Media primitivism: technological art in Africa
"MEDIA PRIMITIVISM is a major work of media theory centering Africa. In order to redefine ideas of the medium and mediation, Delinda Collier deconstructs terms that have been formative in the conceptualization of African art (in particular, the fetish), rethinking them in light of another abstr...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Durham ; London
Duke University Press
2020
|
| Schriftenreihe: | Visual arts of Africa and its diasporas
|
| Schlagworte: | |
| Zusammenfassung: | "MEDIA PRIMITIVISM is a major work of media theory centering Africa. In order to redefine ideas of the medium and mediation, Delinda Collier deconstructs terms that have been formative in the conceptualization of African art (in particular, the fetish), rethinking them in light of another abstraction that shaped the media, art, and anthropological theory circulated in the twentieth century: Africa itself. Collier responds to the long preoccupation with Africa as the home of art that is "natural," non-technological, non-philosophical, exploring mediated African artworks that do not fit into these narratives. She argues that ideas about "African media" must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. This new history demonstrates how pivotal artworks transcend the distinctions between the "made" and the "natural," thereby expanding ideas about mediation and about what African art can do. Each chapter considers the substances and concepts of a different technology-light, electricity, metals-to connect old and new media. Chapter 1, for example, provides an elemental reading of the canonical film work of Souleymane Cissé, arguing that his classic film Yeelen (1987) centers light and wind themselves as mediums. Chapter 2's discussion of one of the first pieces of electronic music, Halim El-Dabh's "Ta'abir Al-Zaar" (1944), shows how the role of electricity in African art cannot be understood only in relation to other new media forms that utilize electrified media. Punning on the multiple meanings of "medium" (zaar is a type of all-female spirit possession ceremony), El-Dabh's work brings together the technical and the spiritual. Chapter 4 turns to work by white South African artists to consider the relationship between (settler) colonial extraction and abstraction and the impossibility of standing outside of systems of oppression. Ultimately, Collier's book connects longstanding questions of art to the earliest moments of contact and cosmopolitan Africa"-- |
| Beschreibung: | viii, 262 Seiten, 16 ungezählte Seiten Tafeln Illustrationen, Portraits 24 cm |
| ISBN: | 9781478009696 9781478008835 |
Internformat
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| 505 | 8 | |a Film as Light, Film as Indigenous -- Electronic Sound as Trance and Resonance -- The Song as Private Property -- Artificial Blackness: Or, Extraction as Abstraction -- "The Earth and the Substratum are Not Enough" -- The Seed and the Field | |
| 520 | 3 | |a "MEDIA PRIMITIVISM is a major work of media theory centering Africa. In order to redefine ideas of the medium and mediation, Delinda Collier deconstructs terms that have been formative in the conceptualization of African art (in particular, the fetish), rethinking them in light of another abstraction that shaped the media, art, and anthropological theory circulated in the twentieth century: Africa itself. Collier responds to the long preoccupation with Africa as the home of art that is "natural," non-technological, non-philosophical, exploring mediated African artworks that do not fit into these narratives. She argues that ideas about "African media" must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. | |
| 520 | 3 | |a This new history demonstrates how pivotal artworks transcend the distinctions between the "made" and the "natural," thereby expanding ideas about mediation and about what African art can do. Each chapter considers the substances and concepts of a different technology-light, electricity, metals-to connect old and new media. Chapter 1, for example, provides an elemental reading of the canonical film work of Souleymane Cissé, arguing that his classic film Yeelen (1987) centers light and wind themselves as mediums. Chapter 2's discussion of one of the first pieces of electronic music, Halim El-Dabh's "Ta'abir Al-Zaar" (1944), shows how the role of electricity in African art cannot be understood only in relation to other new media forms that utilize electrified media. Punning on the multiple meanings of "medium" (zaar is a type of all-female spirit possession ceremony), El-Dabh's work brings together the technical and the spiritual. | |
| 520 | 3 | |a Chapter 4 turns to work by white South African artists to consider the relationship between (settler) colonial extraction and abstraction and the impossibility of standing outside of systems of oppression. Ultimately, Collier's book connects longstanding questions of art to the earliest moments of contact and cosmopolitan Africa"-- | |
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Datensatz im Suchindex
| _version_ | 1804181942311059456 |
|---|---|
| adam_txt | |
| any_adam_object | |
| any_adam_object_boolean | |
| author | Collier, Delinda 1973- |
| author_GND | (DE-588)1127083244 |
| author_facet | Collier, Delinda 1973- |
| author_role | aut |
| author_sort | Collier, Delinda 1973- |
| author_variant | d c dc |
| building | Verbundindex |
| bvnumber | BV046996450 |
| contents | Film as Light, Film as Indigenous -- Electronic Sound as Trance and Resonance -- The Song as Private Property -- Artificial Blackness: Or, Extraction as Abstraction -- "The Earth and the Substratum are Not Enough" -- The Seed and the Field |
| ctrlnum | (OCoLC)1231966883 (DE-599)BVBBV046996450 |
| era | Geschichte 1940-2020 gnd |
| era_facet | Geschichte 1940-2020 |
| format | Book |
