Empathic Vision: Affect, Trauma, and Contemporary ArtThis book analyzes contemporary visual art produced in the context of conflict and trauma from a range of countries, including Colombia, Northern Ireland, South Africa, and Australia. It focuses on what makes visual language unique, arguing that the "affective" quality of art contributes to a new understanding of the experience of trauma and loss. By extending the concept of empathy, it also demonstrates how we might, through art, make connections with people in different parts of the world whose experiences differ from our own. The book makes a distinct contribution to trauma studies, which has tended to concentrate on literary forms of expression. It also offers a sophisticated theoretical analysis of the operations of art, drawing on philosophers such as Gilles Deleuze, but setting this within a postcolonial framework. Empathic Vision will appeal to anyone interested in the role of culture in post-September 11 global politics. |
From inside the book
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Page 37
... sensation , arguing that whereas philosophers think in concepts , artists think in terms of sensations . Sensation is gener- ated through the artist's engagement with the medium , through color and line in the case of the painter , so ...
... sensation , arguing that whereas philosophers think in concepts , artists think in terms of sensations . Sensation is gener- ated through the artist's engagement with the medium , through color and line in the case of the painter , so ...
Page 42
... sensation rather than representation . How do we know , then , that what is happening in sense memory ( which is after all in the present ) is not really happening to us now- v — if , indeed , there is such a bleed , and if affect ...
... sensation rather than representation . How do we know , then , that what is happening in sense memory ( which is after all in the present ) is not really happening to us now- v — if , indeed , there is such a bleed , and if affect ...
Page 43
... sensation that works with and against the deeper - level response , which on its own is unbearable . The squirm lets us feel the image , but also maintain a tension between self and image . It is part of a loop in which the image ...
... sensation that works with and against the deeper - level response , which on its own is unbearable . The squirm lets us feel the image , but also maintain a tension between self and image . It is part of a loop in which the image ...
Contents
Trauma Affect and Art | 22 |
The Force of Trauma | 46 |
Journeys into Place | 70 |
Copyright | |
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Common terms and phrases
Aboriginal abuse aesthetic affective argues artist artwork audience Australian bodily body Cape Town Chapter character common memory concept cultural death Delbo Deleuze Deleuze's Derrida Doris Salcedo embodied emotional empathy encounter engagement engender evokes experience feel figure film Gallery Gilles Deleuze global Gordon Bennett grief Guguletu Hartman History Holocaust Ian McLean Ibid identify imagery images inhabitation insofar Jacques Derrida Jean-Michel Basquiat Jill Bennett Johnston Kentridge's kind LaCapra language lived Long Night's Journey Mbelo mode moral narrative negotiation Notes to Basquiat notion objects pain painting particular Paul Seawright perception political postcolonial puppet Ractliffe Ractliffe's relationship representation response Routledge scene sensation sense memory shock simply Soho Soho's South African space suggests testimony tion trans Translated trauma trauma studies traumatic memory Truth and Reconciliation Truth Commission Ubu Roi University Press Veena Das victims viewer violence William Kentridge Willie Doherty witness Younge's