Rotational aesthetics: Michael Bay and contemporary cinema’s machine movement

Digital imaging technologies enable a mastery of the visual that in recent mainstream cinema frequently manifests as certain kinds of spatial reach, orientation and motion. In such a context Michael Bay’s Transformers franchise can be framed as a digital re-tooling of a familiar fantasy of vehicular propulsion, US car culture writ large in digitally crafted spectacles of diegetic speed, the vehicular chase film ‘2.0’. Movement is central to these films, calling up Scott Bukatman’s observation that in spectacular visual media ‘movement has become more than a tool of bodily knowledge; it has become an end in itself’ (2003: 125). Not all movements and not all instances of vehicular propulsion are the same however. How might we evaluate what is at stake in a film’s assertion of movement as an end in itself, and the form that assertion takes, its articulations of diegetic velocity, corporeality, and spatial penetration? Deploying an attentiveness towards the specificity of aesthetic detail and affective impact in Bay’s delineation of movement, this essay suggests that the franchise poses questions about the relationship of human movement to machine movement that exceed their narrative basis. Identifying a persistent rotational trope in the franchise that in its audio-visual articulation combines oddly anachronistic elements (evoking the mechanical rather than the digital), the article argues that the films prioritise certain fantasies of transformation and spatial penetration, and certain modes of corporeality, as one response to contemporary debates about digital technologisation, sustainable energy, and cinematic spectacle. In this way the franchise also represents a particular moment in a more widely discernible preoccupation in contemporary cinema with what we might call a ‘rotational aesthetics’ of action, a machine movement made possible by the digital, but which invokes earlier histories and fantasies of animation, propulsion, mechanization and mechanization to particular ends.

The romanticism of contemporary theory : institution, aesthetics, nihilism

"Justin Clemens presents a valuable study of the links between Romanticism and contemporary theory. The central contention of this book is that contemporary theory is still essentially Romantic - despite all its declarations to the contrary, and despite all its attempts to elude or exceed the limits bequeathed it by Romantic thought." "This study will be of interest to literary theorists, philosophers, political theorists, and cultural studies scholars."--BOOK JACKET.

Perceived environmental aesthetics and convenience and company are associated with walking for exercise among Australian adults

Background: This study aimed to investigate relationships between environmental aesthetics, convenience, and walking companions and walking for exercise or recreation and to investigate differences in these relationships by sex and by reported physical and mental health.

Methods: Analyses of cross-sectional self-report data from a statewide population survey of 3,392 Australian adults were used.

Results: Men and women reporting a less aesthetically pleasing or less convenient environment were less likely to report walking for exercise or recreation in the past 2 weeks. Those respondents, particularly women, reporting no company or pet to walk with were also less likely to walk for exercise or recreation. Associations with environmental and social influences were observed for men and women reporting both good and poor physical and mental health.

Conclusions: Perceived environmental aesthetics and convenience and walking companions are important correlates of walking for exercise among urban Australians. Acknowledging the cross-sectional nature of these data, findings support a case for evaluation of environmental policies to promote physical activity.

The aesthetics of ideology, or 'the critique of ideological judgment' in Eagleton and Zizek

The notions of ‘ideology’ and ‘critique of ideology’ have been criticised in many ways. This essay examines the works of two contemporary theorists who defend this theoretical category. Interestingly, both do this through pivotal recourse to categories drawn from modern aesthetic theory, and in particular Kant's third Critique. In this way, they reanimate a theoretical concern with the intersection of politics and aesthetics that goes as far back as Plato. The essay's conclusion reflects on this "aesthetic turn" in the theory of ideology: what work it allows, and its limits.

Resisting assimilation : the mild aesthetics and wild perceptions of the migrant house

The physical adaptation, remaking and maintenance, or building of the house plays a significant role in immigrants’ sense of belonging to a community, especially in contexts of first generation elderly immigrants with minimal English language skills. Psychoanalytic theories propose that objects are integral to a subject’s identity, but that the path of effect between the subject and object is not causal or direct, rather it goes via the unconscious. This paper seeks to examine the relationship between immigrants and their houses through these theories adapting them to an analysis of the houses. It draws its data from field research of three elderly immigrant households. The iconography of the house has always been perceived as central to the analysis of dreams, here the thesis is that the house is the most significant object of the immigrant because it mediates the many worlds inherent to the migrant’s imaginary landscapes. The analysis will seek to understand this role of the house.

