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Susanne Langer. Feeling and Form

To browse Academia. Skip to main content. By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. Log In Sign Up. Download Free PDF. Lona Gaikis. Download PDF. A short summary of this paper. Lona Gaikis Dipl. Concepts stating a medial turn have already attracted attention to these changes in perception and the understanding of art evolving from digital culture.

The purpose of this essay, initially written for a lecture following the question in what way art might evolve in the future, is to give an insight into participatory and experimental art production, exemplifying a contemporary understanding and handling of media and art.

In order to do this I have chosen to review the audio-visual performances and projects of Los Angeles based artist duo Lucky Dragons, Luke Fishbeck and Sara Anderson Sara Rara , who, though working with a digitally highly evolved set, have developed a playful and decidedly humanistic body of work.

A mixture of multi media experiments involving digital processing of analogue recordings, sonic transmissions of graphic images and participatory moments in the creation of synthesized sounds define central elements in the work of these two creative minds. These structural elements grow from digital culture and are communicated through sonic experience and participation. Addressing in particular the idea of post-digitalism in my approach, an idea that had first been brought up by Nicholas Negroponte1 in the article Beyond Digital, published as early as in in the magazine Wired2, my interest lies in the development that this movement has taken, labeled as un-territorial, equal, fluid and global, in the discourse of media reflection, the implementation of digital process into everyday life and the creative conversation of errors.

Which distributive tools are in place to promote art today? What are the effects of participatory approaches on the value of artworks and the roles of creator and audience? Can art introduce new ways of understanding? Langer, linking the origins of language and the construction of symbolic cognition to the affirmation of signs through art - specifically in musical experience.

Susanne K. With reference to this, my question is: Can participatory and experimental media art practice function to introduce unique symbolic cognition based on our digitized culture?

They have been working together since and, though using primarily music as their main medium in performances, their artistic interest also lies in visual experiments like digital transformations of images still or in motion , into music and moments of bodily interaction using e. Within these settings they create a sharp and colorful spectrum of synthesized tunes, always generated from electrical field and instrumental recordings, along with the singing of the artists Sarah and Luke.

Since the music sessions are open to the process they are not marked with a strict beginning or ending. They are to be thought of as segments unfolding present actions, sonic processing and any interaction in the period of the performance. What makes their works so intriguing is that they result in unusual hybrid happenings, referring to pioneering media and avant- garde art, for instance, developing flicker videos and applying digital fragmentation in the composition of tracks, citing Fluxus and contemporary New-Age aesthetics.

All this is transformed into a meditative and distinct sonic and visual experience. Besides this performative side of their practice, Luke Fishbeck and Sara Anderson have initiated a collective drawing project named Sumi Ink Club6 engaging communities to participate in the developing process of widespread murals, ink drawings on glass facades or other materials. Coming from the Los Angeles DIY scene, what may seem to appear as a quit crafty approach originates in a long time occupation with methods of digital processing and must be seen against the background of the Californian domain in computer science and cultural discourses emerging in post-digital ideas among that scene7.

In this way, the works of Lucky Dragons resume network strategies and processing technologies deriving from computer sciences and contextualize these in a playful and accessible new way within their artwork. According to the anthropological studies of Langer, art is to be understood as a process before the formation of language and is not to be understood as a language itself8.

The discourse concerning the meaning of affective stimuli in media and fine arts has undergone many debates, especially with thinkers such as the media philosopher Brian Massumi. His approach is too extensive to unfold in the frame of this paper but is relevant in the context of the following discussion.

Being aware of the quite brisk assertion grasping a present, very experimental statement and placing it into a theoretical context, even attributing a future relevance to them, I would like to mention that the purpose of this essay is to give an insight into art through the lens of an artist. It is an attempt describing experimental art, which unfortunately happens mainly outside of institutional and academic discourses, but offers a very clear picture of the future development and interchange of digital and analogue spheres in culture.

