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Images re-vues est une revue électronique coordonnée par des bénévoles, chercheuses et chercheurs précaires et en poste, étudiantes et étudiants contractuels, luttant contre la précarité. Son activité scientifique n’est possible que grâce au soutien des laboratoires de recherche et de l’enseignement supérieur. La loi de programmation pluriannuelle de la recherche (LPPR) met en péril la recherche et l’enseignement supérieur tels qu’ils sont pratiqués en France, et est susceptible de précariser encore davantage la recherche en sciences humaines, suscitant la concurrence plutôt que la coopération scientifique qui est le cœur de notre mission. Nous nous opposons aux logiques managériales de performance qui menacent nos métiers. Dans la continuité des mobilisations liées à la réforme des retraites, la mobilisation actuelle est une occasion d’unir les combats des différentes revues scientifiques et de donner une visibilité à la fragilité de la situation du personnel de la recherche, BIATSS, ITA, enseignant•es-chercheu•ses•rs. Nous sommes solidaires des salarié•es d'Openedition dont notre revue bénéficie du travail et du savoir-faire.

Art --- Art and society --- Art et société --- Art. --- Art and society. --- Philosophy --- Philosophie --- Philosophy. --- Arts and Humanities --- Performing Arts, Travel and Leisure --- art history --- theory of arts --- visual cultures --- history --- anthropology --- visual arts

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This book is the first overall study of research-based art practices in Southeast Asia. Its objective is to examine the creative and mutual entanglement of academic and artistic research; in short, the Why, When, What and How of research-based art practices in the region. In Southeast Asia, artists are increasingly engaged in research-based art practices involving academic research processes. They work as historians, archivists, archaeologists or sociologists in order to produce knowledge and/or to challenge the current established systems of knowledge production. As artists, they can freely draw on academic research methodologies and, at the same time, question or divert them for their own artistic purpose. The outcome of their research findings is exhibited as an artwork and is not published or presented in an academic format. This book seeks to demonstrate the emancipatory dimension of these practices, which contribute to opening up our conceptions of knowledge and of art, bestowing a new and promising role to the artists within the society. Caroline Ha Thuc is a part-time Lecturer at Lingnan University, Hong Kong, as well as an independent art writer, researcher and curator. She holds a Ph.D. from the School of Creative Media at City University,Hong Kong, and is currently also a part-time researcher at the Guangzhou Academy of Fine Arts, China. Specializing in Asian contemporary art, Ha Thuc contributes regularly to different academic journals and magazines, focusing on the artistic production of knowledge. She has published books about the Hong Kong art scene as well as Japanese and Chinese contemporary art. .

Philosophy and psychology of culture --- Ethnology. Cultural anthropology --- History of civilization --- niet-westerse cultuur --- etnologie --- cultuur --- Asia --- Culture --- Art, Modern --- Ethnology --- Culture. --- Art --- Visual Culture. --- Contemporary Art. --- Asian Culture. --- Theory of Arts. --- Study and teaching. --- 21st century. --- Asia. --- Philosophy.

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This book offers a philosophical exploration of lines in art and culture, and traces their history from Antiquity onwards. Lines can be physical phenomena, cognitive responses to observed processes, or both at the same time. Based on this assumption, the book describes the “philosophy of lines” in art, architecture, and science. The book compares Western and Eastern traditions. It examines lines in the works of Paul Klee, Wassily Kandinsky, and Henri Michaux, as well as in Chinese and Japanese art and calligraphy. Lines are not merely a matter of aesthetics but also reflect the psychological states of entire cultures. In the nineteenth century, non-Euclidean geometry sparked the phenomenon of the “self-negating line,” which influenced modern art; it also prepared the ground for virtual reality. Straight lines, distorted lines, blurred lines, hot and cold lines, dynamic lines, lines of force, virtual lines, and on and on, lines narrate the development of human civilization. Thorsten Botz-Bornstein is Associate Professor of philosophy at Gulf University for Science and Technology in Kuwait.

