Jean-Paul Martinon – författare
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13 produkter
13 produkter
Häftad, Engelska, 2013
235 kr
Skickas inom 5-8 vardagar
E-bok
PDF, Engelska, 2013424 kr
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Stop curating! And think what curating is all about. This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between ''curating'' and ''the curatorial''. If ''curating'' is a gamut of professional practices for setting up exhibitions, then ''the curatorial'' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.
Inbunden, Engelska, 2013
1 937 kr
Skickas inom 10-15 vardagar
Stop curating! And think what curating is all about. This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the curatorial' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.
E-bok
Engelska, 2013424 kr
Läs direkt efter köp
Stop curating! And think what curating is all about. This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between ''curating'' and ''the curatorial''. If ''curating'' is a gamut of professional practices for setting up exhibitions, then ''the curatorial'' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.
Häftad, Engelska, 2015
407 kr
Skickas inom 10-15 vardagar
Stop curating! And think what curating is all about. This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the curatorial' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.
Inbunden, Engelska, 2020
1 206 kr
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A new ethics for the global practice of curating Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging, and distributing an always conjectural knowledge about the world. Curating as Ethics is primarily philosophical in scope, evading normative approaches to ethics in favor of an intuitive ethics that operates at the threshold of thought and action. It explores the work of authors as diverse as Heidegger, Spinoza, Meillassoux, Mudimbe, Chalier, and Kofman. Jean-Paul Martinon begins with the fabric of these ethics: how it stems from matter, how it addresses death, how it apprehends interhuman relationships. In the second part he establishes the ground on which the ethics is based, the things that make up the curatorial-for example, the textual and visual evidence or the digital medium. The final part focuses on the activity of curating as such-sharing, caring, preparing, dispensing, and so on. With its invigorating new approach to curatorial studies, Curating as Ethics moves beyond the field of museum and exhibition studies to provide an ethics for anyone engaged in this highly visible activity, including those using social media as a curatorial endeavor, and shows how philosophy and curating can work together to articulate the world today.
Häftad, Engelska, 2020
292 kr
Skickas inom 5-8 vardagar
A new ethics for the global practice of curating Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging, and distributing an always conjectural knowledge about the world. Curating as Ethics is primarily philosophical in scope, evading normative approaches to ethics in favor of an intuitive ethics that operates at the threshold of thought and action. It explores the work of authors as diverse as Heidegger, Spinoza, Meillassoux, Mudimbe, Chalier, and Kofman. Jean-Paul Martinon begins with the fabric of these ethics: how it stems from matter, how it addresses death, how it apprehends interhuman relationships. In the second part he establishes the ground on which the ethics is based, the things that make up the curatorial-for example, the textual and visual evidence or the digital medium. The final part focuses on the activity of curating as such-sharing, caring, preparing, dispensing, and so on. With its invigorating new approach to curatorial studies, Curating as Ethics moves beyond the field of museum and exhibition studies to provide an ethics for anyone engaged in this highly visible activity, including those using social media as a curatorial endeavor, and shows how philosophy and curating can work together to articulate the world today.
Inbunden, Engelska, 2024
1 306 kr
Skickas inom 10-15 vardagar
Today’s understanding of time remains mostly Aristotelian and Newtonian/Einsteinian: time is what has been abstracted from the mundane realities of life and reduced to its measurement. Any somatic, psychological, or other experience of time is deemed either irrelevant or secondary. The history of the attempts to provide alternatives to time as measurement is infinite, most of which focuses on understanding time as an inner-temporal phenomenon for which a subject temporalizes him or herself through remembrance, experience, or anticipation (including death). Amidst this vast field, one argument by an enigmatic figure in ancient Greek thought stands out for the way it abides by neither the conventional view that time is clock time nor that it is an inner temporal phenomenon: Aenesidemus’ overlooked way of apprehending time by qualifying it as similar to air. To make sense of such an unusual statement, it is necessary to reconsider what informs such an unusual idea. Aenesidemus’ teacher was Pyrrho (often dubbed the Greek Buddha) who advocated for a non-differential approach to reality, one for which nothing is fixed or stable. With this perspective in mind, Aenesidemus’ idea then becomes clear: time or air knows no differentiae, whether that of the unit of measure or of the subject breathing it and sheltering from it. Both are radically unstable.While these ideas had no purchase for over 2000 years, they can now be revealed in all their magnitude. In the last 120 years, we have indeed become aerial beings. We no longer scuttle around on the ground floor below an unsuspected ocean of air. We no longer aspire to shin a tree or scale a peak. We have now made a habitation of the air. Such a new dwelling has its own unique time, a time that strangely does not agree with the abstracted and/or calculated time that was formulated when we only had sundials and water-clocks at our disposal. Against time as measure and against time as inner-temporal phenomenon comes time as total instability. Can revisiting the few fragments that Pyrrho and his disciple left us help once again articulate our relation to time and give us a renewed sense of reality and who we are within it? This monograph focuses on early Pyrrhonism (as distinguished from the sceptical work of Sextus Empiricus), Pali Buddhism, as well as contemporary interpretations of time and reality in both science and philosophy.
