The role of the lateral occipital cortex in aesthetic appreciation of representational and abstract paintings: a TMS study.

Neuroimaging studies of aesthetic appreciation have shown that activity in the lateral occipital area (LO)—a key node in the object recognition pathway—is modulated by the extent to which visual artworks are liked or found beautiful. However, the available evidence is only correlational. Here we used transcranial magnetic stimulation (TMS) to investigate the putative causal role of LO in the aesthetic appreciation of paintings. In our first experiment, we found that interfering with LO activity during aesthetic appreciation selectively reduced evaluation of representational paintings, leaving appreciation of abstract paintings unaffected. A second experiment demonstrated that, although the perceived clearness of the images overall positively correlated with liking, the detrimental effect of LO TMS on aesthetic appreciation does not owe to TMS reducing perceived clearness. Taken together, our findings suggest that object-recognition mechanisms mediated by LO play a causal role in aesthetic appreciation of representational art.

Spaces of Visibility for the Migrants of Lampedusa: The Counter Narrative of the Aesthetic Discourse

Political, legal, and media discourse around ‘boat-migrants’ arriving in Lampedusa share a tendency to focus on an unnamed and anonymous mass of people in order to build and sustain a Border Spectacle revolving around immigration to Italy. In this context, where very little space is usually left to individual migrant voices, this article challenges this common understanding of immigration to Lampedusa by showing a different side of the story, a story told by the real actors of the Mediterranean passage, the migrants themselves, who, by relying on the realm of aesthetics, have managed to gain visibility and to become ‘subjects of power.’

Cinematic and Aesthetic Cartographies of Subjective Mutation

This article examines the use of cinema as a mapping of subjective mutation in the work of Deleuze, Gauttari and Berardi. Drawing on Deleuze's distinction between the reduction of the art-work to the symptom and the idea of art as symptomatology, the article focuses on Berardi's use of cinematic examples, posing the question in each case of to what extent they function as symptomatologies or mere symptoms of cultural and subjective mutations in examples ranging from Bergman's Persona to Van Sant's Elephant to finish on speculations about Fincher's The Social Network as a critical engagement with subjective mutation in the 21st Century.

How the sublime became "now": time, modernity and aesthetics in Lyotard's rewriting of Kant

Writing in the late 1980s, Nancy gives as examples of the "recent fashion for the sublime" not only the theoreticians of Paris, but the artists of Los Angeles, Berlin, Rome, and Tokyo. At the beginning of the twenty-first century, the sublime may of course no longer seem quite so "now" as it did back then, whether in North America, Europe, or Japan. Simon Critchley, for one, has suggested that, at least as regards the issue of its conceptual coupling to "postmodernism," the "debate" concerning the sublime "has become rather stale and the discussion has moved on." Nonetheless, if that debate has indeed "moved on"-and thankfully so-it is not without its remainder, particularly in the very contemporary context of a resurgence of interest in explicitly philosophical accounts of art, in the wake of an emergent critique of cultural studies and of the apparent waning of poststructuralism's influence-a resurgence that has led to a certain "return to aesthetics" in recent Continental philosophy and to the work of Kant, Schelling, and the German Romantics. Moreover, as Nancy's precise formulations suggest, the "fashion" [mode] through which the sublime "offers itself"-as "a break within or from aesthetics"-clearly contains a significance that Critchley's more straightforward narration of shifts in theoretical chic cannot encompass. At stake in this would be the relation between the mode of fashion and art's "destiny" within modernity itself, from the late eighteenth century onwards. Such a conception of art's "destiny," as inextricably linked to that of the sublime, is not unique to recent French theory. In a brief passage in Aesthetic Theory, Adorno also suggests that the "sublime, which Kant reserved exclusively for nature, later became the historical constituent of art itself.... [I]n a subtle way, after the fall of formal beauty, the sublime was the only aesthetic idea left to modernism." As such, although the term has its classical origins in Longinus, its historical character for "us," both Nancy and Adorno argue, associates it specifically with the emergence of the modern. As another philosopher states: "It is around this name [of the sublime] that the destiny of classical poetics was hazarded and lost; it is in this name that ... romanticism, in other words, modernity, triumphed."

