Dance is proposed as the most representative of somaesthetic arts in Thinking Through the Body: Essays in Somaesthetics and other writings of Richard Shusterman. Shuster- man offers a useful, but incomplete approach to somaesthetics of dance. In the examples provided, dance appears as subordinate to another art form or as a means to achieving bodily excellence. Missing, for example, are accounts of the role of dance as an independent art form, how somaesthetics would address differences in varying approaches to dance, (...) and attention to the viewer’s somaesthetic dance experience. Three strategies for developing new directions for dance somaesthetics are offered here: identify a fuller range of applications of somaesthetics to dance as an independent art form ; develop somaesthetics for a wider range of theatre dance ; and relate somaesthetics to more general features of dance necessary for understanding the roles of the choreographer/dancer and the viewer. (shrink)

In this article, Carter tells the weaving tale of the globalization of art and the interplay between eastern and western contemporary art. Carter sketches out the history of contemporary art in China with a keen eye towards the interplay between Chinese artists and the various western influences over time, such as the 16th century Jesuit artists, Impressionism, Cubism, Fauvism, and Dada to name a few. This history is marked by a ubiquitous tension as Chinese artists incorporated western innovations into their (...) work, while also maintaining the poetic and literary foundation of Chinese art. Coupling that with the influence of the Cultural Revolution and Soviet realism on the Chinese are world, Carter discusses the tenuous boundaries upon which Chinese art has been and continues to be produced. After considering this history, Carter goes on to analyze the effect Chinese art has on the western art world--both how it shapes the western art world and how this globalization, in turn, shapes Chinese art. In navigating this boundary, Carter explains how Chinese artists find mediate appealing to a global audience while maintaining their Chinese roots. Carter concludes this essay by considering the economic success of Chinese art in the west and drawing attention to the negotiations still taking place today between local culture/global culture, tradition/innovation and authenticity/market appeal. (shrink)

The author reviews two symposia: 'The Video Arts: Demonstration and Discussion', The American Society for Aesthetics, New York City, 28 Oct. 1978, and 'The Aestheticians Look at Television', National Association of Education Broadcasters, Washington, D.C., 30 Oct. 1978. He also presents an evaluation of the current state of video art in terms of philosophical aesthetics. Furthermore, he attempts to make a clear distinction between television and video art. The differences cited include corporate studio efforts vs efforts of individual artists, commercial (...) vs artistic purpose and the substantial differences between production methods. Other issues considered are style, intimacy and narcissism. (shrink)

The focus here will be on the tension between architecture’s symbolic role and its function as a space to house and present art. ‘Symbolic’ refers both to a building as an aesthetic or sculptural form and secondly to its role in expressing civic identity. ‘Function’ refers to the intended purpose or practical use apart from its role as a form of art. As an art form, it serves important symbolic purposes; its practical purposes are linked to serving individual and community (...) functions requiring the delineation of space. In the present context of museum architecture, certain museum buildings are more likely to be seen as a sculptural object than as functioning buildings. The reasons for this development derive in part from unresolved issues pertaining to the respective roles of symbolic and practicalfunction as is seen in the analysis of architecture provided by G. W. F. Hegel, Rudolf Arnheim and Nelson Goodman. The vocabularies of contemporary architects such Frank Gehry and Santiago Calatrava do not follow the abstract geometrical patterns of Le Corbusier or Louis Kahn who envisioned a universal vocabulary of architectural forms derived from industrial technical forms that underscored Modernist conventions in architecture.By looking at this issue in the contexts provided by the theoretical discussions of Hegel, Arnheim and Goodman, it is possible to see more clearly the importance of examining with a critical eye the relative place of symbolism and function in museum architecture, and to question whether current museum practice has gone astray in allowing the sculptural symbolism to become the dominant element. When either its symbolic or its practical aspects are out of balance the result is sure to be unsatisfactory architecture. If the past is a reliable guide, it works best when the symbolic (sculptural) and the practical in architecture are worked out in harmony with each other. (shrink)

In the 1960s, there were efforts to move broadcast television in the direction of the experimental video art by altering television's conventional format. Fred Barzyk, in his role as a producer and director at WGBH-TV in Boston, was uniquely positioned to act as a link between television and experimental video artists who normally would not have had access to the technology available at a major broadcast facility. As the leading innovator in the beginnings of video art, the Korean American Nam (...) June Paik deserves special mention. His work bridges the worlds of art, video technology, and television. The video works of Nan June Paik, Amy Greenfield, Peter Campus, Feng Meng Bo, Elizabeth Sussman and other video artists are considered in this essay as key contributors to the development of video art. The selection is based on my experience with the artists cited. Despite video art's growing popularity among contemporary artists in the 1970s and beyond, the museums were slow to acknowledge this development. One of the problems was deciding where, among the existing museum collections, to locate video art. In its 50 some years of history, video art has enjoyed a remarkable success in its artistic innovations while undergoing changes in formats virtually at the speed of rapid advances in electronic visual technology. Ironically, the legacy of creative television set in motion by Barzyk and his generation has been largely coopted by the television broadcasting industry, which mainly serves as a platform for mass media advertising. (shrink)