The Phenomenology of Medial Sincerity

Groys, Boris; Strathausen, Carsten

doi:10.7312/columbia/9780231146180.003.0005

Cited by 3 publications

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“…Especially since, by using the archive as a working tool, the artist capitalizes on places with a cultural background, which may have been omitted in the context of history. Nevertheless, the archive is not only a mechanism for triggering history, but for memory it becomes, as Boris Groys claims: "a machine for the production of memories, a machine that fabricates history out of the material of non-collected reality" (Groys, 2012).…”

Section: The Concrete Transposition Of Memory: the Archive As An Arti...mentioning

confidence: 99%

The Picture as a Result of Memory in Nemere Kerezsi'`s Art

Anastasiei

2023

DAC

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In this paper I focus on a case study concerning Nemere Kerezsi’s artistic approach presented in the exhibition Nemere Kerezsi: Thiemann-Etüde (Quadro Gallery, Cluj-Napoca, 13th of May – 24th of June 2022). The aim of this article is to analyze the close relationship between memory and image, starting from the way the artist observes and researches the memory and narratives created around places, which he claims as the central resource for the creation of his works present in the Thiemann-Etüde exhibition. The artist systematically starts from the micro framework of personal memories and narratives, which are then recorded and reproduced, through suggestive images, for the macro framework of the Anthropocene topic of the current history. Thus, the theoretical debates on the issue of the Anthropocene are relevant in this context, because the artist captures through a diversified visual language (video, photography, sculpture, installation etc.) the cultural-artificial intervention of man on nature and the consequences of this intrusion. Starting from the premise that the natural environment and history present themselves more and more as a result built on the basis of the interconnection of people who fabricate communities, Nemere Kerezsi developed his artistic approach similar to anthropological research. Namely, the artist collects subtle data about the personal memory of different places he’s visited, in order to generate the “image of an experience”.

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Section: The Concrete Transposition Of Memory: the Archive As An Arti...mentioning

confidence: 99%

The Picture as a Result of Memory in Nemere Kerezsi'`s Art

Anastasiei

2023

DAC

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“…Similarly, in existential phenomenology, in being seen by others, the lived-body no longer exists in and of itself but, rather, as the body-for-others (Groys, 2012 ; Morris, 2003 ; Sartre, 1969 ). Morris ( 2003 ) has suggested that Sartre’s reference to invisibility is relevant to the experience of BDD.…”

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confidence: 99%

“If only he were blind”: Shame, trauma, and dissociation among women with body dysmorphic disorder in physically intimate relationships

Stechler

Henton

2022

International Journal of Qualitative Studies on Health and Well

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Background Body Dysmorphic Disorder (BDD) involves a debilitating preoccupation with one’s appearance and associated difficulties in social and interpersonal relationships, according to the Diagnostic and Statistical Manual for Mental Disorders (DSM-5). Quantitative research has investigated the severity of relationship difficulties in BDD, while qualitative research has primarily focused on intrapersonal phenomena, although interpersonal difficulties, including with physical intimacy, have frequently emerged from these studies. Aims This study explores how women with BDD make sense of their lived experiences of physical intimacy in the context of current partner relationships. Method Six adult women participated in individual semi-structured interviews. The data was analysed using Interpretative Phenomenological Analysis. Results The analysis generated three superordinate themes: 1) The shame in being seen, 2) Disgust and detachment during intimacy, and 3) A flawed self, unworthy of relationships. Conclusions This study demonstrates how appearance-related concerns filter into the cognitive, behavioural, and emotional intersubjective spaces of physically intimate partnerships. Shame or trauma may be triggered and may be managed through disengagement or dissociation. Clinical implications These findings support calls for a full psychological assessment of the contextual and interpersonal components of BDD, and further suggest that psychological interventions for shame, trauma, and dissociation, such as compassion-focused therapy, imagery rescripting, or body-focused therapies, may be helpful additions to cognitive-behavioural or exposure and response prevention interventions for practitioners working with BDD.

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“…Загалом, певна утопічність самої ідеї синтетичної музики полягала у спробі винести за дужки власне інструментарій, зробивши його абсолютно прозорим, позбавленим будь-яких неможливостей. Але те, що є абсолютно «інструментальним», позбавляє довіри сам принцип інструментальності і спонукає до пошуку нових «прихованих явищ», які втручаються у процес комунікації і викривлюють його на свою користь (тут варто пригадати медіа-теорію Бориса Ґройса [2]). Абсолютизація будь-якого принципу призводить до підозри, що цей принцип є лише поверхневим наслідком дії більш фундаментального, прихованого від нас закону.…”

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Синтез Звуку І Кінематограф: Концептуальні Взаємодії

Папченко¹

2019

Науковий Вісник Київського Національного Університету Театру, Кіно І Телебачення Імені І.К.Карпенка-Карого

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Мета дослідження -виявити концептуальну основу взаємодії синтезу звуку і кінематографа з позиції семіотики і теорії медіа. Методологію дослідження становить семіологічний підхід (оцінка інтермодальної взаємодії з точки зору знакової системи) і застосування окремих положень медіа-теорії Бориса Ґройса (феноменологія субмедіального простору і «медіального одкровення»). Здійснено спробу теоретичної рефлексії практичної діяльності лабораторій «рисованого звуку» у 1930-х роках.Ключові слова: «рисований звук», візуалізація звуку, оптичний звукозапис, звукове кіно, орнаментальний звук, інтермодальність, психоакустика, синтез звуку, «синтетична музика». Цель исследования -выявить концептуальную основу взаимодействия синтеза звука и кинематографа с позиции семиотики и теории медиа. Методологию исследования составляет семиологической подход (оценка интермодального взаимодействия с точки зрения знаковой системы) и применения отдельных положений медиа-теории Бориса Гройса (феноменология субмедиального пространства и «медиальной откровенности»). Осуществлена попытка теоретической рефлексии практической деятельности лабораторий «рисованного звука» в 1930-х годах.Ключевые слова: «рисованный звук», визуализация звука, оптическая звукозапись, звуковое кино, орнаментальный звук, интермодальность, психоакустика, синтез звука, «синтетическая музыка».The purpose of the work is to reveal the conceptual basis for the interaction of sound synthesis and motion cinema from the standpoint of semiotics and media theory. The research methodology consists of semiological approach (the evaluation of intermodal interaction from the point of view of the sign-system) and the application of certain thesis of the media theory of Boris Groys (phenomenology of the submedial space and «medial frankness»). An attempt was made to theoretically reflect the purely practical activity of the laboratories of «graphical sound» in the 1930-s.

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The Phenomenology of Medial Sincerity

Cited by 3 publications

References 0 publications

The Picture as a Result of Memory in Nemere Kerezsi'`s Art

The Picture as a Result of Memory in Nemere Kerezsi'`s Art

“If only he were blind”: Shame, trauma, and dissociation among women with body dysmorphic disorder in physically intimate relationships

Синтез Звуку І Кінематограф: Концептуальні Взаємодії

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