The artistic-epistemic aim of this investigation is to unveil new perspectives on relations between the sensible and the intuitively intelligible. Corporeal theory and discursive practice are woven... Show moreThe artistic-epistemic aim of this investigation is to unveil new perspectives on relations between the sensible and the intuitively intelligible. Corporeal theory and discursive practice are woven together into a dancing language. This dancing language conducts movement and thought from a state of being suspended between the physically sensible and the intuitively intelligible towards a place where they come together. Corporeal theory refers to embodied as well as verbal reflections on dance experience as seen from my perspective. The discursive practice engages thought in dialogue with perspectives from physics and psychology on the one hand and metaphysics and revelation on the other.The dialogue between corporeal theory and discursive practice and its resulting dancing language supports the main argument: that the dancing body can act as a creative interface between the physical and the metaphysical. The gap between a wordless corporeal and a verbal, interrogating discourse is bridged by three key concepts: spiritual corporeality, altered states of knowing and embodied gnosis. Meaning unfolds by uniting dichotomies between gravity and levity, between physis and psyche, between matter and spirit. The aim is to better understand the nature and potential meaning of deep incorporation of consciousness and its evolving expression. Show less
This study by artist Jonas Staal explores the development of propaganda art from the 20th to the 21st century. Staal defines propaganda as the performance of power by means of the equation... Show moreThis study by artist Jonas Staal explores the development of propaganda art from the 20th to the 21st century. Staal defines propaganda as the performance of power by means of the equation propaganda = power + performance. Through his work as a propaganda researcher and practice as a propaganda artist, he argues that different structures of power generate different forms of propaganda and therefore different forms of propaganda art. Whereas in the context of the 20th century Staal discusses the differences between avant-garde, totalitarian, and modernist propaganda art, in the 21st century he proposes the categories of War on Terror Propaganda Art, Popular Propaganda Art, and Stateless Propaganda Art. By means of concrete examples of artists and artworks within each of these categories, he attempts to show how the performance of power in the 21st century translates into different visual forms, and how they shape and direct our reality. Staal’s study shows that power and art exist in continuous interaction. Propaganda and propaganda art are not terms that only refer to the past, but concepts and practices through which we can understand the construction of reality in the present. Show less
