Background to the study: Clarifying the state of hybridity Exhale is a practice-led research project that utilises painting as its core but also enfolds within it a constellation of practices which employ digital transcription and hybridisation as strategies to transform media. Hybridity references the intermedial space of overlap and collaboration which comes into existence at the convergence of disparate mediums. This project manifests itself at the intersection of historic 2D media (painting, weaving and photography) and electronic interfaces (computer imaging and generation, digital video, static and moving digital projection). The ongoing interconnection between these material and virtual fields produces interblended media forms which exhibit hybridity and heterogeneous diversity. The state of hybridity is characterised by its mixed heritage, its differential condition, and location outside of established categories. Hybridity is an additive process, not a subtractive one. The process of hybridisation denotes a position of crossing over, variation and media exchange in the formation of new features. Hybridity has been described in the following terms. Hybridity inhabits the territory of the foreign (Papastergiadis, 2000:168) and “estranged” (Green in Bhabha, 1994). Hybridity is a condition of emergent identity, a site of collaborative action and transformation, and a space of surplus and differentiation (Bhabha, 1994). Hybridity is the state of representation identified by the terms of “otherness”, “beyond” (Bhabha, 1994), “inclusionary” (Meredith, 1998:5) and the “in-between” (Bhabha in Bennett, 1998:37-47). It represents a liminal location of disjunction, discordance, dislocation, and transformation. Hybridity operate... ... middle of paper ... ...rupturing of the work through slicing, perforation and weaving. My art production is an evolving continuum of creative genesis. The ongoing production process highlights the revision of work and its emergent hybrid properties. I understand my practice as a body of work from which redefined formal, spatio-temporal relationships emerge with each transformation. The total art work manifests as a continually restructured arrangement of multiple and merged visual regimes within an autonomous but evolving body of production. In my visual practice I use the terms “art work” and “project” interchangeably. The production output exists as a site of infinite potential for the actualisation of myriad hybrid presences. Deleuze indicates that actualisation is the state of convergence by which the material form is expressed by its “incarnation in a body”. (Deleuze, 2004: 127).
People usually expect to see paintings and sculptures in Art Galleries. Imagine the surprise one finds when they are presented with a man stitching his face into a bizarre caricature, or connected to a machine which controls the artist’s body. These shocking pieces of performance art come under the broad umbrella that is Postmodernism. Emphasis on meaning and shock value has replaced traditional skills and aesthetic values evident in the earlier Modernist movements.
...tion, we can try new forms of creating art, while questioning and expanding the very nature of collaboration itself.
ABSTRACT: British Avant-Garde art, poses a challenge to traditional aesthetic analysis. This paper will argue that such art is best understood in terms of Wittgenstein¡¦s concept of "seeing-as," and will point out that the artists often use this concept in describing their work. This is significant in that if we are to understand art in terms of cultural practice, then we must actually look at the practice. We will discuss initiatives such as the work of Damien Hirst, most famous for his animals in formaldehyde series, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of stops on London Underground maps with those of philosophers. Cornelia Parker¡¦s idea that visual appeal is not the most important thing, but rather that the questions that are set up in an attempt to create an "almost invisible" art are what are central, will also be discussed. Also, if we concur with Danto¡¦s claims that "contemporary art no longer allows itself to be represented by master narratives," that Nothing is ruled out.", then it is indeed fruitful to understand art in terms of seeing-as. For application of this concept to art explains what occurs conceptually when the viewer shifts from identifying a work, as an art object, and then as not an art object, and explains why nothing is ruled out.
Wagner, Richard. “Outlines of the Artwork of the Future,” in Multimedia from Wagner to Virtual Reality, eds. R. Packer and K. Jordan. W.W. Norton, 2001.
In any given culture, people are proud of their heritage. However, when an individual of one group meets with people of another, and the element of ignorance is added, the individual will be socially ostracized. Of mixed descent, Rayon...
Recently, there has been growing interest in cultural studies and especially postcolonial studies. As mentioned in the previous chapters, one of the most criticized terms in the postcolonial cultural criticism is the concept is hybridity. As far as the notion of hybridity is considered, Bhabha is a key figure in the developments of the term. For the reading of colonial and postcolonial texts, Bhabha has presented a conceptual vocabulary, some of which are hybridity, ambivalence and mimicry. Leitch et al. have written that Bhabha “has infused thinking about nationality, ethnicity, and politics with poststructuralist theories of identity and indeterminacy” (2001, 2377). It is worth mentioning that the theories of Sigmun Freud, Jaques Lacan, Jaques
In the beginning, Surrealism was primarily a literary movement, but it gave artists an access to new subject matter and a process for conjuring it. As Surrealist paintings began to emerge, it divi...