E-bok
Engelska, 20241 680 kr
Läs direkt efter köp
Today’s understanding of time remains mostly Aristotelian and Newtonian/Einsteinian: time is what has been abstracted from the mundane realities of life and reduced to its measurement. Any somatic, psychological, or other experience of time is deemed either irrelevant or secondary. The history of the attempts to provide alternatives to time as measurement is infinite, most of which focuses on understanding time as an inner-temporal phenomenon for which a subject temporalizes him or herself through remembrance, experience, or anticipation (including death). Amidst this vast field, one argument by an enigmatic figure in ancient Greek thought stands out for the way it abides by neither the conventional view that time is clock time nor that it is an inner temporal phenomenon: Aenesidemus’ overlooked way of apprehending time by qualifying it as similar to air. To make sense of such an unusual statement, it is necessary to reconsider what informs such an unusual idea. Aenesidemus’ teacher was Pyrrho (often dubbed the Greek Buddha) who advocated for a non-differential approach to reality, one for which nothing is fixed or stable. With this perspective in mind, Aenesidemus’ idea then becomes clear: time or air knows no differentiae, whether that of the unit of measure or of the subject breathing it and sheltering from it. Both are radically unstable.
While these ideas had no purchase for over 2000 years, they can now be revealed in all their magnitude. In the last 120 years, we have indeed become aerial beings. We no longer scuttle around on the ground floor below an unsuspected ocean of air. We no longer aspire to shin a tree or scale a peak. We have now made a habitation of the air. Such a new dwelling has its own unique time, a time that strangely does not agree with the abstracted and/or calculated time that was formulated when we only had sundials and water-clocks at our disposal. Against time as measure and against time as inner-temporal phenomenon comes time as total instability. Can revisiting the few fragments that Pyrrho and his disciple left us help once again articulate our relation to time and give us a renewed sense of reality and who we are within it? This monograph focuses on early Pyrrhonism (as distinguished from the sceptical work of Sextus Empiricus), Pali Buddhism, as well as contemporary interpretations of time and reality in both science and philosophy.
Del 9 - Philosophy as a Way of Life
Spinoza: Journal of an Emendation
Inbunden, Engelska, 2026
1 948 kr
Skickas inom 3-6 vardagar
For the last 350 years, nearly all writing devoted to Spinoza is exegetic, providing endless interpretations of his many propositions, axioms, definitions, and scholia. When reflecting on this enormous corpus, the following question immediately springs to mind: instead of adding one more interpretation to Spinoza’s scholarship, is it possible to undertake the emending project that he proposes in his Treatise on the Emendation of the Intellect and the Ethics? Emendation does not mean altering for the better, but simply choosing a better perspective. Can such a change of perspective be actually achieved? This book attempts to carefully follow and live out Spinoza’s emendation project today.
Del 24 - Studien zur interkulturellen Philosophie / Studies in Intercultural Philosophy / Études de philosophie interculturelle
After "Rwanda"
In Search of a New Ethics
Häftad, Engelska, 2013
1 687 kr
Skickas inom 5-8 vardagar
Is writing about peace after the Rwandan Genocide self-defeating? Whether it is the intensity of the massacres, the popularity of the genocide, or the imaginary forms of cruelty, however one looks at it, everything in the Rwandan Genocide appears to defy once again the possibility of thinking peace anew. In order to address this problem, this book investigates the work of specific French and Rwandese philosophers in order to renew our understanding of peace today. Through this path-breaking investigation, peace no longer stands for an ideal in the future, but becomes a structure of inter-subjectivity that guarantees that the violence of language always prevails over any other form of violence. This book is the very first monograph in philosophy related to the events of 1994 in Rwanda.
E-bok
PDF, Engelska, 20131 712 kr
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Is writing about peace after the Rwandan Genocide self-defeating? Whether it is the intensity of the massacres, the popularity of the genocide, or the imaginary forms of cruelty, however one looks at it, everything in the Rwandan Genocide appears to defy once again the possibility of thinking peace anew. In order to address this problem, this book investigates the work of specific French and Rwandese philosophers in order to renew our understanding of peace today. Through this path-breaking investigation, peace no longer stands for an ideal in the future, but becomes a structure of inter-subjectivity that guarantees that the violence of language always prevails over any other form of violence. This book is the very first monograph in philosophy related to the events of 1994 in Rwanda.
E-bok
PDF, Spanska, 2023272 kr
Läs direkt efter köp
En Lo curatorial. Una filosofía de la curaduría, queremos hablar de curaduría, sobre sus potencialidades y alcances, sobre los saberes que construye y los conocimientos que produce, de sus sociabilidades, colectividades y convivialidades. Queremos hablar de curaduría, sobre sus compromisos con ver, leer, hablar e intercambiar como formas de actividad pública, porque la curaduría ha buscado formas novedosas de crear instancias para las crisis de nuestro mundo en otras modalidades, de encontrar otras formas de participar en nuestras aflicciones actuales. Queremos hablar de curaduría, porque nos pareció ver una posibilidad anidada en sus protocolos, una posibilidad de otras formas de trabajar, relacionar y conocer.Desde el inicio, reconocimos la necesidad de distinguir entre la curaduría y lo curatorial. Si la primera es un espectro de prácticas profesionales que tienen que ver con montar exposiciones y otros modos de exhibición, entonces lo que tiene lugar en el montaje, tanto intencional como no intencionalmente, de esta forma, se entiende como un evento de conocimiento. Por lo tanto, lograr una distinción entre ambos significa acentuar un cambio, de la puesta en escena del evento al evento real en sí mismo: su representación, dramatización y ejecución.