Anyone that had ever tried to translate one artistic set into another must see the sheer impossibility and one wonders why this comparison is still so vivid in the discourse of arts. As a derivative of her previous study Philosophy in a New Key, her idea of symbolic consciousness emerges from the fields of symbolic logic and anthropological research forming an unusual and quite wide definition of what a symbol can be.

Linking to the origin of language and its primordial rise and manifestation through tonal experimentation, which I will explain later on, her definition of the symbol goes beyond the signs of symbolic logic with confined, literal meaning. To her, religious icons, rites and works of art - all individual, intuitive and intelligible forms made by mankind - are to be considered as symbols. Langer: Feeling and Form. This has breached the lines between the various mediums.

Processing tools make transformations like that of imagery codes into sound or sonic rhythms into abstract syntax and editing principles for motion pictures possible, and vice versa, as observed in the work of Lucky Dragons.

It is the emotive quality of cognition she points out in various passages, which distinguishes her point of view from other symbolic and semantic conceptions.

Formal significance is primarily seen intuitively. This not only opens the conception of significant form to emotional and sensual experience or the perception of motion, but also stresses the meaning of multi- perceptive apprehension in the constitution of understanding.

The drawing project Sumi Ink Club, conceived centrally in a participative way and addressing the audience or community to join the creation of an ink drawing by contributing whatever subject comes to the individual mind, provides a valuable insight into the understanding and processing of imagery and ornaments in this pristine symbolic cognition, but also depicts what is considered worthy to be transferred literally into public space.

Langer: Feeling and Form, p xi 12 Susanne K. It can articulate feelings without becoming wedded to them. Susann K. Langer 14 Most commonly the primary function of language is defined in the ability to communicate. But, as mentioned previously, language is, according to anthropological researches, in fact a vocal actualization of the ability to see reality symbolically,15 emphasizing first the human capability of abstraction.

Speech had developed at the dawn of humanity from the connection of primal signs with voice-play. As a result, words representing objects and signs were formed.

But before introducing sounds into common knowledge and affirming their meaning trough repetition, the connection of sound and sign was in the beginning more or less meaningless to the utterer. Hence the PLAY with signs and sounds stands at the beginning linguistic intuition.

Langer: Feeling and Form, p 39 14 Susanne K. Aware of this significant connection of sound-play and meaning I would like to point out the importance of music, as least the representative art since fairly informal, in the development of social and cultural structures.

Sound is the easiest medium to use in a purely artistic way and it is the most efficient to transport emotion and emphasize intent within an expressive connection to other arts.

Yet there seems to be an issue with the significance of music. Assuming that the form of music, as Langer states, is if any, semantic and not purely symptomatic of any emotional sensation since it does not derive directly from any affective impulse17, there have been two major concepts amongst theorists approaching musical expression; one regarding music as a kind of language of genuine conceptual content; the other through an emotive-symptom theory. Though musical compositions seem like a formulation and representation of emotion and mood, just like words bring the sense of events closer to those who have not witnessed them, semantic significance is not always distinguishable, e.

She marks the fact that music cannot be considered language in the absence of fixed connotation of musical significance as a dictionary for vocabulary and no logical syntactical rules deriving from associations, as well as music having no literal meaning, which makes it impossible to be translated.

In cultural evolution, musical experience is previous to the conception of language. It is a primal field of combination and play. Images C: Lucky Dragons, Wrong Spectrum, performed at czirp czirp, Karlsruhe D: Lucky Dragons, performance at Dublab To point out how a new connotation of signs and objects evolves through a ritual in form of a performance, I would like to bring one central event within the artistic practice of the artist duo Lucky Dragons into account.

It is a central moment of reflection on media and the introduction of a digital artifact in the course of the performance Wrong Spectrum: a compact disc used in its physical appearance as a shining and reflecting device with which light beams from a projection are irritated and used to generate sound. While both artists create the sonic piece, by transforming a simple graphical black and white image into sound and working live-recorded footage into the acoustic pattern, polycarbonate discs storage mediums for digital data are handed out to the audience.

