----------empyre- soft-skinned space----------------------
> Along the lines of plastic arts, I'm also wondering whether the
counter-to-deep time of indigenous art might not signal something different
both in apparatus and epistemology?
The space also has differing viewpoints, as does every individual viewer.
Art in situ is, too some extent, illusory.
On Wed, Nov 7, 2018 at 9:00 PM Timothy Conway Murray <t...@cornell.edu>
wrote:
> ----------empyre- soft-skinned space----------------------
> Elizabeth Wijaya wrote "On Kate's point on deep time and the danger of
> obscuring/forgetting
> historical subjugation and social inequality, maybe there is also such a
> thing as mountain time that's inhabited and experienced differently by
> people attracted to mountains for the sublime/universal time or as in
> Chiang's film, for the duration of survival."
>
> Something I've been discussing with artists and students over the past
> couple of months are the traversals and transversals of duration as
> cross-inhabited by differing populations and by differing epistemologies.
> While nature frequently has been figured vis à vis the "sublime" or the
> "universal," its understanding remains contingent on the populations
> inhabiting it. Just as "understanding" itself carries the footprint of
> historically fraught philosophical traditions. For Liz's cinematic
> characters, habitation runs contrary to the inhibitions of constrained
> passage and labor. Flight itself is both liberatory and terroristic
> depending on whether the look goes backward or forward. But in this case,
> the artistic engine still might remain to be tied to "projection" in
> relation to "distance" or "distancing." I'm wondering whether this isn't a
> peculiarly cinematic condition, one that signals the historical discussion
> of the gaze in all of its complexities. Might Chiang's cinematography and
> still off something different?
>
> Along the lines of plastic arts, I'm also wondering whether the
> counter-to-deep time of indigenous art might not signal something different
> both in apparatus and epistemology? In this case, duration itself might be
> running still and flowing deep but not in the sense of 'movement' or
> 'perspectival depth.' Just a thought provoked by Kate and Liz's posts.
>
> Tim
>
> Timothy Murray
> Director, Cornell Council for the Arts and Curator, CCA Biennial
> http://cca.cornell.edu
> Curator, Rose Goldsen Archive of New Media Art
> http://goldsen.library.cornell.edu <http://goldsen.library.cornell.edu/>
> Professor of Comparative Literature and English
>
> B-1 West Sibley Hall
> Cornell University
> Ithaca, New York 14853
>
>
>
> On 11/7/18, 1:16 PM, "empyre-boun...@lists.artdesign.unsw.edu.au on
> behalf of Elizabeth Wijaya" <empyre-boun...@lists.artdesign.unsw.edu.au
> on behalf of ew...@cornell.edu> wrote:
>
> ----------empyre- soft-skinned space----------------------
>
> _______________________________________________
> empyre forum
> empyre@lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
_______________________________________________
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu
