Space Oddity: Exercises in Art and Philosophy
open access
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a cura di
- 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 Art history • Architecture representations • Public space • Art • Hauntology • Communal apartments • Inflatables • Conflagration • Arts and crafts • Architectural design • Museum • Place • Visibility • The Tupikov House • Hypercomfort • Archival spaces • Cultural discourse • Krzysztof Wodiczko • Coloniality • Musical repatriation • Folklore • Mies van der Rohe • Landscape • Modernity • Skill • Power • Presence • Scrapbooking • Historiography • Altar • Philosophy • Field • Dance • History of art • Visual identity • Igor Stravinsky • Conspicuous • Technology • Void • Material culture • Martha Rosler • Ephemera • Biennial Art • Visual studies • Chile • Cultural decolonialism • Late Middle Ages • Sound and audiovisual archives • Performance installation • Displaying • Non-human • National Pavilion • Scrapbook • Architecture exhibition • Elise Storsveen • Drawing • Orbit • Visual culture • Ancient Stoicism • Ship models • Artist • Visual semiotics • Eline Mugaas • Isa Genzken • Ontology • Digital archives • Home • Photography • John of the Cross • Transición • Analogue photography • Ethnomusicology • Body • Kommunalka • Bird’s-eye View • Heidegger • Fyodor Stravinsky • Malafouris • Consumption • Cultural space • Transparency • Audience • Incorporeals • Stravinsky’s family • Topology • National image • Archival turn • Early Modern Age • Dwelling • Hudinilson Jr • Architecture curation • Absence • Crucifixion • Exhibition theory • Image Theory • Organism • Knapping • Ephemeral architecture • Russian style • Enunciation • Room • Venice Biennale • Blind man’s stick • Architecture • Kustar • Ritual • Nefs • Space • Opacity • Curatorial theory • Louis Marin
Permalink http://doi.org/10.30687/978-88-6969-675-6 | e-ISBN 978-88-6969-675-6 | Pubblicato 21 Dicembre 2022 | Lingua 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.