eBook - PDF
Let Them Haunt Us
How Contemporary Aesthetics Challenge Trauma as the Unrepresentable
- English
- PDF
- Available on iOS & Android
eBook - PDF
Let Them Haunt Us
How Contemporary Aesthetics Challenge Trauma as the Unrepresentable
About this book
Let Them Haunt Us analyzes contemporary aesthetics engaged in trauma and critically challenges its canonical status as Ā»unrepresentableĀ«. Focusing on case studies in the aesthetic practices of Janet Cardiff and George Bures Miller, Omer Fast, Forensic Architecture, and Paul McCarthy this book proposes to redefine trauma as a productive framework to exploring individual, collective, and cultural conflicts addressed in current artistic and curatorial practices. Anna-Lena Werner considers the aesthetic realm as a potential forum that provides methods of understanding the humanitarian consequences of violence and warfare, and to reveal the effects of trauma on visual culture, collective memory, and politics.
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Yes, you can access Let Them Haunt Us by Anna-Lena Werner in PDF and/or ePUB format, as well as other popular books in Art & Urban Planning & Landscaping. We have over one million books available in our catalogue for you to explore.
Information
Trauma
Spaces
157
Image
19
&
20:
Paul
McCarthy.
Pinocchio
Pipenose
Household
Dilemma
(1994).
Photo:
Paul
Mc-
Carthy/Karen
McCarthy.
īe
sound,
too,
changes
when
heard
from
behind
the
mask:
not
only
does
the
video
feature
squeaking
and
hollow
sounds
due
to
recording
in
a
small
wooden
cabin,
but,
according
to
Schrƶder,
this
ef
fect
is
ampliļ¬ed
from
under
the
mask,
creating
sounds
that
seem
unreal,
dreamlike
and
distant.
15
At
the
same
time,
however,
the
physical
situation
suggests
an
elimination
of
distance
and
a
f
fords
an
entrance
into
Pinocchioās
spatial
nightmare.
By
providing
the
obligatory
mask,
McCarthy
simultaneously
enforces
a
percep-
tual
alienation
between
observing
self
and
world,
a
failure
of
identiļ¬cation
between
perception
and
representation
of
self.
Viewers
are
confronted
with
an
ambivalent
situation:
they
visually
and
spatially
identify
with
their
double
on
the
screen,
but
are
all
the
while
alienated
by
its
childish
and
obscene
behaviour.
Pinocchioās
actions
are
innocent
ā
in
principle
ā
but
their
symbolism
isnāt:
he
has
an
interpersonal
relationship
with
another
replica
ā
his
playmate,
the
doll
ā
but
his
actions
and
genen
Atem
und
das
Zischen
der
Luft,
die
durch
die
Augenlƶcher,
die
lange,
rohrartige,
hohle
Nase
und
den
Hals
in
die
Maske
strƶmt.ā
15
Cf.
Schrƶder
(1995),
190.
Table of contents
- Cover
- Contents
- Acknowledgements
- Introduction
- A History of Trauma
- Challenging Trauma as the Unrepresentable
- Trauma Narratives
- Trauma Spaces
- Trauma ā Curational Perspectives
- Conclusion and Outlook
- Bibliography
- List of Figures