Governing through community? A comparative study of changing management practices in mixed tenure housing development

An important feature of UK housing policy has been the promotion of consortia between local authorities, private developers and housing associations in order to develop mixed tenure estates to meet a wide range of housing needs. Central to this approach has been a focus on the management of neighbourhoods, based on the assumption that high densities and the inter-mixing of tenure exacerbates the potential for incivility and anti-social behaviour and exerts a disproportionate impact on residents' quality of life. Landlord strategies are therefore based on a need to address such issues at an early stage in the development. In some cases community-based, third sector organisations are established in order to manage community assets and to provide a community development service to residents. In others, a common response is to appoint caretakers and wardens to tackle social and environmental problems before they escalate and undermine residents’ quality of life. A number of innovative developments have promoted such neighbourhood governance approaches to housing practice by applying community development methods to address potential management problems. In the process, there is an increasing trend towards strategies that shape behaviour, govern ethical conduct, promote aesthetic standards and determine resident and landlord expectations. These processes can be related to the wider concept of governmentality whereby residents are encouraged to become actively engaged in managing their own environments, based on the assumption that this produces more cohesive, integrated communities and projects positive images. Evidence is emerging from a number of countries that increasingly integrated and mutually supportive roles and relationships between public, private and third sector agencies are transforming neighbourhood governance in similar ways. This paper will review the evidence for this trend towards community governance in mixed housing developments by drawing on a series of UK case studies prepared for two national agencies in 2007. It will review in particular the contractual arrangements with different tenures, identify codes and guidelines promoting 'good neighbour' behaviour and discuss the role of community development trusts and other neighbourhood organisations in providing facilities and services, designed to generate a well integrated community. The second part of the paper will review evidence from the USA and Australia to see how far there is a convergence in this respect in advanced economies. The paper will conclude by discussing the extent to which housing management practice is changing, particularly in areas of mixed development, whether there is a convergence in practice between different countries and how far these trends are supported by theories of governmentality.

'It was as if she had said....': May Sinclair and reading narratives of cure

May Sinclair was one of the most widely read and successful English women novelists of the first half of the twentieth century. She had interests and themes in common with many of those now considered to have been at the heart of English modernism. In terms of formal experimentation too her concerns chime with the aesthetic innovations of, for example, pound, Eliot and Woolf. Her early interest in psychoanalysis and support for the suffrage campaign also mark her out as a modern. Despite some work from feminist literary critics and her partial categorisation as modernist, however, her work still lacks a critical framework within which it can be read. Indeed, some of the work done by feminist critics on her has paradoxically re-marginalised her. In this thesis I aim to provide one critical framework through which Sinclair's work can be read. My contention is that the occluding of one aspect of her work and thought- its movement toward intellectual, emotional and aesthetic wholeness - has marred previous critical readings of her. By paying attention to this through a focus on discourses of cure, this thesis reads Sinclair's work with an awareness of its language, cultural context and intertextual relations. Early twentieth-century medical discourse, psychoanalysis, mysticism, the chivalric and the psychical are all used to read the works. At the same time, my aim is to read Sinclair's work without eliding its difficulties. Rather, I aim to read her in a way that acknowledges the difficulties of and fraught moments in her writing as markers of its significance.

Floating on the same plane: metropolis, money and the culture of abstraction

This article argues that the emergence of a trans-disciplinary discourse of ‘visual culture’ must be understood as, above all, a constitutively urban phenomenon. More specifically, it is in the historically new form of the capitalist metropolis, as described most famously by Simmel, that the ‘hyper-stimulus’ of modern visual culture has its social and spatial conditions. Paradoxically, however, it is as a result of this that visual culture studies is also intrinsically ‘haunted’ by a certain spectre of the invisible: one rooted in those forms of ‘real abstraction’ which Marx identifies with the commodity and the money form. Considering, initially, the canonical urban visual forms of the collage and the spectacle, these are each read in a certain relation to Simmel’s account of metropolitan life and of the money form, and, through this, to what the author claims are those forms of social and spatial abstraction that must be understood to animate them. Finally, the article returns to the entanglement of the visible and invisible entailed by this, and concludes by making some tentative suggestions about something like a paradoxical urban ‘aesthetic’ of abstraction on such a basis.

