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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Handberg, Kristian;

    The article analyzes the contemporary art historical focus on multiple modernities through two significant exhibitions: After Year Zero at Haus der Kulturen der Welt, Berlin 2013/Museum of Modern Art, Warsaw 2015 and The World Goes Pop , Tate Modern, London (2015). These different exhibitions are aimed at re-reading the post-1945 era in a global context, discussing how arts and culture responded to a global modernity. The article emphasizes the overlapping interests in this by academic art history and criticism as well as museal and curatorial efforts and discusses the idea of curatorial research in these different approaches. (Published: 29 April 2016) Citation: Journal of Aesthetics & Culture, Vol. 8, 2016 http://dx.doi.org/10.3402/jac.v8.30925

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Co-Action Publishingarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Journal of Aesthetics & Culture
    Article . 2016 . Peer-reviewed
    Data sources: Crossref
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Journal of Aesthetics & Culture
    Article
    License: CC BY NC
    Data sources: UnpayWall
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    DOAJ
    Article . 2016
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Co-Action Publishingarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Journal of Aesthetics & Culture
      Article . 2016 . Peer-reviewed
      Data sources: Crossref
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Journal of Aesthetics & Culture
      Article
      License: CC BY NC
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2016
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Cortsen, Rikke Platz; Kauranen, Ralf;

    Throughout history, the cultures of the Nordic countries have at certain points been seen through a lense that stresses regional commonality, most recently with terms like “New Nordic Cooking” or “Nordic Noir.” In this article, we examine the possibility of a common concept of “New Nordic Comics” by analyzing a number of Nordic comics anthologies. We discuss in what way Nordic comics might be said to be new and how they can be considered to be Nordic. We state that the comics in the collections are not identifiable as particularly Nordic based on their themes or the stylistic or visual repertoires. In these respects, Nordic comics are part of a broader transnational comics culture. The comics, however, occasionally bear witness to a Nordic background or heritage, for instance, in the form of words in Finnish or the Scandinavian languages, names of characters or the milieux in the comics. On the whole, Nordicness in comics is variable and diverse, and rather than a phenomenon based on inherent quality or aesthetic commonality, new Nordic comics are a result of promotional strategies, cultural policies, and transnational connections between Nordic actors in the comics field.(Published: 8 November 2016)Citation: Journal of Aesthetics & Culture, Vol. 8, 2016 http://dx.doi.org/10.3402/jac.v8.30253

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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ
    Article . 2016
    Data sources: DOAJ
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Journal of Aesthetics & Culture
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Journal of Aesthetics & Culture
    Article . 2016 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Co-Action Publishingarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DOAJ
      Article . 2016
      Data sources: DOAJ
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Journal of Aesthetics & Culture
      Article
      License: CC BY NC
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Journal of Aesthetics & Culture
      Article . 2016 . Peer-reviewed
      Data sources: Crossref
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Jonatan Leer;

    This article provides a history of the New Nordic Cuisine—the ideology, the politics, the criticism, and the counter-reactions to it. The article has a particular focus on the Copenhagen restaurant scene which has been recognized as the epicenter of the movement, and it argues that after a decade of dominance of the strict Nordic locavorism, the dogmas of New Nordic Cuisine are being challenged from within by a generation of chefs who were brought up in New Nordic restaurants, but they are currently distancing themselves from the movement. A notable example of this new generation is Christian Puglisi, who while holding on to some of the core elements of the New Nordic Cuisine (particularly ideals of sound production and the focus on vegetables) refuses the geographical dogmas of the movement and unfolds a cosmopolitan fusion kitchen. The article also discusses how different actors in different contexts have used the New Nordic Cuisine to position themselves in the culinary field either by adhering to or rejecting the concept, and how the example of the New Nordic Cuisine highlights the complex and often contradictory dynamics of the local/global dichotomy in contemporary food and consumer culture.(Published: 8 November 2016)Citation: Journal of Aesthetics & Culture, Vol. 8, 2016 http://dx.doi.org/10.3402/jac.v8.33494

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Co-Action Publishingarrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ
    Article . 2016
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Journal of Aesthetics & Culture
    Article
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Co-Action Publishingarrow_drop_down
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      Article . 2016
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      Journal of Aesthetics & Culture
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    Authors: Mathias Danbolt;

