Our Relationship with the Image as a Form of Being-With

This paper looks at the development of the artistic work from a narrative work into an experiential one. How the presentation of sublime in art has moved us away from finding meaning in narrative into taking on meaning through facing our relationship to the other. It traces how this change in communication has meant that the viewer’s experience with a work is the work. It takes an historical and theoretical perspective before discussing a proposed project, The Lamps of Presence, as a work employing these theories.

Content

Author and article information

Contributors

Kenneth Feinstein

Conference

Publication date: July 2020

Publication date (Print): July 2020

Pages: 166-171

Affiliations

[0001]Sunway University

Centre for Research-Creation in Digital Media

No. 5, Jalan Universiti

47500 Bandar Sunway Selangor Darul Ehsan

Kuala Lumpur, Malaysia

Article

DOI: 10.14236/ewic/EVA2020.29

SO-VID: 0e3cabe9-40db-4d7f-a109-3bb27a4cd6f5

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2020

Conference acronym: EVA 2020

Conference number: 30

Conference location: London

Conference date: 6th July – 9th July 2020

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: AI and the Arts: Artificial Imagination

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2020.29

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

R Barthes 1981 Camera lucida: reflections on photography, New York Hill and Wang
R BarthesS Heath 1977 Image, music, text, New York Noonday Press
G Batchen 1997 Burning with desire: the conception of photography, Cambridge, MA; London MIT Press
H Bergson 1988 Matter and memory, New York Zone Books
E Burke 1986 A philosophical enquiry into the origin of our ideas of the sublime and beautiful, Notre Dame University of Notre Dame Press
G DeleuzeC Parnet 1987 Dialogues, New York Columbia University Press
I KantN Walker 2007 Critique of judgement, Oxford; New York Oxford University Press
R Krauss 1977 Notes on the Index: Seventies Art in America October 3 68 81
E Lévinas 1998 Entre nous: on thinking-of-the-other, New York Columbia University Press
S Oettermann 1997 The panorama: history of a mass medium, New York Zone Books
J Rancière 2013 Aisthesis: scenes from the aesthetic regime of art, London; New York Verso Books
A. V Uroskie 2014 Between the black box and the white cube: expanded cinema and postwar art, Chicago; London University of Chicago Press
S Zielinski 2006 Deep time of the media: toward an archaeology of hearing and seeing by technical means, Cambridge, MA MIT Press

Comments

Comment on this article

[1] R Barthes 1981 Camera lucida: reflections on photography, New York Hill and Wang

[2] R BarthesS Heath 1977 Image, music, text, New York Noonday Press

[3] G Batchen 1997 Burning with desire: the conception of photography, Cambridge, MA; London MIT Press

[4] H Bergson 1988 Matter and memory, New York Zone Books

[5] E Burke 1986 A philosophical enquiry into the origin of our ideas of the sublime and beautiful, Notre Dame University of Notre Dame Press

[6] G DeleuzeC Parnet 1987 Dialogues, New York Columbia University Press

[7] I KantN Walker 2007 Critique of judgement, Oxford; New York Oxford University Press

[8] R Krauss 1977 Notes on the Index: Seventies Art in America October 3 68 81

[9] E Lévinas 1998 Entre nous: on thinking-of-the-other, New York Columbia University Press

[10] S Oettermann 1997 The panorama: history of a mass medium, New York Zone Books

[11] J Rancière 2013 Aisthesis: scenes from the aesthetic regime of art, London; New York Verso Books

[12] A. V Uroskie 2014 Between the black box and the white cube: expanded cinema and postwar art, Chicago; London University of Chicago Press

[13] S Zielinski 2006 Deep time of the media: toward an archaeology of hearing and seeing by technical means, Cambridge, MA MIT Press

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