This book is a note written by Roland Barthes to record the dialectical way he thought about the eidos(form, essence, type, species) of Photographs. Roland Barthes was a French literary theorist, philosopher, linguist in his lifetime, but surprisingly he was not a photographer. As Barthes had a belief that art works consists with signs and structures, he had investigated semiotics and structuralism. However, through Camera Lucida, he realized the limitation of structuralism and the impression to analyze Photography with only semiotics and structuralism. Barthes concludes with talking about unclassifiable aspects of Photography. I could sense the direction Barthes wanted to go through the first chapter ‘Specialty of the Photograph’. He tried to define something by phenomenology
Even to those void of a formal art background, the world of traditional art is a realm held in high regard by nearly all. This elevation of art and artists is engrained into our culture, evident even in our own language – with common phrases such as ‘a work of art’ or ‘masterpiece’ used to express utmost skill and admiration. Yet, when asked to define art most would be clueless as where to begin, other than to perhaps describe feelings of awe at the skill of artists. However, admiration is a subjective matter so is clearly not a solid foundation for such a definition. To truly explore the definition of art, a fitting example would be to examine the work of French artist Marcel Duchamp and his famed ‘readymades.’ By placing these ordinary articles of life under the spotlight of a gallery, Duchamp shattered the traditional process of producing art that had existed for centuries, and subsequently triggered thinking about what constitutes as art.
The aesthetic form may be “tentatively define[d] as the result of the transformation of a given content (actual or historical, personal or social fact) into a self-contained whole,”. Art, when created in accordance to the aesthetic form, is the channeling of an experience into a subjective format, i.e. a novel, a painting, a piece of music, or any of the many different art forms. The reality of an event is translated into the chosen medium, and in this sublimation of the event, it is modified in accordance to the “demands of the art form” and the subjective perspective of the individual. The re-presentation of this event serves to “invoke the need for hope- a need rooted in the new consciousness embodied in the work of art”. When an event or object becomes the subject of a piece of art, it is necessarily changed according to the restrictions of the art form, artist, and veiwer. This change creates a new reality in where the event may take on a new meaning, thus challenging the original content of the event. This meaning is further influenced by subjectivity of the
... over time – and the viewer’s personal experience, essentially her history. This gets very near to a common sense perspective – what we look at, and what we think about what we see has much to do with who we are and what we have experienced in life. Thus, art may be described as an interaction between the viewer, influenced by her experiences, with the work of art, inclusive of its history and the stories built up around it over time. When we look at art, we must acknowledge that the image is temporally stretched – there is more to it than meets the eye at present. What we learn from Didi-Huberman’s approach is to give this temporal ‘tension’ its due. Didi-Huberman describes and defends the importance of of how we look at artistic works: images that represent something determinate, while always remaining open to the presentation of something new and different.
Margot Lovejoy “Art, Technology, and Postmodernism: Paradigms, Parallels, and Paradoxes” (Vol. 49, No. 3, Autumn, 1990): Page 257 of 257-265. “Art Journal”
Virtual art is the product of long-standing traditions in art merged with revolutionary technological advances. With innovations emerging almost as fast as end-users can test and master new systems, technology has dramatically altered our daily lives and changed our thought processes. Like many technological advances, virtual and cyber realities have been embraced, and often created by, artists that experiment with the myriad of possibilities that technology can offer. While there have been many works of art inspired and created by means of digital advances, the medium has yet to be defined and its boundaries have not yet been identified. Since technology and virtual art are just beginning to be explored, the medium is in its infancy and thus cannot be judged based upon traditional mores of art. Before virtual art can achieve prominence and respect within the art world, many barriers of tradition must first be abolished.
...have already begun to see – more as a means to playful firing visual fascination. The opposition of realistic film visual culture and non-narrative montage tradition has begun to breakdown. It is leading towards hybridization of realistic and stylized editing. Thus at one extreme there is a montage phenomenon of music video and on the other hand the editing technique of traditional cinema comes together. Montage is no longer a dominant aesthetic according to the new computer culture, as it was throughout the twentieth century, from the avant-garde of the 1920s up until postmodernism of the 1980s. New editing techniques like composting has emerged which combines different spaces into a single environment seamlessly creating a virtual space. Compositing is an example of the alternative aesthetics of continuity and it is considered counterpart of montage aesthetics.
Hybrid can be defined as "mixed ancestry" As a word; "hybrid" carries denotations of the physical as well as the metaphysical. In Down second Avenue, Mphahlele examines both a hybrid society, that being South Africa 1930- 50 as well as its composite sub-societies, extensively hybrid within themselves. Mphahlele's awareness of having a mixed ancestry is rooted in more than one dichotomy. His rural identity is opposed to his urban identity, his vocation as a teacher/academic is opposed to his employment as a messenger boy, his introspective nature opposed to his being member of a gang. His acute understanding of South African society is ironic in his feeling liberated in departing from it. It is in hybridity that Mphahlele's identity resides.