Space Oddity: Exercises in Art and Philosophy

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DC Field	Value
dc.identifier	ECF_book_612
dc.creator	Gelmi Giulia
dc.creator	Kozachenko-Stravinsky Anastasia
dc.creator	Nalesso Andrea
dc.title	Space Oddity: Exercises in Art and Philosophy
dc.type	Edited book
dc.language.iso	en
dc.description.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?”.
dc.relation.ispartof	Quaderni di Venezia Arti
dc.identifier.doi	10.30687/978-88-6969-675-6
dc.publisher	Edizioni Ca’ Foscari - Venice University Press, Fondazione Università Ca’ Foscari
dc.issued	2022-12-21
dc.identifier.uri	http://edizionicafoscari.unive.it/en/edizioni4/libri/978-88-6969-675-6/
dc.identifier.eissn	2784-8868
dc.identifier.isbn
dc.identifier.eisbn	978-88-6969-675-6
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
item.fulltext	with fulltext
item.grantfulltext	open
dc.peer-review	no
dc.subject	Absence
dc.subject	Altar
dc.subject	Analogue photography
dc.subject	Ancient Stoicism
dc.subject	Architectural design
dc.subject	Architecture
dc.subject	Architecture curation
dc.subject	Architecture exhibition
dc.subject	Architecture representations
dc.subject	Archival spaces
dc.subject	Archival turn
dc.subject	Art
dc.subject	Art history
dc.subject	Artist
dc.subject	Arts and crafts
dc.subject	Audience
dc.subject	Biennial Art
dc.subject	Bird’s-eye View
dc.subject	Blind man’s stick
dc.subject	Body
dc.subject	Chile
dc.subject	Coloniality
dc.subject	Communal apartments
dc.subject	Conflagration
dc.subject	Conspicuous
dc.subject	Consumption
dc.subject	Crucifixion
dc.subject	Cultural decolonialism
dc.subject	Cultural discourse
dc.subject	Cultural space
dc.subject	Curatorial theory
dc.subject	Dance
dc.subject	Digital archives
dc.subject	Displaying
dc.subject	Drawing
dc.subject	Dwelling
dc.subject	Early Modern Age
dc.subject	Eline Mugaas
dc.subject	Elise Storsveen
dc.subject	Enunciation
dc.subject	Ephemera
dc.subject	Ephemeral architecture
dc.subject	Ethnomusicology
dc.subject	Exhibition theory
dc.subject	Field
dc.subject	Folklore
dc.subject	Fyodor Stravinsky
dc.subject	Hauntology
dc.subject	Heidegger
dc.subject	Historiography
dc.subject	History of art
dc.subject	Home
dc.subject	Hudinilson Jr
dc.subject	Hypercomfort
dc.subject	Igor Stravinsky
dc.subject	Image Theory
dc.subject	Incorporeals
dc.subject	Inflatables
dc.subject	Isa Genzken
dc.subject	John of the Cross
dc.subject	Knapping
dc.subject	Kommunalka
dc.subject	Krzysztof Wodiczko
dc.subject	Kustar
dc.subject	Landscape
dc.subject	Late Middle Ages
dc.subject	Louis Marin
dc.subject	Malafouris
dc.subject	Martha Rosler
dc.subject	Material culture
dc.subject	Mies van der Rohe
dc.subject	Modernity
dc.subject	Museum
dc.subject	Musical repatriation
dc.subject	National image
dc.subject	National Pavilion
dc.subject	Nefs
dc.subject	Non-human
dc.subject	Ontology
dc.subject	Opacity
dc.subject	Orbit
dc.subject	Organism
dc.subject	Performance installation
dc.subject	Philosophy
dc.subject	Photography
dc.subject	Place
dc.subject	Power
dc.subject	Presence
dc.subject	Public space
dc.subject	Ritual
dc.subject	Room
dc.subject	Russian style
dc.subject	Scrapbook
dc.subject	Scrapbooking
dc.subject	Ship models
dc.subject	Skill
dc.subject	Sound and audiovisual archives
dc.subject	Space
dc.subject	Space
dc.subject	Space
dc.subject	Stravinsky’s family
dc.subject	Technology
dc.subject	The Tupikov House
dc.subject	Topology
dc.subject	Transición
dc.subject	Transparency
dc.subject	Venice Biennale
dc.subject	Visibility
dc.subject	Visual culture
dc.subject	Visual identity
dc.subject	Visual semiotics
dc.subject	Visual studies
dc.subject	Void
dc.subject	Void

Edited book
open access

edited by

Giulia Gelmi Università Ca’ Foscari Venezia, Italia

Anastasia Kozachenko-Stravinsky Università Ca’ Foscari Venezia, Italia

Andrea Nalesso Università Ca’ Foscari Venezia, Italia

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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?”.

Published

Dec. 21, 2022

Language

ISBN (EBOOK)

978-88-6969-675-6

Keywords

Igor Stravinsky • Russian style • Enunciation • Cultural space • Art • Visual studies • John of the Cross • Skill • Folklore • Hauntology • Venice Biennale • Architecture representations • Organism • National image • Non-human • Philosophy • Biennial Art • Heidegger • Isa Genzken • Material culture • Late Middle Ages • Scrapbooking • Field • Kommunalka • Visual culture • Archival turn • Blind man’s stick • Historiography • Visual identity • Drawing • Ritual • Fyodor Stravinsky • Architecture exhibition • Bird’s-eye View • Communal apartments • Topology • Kustar • Dance • Crucifixion • Archival spaces • Body • Landscape • Modernity • Public space • Exhibition theory • Arts and crafts • Visibility • Ship models • Krzysztof Wodiczko • Elise Storsveen • Conspicuous • Nefs • Chile • Sound and audiovisual archives • Performance installation • History of art • Malafouris • Architecture • Visual semiotics • Photography • Hypercomfort • National Pavilion • Cultural decolonialism • Analogue photography • Displaying • Martha Rosler • Ephemera • Image Theory • Audience • Coloniality • Space • Inflatables • Orbit • Absence • Transición • Void • Art history • Ephemeral architecture • Home • Transparency • Ontology • Architecture curation • Place • Digital archives • Ethnomusicology • Technology • Hudinilson Jr • Opacity • Incorporeals • Altar • Knapping • Early Modern Age • Curatorial theory • Museum • Musical repatriation • Presence • Eline Mugaas • Dwelling • The Tupikov House • Artist • Ancient Stoicism • Architectural design • Louis Marin • Stravinsky’s family • Room • Mies van der Rohe • Consumption • Power • Conflagration • Scrapbook • Cultural discourse

permalink http://doi.org/10.30687/978-88-6969-675-6

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.