    At the 2009 Nordic Culture Forum summit in Berlin that centered on the profiling and branding of the Nordic region in a globalized world, one presenter stood out from the crowd. The lobbyist Annika Sigurdardottir delivered a speech that called for the establishment of “The United Nations of Norden”: A Nordic union that would gather the nations and restore Norden’s role as the “moral superpower of the world.” Sigurdardottir’s presentation generated such a heated debate that the organizers had to intervene and reveal that the speech was a performance made by the artists Jeuno JE Kim and Ewa Einhorn. This article takes Kim and Einhorn’s intervention as a starting point for a critical discussion of the history and politics of Nordic image-building. The article suggests that the reason Kim and Einhorn’s speech passed as a serious proposal was due to its meticulous mimicking of two discursive formations that have been central to the debates on the branding of Nordicity over the last decades: on the one hand, the discourse of “Nordic exceptionalism,” that since the 1960s has been central to the promotion of a Nordic political, socio-economic, and internationalist “third way” model, and, on the other hand, the discourse on the “New Nordic,” that emerged out of the New Nordic Food-movement in the early 2000s, and which has given art and culture a privileged role in the international re-fashioning of the Nordic brand. Through an analysis of Kim and Einhorn’s United Nations of Norden (UNN)-performance, the article examines the historical development and ideological underpinnings of the image of Nordic unity at play in the discourses of Nordic exceptionalism and the New Nordic. By focusing on how the UNN-project puts pressure on the role of utopian imaginaries in the construction of Nordic self-images, the article describes the emergence of a discursive framework of New Nordic Exceptionalism . (Published: 8 November 2016) Citation: Journal of Aesthetics & Culture, Vol. 8, 2016 http://dx.doi.org/10.3402/jac.v8.30902

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    DOAJ
    Article . 2016
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Journal of Aesthetics & Culture
    Article . 2016 . Peer-reviewed
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      DOAJ
      Article . 2016
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      Journal of Aesthetics & Culture
      Article . 2016 . Peer-reviewed
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    Authors: Anne Ring Petersen;

    “Southern” perspectives on unequal development are undeniably much needed. Yet, Southern perspectives on art and culture sometimes construct a homogenising image of the West. As a result, they are prone to uphold and perhaps even reinforce the dichotomy between “the North” and “the South” rather than deconstruct it. Conversely, this article aims to pluralise the West by contributing to the discussion of differential perspectives on art and cultural identity within the West. I wish to suggest that a Northern perspective—or to be more specific, a semi-peripheral Nordic perspective—might provide scholars based in this region with a productive entry point into the study of the globalised art forms of today. By consciously and self-critically positioning ourselves in the semi-periphery of the global art world, we may be able to develop a kind of inside–outside perspective similar to the “stereo-scopic vision” that Salman Rushdie famously attributed to migrants. Seeing the Western art world from the inside as well as the outside invariably involves comparison and inter- or cross-cultural analysis. Thus, contemporary comparative approaches would need to build on a critical revision of the Eurocentric bias endemic in art history’s long tradition of cross-cultural comparison. Accordingly, the second aim of this article is to discuss the potential of comparative approaches and, in continuation thereof, what scholars in the Nordic semi-periphery could learn from the Southern perspectives of post- and decolonial studies. Keywords: contemporary art; art history; cross-cultural analysis; comparativism; transculturality; postcolonialism; Nordic colonialism; semi-periphery; provincialism; globalisation (Published: 11 September 2015) Citation: Journal of Aesthetics & Culture, Vol. 7, 2015 http://dx.doi.org/10.3402/jac.v7.28154

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Co-Action Publishingarrow_drop_down
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    Journal of Aesthetics & Culture
    Article . 2015 . Peer-reviewed
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    Article . 2015
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      Journal of Aesthetics & Culture
      Article . 2015 . Peer-reviewed
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    Authors: Mette Sandbye;

