The Nordic Journal of Aesthetics Deals with aesthetic problems and conveys current aesthetic research en-US <p>Authors who publish with this journal agree to the following terms:</p> <ol type="a"> <ol type="a"> <li class="show">Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="" target="_new">Creative Commons Attribution License</a> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.</li> <li class="show">Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.</li> <li class="show">Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See <a href="" target="_new">The Effect of Open Access</a>).</li> </ol> </ol> <!-- content --> (Jacob Lund) (JL) Sun, 03 Jul 2022 15:57:56 +0200 OJS 60 WORKING BY THE NUMBERS <p style="font-weight: 400;">The performance artists Florian Feigl and Fjóla Gautadóttir engage with production conditions of artistic work through their ways of managing time in performances. Informed by Marxist and feminist theories on affective and reproductive work, and with references to the history of performance art, I demonstrate how, contrary to myths of inspiration and virtuosity, production conditions co-create artistic authorship. Thereby, I reexamine what traditionally is termed as the aesthetics of production. An aesthetics of production is, I suggest, not about natural talent and originality of the soloist artist genius but is founded on the interdependency of life and work, and what enables the artist to do work. Feigl and Gautadóttir’s performances include what has been excluded as disturbances by idealist aesthetics of production: the sociality, temporality and economy of the artistic work. By proposing a feminist-materialist aesthetics of production, I claim that the artist’s work is not only working by the numbers of the present production conditions, but is also performing and intervening within the infrastructures of art.</p> Cecilie Ullerup Schmidt Copyright (c) 2022 Cecilie Ullerup Schmidt Sun, 03 Jul 2022 00:00:00 +0200 WHY PRESERVE? <p style="font-weight: 400;">Our culture of appreciation of old buildings today is a product of the heritage culture of the (broadly speaking) eighteenth-century Central European (white, male, educated) upper class. While we find it pleasant and historically informative to have buildings well preserved, we find the absence of critical questioning of the practice surprisingly absent, although we observe an increasing number of academic discussions in the field of heritage studies, informed by decolonisation, climate change activism, and sustainability issues. Critical artistic practices have too been venturing into heritage and memory politics. The extensive costs of preserving old architecture raise eyebrows mainly only in the far- and alt-right circles, but as late reactions by parts of the global community, such as the attacks on statues as part of the Black Lives Matter movement, signal, there might be a change coming regarding our relationship to the built material past. We offer a reading of the history of the phenomenon, which will make it easier to, first, see it as an ethnic and class construct, and then sketch out a new perspective on its metaphysics, from memory to identity, to discourse. We include voices external to the world of heritage­­ – one that is still run by a privileged group that often claims to speak for others, and whose aims and practices are often, at least for now, accepted by others. We then proceed to discuss what kind of a role a curatorial approach could have in questioning and rethinking the idea of preserving.</p> Max Ryynänen, Ksenia Kaverina Copyright (c) 2022 Max Ryynänen, Ksenia Kaverina Sun, 03 Jul 2022 00:00:00 +0200 MUSICAL COMPOSITIONS AND FRACTURES <div> <p class="Body"><span lang="EN-US">“Each and every important work of art leaves traces behind in its material and technique,” Theodor W. Adorno postulates in <em>Aesthetic Theory</em>, as he describes the way a composition is both a result of its own time and reacts critically to the time it belongs to. This quote demonstrates a reversal: rather than merely an expression or an outcome of an artist’s idea, art itself is regarded as a source for change. The work may come to affect its own tools and materials and the social space around it. The primary question of this article is: what is it in musical composition that leaves the traces?&nbsp;This article attempts to move the focus away from discussion of finished works, and instead, depict how composition as a discipline engages in dialogue with its handcraft, historicity, and surrounding social world. I call this aspect of composition that possesses critical potential a <em>lingering reflection</em>. Slow and heteronomous in its nature, it presents a counterpoint to ideas that seem solid, are easily accessible and unquestioned.