Editors’ Introduction

Backman, Jussi; Mäcklin, Harri Mikael; Vasquez, Raine

doi:10.1080/20539320.2017.1396695

Cited by 1 publication

(1 citation statement)

References 19 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Much has changed since the 1930s, when Heidegger produced the main bulk of his writings on art, and it is not altogether clear how applicable his views are to the contemporary artworld. 10 Given the central position that Heidegger's thinking as a classic of modern art theory has, it is surprising how little contemporary research questions whether Heidegger's thinking is still relevant for theorizing contemporary art. Furthermore, the publication of Heidegger's Black Notebooks and the following debates on his anti-Semitism, as well as the perceived radical conservatism of his thought, 11 have made him an increasingly problematic figure in the humanities.…”

Section: Introductionmentioning

confidence: 99%

A Heideggerian Critique of Immersive Art

Mäcklin

2021

Gatherings: The Heidegger Circle Annual

Self Cite

View full text Add to dashboard Cite

Immersive art has been one of biggest trends in the artworld for the past few years. Yet, so far there has been little philosophical discussion on the nature and value of this immersive trend. In this article, I show how Heidegger’s meditations on art can provide a robust assessment of immersive art. On the one hand, immersive art can be taken to culminate in Heidegger’s views on the “machinational” character of modern art, where artworks turn into calculative experience machines, geared to provide “lived experiences” rather than experiences of truth. On the other hand, Heidegger’s thought also lends itself to a more positive assessment, where immersive art undermines machination from within and provides experiences of wonder, which are irreducible to and uncontrollable by calculative thinking.

show abstract

Section: Introductionmentioning

confidence: 99%