The mass of the visual: developments in the early Soviet Union as post-imaginary experience?

Publikation: Working paperForskningfagfællebedømt

Standard

The mass of the visual: developments in the early Soviet Union as post-imaginary experience? / Michelsen, Anders Ib.

2021.

Publikation: Working paperForskningfagfællebedømt

Harvard

Michelsen, AI 2021 'The mass of the visual: developments in the early Soviet Union as post-imaginary experience?'.

APA

Michelsen, A. I. (2021). The mass of the visual: developments in the early Soviet Union as post-imaginary experience?

Vancouver

Michelsen AI. The mass of the visual: developments in the early Soviet Union as post-imaginary experience? 2021.

Author

Michelsen, Anders Ib. / The mass of the visual: developments in the early Soviet Union as post-imaginary experience?. 2021.

Bibtex

@techreport{8fae618e6d2743a88c80a3ab9a52a7d0,
title = "The mass of the visual:: developments in the early Soviet Union as post-imaginary experience?",
abstract = "The paper introduces the trans-visual project, developed in the past decade as a response to the focus on discourse critique in visual culture studies. The project approaches the visual as a dynamic and transformative sensibleness: what is defined as an ordered doing of matter; a mattering – something it contends, that is still not really understood.One interesting inroad to the visual as mattering can be found in the development of visual art in the 20th century; its attempt to surmount representation, its involvement in direct meaning per the visual eg. in Marcel Duchamp{\textquoteright}s {\textquoteleft}manifestations{\textquoteright} and ideas of “infrathin separation,” and its attitude of a profusive and direct social relevance; all of which becomes signatories of art after WW2 and the astounding success of what is now termed contemporary art. The paper argues – on this background – that it is high time art history and visual culture leave the age old binary of image/imagination including its problematic and establishes a new notion of the imaginary, here suggested to be found in Gilbert Simondon{\textquoteright}s work.The paper exemplifies this in an analysis of the role of visual art of the agit prop movement, “a new way for culture propaganda” (Iakov Okunev), which seemed to amass the visual for revolutionary ends. It concludes with a remark on Dziga Vertov{\textquoteright}s conception of “the Kino-Eye”. ",
author = "Michelsen, {Anders Ib}",
note = "Paper, pr{\ae}senteres i skrevet form p{\aa} Material Imagination, UCPH, 23-24 April 2021, ",
year = "2021",
language = "English",
type = "WorkingPaper",

}

RIS

TY - UNPB

T1 - The mass of the visual:

T2 - developments in the early Soviet Union as post-imaginary experience?

AU - Michelsen, Anders Ib

N1 - Paper, præsenteres i skrevet form på Material Imagination, UCPH, 23-24 April 2021,

PY - 2021

Y1 - 2021

N2 - The paper introduces the trans-visual project, developed in the past decade as a response to the focus on discourse critique in visual culture studies. The project approaches the visual as a dynamic and transformative sensibleness: what is defined as an ordered doing of matter; a mattering – something it contends, that is still not really understood.One interesting inroad to the visual as mattering can be found in the development of visual art in the 20th century; its attempt to surmount representation, its involvement in direct meaning per the visual eg. in Marcel Duchamp’s ‘manifestations’ and ideas of “infrathin separation,” and its attitude of a profusive and direct social relevance; all of which becomes signatories of art after WW2 and the astounding success of what is now termed contemporary art. The paper argues – on this background – that it is high time art history and visual culture leave the age old binary of image/imagination including its problematic and establishes a new notion of the imaginary, here suggested to be found in Gilbert Simondon’s work.The paper exemplifies this in an analysis of the role of visual art of the agit prop movement, “a new way for culture propaganda” (Iakov Okunev), which seemed to amass the visual for revolutionary ends. It concludes with a remark on Dziga Vertov’s conception of “the Kino-Eye”.

AB - The paper introduces the trans-visual project, developed in the past decade as a response to the focus on discourse critique in visual culture studies. The project approaches the visual as a dynamic and transformative sensibleness: what is defined as an ordered doing of matter; a mattering – something it contends, that is still not really understood.One interesting inroad to the visual as mattering can be found in the development of visual art in the 20th century; its attempt to surmount representation, its involvement in direct meaning per the visual eg. in Marcel Duchamp’s ‘manifestations’ and ideas of “infrathin separation,” and its attitude of a profusive and direct social relevance; all of which becomes signatories of art after WW2 and the astounding success of what is now termed contemporary art. The paper argues – on this background – that it is high time art history and visual culture leave the age old binary of image/imagination including its problematic and establishes a new notion of the imaginary, here suggested to be found in Gilbert Simondon’s work.The paper exemplifies this in an analysis of the role of visual art of the agit prop movement, “a new way for culture propaganda” (Iakov Okunev), which seemed to amass the visual for revolutionary ends. It concludes with a remark on Dziga Vertov’s conception of “the Kino-Eye”.

M3 - Working paper

BT - The mass of the visual:

ER -

ID: 260099796