Dante's Aesthetics of Being

Ginsberg, Warren

doi:10.3998/mpub.16399

Cited by 4 publications

(4 citation statements)

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“…Asimismo, la vida como la caminata continúan. En este aprovechar y valerse de los escombros inútiles (Ginsberg, 2004), nuevos significados y afectos comenzarán a encontrar su lugar para desplegarse.…”

Section: Afectos Y Topofilias De La Ruinaunclassified

Por Una Antropología De Los Escombros. El Estallido Social en Plaza Dignidad, Santiago De Chile

Márquez

2020

Rev. 180

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Este trabajo es un abordaje teórico y etnográfico sobre la ciudad derruida y los escombros dejados por el reciente estallido social en Plaza Dignidad de Santiago de Chile. Para avanzar hacia una definición antropológica de los escombros, queremos preguntarnos: ¿cuáles son los escombros del estallido y qué espacio ocupan al interior de la ciudad? ¿De qué nos hablan y qué historias contienen, esconden y desestabilizan esas pieles agrietadas y fisuradas? ¿Por qué razones ellas se transforman en campo de disputa, en campo de olvido, de incomodidad y de fascinación? A través del registro etnográfico y fotográfico de las materialidades de la revuelta, el análisis se organiza en torno a cuatro dimensiones: “Piel y pátina de las memorias envolventes”; “Ambivalencia de la forma y el destrozo”; “Fantasmas y fetiche”; “Afectos y topofilias en la distopía”. Se concluye que sean cuales sean los artefactos derruidos, ellos siempre —como materialidades residuales que son— desordenan y desconciertan a nuestra ciudad, obligándola a releer y rescribir sus formas significadas. Allí reside posiblemente, la secreta fascinación de los escombros del estallido en Santiago.

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Section: Afectos Y Topofilias De La Ruinaunclassified

Por Una Antropología De Los Escombros. El Estallido Social en Plaza Dignidad, Santiago De Chile

Márquez

2020

Rev. 180

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“…Rediscovered by accident some 1,650 years later, the Vesuvian ruins captured the imagination of artists and writers, who saw in the catastrophe the image of their "ruined and ruinous world" (Macaulay, 1953). It is well-known that the ≪ruin lust≫ that gripped European art and literature at the end of the eighteenth century imposed a cult of melancholy and a whole esthetic of romantic evocation of Time that could eventually explain the fatal attraction for the most famously dead of all ancient cities (Ginsberg, 2004).…”

Section: Histories Of Landscapes: Pompeiimentioning

confidence: 99%

Literary Myths in Mixed Reality

Vassiliadi

Sylaiou

Papagiannakis

2018

Front. Digit. Humanit.

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“…Robert Ginsberg notes in The Aesthetics of Ruins, that 'the ruin of an ordinary home strikes many chords in our sensibility, since we are familiar with the functions and furnishings'. 19 In these croft house interiors I could imagine how families would have gathered around the hearth to listen to stories of local folklore, passed through generations by the oral tradition of storytelling. Reproduced with permission from the artist.…”

Section: Image 1 -Carolyn Lefley 'Yew Trees At Kingley Vale' 2009mentioning

confidence: 99%

Seeing Is Believing: The Capacity of the Manipulated Photograph to Represent Scenes of Mythology and the Supernatural

Lefley¹

2015

Deception: An Interdisciplinary Exploration

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This illustrated paper explores the capacity of the manipulated photograph to represent scenes of mythology and the supernatural. Can a photograph, which is said to be an index of the real, render a mythical realm into a believable scene? Practices such a double exposures and combination printing have historically been used to create famous faked images of the supernatural, such as the Cottingley Fairies images and the 'Surgeon's photograph' of the Loch Ness monster. Photography has a causal link with reality and as such a carefully manipulated image has the power to deceive or persuade the viewer. In her photography project 'Realm' Carolyn Lefley explores this apparent truthtelling phenomenon by constructing double exposure photographs that create a layering of realities. A familiar domestic interior and a potentially mythological landscape combine to create scenes of make-believe, which reference texts such as Alice in Wonderland and The Lion, The Witch and the Wardrobe. Down the rabbit hole, through the looking glass and into the wardrobe, all of these paths lead from the realm of the real, into the realm of myth. The kingdom of Narnia is entered through an ordinary wardrobe. The photograph of a homely interior (the real) becomes a portal into a mythical realm (the unseen). The photographs in 'Realm' depict new image-worlds that occupy a liminal space between reality and mythology. Digital post-production techniques have been utilised to achieve these multi-layered images. The paper will conclude with a consideration of the next era in photography, that of computer simulated reality.

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Dante's Aesthetics of Being

Cited by 4 publications

References 0 publications

Por Una Antropología De Los Escombros. El Estallido Social en Plaza Dignidad, Santiago De Chile

Por Una Antropología De Los Escombros. El Estallido Social en Plaza Dignidad, Santiago De Chile

Literary Myths in Mixed Reality

Seeing Is Believing: The Capacity of the Manipulated Photograph to Represent Scenes of Mythology and the Supernatural

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