Aesthetics. --- Line (Art) --- Art --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Criticism --- Literature --- Proportion --- Symmetry --- Psychology --- Radio broadcasting Aesthetics --- Aesthetics --- Ethnology --- Culture. --- Anthropology. --- Philosophy of Art. --- Asian Culture. --- Theory of Arts. --- Primitive societies --- Social sciences --- Human beings --- Cultural sociology --- Culture --- Sociology of culture --- Civilization --- Popular culture --- Art and philosophy --- Philosophy. --- Asia. --- Social aspects --- Analysis, interpretation, appreciation

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This book defends that the pursuit of originality constitutes one of the most important characteristics of creativity, but that originality refers, etymologically, to both origin and originary. Hence, the book is structured into two parts, dedicated, respectively, to the creative categories of origin and the creative categories of originary. Within the former are creation myths, games – the origin of all cultural activity, the dialectic chaos-order, axial civilizations – the germ of our time, and the struggle between generations – a factor of social transformation, and, within the second, creative capitalism, creative work in the context of the global economy of risk and uncertainty, and representative democracy. However, these two concepts are not isolated, but deeply interrelated, in a way that explains how creative originality builds a temporal narrative. It has been dislocated in late modernity and, with it, creativity has been broken. Juan A. Roche Cárcel is a professor of sociology of culture and the arts at the University of Alicante (Spain). He is the author of numerous books and articles on culture and arts and president of the committee for the sociology of emotions at the Spanish Federation of Sociology (FES).

Originality. --- Creation (Literary, artistic, etc.) --- Creative ability in art --- Creative ability in literature --- Art --- Imagination --- Inspiration --- Literature --- Creative ability --- Originality --- Genius --- Planning --- Ability testing --- Sociology. --- Social evolution. --- Art—Philosophy. --- Ethnopsychology. --- Ethnology. --- Cultural Evolution. --- Theory of Arts. --- Psychological Anthropology. --- Sociocultural Anthropology. --- Cultural anthropology --- Ethnography --- Races of man --- Social anthropology --- Anthropology --- Human beings --- Cultural evolution --- Cultural transformation --- Culture, Evolution of --- Culture --- Evolution --- Social change --- Social theory --- Social sciences --- Cross-cultural psychology --- Ethnic groups --- Ethnic psychology --- Folk-psychology --- Indigenous peoples --- National psychology --- Psychological anthropology --- Psychology, Cross-cultural --- Psychology, Ethnic --- Psychology, National --- Psychology, Racial --- Race psychology --- Psychology --- National characteristics

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Anke Gleber examines one of the most intriguing and characteristic figures of European urban modernity: the observing city stroller, or flaneur. In an age transformed by industrialism, the flaneur drifted through city streets, inspired and repelled by the surrounding scenes of splendor and squalor. Gleber examines this often elusive figure in the particular contexts of Weimar Germany and the intellectual sphere of Walter Benjamin, with whom the concept of flanerie is often associated. She sketches the European influences that produced the German flaneur and establishes the figure as a pervasive presence in Weimar culture, as well as a profound influence on modern perceptions of public space. The book begins by exploring the theory of literary flanerie and the technological changes--street lighting, public transportation, and the emergence of film--that gave a new status to the activities of seeing and walking in the modern city. Gleber then assesses the place of flanerie in works by Benjamin, Siegfried Kracauer, and other representatives of Weimar literature, arts, and theory. She draws particular attention to the works of Franz Hessel, a Berlin flaneur who argued that flanerie is a "reading" of the city that perceives passersby, streets, and fleeting impressions as the transitory signs of modernity. Gleber also examines connections between flanerie and Weimar film, and discusses female flanerie as a means of asserting female subjectivity in the public realm. The book is a deeply original and searching reassessment of the complex intersections among modernity, vision, and public space.

Arts, Modern --- Modernism. --- Modernizem. --- Literary theory. --- Literarna teorija. --- Film. --- Theory of arts. --- Teorija umetnosti. --- Arts and literature. --- Umetnost in književnost. --- Arts, German --- Flaneurs in literature. --- Flaneurs in art. --- Germany. --- Nemčija. --- Aragon, Louis. --- Augenblick. --- Benjamin, Walter. --- Berlin. --- Bildung. --- Denkbild. --- Goll, Yvan. --- Hake, Sabine. --- Hessel, Franz. --- Jünger, Ernst. --- Koch, Gertrud. --- Kracauer, Siegfried. --- Kurfürstendamm. --- Landwehrkanal. --- Lichtspiele. --- Lumière brothers. --- Munich. --- National Socialism. --- New Subjectivity. --- New Woman. --- advertising. --- boredom. --- camera. --- capitalism. --- cinema. --- commodity. --- dandy. --- detective. --- eroticism. --- fashion. --- feuilleton. --- film theory. --- historian. --- industrialization. --- melancholy. --- modernity. --- photography. --- psychoanalysis. --- railroads. --- scopophilia. --- semiotics. --- spectator. --- tourism.