(un)childhood: performing the voices and times of childhood through relational video-making

This practice-based PhD is comprised of two interrelated elements: (i) ‘(un)childhood’, a 53’ video-essay shown on two screens; and (ii) a 58286 word written thesis. The project, which is contextualised within the tradition of artists working with their own children on time-based art projects, explores a new approach to timebased artistic work about childhood. While Stan Brakhage (1933-2003), Ernie Gher (1943-), Erik Bullot (1963-) and Mary Kelly (1941-) all documented, photographed and filmed their children over a period of years to produce art projects (experimental films and a time-based installation), these projects were implicitly underpinned by a construction of childhood in which children, shown as they grow, represent the abstract primitive subject. The current project challenges the convention of representing children entirely from the adult’s point of view, as aesthetic objects without a voice, as well as through the artist’s chronological approach to time. Instead, this project focuses on the relational joining of the child’s and adult’s points of view. The artist worked on a video project with her own son over a four-and-a-half year period (between the ages of 5 and 10) through which she developed her ‘relational video-making’ methodology. The video-essay (un)childhood performs the relational voices of childhood as resulting from the verbal interactions of both children and adults. The non-chronological nature of(un)childhood offers an alternative to the linear-temporal approach to the representation of childhood. Through montage and a number of literal allusions to time in its dialogue, (un)childhood performs the relational times of childhood by combining children’s lives in the present with the temporal dimensions that have traditionally constructed childhood: past, future and timeless.

Modernism and Magic: Experiments with Spiritualism, Philosophy and the Occult, paperback

The book explores the aesthetic and political implications of the relationship between magic and mimesis in the work of those early twentieth-century writers, artists and filmmakers who were most self-consciously experimental, including James Joyce, Ezra Pound, Dziga Vertov and Sergei Eisenstein.

'The Rich Harmonics of Past Time': Memory and Montage

This article examines John Sommerfield’s 1936 novel, May Day, a work that experiments with multiple perspectives, voices and modes. The article examines the formal experiments of the novel in order to bring into focus contemporary debates around the aesthetics of socialist realism, the politics of Popular Front anti-fascism and the relationship between writers on the left and the legacies of literary modernism. The article suggests that while leftist writers’ appropriations of modernist techniques have been noted by critics, there has been a tendency to assume that such approaches were in contravention of the aesthetics of socialist realism. Socialist realism is shown to be more a fluid and disputed concept than such readings suppose, and Sommerfield’s adaptations of modernist textual strategies are interpreted as key components of a political aesthetic directed towards the problems of alienation and social fragmentation.

Utopia and its Discontents: Dreams of Catastrophe and the End of 'the End of History'

The institutionalization of Utopia Studies in the last decade is premised upon a specifically aesthetic reception of Ernst Bloch’s theory of the “utopian impulse” during the 1980s and 1990s. A postmodern uneasiness to both left and right formulations of the "End of History" during this period imposes a resistance to concepts of historical and political closure or totality, resulting in a "Utopianism without Utopia". For all the attractiveness of this pan-utopianism, its failure to consider the relation between historical representation and fulfillment renders it consummate with liberalism as a merely inverted conservatism. In contrast to this specific recuperation of a Bloch, the continuing importance of Walter Benjamin’s theory of the dialectical image and the speculative concept of historical experience which underlies it becomes apparent. The intrusion of the historical Absolute is coded throughout Benjamin’s thought as the eruptive and mortuary figure of catastrophe, which stands as the dialectical counterpart to the utopian wish images of the collective dream. Indeed, the motto under which the Arcades Project was to be constructed derives from Adorno: “Each epoch dreams of itself as annihilated by catastrophe”.