Series | Quaderni di Venezia Arti
Volume 6 | Edited book | Space Oddity: Exercises in Art and Philosophy
Space Oddity: Exercises in Art and Philosophy
open access-
edited by
- Giulia Gelmi - Università Ca’ Foscari Venezia, Italia - email
- Anastasia Kozachenko-Stravinsky - Università Ca’ Foscari Venezia, Italia - email
- Andrea Nalesso - Università Ca’ Foscari Venezia, Italia - email
Abstract
The volume includes papers presented at the 4th Postgraduate International Conference of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice (Venice, 5-7 October 2022). Our understanding of reality is filtered through myriad media, and we have the ability – and power – to gather, ignore, tweak, and explore the information needed to define what we mean by ‘reality’. The concept of ‘space’ – in its broadest sense – plays an essential role in an individual’s explanation of reality, and we must deal with a plurality of models and concepts of it. As elaborated in the text Space and Time in Art, the Russian theologian, philosopher, and art theorist Pavel Florensky states: “all culture can be interpreted as the activity of organising space”. Starting from this culturological reading, Florensky identifies three spatial “dimensions” and three corresponding genres of activity: (1) The space of our strong relations and the activity of ‘Technique’; (2) The mental space and its organisation and the activities of ‘Science’ or ‘Philosophy’; (3) The space between the previous two, and the activity of ‘Art’. Ultimately, all have the same aim: to change reality to reconstruct space. According to leading scholars and critics, the late 1980s saw a “spatial turn” take place in literary, social, and cultural studies. In 1991 Fredric Jameson theorised a shift from the paradigm of time to the paradigm of space, from modernism to postmodernism. The pandemic era has refocused investigation on the present paradigm, where Florensky’s spaces have been concentrated through cyberspace almost overnight. Through the notion of the ‘semiosphere’ – as elaborated by Juri Lotman 100 years ago – we collectively pondered the question: “should we reconsider the concept of space as a cultural category altogether?”.
Keywords Architecture representations • Hypercomfort • Scrapbook • Ephemeral architecture • Biennial Art • Architecture • Modernity • Conspicuous • Historiography • Material culture • Chile • Audience • Dwelling • Art • Hauntology • Philosophy • Drawing • Kommunalka • Conflagration • Hudinilson Jr • Ephemera • Home • Presence • Late Middle Ages • Void • Architecture curation • Power • Room • Place • Orbit • Transparency • Organism • Photography • Absence • Kustar • Krzysztof Wodiczko • Elise Storsveen • Ship models • Skill • Performance installation • Public space • Displaying • Visual identity • Ritual • John of the Cross • Russian style • Archival turn • Folklore • Ethnomusicology • National Pavilion • Analogue photography • Consumption • Malafouris • Scrapbooking • Communal apartments • Incorporeals • Landscape • Heidegger • Architectural design • Musical repatriation • Visual semiotics • Isa Genzken • Opacity • Topology • Exhibition theory • Coloniality • Martha Rosler • Altar • Mies van der Rohe • Image Theory • Visual culture • Dance • Fyodor Stravinsky • Field • Enunciation • Arts and crafts • Technology • Museum • Knapping • Sound and audiovisual archives • Art history • Nefs • Visual studies • Ontology • Crucifixion • Igor Stravinsky • Body • Digital archives • Louis Marin • Non-human • Inflatables • Transición • Architecture exhibition • Cultural space • Bird’s-eye View • Artist • Venice Biennale • Cultural discourse • Archival spaces • Visibility • History of art • Space • Eline Mugaas • Ancient Stoicism • Blind man’s stick • Cultural decolonialism • Stravinsky’s family • The Tupikov House • Curatorial theory • National image • Early Modern Age
Permalink http://doi.org/10.30687/978-88-6969-675-6 | e-ISBN 978-88-6969-675-6 | Published Dec. 21, 2022 | Language en
Copyright © 2022 Giulia Gelmi, Anastasia Kozachenko-Stravinsky, Andrea Nalesso. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
