(Re)Localisation: Off-Site Exhibitions and Post-Internet Sacrality after Civilising Rituals by Carol Duncan

Carol Duncan’s seminal text Civilising Rituals (1995) considers state museums as active, ritualized settings of social performance through analysis of their historical development. Following Duncan’s thesis, this essay shall introduce the concept of ‘off-site’ projects, which construct their own paradigm of sacrality by restaging art outside of institutional contexts. Since the 2020-2021 lockdowns, alternative curatorial platforms have begun to emerge online which utilise such strategies to reclaim collective autonomy. As a proto-case study, I shall begin with ‘The Kitchen Show’ (1991) by Hans Ulrich Obrist, to discuss how this earlier ‘relational turn’ anticipated a more recent tendency towards self-organization. Further, I aim to examine how these initiatives appropriate museological structures whilst displacing them.&nbsp

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences

Fiction and its objects

This thesis develops a metaphysics of fictional objects that is embedded in a theory of fictional practice and maximally preserves the meanings of our fictional utterances. I begin by asking two questions: How can it be true of a fictional object such as Dune's Paul Atreides that he was born on the planet Caladan to the Lady Jessica (an intrafictional claim), that he was created on Earth by Frank Herbert (an extrafictional claim), and that he does not exist (a nonexistence claim)? If one or more of these is not true, then what is the nature of our assent to these three types of propositions about fictional objects? I argue that fiction's social nature and its basis in imaginative acts provides us with a dualist account of fictional objects: 'Paul Atreides' in the intrafictional and nonexistence claims refers to merely possible people while 'Paul Atreides' in extrafictional claims refers to an actual abstract artifact. I defend imagination's central role in fiction and argue that it's a norm of imagination that it models possibilities. I then define fiction as a social practice necessarily consisting in 1) acts of social imagining, 2) agreement maintained by implicit principles, 3) an aesthetic function or aim, and 4) the creation of abstract artifacts through which it achieves that aim. The result is that intrafictional claims are not assertions about the actual world, but expressions of imaginings that have as their intentional objects possible objects and states of affairs. Extrafictional claims are assertions about the actual abstract artifacts created by fictional practice that bear a picking out relation to the possibilia of fictive imaginings. Finally, nonexistence claims are assertions about the possibilia of our fictive imaginings - assertions that they are not actual. I defend the compatibility of these artifactualist and possibilist accounts and show how their union under the umbrella of a full theory of fiction both explains their intuitive appeal and solves the major issues they encounter individually

Urban Representation in Photographic Books: Emotional City Mapping through The Innocence of Objects

chapter of the book "Paper Cities. Urban Portraits in Photographic Books"KU Leuven, MDRN, Instituto de História da Arte, Universidade Nova de Lisboa, FC

Last Year at Mulholland Drive:Ambiguous Framings and Framing Ambiguities

This article proposes a cognitive-narratological perspective on David Lynch’s Mulholland Drive (2001) and the numerous contrasting interpretations that this film has generated. Rather than offering an(other) interpretation of the film, we aim to investigate some of the reasons why Lynch’s highly complex narrative has gained a cult – if not classic – status in recent film history. To explain the striking variety of (often conflicting) interpretations and responses that the film has evoked, we analyse its complex narrative in terms of its cognitive effects. Our hypothesis is that part of Mulholland Drive’s attractiveness arises from a cognitive oscillation that the film allows between profoundly differing, but potentially equally valid interpretive framings of its enigmatic story: as a perplexing but enticing puzzle, sustained by (post-)classical cues in its narration, and as an art-cinematic experience that builds on elements from experimental, surrealist, or other film- and art-historical traditions. The urge to narrativize Mulholland Drive, we argue, is driven by a distinct cognitive hesitation between these conflicting arrays of meaning making. As such, the film has been trailblazing with regards to contemporary cinema, setting stage for the current trend of what critics and scholars have called complex cinema or puzzle films

The Seductive Force of ‘Noumenal Power’: A New Path (or Impasse) for Critical Theory?

The main purpose of this paper is to examine Rainer Forst’s account of ‘noumenal power’. Forst’s proposal for a revised ‘critical theory of power’ is firmly embedded in his philosophical understanding of ‘the right to justification’. Whereas the latter has been extensively discussed in the secondary literature, the former has – with the exception of various exchanges that have taken place between Forst and his critics at academic conferences – received little attention. This paper is an attempt to fill this gap in the literature. Given the increasing influence of Forst’s scholarly writings on paradigmatic developments in contemporary critical theory, it is imperative to scrutinize the key assumptions underlying his conception of ‘noumenal power’ and to assess its usefulness for overcoming the shortcomings of alternative explanatory frameworks. In order to accomplish this, the analysis is divided into four parts. The first part provides some introductory definitional reflections on the concept of power. The second part focuses on several dichotomous meanings attached to the concept of power – notably, ‘soft power’ vs. ‘hard power’, ‘power to’ vs. ‘power over’, and ‘power for’ vs. ‘power against’. The third part elucidates the principal features of Forst’s interpretation of ‘noumenal power’, in addition to drawing attention to his typological distinction between ‘power’, ‘rule’, ‘domination’, and ‘violence’. The final part offers an assessment of Forst’s account of ‘noumenal power’, arguing that, although it succeeds in avoiding the drawbacks of rival approaches, it suffers from significant limitations. The paper concludes by giving a synopsis of the vital insights that can be obtained from the preceding inquiry