    Having been the most widespread practice of photography since the late 19th century, it is only in the recent few decades that family photography has come into focus of academic attention. Scholars working with family albums have mainly come from anthropology, whereas scholars from the aesthetical fields, art history, photography studies, and cultural studies have been more hesitant about how to approach such a material. Using three family photo albums from the late 1960s and onwards as examples, the goal of this paper is to underline that family photos contain emotional, psychological, and affective qualities that reach further than the individual owner and that should be put forward, also within the fields of aesthetics and humanities. Family photo albums are about social and emotional communication, they can be interpreted as ways of understanding and coming to terms with life, and at the same time they document more sociological aspects of daily lives, that we do not have access to from other historical sources. The paper suggests a theoretical framing as a combination of now “classical” photography theory and more recent cultural theory in order to highlight the possible interpretative findings in an analysis of family photography drawing on cultural theory, social-cultural anthropology, material culture studies, affect theory, and phenomenology. Keywords : family photo album; histories of photography; vernacular photography; cultural theory; material studies; affect (Published: 17 December 2014) Citation: Journal of Aesthetics & Culture, Vol. 6 , 2014 http://dx.doi.org/10.3402/jac.v6.25419

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    Journal of Aesthetics & Culture
    Article . 2014 . Peer-reviewed
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    DOAJ
    Article . 2014
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      Journal of Aesthetics & Culture
      Article . 2014 . Peer-reviewed
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      DOAJ
      Article . 2014
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Baggesgaard, Mads Anders;

    Globalization remains a challenge for the art of cinema. No art form is more suited to the task of showing clashes between cultures and the internal conflicts of a society, but as films are both narratively and physically dependent on locations*even if these can be multiple and dispersed throughout the world*and because of the logistics and the finances required for the production of film, cinema has almost always been placed in a national or regional framework. Reflecting the totality and networked nature of the globalized world seems more readily attainable for more conceptual forms of art. This article discusses Alejandro Gonzales In˜a´rritu’s 2006 film Babel, often cited as the ‘‘first film of globalization,’’ asking the question of whether this claim can be substantiated alone with reference to the networked narrative of the film and use of multiple locations, suggesting that the relationship between cinema and globalization should in fact be understood on the terms of the medium as a visual reflection of images of the globe. Drawing on theories on the visual nature of globalization by Arjun Appadurai, Martin Heidegger, and W. J. T. Mitchell, this article thus argues for a different conception of cinematic globalization rooted in the history of cinema rather than in theories of globalization. Keywords: visuality; complexity; opacity; landscape (Published: 28 November 2013) Citation: Journal of Aesthetics & Culture, Vol. 5 , 2013 http://dx.doi.org/10.3402/jac.v5i0.22704

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    Journal of Aesthetics & Culture
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    Authors: Philipsen, Lotte;

    This article investigates how cultural circulation of art may be considered from two different perspectives: one sees the circulation of art within a globalization paradigm according to which contemporary art has become increasingly global by circulating among and transgressing different geographical and national borders, whereas the other focuses on the circulation of art across different epistemological borders. Thus, the first is an intra-discursive circulation of art insofar as the epistemological discourse of art itself is not transgressed despite the focus on cultural transgression within the globalization paradigm. The latter, on the other hand, is an inter-discursive circulation of art, since it focuses on art’s ability to work, simultaneously, within different epistemological discourses. By analysing the artwork Free Universal Construction Kit, the article critically investigates the aesthetic potentials of these two different paradigms. The analysis is carried out by considering how Kantian subject positions regarding the aesthetic can be taken on within each paradigm. The author demonstrates that, paradoxically, the interdiscursive circulation of art prompts for greater aesthetic potentials than the intra-discursive circulation of the globalization paradigm. Keywords: Contemporary art; aesthetics; epistemology; globalization; ‘‘Free Universal Construction Kit’’ (Published: 28 November 2013) Citation: Journal of Aesthetics & Culture, Vol. 5 , 2013 http://dx.doi.org/10.3402/jac.v5i0.22668

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    Article . 2013
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    Journal of Aesthetics & Culture
    Article . 2013 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2013
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Journal of Aesthetics & Culture
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      Journal of Aesthetics & Culture
      Article . 2013 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Bjørnsten , Thomas;