This gesture appears like a major incision within the common relationship between artist and audience. By showing how the device is to be applied in the performance by the artists, the audience is enabled to imitate them. The community is now engaged in the moment of creating the sonic modulation and is experiencing a re-contextualization of the matter of media. Also, the technical process is exposed to the audience. The common use of an object resembling high technology is questioned, reframing presumed assumptions and irritating the perceptions of possibilities as a creative act, 3.

The application of error and irritation within the course of play e. Because music is fundamentally based on a primary symbolic assumption of emotion and affect, it is compatible with all main mediums of artistic expression and can therefore function as a transmitter for new perceptions and understanding. Those societies which cannot combine reverence to their symbols with freedom of revision, must ultimately decay either from anarchy, or from the slow atrophy of a life stifled by useless shadows.

Alfred North Whitehead21 Every community and culture rests on sophisticated symbolical grounds agreeing to conventions, which have derived from historical events, experience, environmental influence and creative practice. The purpose of this paper is not to implement revolutionary intentions or any utopian forecast into digital and transmedial arts.

It should rather be understood as a proposition to question a solely utilitarian view on the construction of language and symbolic meaning in relation to the arts, seeking to pinpoint the ability of art to change preoccupied notions in culture by presenting new possibilities.

Alfred North Whitehead concludes in his very insightful book Symbolism. Within the faculty of reason these rules have always needed future revision as communities and cultures change according to their surroundings and other developments. In the experience and emerging use of passing data back and forth through computer and mechanical codes lie new possibilities of interplay and media reception.

As digital codes are based on the objective language of machines they have initiated new evolutionary developments in accessing media. The assessment of the digital has had and will have its advocates and critics. This discussion shall not be of relevance in my review. What I would like to note is how experimental media art e. Language on the other is a system of symbols.

One may read this statement in favor of the presentative function of art rather than for representation. If significant form, even in its most solid shape as a stone sculpture, is discovered by anthropological research to be in large parts constructed by sensual and emotional understanding, it will be interesting to investigate the shape of indivisible emotional and intuitive conditions effected by works so fragmented and ephemeral as a flicker video or the perception of a sonic transition of images or motion and the participative experience within a performance.

At this point I would like to give an outlook to possible turns relating to post-digital theory in the conception of arts that might effect creative expression in the future and seem reverse to modern and postmodern assignments as well as their continuation: Hierarchical movements in the relation of artist and audience; The fusion of body and medium; The difficulties in defining genres.

There is yet no common agreement on how these arts will be conceived, but it is to state that the reading is less collective, though constructed through collective actions.

It is communal but individual. The strong activity of networking cultures have put the conception of frontal presentation of media as conducted in modern distributing systems at stake, since the audience is handed responsibility in addition to sole perception and is emancipated through involvement, not institutionalized access to art and participation.

These horizontal movements redirect authorship and the sphere of action towards audiences and communities. There will be an even stronger appearance of perceptive intersections between the abilities of the human body and external media, be it supplementations for sensual disadvantages i. As synesthetic experience has been a major inspiration to modern art practice, medial extension of the body and its motions connect and fuel contemporary experimental positions and will result in very hybrid future output.

Where post-modernism had resulted in shifts exchanging structures, meaning and form, contents and media, the digital society is encountering a period where these synchronicities have become simultaneities constructing new links to unknown contents and understandings as well as intended irritation.

The lines between genres are strongly blurred and vertical orders are bias to the decline of monopoles in production, the contextualization of art and distribution through a very easy handling. Edition Langer, Susanne K.


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Dance, Knowledge, and Power

In Philosophy in a New Key, Susanne Langer developed a theory of symbolism, there applied to music, which she felt could be developed to embrace all the arts. In Feeling and Form she did just that. It offers the reader nothing less than a systematic,MoreIn Philosophy in a New Key, Susanne Langer developed a theory of symbolism, there applied to music, which she felt could be developed to embrace all the arts. It offers the reader nothing less than a systematic, comprehensive theory of art, applied in turn to painting, sculpture, architecture, literature, music, the dance, drama and film. Overall, the Scottish landscape is a bit more rugged and at times, otherworldly of the revived Irish dishes served today have a potato element.

