Speculative scholarship: between text and image
Speculative scholarship: between text and image
This experimental text considers the application of painting as a philosophical practice through an inquiry of what it actually means to have knowledge of an artwork. That is, what does it mean to think materially, in Hubert Damisch’s words, ‘what does it mean for a painter to think?’. Within this context emerges a dialogue between the cognitive, the analytic and the poetic, seeking to embody and offer a picture of the experience of the visible. This grows from an interest in the philosophy of perception, specifically engaging current approaches in embodied cognition and blending theory, considering vision and visual perception as an ontologic process. The text presented below seeks to explore the possibilities of carrying over this philosophical terrain to questions of received language, ideas of originality and problems of authorship. This is a painter’s task – an approach to ‘text as image’ – and is not only about devising and exploring a specific format to speak about how painting works but also about staging a compositional technique and textual act of re-production between experimental writing and the material practice of painting. Presenting unorthodox academic writing seeks to situate ideas not only within scholarship but also in how that scholarship might be transmitted effectively.
embodiment, visual perception, image, text, authorship, received language, enaction, blending theory
61-74
Mamakos, Christina
09ccc4d8-3e8b-4bcd-a96b-b32306d0aa80
31 October 2021
Mamakos, Christina
09ccc4d8-3e8b-4bcd-a96b-b32306d0aa80
Mamakos, Christina
(2021)
Speculative scholarship: between text and image.
Journal of Contemporary Painting, 7 (1 & 2), .
(doi:10.1386/jcp_00027_1).
Abstract
This experimental text considers the application of painting as a philosophical practice through an inquiry of what it actually means to have knowledge of an artwork. That is, what does it mean to think materially, in Hubert Damisch’s words, ‘what does it mean for a painter to think?’. Within this context emerges a dialogue between the cognitive, the analytic and the poetic, seeking to embody and offer a picture of the experience of the visible. This grows from an interest in the philosophy of perception, specifically engaging current approaches in embodied cognition and blending theory, considering vision and visual perception as an ontologic process. The text presented below seeks to explore the possibilities of carrying over this philosophical terrain to questions of received language, ideas of originality and problems of authorship. This is a painter’s task – an approach to ‘text as image’ – and is not only about devising and exploring a specific format to speak about how painting works but also about staging a compositional technique and textual act of re-production between experimental writing and the material practice of painting. Presenting unorthodox academic writing seeks to situate ideas not only within scholarship but also in how that scholarship might be transmitted effectively.
This record has no associated files available for download.
More information
Accepted/In Press date: 29 July 2021
Published date: 31 October 2021
Keywords:
embodiment, visual perception, image, text, authorship, received language, enaction, blending theory
Identifiers
Local EPrints ID: 457463
URI: http://eprints.soton.ac.uk/id/eprint/457463
ISSN: 2052-6695
PURE UUID: 3f27c7ed-9ecb-4479-86f8-e07594697901
Catalogue record
Date deposited: 09 Jun 2022 16:45
Last modified: 16 Mar 2024 17:33
Export record
Altmetrics
Download statistics
Downloads from ePrints over the past year. Other digital versions may also be available to download e.g. from the publisher's website.
View more statistics