    The article discusses the intricate relationship between sound and signification through notions of noise. The emergence of new fields of sonic artistic practices has generated several questions of how to approach sound as aesthetic form and material. During the past decade an increased attention has been paid to, for instance, a category such as ‘‘sound art’’ together with an equally strengthened interest in phenomena and concepts that fall outside the accepted aesthetic procedures and constructions of what we traditionally would term as musical sound - a recurring example being ‘‘noise’’. In order to explore the effects and signifying modes of sonic material considered peripheral to established musicological methodologies, other types of discourses have appeared. The aim of this article is to investigate and evaluate such discourses of the sonic arts and to do so from the perspective of a continuum between sound and noise. It is moreover suggested that we consider sound in relation to the concept of ‘‘signal’’ which is exemplified through analysis of actual works. Keywords: sound; noise; signal; sonic; signification; virtuality; Tsunoda; Lopez; Fell; Basic Channel (Published: 15 June 2012) Citation: Journal of Aesthetics & Culture, Vol. 4 , 2012 http://dx.doi.org/10.3402/jac.v4i0.18615

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Co-Action Publishingarrow_drop_down
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    Article . 2012
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Journal of Aesthetics & Culture
    Article . 2012 . Peer-reviewed
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      Article . 2012
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      Journal of Aesthetics & Culture
      Article . 2012 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Journal of Aesthetics & Culture
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sandbye, Mette;

    Inspired by the concept of ‘‘the signaletic,’’ this article proposes a new understanding of photography as a social and performative device related to everyday life, to communication, and to presence. Today photography is a ubiquitous, social activity to a much larger extent than before the digital revolution and the introduction of the Internet, creating relational situations and communication as well as new affective involvements between human bodies and the photographic, media-convergent technologies. In the light of this epistemological change, the medium of photography demands a theoretical reformulation, and contemporary art works can help us articulate ‘‘the signaletic paradigm’’ in photography. To illustrate this, the article includes an analysis of Christian Marclay’s prize winning ‘‘The Clock’’ and David Claerbout’s ‘‘Sections of a Happy Moment’’. It is my argument that although the traditional photography, such as the early photography theories by Bazin and Barthes have described, confirmed ‘‘what-has-been’’ (Barthes) and fulfilled a ‘‘mumification desire’’ (Bazin), the new digital practices at the Internet show ‘‘what-is-going-on’’ (presence) and thereby rather fulfills the user’s existential desire to ‘‘feel time.’’ Keywords: new media ecology; Web 2.0; digital photography; video art; Christian Marclay; David Claerbout; presence; database (Published: 15 June 2012) Citation: Journal of Aesthetics & Culture, Vol. 4, 2012 http://dx.doi.org/10.3402/jac.v4i0.18159

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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Journal of Aesthetics & Culture
    Article . 2012 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Handberg, Kristian;

    The article analyzes the contemporary art historical focus on multiple modernities through two significant exhibitions: After Year Zero at Haus der Kulturen der Welt, Berlin 2013/Museum of Modern Art, Warsaw 2015 and The World Goes Pop , Tate Modern, London (2015). These different exhibitions are aimed at re-reading the post-1945 era in a global context, discussing how arts and culture responded to a global modernity. The article emphasizes the overlapping interests in this by academic art history and criticism as well as museal and curatorial efforts and discusses the idea of curatorial research in these different approaches. (Published: 29 April 2016) Citation: Journal of Aesthetics & Culture, Vol. 8, 2016 http://dx.doi.org/10.3402/jac.v8.30925

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Co-Action Publishingarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Journal of Aesthetics & Culture
    Article . 2016 . Peer-reviewed
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Journal of Aesthetics & Culture
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ
    Article . 2016
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Co-Action Publishingarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Journal of Aesthetics & Culture
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2016
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Cortsen, Rikke Platz; Kauranen, Ralf;

    Throughout history, the cultures of the Nordic countries have at certain points been seen through a lense that stresses regional commonality, most recently with terms like “New Nordic Cooking” or “Nordic Noir.” In this article, we examine the possibility of a common concept of “New Nordic Comics” by analyzing a number of Nordic comics anthologies. We discuss in what way Nordic comics might be said to be new and how they can be considered to be Nordic. We state that the comics in the collections are not identifiable as particularly Nordic based on their themes or the stylistic or visual repertoires. In these respects, Nordic comics are part of a broader transnational comics culture. The comics, however, occasionally bear witness to a Nordic background or heritage, for instance, in the form of words in Finnish or the Scandinavian languages, names of characters or the milieux in the comics. On the whole, Nordicness in comics is variable and diverse, and rather than a phenomenon based on inherent quality or aesthetic commonality, new Nordic comics are a result of promotional strategies, cultural policies, and transnational connections between Nordic actors in the comics field.(Published: 8 November 2016)Citation: Journal of Aesthetics & Culture, Vol. 8, 2016 http://dx.doi.org/10.3402/jac.v8.30253

