## Mika Elo (2014). *Notes on Media Sensitivity in Artistic Research*. : Leiden University Press. > [!INFO] > Type:: [[&]] > Title:: Notes on Media Sensitivity in Artistic Research > Author(s): [[Authors/Mika Elo]] > Year:: 2014 > Tags:: > DOI:: > Citekey:: elo_notes_2014 > ZoteroURI:: [Open in Zotero: Notes on Media Sensitivity in Artistic Research](zotero://select/items/@elo_notes_2014) > ReviewedDate:: [[2023-03-30]] ## Citation ```latex [@elo_notes_2014] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@elo_notes_2014]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation - The inception of artistic research can be seen as a symptom of an extensive cultural shift that has led to a situation where **the non-discursive conditions of knowledge production are gaining currency**. (25) 이러한 증상은 여러가지 리서치에서도 이야기되어 왔는데 - medial turn (Münker 2009:12-13) - the main focus of cultural theories away from the symbolic structure of language and ‘symbolic forms’ towards an examination of their material-sensory structure (ibid.) - [[Marshall McLuhan]]의 dictum 에서 처럼 ‘The medium is the message’. (25) - **As regards exposing art as research, the term ‘exposition’, would thus not only concern the institutional frame; it would also name a particular mode of presentation, that is, presentation of artistic work as research.** (25) - [?] 이러한 주장은 Presentation이 아티스트의 고유의 작업이 될 수 있는 경우에만 해당하는 것이 아닌가? > The emergence of new research programmes at art universities has led to a situation where the differences between artistic and scientific thinking become visible mainly against the institutional frame. (26) > Here, the most thought-provoking forms of intuition can perhaps most aptly be described as ‘touch’, The ‘touch of the faculties’ that, in my view, is behind the symptomatic struggle needs to be explicated. Hence, a short excursion to the sense of ‘touch’ seems appropriate. (27) > **Touch as Response** > […] touching brings pathic, gnostic and practical aspects of sensing together in a peculiar way (Waldenfels 2010:20-21). [[Bernhard Waldenfels]]의 글에서 연장시켜 ‘[w]hen we listen to music, look at images or identify with body movements we are brought into touch with a reality that precedes any re-presentation in the space of the conceptual’ (Borgdorff 2010: 60) 여기서 touch의 의미는 무엇일까 In contrast to other senses, in touch, the sensing and the sensed coincide. When I see a stone, it is ‘out there’ and does not see me, but when I touch that stone, it is ‘ right there’ and touches me. This sense of concreteness and immediacy lends the sense of touch a certain credibility. > With regard to the pathic character of touching, ==tact, rather than tactility==, turns out to be the common denominator of the different aspect of touching. The sense of touch implies a sense of tact. (28) > What, then, would be a ‘tactful’ or appropriate way of exposing art as research? […] that it is a question of developing an appropriate ‘feel’ or ‘touch’ for the presentation of artistic work as research. (29) 이 말은 그 말 그대로 프레젠테이션을 통해서 feel => touch 하게 만드는 것 둘 사이에 관계를 끌어내는 것. [[Atmosphere]]와의 관계점은 바로 여기서 만들어 지는 것 같은데 사실 이 지점과 [[gesture|Gesture]]와의 관계 또한 이루어질 수 있지 않을까 싶은데? [[Sergei Eisenstein|Eisenstein]]의 경우도 [[matter of fact]]란 단어를 영어로 바로 사용했다. 이 글에서 저자가 사용한 말은 sachgemäss (according to the matter) 프레젠테이션을 작업 그 자체로 그 matter로 만드는 것 이것은 curation이랑 다른 점이 무엇이 있을까? 이를 위해 두가지 가져온 것이 [[translation]] and [[tactics]]. ### Translation > One essential task of the artist-researcher is to provide well-articulated passages between different media or languages while maintaining a high sensitivity to their mediality. 여기서 주로 사용하는 [[Walter Benjamin|Benjamin]]의 레퍼런스는 [[@benjamin_language_1996]]이랑 여기서 중요한 것은 [[Walter Benjamin|Benjamin]]에게 있어서 언어는 단지 커뮤니케이션의 시스템이 아니다. "language must be understood in a specific sense. It is not limited to verbal language; all modes of articulation qualify as languages." > For [[Walter Benjamin|Benjamin]], language is something that precedes even the division between the intelligible and the sensible. In other words, languages is not a sign system; rather, it is something we could call the ‘emergence of sense’. 여기서 저자는 Peter Fenves 의 "pre-spatial space of pre-logical sense" 을 사용하며 ‘it is communication insofar as we understand communication in terms of ‘immediate impartability’, and immediate or unmediated capacity to bring things into mutual relationships while partaking in the event (63-64)’’ ### Related ```dataview LIST FROM [[@elo_notes_2014]] and -"Plans" and -"resources" ```