Secondly, while many houses in which migrants live can barely be differentiated in clear physical ways from the typology of houses built in Australia, the perception that they are different is a strong myth. At the least it has resulted in very little, if any, study of this vernacular of new Australian houses. It would be easy to argue that to build a house in Australia is the most important mode of assimilation because a way of life is intrinsically set by this suburban paradigm. But for the reason of this perception of difference I will explore an idea about ethnic aesthetics as a mode of resisting assimilation. In writing on taste in his seminal book, Distinction, the sociologist, Pierre Bourdieu, has argued that taste is a way of classifying people into classes, race, culture, but it is also a way for dominant and ruling classes to resist challenges from other parties, and maintain a particular hierarchy of society. In this case those other parties are ethnic communities in Australia whose tastes are not always the same as that of the dominant Anglo-Celtic community.

Kerry Freedman's Teaching visual culture : curriculum, aesthetics and the social life of Art

Teaching Visual Culture: Curriculum, Aesthetics and the Social Life of Art, Kerry Freedman (2003) New York: Teachers College Press & Reston: National Art Education Association, xiv + 187 pp., ISBN 0-8077-4372-0 (hbk £29.95)

This critical review has two principal goals. First of all, it will briefly summarize how Kerry Freedman’s ambitious eight-chapter monograph initially sets in train a number of key themes, all of which are aimed at enlarging if not transforming visual arts practice. Secondly, it will critically disclose a small set of pivotal assumptions which call any uncritical support for visual culture as the panacea for arts education into question. More particularly, we shall conclude, the logical underpinnings of Teaching Visual Culture are open to serious doubt in at least two respects.

Kristevan aesthetics, performativity and the production of situated knowledge

In this paper, I will draw on the work of Julia Kristeva to argue that performativity can be understood in terms of a materialist ontology that underpins creative production and the knowing subject. To understand this, we need to examine the relationship between individual history, biology and culture and processes through which creative practice attributes value by translating psychic representations of affect and drive into verbal and visual signs. Kristeva's aesthetics does not plunge us into an obscure metaphysics, but provides a model for articulating material-discursive practices that emerge from corporeal responses. Enactments, predicated by desire give rise to agency and judgement allowing practice to test theory through the production of situated knowledge.

Kristeva's psychoanalytical position reveals the necessity of linking material and individual practices of art with the social through language and interpretation. Material-discursive practices can only acquire meaning through their relationship between the speaking subject and addressees. Art itself provides us with the means for discovering the knowledge it produces. In and through material practice, the work of art is capable of transferring back to the artist as viewer, structures of meaning that have hitherto been hidden. In practice, this involves a constant movement between the biological self (the self as 'other') and the social self, the ego. In artistic research, it can be said that the first addressee is the artist her/himself, as social other. Constant movement between the two in creative practice can thus be understood as a performative production of knowledge.

(Pan-)animal magics : ecofeminist ethics and aesthetics in the Web

The 1990s has often been dubbed 'The Decade of the Environment'. Pollution, deforestation and desertification, ozone destruction, endangerment of species of animals and wildlife, vanishing wildernesses, and energy conservation are some of the visible environmental concerns which have gained international recognition. A less visible but potentially just as important environmental concern has been raised by ecological feminists. This is a concern about the connections historical, empirical, theoretical, symbolic, and experiential between the domination of women and the domination of non-human nature.

Ethics, aesthetics and the transformation of the self : Foucault's practice of philosophy

Drawing in part on research carried out in the Foucault archives in Paris, the thesis both undertakes a critical assessment of Foucault's late work and attempts to reconstruct the ethical attitude which was emerging in that work. It situates Foucault's project in the context of its Nietzschean inspiration and offers a Foucauldian model of ethics as an aesthetic, transformative work carried out upon the self - as a 'spiritual exercise' in which the critical practice of philosophy takes a central role.