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| geographic | Afrika (DE-588)4000695-5 gnd |
| geographic_facet | Afrika |
| id | DE-604.BV046996450 |
| illustrated | Illustrated |
| index_date | 2024-07-03T15:55:13Z |
| indexdate | 2024-07-10T08:59:40Z |
| institution | BVB |
| isbn | 9781478009696 9781478008835 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032404203 |
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| physical | viii, 262 Seiten, 16 ungezählte Seiten Tafeln Illustrationen, Portraits 24 cm |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | Duke University Press |
| record_format | marc |
| series2 | Visual arts of Africa and its diasporas |
| spelling | Collier, Delinda 1973- Verfasser (DE-588)1127083244 aut Media primitivism technological art in Africa Delinda Collier Durham ; London Duke University Press 2020 viii, 262 Seiten, 16 ungezählte Seiten Tafeln Illustrationen, Portraits 24 cm txt rdacontent n rdamedia nc rdacarrier Visual arts of Africa and its diasporas Film as Light, Film as Indigenous -- Electronic Sound as Trance and Resonance -- The Song as Private Property -- Artificial Blackness: Or, Extraction as Abstraction -- "The Earth and the Substratum are Not Enough" -- The Seed and the Field "MEDIA PRIMITIVISM is a major work of media theory centering Africa. In order to redefine ideas of the medium and mediation, Delinda Collier deconstructs terms that have been formative in the conceptualization of African art (in particular, the fetish), rethinking them in light of another abstraction that shaped the media, art, and anthropological theory circulated in the twentieth century: Africa itself. Collier responds to the long preoccupation with Africa as the home of art that is "natural," non-technological, non-philosophical, exploring mediated African artworks that do not fit into these narratives. She argues that ideas about "African media" must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. This new history demonstrates how pivotal artworks transcend the distinctions between the "made" and the "natural," thereby expanding ideas about mediation and about what African art can do. Each chapter considers the substances and concepts of a different technology-light, electricity, metals-to connect old and new media. Chapter 1, for example, provides an elemental reading of the canonical film work of Souleymane Cissé, arguing that his classic film Yeelen (1987) centers light and wind themselves as mediums. Chapter 2's discussion of one of the first pieces of electronic music, Halim El-Dabh's "Ta'abir Al-Zaar" (1944), shows how the role of electricity in African art cannot be understood only in relation to other new media forms that utilize electrified media. Punning on the multiple meanings of "medium" (zaar is a type of all-female spirit possession ceremony), El-Dabh's work brings together the technical and the spiritual. Chapter 4 turns to work by white South African artists to consider the relationship between (settler) colonial extraction and abstraction and the impossibility of standing outside of systems of oppression. Ultimately, Collier's book connects longstanding questions of art to the earliest moments of contact and cosmopolitan Africa"-- Geschichte 1940-2020 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Medienkunst (DE-588)4113418-7 gnd rswk-swf Primitivismus (DE-588)4175712-9 gnd rswk-swf Diskurs (DE-588)4012475-7 gnd rswk-swf Technische Innovation (DE-588)4431027-4 gnd rswk-swf Ästhetik (DE-588)4000626-8 gnd rswk-swf Audiovisuelle Medien (DE-588)4068939-6 gnd rswk-swf Afrika (DE-588)4000695-5 gnd rswk-swf New media art / Africa Art, African Art and technology / Africa Art and technology New media art Africa Afrika (DE-588)4000695-5 g Medienkunst (DE-588)4113418-7 s Audiovisuelle Medien (DE-588)4068939-6 s Technische Innovation (DE-588)4431027-4 s Geschichte 1940-2020 z DE-604 Kunst (DE-588)4114333-4 s Ästhetik (DE-588)4000626-8 s Primitivismus (DE-588)4175712-9 s Diskurs (DE-588)4012475-7 s |
| spellingShingle | Collier, Delinda 1973- Media primitivism technological art in Africa Film as Light, Film as Indigenous -- Electronic Sound as Trance and Resonance -- The Song as Private Property -- Artificial Blackness: Or, Extraction as Abstraction -- "The Earth and the Substratum are Not Enough" -- The Seed and the Field Kunst (DE-588)4114333-4 gnd Medienkunst (DE-588)4113418-7 gnd Primitivismus (DE-588)4175712-9 gnd Diskurs (DE-588)4012475-7 gnd Technische Innovation (DE-588)4431027-4 gnd Ästhetik (DE-588)4000626-8 gnd Audiovisuelle Medien (DE-588)4068939-6 gnd |
| subject_GND | (DE-588)4114333-4 (DE-588)4113418-7 (DE-588)4175712-9 (DE-588)4012475-7 (DE-588)4431027-4 (DE-588)4000626-8 (DE-588)4068939-6 (DE-588)4000695-5 |
| title | Media primitivism technological art in Africa |
| title_auth | Media primitivism technological art in Africa |
| title_exact_search | Media primitivism technological art in Africa |
| title_exact_search_txtP | Media primitivism technological art in Africa |
| title_full | Media primitivism technological art in Africa Delinda Collier |
| title_fullStr | Media primitivism technological art in Africa Delinda Collier |
| title_full_unstemmed | Media primitivism technological art in Africa Delinda Collier |
| title_short | Media primitivism |
| title_sort | media primitivism technological art in africa |
| title_sub | technological art in Africa |
| topic | Kunst (DE-588)4114333-4 gnd Medienkunst (DE-588)4113418-7 gnd Primitivismus (DE-588)4175712-9 gnd Diskurs (DE-588)4012475-7 gnd Technische Innovation (DE-588)4431027-4 gnd Ästhetik (DE-588)4000626-8 gnd Audiovisuelle Medien (DE-588)4068939-6 gnd |
| topic_facet | Kunst Medienkunst Primitivismus Diskurs Technische Innovation Ästhetik Audiovisuelle Medien Afrika |
| work_keys_str_mv | AT collierdelinda mediaprimitivismtechnologicalartinafrica |