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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    DOAJ
    Article . 2016
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    Journal of Aesthetics & Culture
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    Journal of Aesthetics & Culture
    Article . 2016 . Peer-reviewed
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      DOAJ
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Journal of Aesthetics & Culture
      Article . 2016 . Peer-reviewed
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    Authors: Jonatan Leer;

    This article provides a history of the New Nordic Cuisine—the ideology, the politics, the criticism, and the counter-reactions to it. The article has a particular focus on the Copenhagen restaurant scene which has been recognized as the epicenter of the movement, and it argues that after a decade of dominance of the strict Nordic locavorism, the dogmas of New Nordic Cuisine are being challenged from within by a generation of chefs who were brought up in New Nordic restaurants, but they are currently distancing themselves from the movement. A notable example of this new generation is Christian Puglisi, who while holding on to some of the core elements of the New Nordic Cuisine (particularly ideals of sound production and the focus on vegetables) refuses the geographical dogmas of the movement and unfolds a cosmopolitan fusion kitchen. The article also discusses how different actors in different contexts have used the New Nordic Cuisine to position themselves in the culinary field either by adhering to or rejecting the concept, and how the example of the New Nordic Cuisine highlights the complex and often contradictory dynamics of the local/global dichotomy in contemporary food and consumer culture.(Published: 8 November 2016)Citation: Journal of Aesthetics & Culture, Vol. 8, 2016 http://dx.doi.org/10.3402/jac.v8.33494

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Co-Action Publishingarrow_drop_down
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    DOAJ
    Article . 2016
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    Journal of Aesthetics & Culture
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      DOAJ
      Article . 2016
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      Journal of Aesthetics & Culture
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    Authors: Mathias Danbolt;

    At the 2009 Nordic Culture Forum summit in Berlin that centered on the profiling and branding of the Nordic region in a globalized world, one presenter stood out from the crowd. The lobbyist Annika Sigurdardottir delivered a speech that called for the establishment of “The United Nations of Norden”: A Nordic union that would gather the nations and restore Norden’s role as the “moral superpower of the world.” Sigurdardottir’s presentation generated such a heated debate that the organizers had to intervene and reveal that the speech was a performance made by the artists Jeuno JE Kim and Ewa Einhorn. This article takes Kim and Einhorn’s intervention as a starting point for a critical discussion of the history and politics of Nordic image-building. The article suggests that the reason Kim and Einhorn’s speech passed as a serious proposal was due to its meticulous mimicking of two discursive formations that have been central to the debates on the branding of Nordicity over the last decades: on the one hand, the discourse of “Nordic exceptionalism,” that since the 1960s has been central to the promotion of a Nordic political, socio-economic, and internationalist “third way” model, and, on the other hand, the discourse on the “New Nordic,” that emerged out of the New Nordic Food-movement in the early 2000s, and which has given art and culture a privileged role in the international re-fashioning of the Nordic brand. Through an analysis of Kim and Einhorn’s United Nations of Norden (UNN)-performance, the article examines the historical development and ideological underpinnings of the image of Nordic unity at play in the discourses of Nordic exceptionalism and the New Nordic. By focusing on how the UNN-project puts pressure on the role of utopian imaginaries in the construction of Nordic self-images, the article describes the emergence of a discursive framework of New Nordic Exceptionalism . (Published: 8 November 2016) Citation: Journal of Aesthetics & Culture, Vol. 8, 2016 http://dx.doi.org/10.3402/jac.v8.30902

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Co-Action Publishingarrow_drop_down
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    DOAJ
    Article . 2016
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    Journal of Aesthetics & Culture
    Article . 2016 . Peer-reviewed
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      Article . 2016
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      Journal of Aesthetics & Culture
      Article . 2016 . Peer-reviewed
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    Authors: Anne Ring Petersen;

