience, which proves that “visual language” is no longer the only one in the art world.
Now our pursuit of works of art is not just the pursuit of sensory beauty. When we watch artworks, we read more or look at the “unseen” behind the visual sense through our thoughts and imagination. It is this level of seeing that constitutes the subject of our aesthetic activities. In many exhibitions, this limitation of vision is shown. Compared with the scope of human perception, the human visual ability has become extremely poor. On the one hand, this poverty is manifested in the spatial distance and scope of vision. This limitation leads to a lot of visual content that we must use media to obtain. See, the content seen through the media has been artificially selected and limited. On the other hand, our visual attention is also limited in time, too slow processes can be mistaken for stationary, and too swift processes can make us unable to see clearly. Therefore, galleries need multi-sensory design, but galleries also need to retain traditional model concepts and transform to contemporary models and try to adapt to the current political, social, historical, and aesthetic requirements.
(Case 1 about multi-sensory galleries๐Ÿ™‚ In 1998, Cissell started the “City Taste” project, including Berlin, Paris, Istanbul, Shanghai, etc. She hopes to capture the diversity of the city by searching for scents and to re-explore its hidden qualities; in Cissell’s world, smells are both good and bad, because “all smells hide potential pleasures”. The nose is like a painter’s brush to Cecil, helping her to record these wonderful “flavors”. Sisel’s nose is sensitive enough to discern the source of the smell in every city. Back in the lab, she uses equipment to break down the items representing the source of these odors into odor molecules and archive them.
(Case 2 of the multi-sensory gallery๐Ÿ™‚ “Transparent Sound” in Shanghai in 2017 demonstrated the visibility and interactivity of sound. Among them, “This Moment” brought by the artist Denis Vansant wrote more than 200 notes made of gold foil on the glass. The glass made a clear sound like a wind chime with the vibration and collision with each other, and the projection of light and shadow, the feeling of audio-visual interaction is very poetic.
(Case 3 of the multi-sensory gallery๐Ÿ™‚ In Anya Gallaccio‘s work, she uses organic life through apples, vegetables, flowers, salt, etc., relying on changes in the appearance and smell of plants and food itself to affect the viewer, using the material itself life cycle to discuss the relationship between life and time. She covered the floor of the whole house with bright red roses and let them wither slowly with the exhibition.
Duchamp once encouraged artists to try “anti-retina art”, and no longer regard beauty as a necessary condition of art, but to improve the ideological dimension of the work. We cannot say that the above works of art lose visual aesthetics without visual effects. , Art is born in the mind of the artist, and the source of the artist’s creativity comes from the senses, just like the blind person cannot take pictures or paint, and the almost deaf Beethoven uses bone conduction to fight against fate.
During the week we practiced to better think about whether our listening is colonizing the voices around us, is it possible to decolonize listening? How can we disrupt the colonial classifications and associations between soundness and race, soundness and domination? We consider how artists can use sensory methods to encourage different ways of relating to nature and each other.
In addition, through “Towards A City Observatory: Constellations of Art, Collaboration and Locality”, the observatory of the city is a metaphorical symbol of “panorama”, the observatory is the starting point of the link, the meeting point of ancient and modern Edinburgh, and history connects Edinburgh to the world. Connected portals, a concept by Robert Barker. On this Calton Hill tour, we focus more on the visual experience of the mountaintop view, sky, clouds, and sea, the hearing would help, but in our study we used hearing as the main factor in decolonizing perspective, exploring Different ways to transcend the visual senses and the world. I show our practice process in the form of design dialogue illustrations.

As listeners, we brought that connection into our interactions with Calton Hill. We strive to listen to Calton Hill in this way.

Going back to the question at the beginning of Neimanis, it is a specific relationship that entangles the audience with the world and the categorization and order of things. In the process of auditory attunement, we form images in our consciousness, as we see in blue, creating an infinite visual universe with static and imageless visual presentations.