Dialogic Materialism: Bakhtin, Embodiment and Moving Image by Miriam Jordan-Haladyn

By Miriam Jordan-Haladyn

Dialogic Materialism: Bakhtin, Embodiment and relocating photo Art argues for the relevance of Mikhail Bakhtin’s theories of dialogism as a way of interpreting the interdisciplinary nature of latest relocating photograph paintings varieties. the amount includes six chapters divided into sections. the 1st part, half I, illustrates the foremost recommendations in Bakhtin’s multifaceted dialogism and develops those principles relating to relocating snapshot paintings. the focus of this primary half is the inspiration of what the writer phrases dialogic materialism, which builds upon the Marxism inherent in Bakhtin, reading the fabric strategies of cultural alternate with a selected emphasis on multi-perspective subjective family. half II involves case reviews that observe dialogic materialism to the relocating snapshot art of 3 artists: Stan Douglas, Jamelie Hassan and Chris Marker. employing Bakhtinian conception to the sphere of the visible arts presents a method of reading the essentially dialogic nature of relocating picture paintings making and viewing, a viewpoint that isn't totally built in the present literature

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Additional resources for Dialogic Materialism: Bakhtin, Embodiment and Moving Image Art

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I examine the artwork that accompanies Hassan’s moving image installations Olives for Peace (2003) and Boutros al Armenian/Mediterranean Modern (1996–98). Of key interest are the processes through which the artist explores the construction of space and time, by means of multiple narratives, as social. I focus on the constant interaction between the self and the social world through language, and its myriad discursive forms, as a means of understanding how the social body is constituted through the materiality of speech and answerable action.

The artwork alone, or the individual psyche of the artist or observer. ”87 In other words, in aesthetic analysis Bakhtin privileges the dialogic exchange between an artist and an observer as mediated through the artwork. What constitutes an aesthetic response to an artwork? Where and how is aesthetic activity manifested? What is of interest is the contemplation of an artwork that is the basis of aesthetic activity and the way the work lives as a result of aesthetic activity. Each response is a moment of subjective contestation.

PART I Chapter 1 Dialogism and Its Material Context Language – like the living concrete environment in which the consciousness of the verbal artist lives – is never unitary. It is unitary only as an abstract grammatical system of normative forms, taken in isolation from the concrete, ideological conceptualizations that fill it, and in isolation from the uninterrupted process of historical becoming that is a characteristic of all living language. Actual social life and historical becoming create within an abstractly unitary national language a multitude of concrete worlds, a multitude of bounded verbal-ideological and social belief systems; within these various systems (identical in the abstract) are elements of language filled with various semantic and axiological content and each with its own different sound.

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