Aesthetics

In 1995, Donald Judd's Chinati Foundation held its inaugural symposium titled "Art in the Landscape". During the roundtable discussion, walking artist Hamish Fulton asserted that there are fundamental differences between his art and American Land Art. Drawing on Fulton's assertion, this dissertation argues for the redefinition of British environmental art, conventionally called Land Art after the American tradition. Through the exploration of the work of several contemporary and living British artists, the British School of Aesthetic Chorography is articulated. The practice of aesthetic chorography involves an embodied experience of place, such as walking or gardening, which results in a creative response. This creative response is the place-work of aesthetic chorography and can take a plethora of forms including the attachment of language to place, the creation of an ephemeral marker, an image or a representation or the creation of a printed object which recalls the place in some way. Derived from the unfolding of this place-work, the role of language in art is a theme which is carried through the dissertation. The role of language in childhood, memory and constituting knowledge claims is also explored particularly as this relates to place and to loss and the conservational potential of language with respect to place is theorized in a place theory of language and a recollective theory of place. The conservational element of this work is further developed through the articulation of aesthetic chorography as a parochial tending practice which devotes attention to place as an experienced phenomenon. The persistence of parochial places and vernacular tending practices, however, require conservation. The heritage work of the Common Ground Trust in the UK which seeks to promote the "local distinctiveness" of places is explored and the keeping place is raised as a way of thinking about the engaged and living preservation of vernacular places, particularly in the face of environmental crisis.

Keywords: Aesthetics, Aesthetic Chorography, Art, Common Ground Trust, Concrete Poetry, Conservation, Critical Topography, Environmental Aesthetics, Environmental Ethics, Epistemology, Heritage, Keeping Place, Land Art, Landscape, Language, Lieu de Mémoire, Local, Memory, Monument, Parochial, Place, Place-work, Tending, Vernacular, Walking, Jonathan Bordo, Lionel L. Ferguson, Alec Finlay, Ian Hamilton Finlay, Hamish Fulton, Andy Goldsworthy, Donald Judd, Richard Long, Robert Macfarlane, Brian Nichols, Ferdinand de Saussure, Richard Skelton, Robert Smithson, James Turrell, W.J.T. Mitchell

Author Keywords: Aesthetic Chorography, Critical Topography, Heritage, Keeping Place, Landscape, Place

From Altdorfer and Poussin to Cézanne, Monet and to the Group of Seven, landscape has been a focal point of artistic inspiration for most of what we think of as modern art history. In contemporary times the concept and representation of landscape has shifted from visions of an idealized and exalted place to notions of the landscape as a ruins and site of ecological disaster. Because of this seismic inversion, artists are no longer solely making visual the beauty and serenity of nature but are rather finding novel ways of problematizing it and incorporating themes of its eventual disappearance, its inescapable transformation into ruins. The following dissertation puts forward a critical topographical study of three sites and three different artists who deal with this new found relationship to landscape. The three landscapes are located in different parts of the world and from different artistic contexts yet showing that they retain an aesthetic and conceptual character that links them together is part of the work of the dissertation. The first site is El Sol del Membrillo, a film by Víctor Erice in which the filmmaker chronicles painter Antonio Lopez García's attempts to paint the ephemeral, he attempts to paint that which is in the act of disappearing. The second site is The Mill St Cemetery in Cambridge, England where artist Gordon Young has contributed a work of public art titled Bird Stones that blurs the line between landscape, sculpture, monument and artwork. The third and final site is Tommy Thompson Park in Toronto, Canada that presents itself as an ecology park of retrieval, recovery and as a public art space. My investigation of this last regional research site is offered both as a chapter and as a videography about wilderness as wasteland.

Author Keywords: Aesthetics, Anthropocene, Art, Cinema, El Sol del Membrillo, Toronto: The Leslie Spit

This dissertation examines how sex crime and serial killing became a legitimate subject of aesthetic representation and mass consumption in the nineteenth century. It also probes into the ethical implications of deriving pleasure from consuming such graphic representations of violence. Taking off from Jack the Ripper and the iconic Whitechapel murders of 1888, it argues that a new cultural paradigm – the aesthetics of murder – was invented in England and France. To study the 'aesthetics of murder' as countless influential critics have done is not to question whether an act of murder itself possesses beautiful or sublime qualities. Rather, it is to determine precisely how a topic as evil and abject as murder is made beautiful in a work of art. It also questions what is at stake ethically for the reader or spectator who bears witness to such incommensurable violence. In three chapters, this dissertation delves into three important tropes – the murderer, corpse, and witness – through which this aesthetics of murder is analyzed. By examining a wide intersection of visual, literary, and cultural texts from the English and French tradition, it ultimately seeks to effect a rapprochement between nineteenth-century ethics and aesthetics. The primary artists and writers under investigation are Charles Baudelaire, Thomas De Quincey, Oscar Wilde, and Walter Sickert. In bringing together their distinctive styles and aesthetic philosophies, the dissertation opts for an interdisciplinary and comparative approach. It also aims to absolve these writers and artists from a longstanding charge of immorality and degeneracy, by firmly maintaining that the aesthetics of murder does not necessarily glorify or justify the act of murder. The third chapter on the 'witness' in fact, elucidates how writers like De Quincey and Wilde transferred the ethical imperative from the writer to the reader. The reader is appointed in the role of a murder witness who accidentally discovered the corpse on the crime scene. As a traumatized subject, the reader thus develops an ethical obligation for justice and censorship.

