Experimental Practices seeks to develop the status of science, art, and literature as truly experimental practices and forms of knowledge production – each borrowing from the other in order to further its drive to invention and innovation.
In times of environmental, political, and technological transformation and crisis, the urge to forge new alliances between the humanities, arts, and sciences has given rise to disciplinary hybrids, such as the environmental humanities, the medical humanities, artistic research, or the neurohumanities – all of which signal a turn towards ecological, more-than-human and posthumanist approaches in resonance with a broad array of worldly concerns. In this context,
Experimental Practices is a platform for experimental forms of research at the intersections of the humanities, sciences, as well as activists outside academia around issues that shape contemporary and future cultures.
Taking “experimentation” as the practice, topic, and aim of the series, the editors welcome monographs or collected volumes around a specific concept or theme that contribute and enact a practice-based as well as theory-driven poetics of knowledge.
The series is committed to continue a fruitful collaboration with the international SLSA (Society for the Study of Literature, Science, and the Arts), including its independent European branch SLSAeu.
The twentieth century saw many revolutions. Various transformations in the political, economic, social, technological and artistic domains not only inaugurated new eras, or at least discourses about new eras; they also often entailed a radical reorientation in the very conceptions by which any revolution could be thought. This beautifully edited collection of essays addresses itself to the particular revolution by which we came to understand the unity of space and time as ontological categories.
The twelve papers collected in this volume explore the consequences of conceptions of time and its relationship to space. Although originating from the revolution in mathematics and theoretical physics, these essays extend the thinking of space-time in a multi-disciplinary approach through the philosophy of space and time, social geography, post-Marxian social theory, new network theory, the philosophy of art and culture, musicology, evolutionary biology, historiography, psychoanalytic theory, and comparative literature. The result is a fascinating snapshot of a nearly universal transformation, but one that was only slowly realized, as the debates in one field reverberated across a vast terrain of discourse and discipline. In tracing the varied responses to the developments emanating from theoretical physics, the essays in this volume reveal how discontinuous but profound shifts in knowledge and aesthetics ultimately converge on a radically transformed horizon.
Contributors are: Peter Galison, Richard T. W. Arthur, Nader El-Bizri, Chunglin Kwa, Leslie Kavanaugh, Mary Lynne Ellis, Patricia Locke, Sander van Maas, Raviv Ganchrow, Josef Früchtl, M. Christine Boyer, and Antoine Picon.
In this book the author takes an unusual multi-disciplinary approach to debates about contemporary art and poetry, ideas about the mind and its representations, and theories of knowledge and being. Arts practices are considered as enactments of mind and as transformative modes of consciousness. Ideas drawn from poetics, philosophy and consciousness studies are used to illuminate the conceptual and aesthetic frameworks of a diverse array of visual artists. Themes explored include: the interconnectedness of existence; art as a way of interrogating appearances; identity and otherness; art and the self as ‘open work’; Buddhist concepts of ‘emptiness’ and ‘suchness’; scepticism, mysticism and the arts; and mind in the landscape. The book contains an important and distinctive visual dimension with photographs and drawings by the author and texts employing unorthodox syntax and layouts that exemplify the themes under discussion. The author hints at a new aesthetics and philosophy of indeterminacy, paradox, uncertainty and discontinuity - a
contrarium - in which we negotiate our way through the instabilities and contradictions of contemporary life. Written in a lively and accessible style this volume is of interest to scholars, arts practitioners, teachers and to anyone with an interest in art, poetry, consciousness studies, philosophy and nature.
Artists, poets and philosophers discussed, include: Cy Twombly, Helen Chadwick, John Ruskin, Ad Reinhardt, Richard Long, James Turrell, Anish Kapoor, Ian Hamilton Finlay, Agnes Martin, Land Art, Arte Povera, Minimalism, Charles Olson, Kenneth White, Robin Blaser, Fred Wah, Gary Snyder, RS Thomas, Alice Oswald, John Cage, Jorge Luis Borges, Guy Davenport, Kenneth Rexroth, Heidegger, Marjorie Perloff, Thomas McEvilley, Merleau-Ponty, Spinoza, Wittgenstein, Roland Barthes, Umberto Eco, David Abram, Thomas Merton, Pyrrho & Nagarjuna.
A bilingual collection of essays on the aesthetics of Gilles Deleuze,
Discern(e)ments highlights what is at stake in Deleuzian philosophy of art. It traces the reception of Deleuzian thought in a broad range of disciplines and gauges its use-value in each of them. Following the dynamics between structure and becoming that punctuates Deleuzian aesthetics,
Discern(e)ments sketches and erases boundaries between methods and traditions in philosophy and art theory, as well as in literary, performance and film studies. Offering both numerous case-studies as well as theoretical outlines,
Discern(e)ments engages faculties, disciplines and criticisms not in a mere exchange of points of view, but in
heterogenesis mapping out further discernments in Deleuzian aesthetics.
Magic Science Religion explores surprising intersections among the three meaning-making and world-making practices named in the title. Through colorful examples, the book reveals circuitous ways that social, cultural and natural systems connect, enabling real kinds of magic to operate. Among the many case studies are accounts of how an eighteenth-century actor gave his audience goosebumps; how painters, poets, and pool sharks use nonlinearity in working their magics; how the first vertebrates gained consciousness; how plants fine-tuned human color vision; and the necessarily magical element of activism that builds on the conviction that "another future is possible" while working to push self-fulfilling prophecy into political action.