    “Southern” perspectives on unequal development are undeniably much needed. Yet, Southern perspectives on art and culture sometimes construct a homogenising image of the West. As a result, they are prone to uphold and perhaps even reinforce the dichotomy between “the North” and “the South” rather than deconstruct it. Conversely, this article aims to pluralise the West by contributing to the discussion of differential perspectives on art and cultural identity within the West. I wish to suggest that a Northern perspective—or to be more specific, a semi-peripheral Nordic perspective—might provide scholars based in this region with a productive entry point into the study of the globalised art forms of today. By consciously and self-critically positioning ourselves in the semi-periphery of the global art world, we may be able to develop a kind of inside–outside perspective similar to the “stereo-scopic vision” that Salman Rushdie famously attributed to migrants. Seeing the Western art world from the inside as well as the outside invariably involves comparison and inter- or cross-cultural analysis. Thus, contemporary comparative approaches would need to build on a critical revision of the Eurocentric bias endemic in art history’s long tradition of cross-cultural comparison. Accordingly, the second aim of this article is to discuss the potential of comparative approaches and, in continuation thereof, what scholars in the Nordic semi-periphery could learn from the Southern perspectives of post- and decolonial studies. Keywords: contemporary art; art history; cross-cultural analysis; comparativism; transculturality; postcolonialism; Nordic colonialism; semi-periphery; provincialism; globalisation (Published: 11 September 2015) Citation: Journal of Aesthetics & Culture, Vol. 7, 2015 http://dx.doi.org/10.3402/jac.v7.28154

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    Journal of Aesthetics & Culture
    Article . 2015 . Peer-reviewed
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      Journal of Aesthetics & Culture
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    Authors: Mette Sandbye;

    Having been the most widespread practice of photography since the late 19th century, it is only in the recent few decades that family photography has come into focus of academic attention. Scholars working with family albums have mainly come from anthropology, whereas scholars from the aesthetical fields, art history, photography studies, and cultural studies have been more hesitant about how to approach such a material. Using three family photo albums from the late 1960s and onwards as examples, the goal of this paper is to underline that family photos contain emotional, psychological, and affective qualities that reach further than the individual owner and that should be put forward, also within the fields of aesthetics and humanities. Family photo albums are about social and emotional communication, they can be interpreted as ways of understanding and coming to terms with life, and at the same time they document more sociological aspects of daily lives, that we do not have access to from other historical sources. The paper suggests a theoretical framing as a combination of now “classical” photography theory and more recent cultural theory in order to highlight the possible interpretative findings in an analysis of family photography drawing on cultural theory, social-cultural anthropology, material culture studies, affect theory, and phenomenology. Keywords : family photo album; histories of photography; vernacular photography; cultural theory; material studies; affect (Published: 17 December 2014) Citation: Journal of Aesthetics & Culture, Vol. 6 , 2014 http://dx.doi.org/10.3402/jac.v6.25419

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    Journal of Aesthetics & Culture
    Article . 2014 . Peer-reviewed
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    DOAJ
    Article . 2014
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      Article . 2014
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    Authors: Baggesgaard, Mads Anders;

    Globalization remains a challenge for the art of cinema. No art form is more suited to the task of showing clashes between cultures and the internal conflicts of a society, but as films are both narratively and physically dependent on locations*even if these can be multiple and dispersed throughout the world*and because of the logistics and the finances required for the production of film, cinema has almost always been placed in a national or regional framework. Reflecting the totality and networked nature of the globalized world seems more readily attainable for more conceptual forms of art. This article discusses Alejandro Gonzales In˜a´rritu’s 2006 film Babel, often cited as the ‘‘first film of globalization,’’ asking the question of whether this claim can be substantiated alone with reference to the networked narrative of the film and use of multiple locations, suggesting that the relationship between cinema and globalization should in fact be understood on the terms of the medium as a visual reflection of images of the globe. Drawing on theories on the visual nature of globalization by Arjun Appadurai, Martin Heidegger, and W. J. T. Mitchell, this article thus argues for a different conception of cinematic globalization rooted in the history of cinema rather than in theories of globalization. Keywords: visuality; complexity; opacity; landscape (Published: 28 November 2013) Citation: Journal of Aesthetics & Culture, Vol. 5 , 2013 http://dx.doi.org/10.3402/jac.v5i0.22704