Author Keywords: Censorship, Jack the Ripper, Murder, Trauma, Victorian, Wilde

This thesis is a critical response to Evgeny Morozov's article proclaiming the death of the cyberflâneur. Suspicious of the superficiality of his argument, I developed a practico-theoretical project to prove that the cyberflâneur is not dead but alive – or, if it were dead, to rescue it from its grave and bring it back to life. In the course of my response to Morozov, I develop a theoretical foundation that allows me to continue thinking about the concept and practice of the cyberflâneur in the context of the Internet. In doing so, I rely on Gilles Deleuze and Felix Guattari's "Treatise on Nomadology: The War Machine" (2011), in combination with a history of the tradition of wandering. We are living in a postmodern-posthuman era driven by the chaotic and confusing forces that are manifested through the Internet. As such, it is no longer enough to be concerned with opening the space where we live, move and think; we cannot retreat to nature, we can't escape society. However, I see potential in the Internet. The Internet, as a physical and material network, can be actualized as an apparatus of capture. It operates as a medium for accelerating or limiting speed, or as an apparatus for the control of the transmission of information. I develop the cyberflâneur as an aesthetic figure that reveals the Internet's potential. If these revelations happen to be transmitted, then everyday life can again become an object of dispute, rather than unmeditated habituation.

Author Keywords: Cyberflâneur, Everyday Life, Internet, Nomadology, Research-creation, Wandering

The dissertation explores the aesthetic anthropology of Georges Bataille and his collaborators in the Collège de Sociologie, a distinguished group of intellectuals including Roger Caillois, Michel Leiris, Pierre Klossowski, and Walter Benjamin among others. At the dissertation's outset the role, influence, discovery and indeed invention of the Marquis de Sade as the almost mythic prefiguring for so much French aesthetic thought in the period beginning after World War One and up until even the present day is advanced. Before Freud in Vienna, Sade in Paris: the central thematic axis of the following addresses Eros noir, a term for reflecting on the danger and violence of sexuality that Freud theorizes with the "death drive." The deconstruction of the nude as an object and form in particular in the artwork of Hans Bellmer and the writing and art of Pierre Klossowski comprises the latter two chapters of the dissertation, which provides examples of perversion through the study of simulacra and phantasms. The thwarted pursuit of community in the vacated space of Nietzsche's death of a God is a persistent leitmotif of the following in the account it offers of the thought of Georges Bataille and other members of the Collège de Sociologie. Eros noir, at the fatal cusp between ascendant manifest sex and a latent diminished Christianity, underwrites much of the French intellectual contribution to the symbology of cultural modernism.

Author Keywords: Bataille, Georges, 1897-1962, Collège de Sociologie, Eroticism, Sade, marquis de, 1740-1814, Surrealism, The Uncanny

The three projects that make up this dissertation try to articulate an ontological idea of art; which is to say, they all approach art, or the imagination (as in project two), from the standpoint of a philosophical question concerning the sense of being. The ontological question is elaborated in terms of a theory of the spatial-temporal structure of the aesthetic or sensible realm. This kind of ontology contrasts with a more traditional metaphysical one, where the sense of being is sought within the purely intelligible realm, a realm that transcends the sensible. In projects one and two, the contrast is developed in terms of the Nietzschean/Heideggerian critique of metaphysics, and through the work of Jean-Luc Nancy, who appropriates this critique. In project three, it is developed in terms of Bergson and Deleuze's critique of objective time, or of any attempt to define being and time in terms of what is static and unchanging. Art is central for the ontology at stake here, and the ontology is one of art, because it is a matter of questioning the spatial-temporal being of the sensible, and not the being of the purely intelligible; and because art (as I try to show) is itself essentially concerned with revealing this ontological dimension of the sensible.

Author Keywords: Aesthetics, Art, Being, Fragment, Image, Time