</span></p> </div> Rebecka Sofia Ahvenniemi Copyright (c) 2022 Rebecka Sofia Ahvenniemi Sun, 03 Jul 2022 00:00:00 +0200 POLITICAL AESTHETICS OF URBAN ENCOUNTERS <div> <p class="Vits"><span lang="EN-GB">Aesthetics and politics are intertwined in our everyday encounters and even nonverbal encounters are negotiations of meanings, values, and means of representation. The aesthetic political negotiation of urban encounters is politics beyond consensus and dissensus: an open-ended process of altered perception. Perception of difference, a feeling of safety, and a form of distanciation are required for the political potential to be actualized. This article begins by discussing urban encounters and the notion of politics. Politics takes place in the public sphere and is actualized in political negotiations, which in ephemeral encounters take the form of pondering, or hermeneutic understanding and judgment. The second section discusses the prerequisites: safety, distance, and difference. Two points are made. Firstly, the political encounter contains a practical-ethical demand for effort in our everyday life. Secondly, training aesthetic sensibility assists in this pursuit. This article is an example of an approach of inquiry that can be called political aesthetics.</span></p> </div> Henrik Pathirane Copyright (c) 2022 Henrik Pathirane Sun, 03 Jul 2022 00:00:00 +0200 MOVING ARCHITECTURE <p style="font-weight: 400;">One of the primary and most typical features of a piece of architecture is its stability, its fixed and anchored state. It is therefore surprising and, at the same time, aesthetically inspiring and intellectually exciting when buildings are moved. In the present study I examine the agency of transportation and the aesthetic consequences of such translocations in three art projects. First, I analyse the work of the Norwegian Marianne Heske, the Georgian Vajiko Chachkhiani, and the Finn Anssi Pulkkinen. I lay out the aesthetic implications of the transformative decontextualization caused by the relocation of the original structure. In the second part of the paper, I present the main aspects that connect these otherwise different projects and explain why the complex and costly transportation of these pieces of architecture is relevant and justified. &nbsp;</p> Zoltán Somhegyi Copyright (c) 2022 Zoltán Somhegyi Sun, 03 Jul 2022 00:00:00 +0200 APPRECIATING COVERS <p style="font-weight: 400;">A recording or performance of a song is a <em>cover</em> if there is an earlier, canonical recording of the song. It can seem intuitive to think that properly appreciating a cover requires considering it in relation to the original, or at least that doing so will yield a deeper appreciation. This intuition is supported by some philosophical accounts of covers. And it is complicated by the possibility of <em>hearing in</em>, whereby one hears elements of the original version in the cover. We argue that it can nevertheless be just as legitimate to consider a cover version on its own as it is to consider it in relation to the earlier recording that it is covering. In some cases, these two modes of appreciation will offer distinct rewards. In other cases, one mode will be substantially more rewarding than the other. The details matter, especially in complicated cases like covers of covers, but neither mode is privileged in principle.</p> Cristyn Magnus, P.D. Magnus, Christy Mag Uidhir, Ron Mcclamrock Copyright (c) 2022 Cristyn Magnus, P.D. Magnus, Christy Mag Uidhir, Ron Mcclamrock Sun, 03 Jul 2022 00:00:00 +0200 AESTHETIC SENSIBILITY IN THE WORLD OF POLITICS <p style="font-weight: 400;">Review of</p> <p style="font-weight: 400;">CECILIA SJÖHOLM: <em>ATT SE SAKER MED ARENDT: KONST, ESTETIK, POLITIK</em></p> <p style="font-weight: 400;">GÖTEBORG: DAIDALOS, 2020. 248 PAGES</p> <p><span style="font-weight: 400;">ISBN: 9789171735461</span></p> Frida Buhre Copyright (c) 2022 Frida Buhre Sun, 03 Jul 2022 00:00:00 +0200 A HETEROGLOSSIA OF BIG DATA KNOWLEDGES <p>Review of</p> <p style="font-weight: 400;"><em>UNCERTAIN ARCHIVES: CRITICAL KEYWORDS FOR BIG DATA</em></p> <p style="font-weight: 400;">EDITED BY NANNA BONDE THYLSTRUP, DANIELA AGOSTINHO, ANNIE RING, CATHERINE D’IGNAZIO AND KRISTIN VEEL</p> <p style="font-weight: 400;">&nbsp;</p> <p style="font-weight: 400;">CAMBRIDGE: THE MIT PRESS, 2021. 640 PAGES</p> <p style="font-weight: 400;">ISBN: 9780262539883</p> Maja Bak Herrie Copyright (c) 2022 Maja Bak Herrie Sun, 03 Jul 2022 00:00:00 +0200 THE CONCEPTUAL AND HISTORICAL CONTEXT OF DANISH ARTIST JOHANNES WIEDEWELT <p>Review of</p> <p style="font-weight: 400;">ELSE MARIE BUKDAHL, <em>JOHANNES WIEDEWELT – TRADITION OG NYBRUD</em> [JOHANNES WIEDEWELT – TRADITION AND BREAKTHROUGH]</p> <p style="font-weight: 400;">COPENHAGEN: U PRESS, 2021. 148 PAGES</p> <p style="font-weight: 400;">ISBN: 9788793890121</p> Carsten Juhl Copyright (c) 2022 Carsten Juhl Sun, 03 Jul 2022 00:00:00 +0200 SIANNE NGAI: THEORY OF THE GIMMICK Josefine Wikström Copyright (c) 2022 Josefine Wikström Sun, 03 Jul 2022 00:00:00 +0200 AN APOLOGETIC PRAISING OF DERRIDEAN DECONSTRUCTION <p>Review of</p> <p>MARTTA HEIKKILÄ, DECONSTRUCTION AND THE WORK OF ART. <br>VISUAL ARTS AND THEIR CRITIQUE IN CONTEMPORARY FRENCH THOUGHT</p> <p>LONDON: LEXINGTON BOOKS 2021. 311 PAGES.<br>ISBN: 1793619042</p> Bente Larsen Copyright (c) 2022 Bente Larsen Sun, 03 Jul 2022 00:00:00 +0200 Notes on Contributors NJA Copyright (c) 2022 NJA Sun, 03 Jul 2022 00:00:00 +0200