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    Authors: Philipsen, Lotte;

    This article investigates how cultural circulation of art may be considered from two different perspectives: one sees the circulation of art within a globalization paradigm according to which contemporary art has become increasingly global by circulating among and transgressing different geographical and national borders, whereas the other focuses on the circulation of art across different epistemological borders. Thus, the first is an intra-discursive circulation of art insofar as the epistemological discourse of art itself is not transgressed despite the focus on cultural transgression within the globalization paradigm. The latter, on the other hand, is an inter-discursive circulation of art, since it focuses on art’s ability to work, simultaneously, within different epistemological discourses. By analysing the artwork Free Universal Construction Kit, the article critically investigates the aesthetic potentials of these two different paradigms. The analysis is carried out by considering how Kantian subject positions regarding the aesthetic can be taken on within each paradigm. The author demonstrates that, paradoxically, the interdiscursive circulation of art prompts for greater aesthetic potentials than the intra-discursive circulation of the globalization paradigm. Keywords: Contemporary art; aesthetics; epistemology; globalization; ‘‘Free Universal Construction Kit’’ (Published: 28 November 2013) Citation: Journal of Aesthetics & Culture, Vol. 5 , 2013 http://dx.doi.org/10.3402/jac.v5i0.22668

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    Article . 2013
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      Article . 2013
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    Authors: Bjørnsten , Thomas;

    The article discusses the intricate relationship between sound and signification through notions of noise. The emergence of new fields of sonic artistic practices has generated several questions of how to approach sound as aesthetic form and material. During the past decade an increased attention has been paid to, for instance, a category such as ‘‘sound art’’ together with an equally strengthened interest in phenomena and concepts that fall outside the accepted aesthetic procedures and constructions of what we traditionally would term as musical sound - a recurring example being ‘‘noise’’. In order to explore the effects and signifying modes of sonic material considered peripheral to established musicological methodologies, other types of discourses have appeared. The aim of this article is to investigate and evaluate such discourses of the sonic arts and to do so from the perspective of a continuum between sound and noise. It is moreover suggested that we consider sound in relation to the concept of ‘‘signal’’ which is exemplified through analysis of actual works. Keywords: sound; noise; signal; sonic; signification; virtuality; Tsunoda; Lopez; Fell; Basic Channel (Published: 15 June 2012) Citation: Journal of Aesthetics & Culture, Vol. 4 , 2012 http://dx.doi.org/10.3402/jac.v4i0.18615

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    Article . 2012
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      Journal of Aesthetics & Culture
      Article . 2012 . Peer-reviewed
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      Journal of Aesthetics & Culture
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    Authors: Sandbye, Mette;

    Inspired by the concept of ‘‘the signaletic,’’ this article proposes a new understanding of photography as a social and performative device related to everyday life, to communication, and to presence. Today photography is a ubiquitous, social activity to a much larger extent than before the digital revolution and the introduction of the Internet, creating relational situations and communication as well as new affective involvements between human bodies and the photographic, media-convergent technologies. In the light of this epistemological change, the medium of photography demands a theoretical reformulation, and contemporary art works can help us articulate ‘‘the signaletic paradigm’’ in photography. To illustrate this, the article includes an analysis of Christian Marclay’s prize winning ‘‘The Clock’’ and David Claerbout’s ‘‘Sections of a Happy Moment’’. It is my argument that although the traditional photography, such as the early photography theories by Bazin and Barthes have described, confirmed ‘‘what-has-been’’ (Barthes) and fulfilled a ‘‘mumification desire’’ (Bazin), the new digital practices at the Internet show ‘‘what-is-going-on’’ (presence) and thereby rather fulfills the user’s existential desire to ‘‘feel time.’’ Keywords: new media ecology; Web 2.0; digital photography; video art; Christian Marclay; David Claerbout; presence; database (Published: 15 June 2012) Citation: Journal of Aesthetics & Culture, Vol. 4, 2012 http://dx.doi.org/10.3402/jac.v4i0.18159

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    Journal of Aesthetics & Culture
    Article . 2012 . Peer-reviewed
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