The Journal of Speculative Philosophy

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Introduction Robert E. Innis Although it would not be correct to say that Susanne Langer has been one of the "forgotten figures" in American philosophy, it is certainly the case that she has been rather on the margins than in the center of professional philosophical discussions. Her career was in fact more "purely" philosophical than "professionally" philosophical, in the sense that her rather unorthodox academic teaching career was not integral to her ultimate impact. Langer's heritage is not in the amount of students she influenced directly in the classroom, though one would be extremely rash to say she had no immediate pedagogical impact. Her main influence lives on in the diverse groups of readers who have continued and applied her ways of thinking developed in her masterworks of philosophical reflection, synthesis, and conceptual construction.

She was one of the first women in American history to achieve an academic career in philosophy and the first woman to be popularly and professionally recognized as an American philosopher. Langer is best known for her book entitled, Philosophy in a New Key. Though she was American born, Langer's primary language was German , as it was strictly spoken in her household throughout her youth, and her German accent remained her entire life. She was exposed thoroughly to creativity and art, most specifically through music. She was taught to play the cello and the piano , and she continued with the cello for the remainder of her life. As a girl, Langer enjoyed reciting the works of great poets as well as traditional children's rhymes and tales. This sparked her love for reading and writing, and she would often write her own poems and stories to entertain her younger siblings.

Philosophy of Music Education Review

Post a Comment. As I said in my last post, "virtual" is a central term in the aesthetics of Suzanne Langer. She held that artists create a virtual world, whether the art be music, dance, architecture, film, painting or sculpture. Although she rejected the imitation theory of art, she did believe that art creates a kind of "illusion," i. The point owes something to both Kant and Nietzsche.

This paper examines the ways in which Ernst Cassirer and Susanne Langer place the arts in the spectrum of symbolization. Langer claims that Cassirer is wrong to consider artistic symbolism as a more concrete mode of linguistic symbolism. Instead, artists create presentational symbols that are just as capable of formal articulation , i. According to Langer, the presentational modes of articulation of music and the visual arts are altogether different from the syntactical mode that governs language. I argue that the way Langer imposes her presentational model on the literary arts goes too far in decontextualizing them from the real world.

 В… аэропорт. Aeropuerto, - заикаясь сказал Двухцветный. - Aeropuerto? - повторил человек, внимательно следя за движением губ Двухцветного в зеркале. - Панк кивнул.

Беккер пожал плечами. Парень зашелся в истерическом хохоте. - Ну и. Но тебе там понравится. ГЛАВА 50 Фил Чатрукьян остановился в нескольких ярдах от корпуса ТРАНСТЕКСТА, там, где на полу белыми буквами было выведено: НИЖНИЕ ЭТАЖИ ШИФРОВАЛЬНОГО ОТДЕЛА ВХОД ТОЛЬКО ДЛЯ ЛИЦ СО СПЕЦИАЛЬНЫМ ДОПУСКОМ Чатрукьян отлично знал, что к этим лицам не принадлежит.

Год назад высокопоставленный сотрудник аппарата Белого дома начал получать электронные письма с угрозами, отправляемые с некоего анонимного адреса. АНБ поручили разыскать отправителя. Хотя агентство имело возможность потребовать от переадресующей компании открыть ему имя этого клиента, оно решило прибегнуть к более изощренному методу - следящему устройству. Фактически Сьюзан создала программу-маяк направленного действия, замаскированный под элемент электронной почты. Она отправляла его на фиктивный адрес этого клиента, и переадресующая компания, выполняя свои договорные обязательства, пересылала этот маяк на подлинный адрес.

Что. - Больше. Панк да и. Панк да и. Беккер принадлежал к миру людей, носивших университетские свитера и консервативные стрижки, - он просто не мог представить себе образ, который нарисовала Росио.

 Довольно, Грег, - тихо сказал Стратмор. Хейл крепче обхватил Сьюзан и шепнул ей на ухо: - Стратмор столкнул его вниз, клянусь. - Она не клюнет на твою тактику разделяй и властвуй, - сказал Стратмор, подходя еще ближе.


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