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 11
... shock become more than an aesthetic conceit or a kind of metaphoric appropriation of trauma to describe the malaise that Foster describes as permeating the art world ? Somehow it must become embedded in a deeper , more extended concep ...
... shock become more than an aesthetic conceit or a kind of metaphoric appropriation of trauma to describe the malaise that Foster describes as permeating the art world ? Somehow it must become embedded in a deeper , more extended concep ...
Page 64
... shock induced by the graphic image in a third party — or “ disinterested " viewer - can engender some- thing akin to trauma . The issue is where an image takes us once an initial affective connec- tion is established . And here , I ...
... shock induced by the graphic image in a third party — or “ disinterested " viewer - can engender some- thing akin to trauma . The issue is where an image takes us once an initial affective connec- tion is established . And here , I ...
Page 65
... shock engendered by the image is a hook into a more extended form of engagement . The fundamental error , it seems to me , lies in the aesthetic reduction of trauma to the shock- inducing signifier . While it might be argued that the shock ...
... shock engendered by the image is a hook into a more extended form of engagement . The fundamental error , it seems to me , lies in the aesthetic reduction of trauma to the shock- inducing signifier . While it might be argued that the shock ...
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