Bücher von Cyrus Manasseh

Academic Paper from the year 2015 in the subject Philosophy - Practical (Ethics, Aesthetics, Culture, Nature, Right, ...), The University of Western Australia (School of Visual Arts), course: Philosophy, language: English, abstract: The social effects of a ¿Libertarian¿ anti-individualistic post-modernism for us today, are meaningful and significant. Perhaps, many of us have heard about post-modernism? And some can say that we have read about it. But how many really know how much post-modernism has influenced every single thing we now do and think? Making special reference to Jordan Peterson's critiques as well as Socrates and The Enlightenment period and the internet, the essay discusses and evaluates the good and bad side effects of post-modernism and addresses how we might learn from understanding them. This academic essay was part of previous research undertaken when I was lecturing at the University of Western Australia where I had also achieved my PhD. In 2015 I left it unpublished and have subsequently amended and updated it.

Academic Paper from the year 2010 in the subject Art - Art Theory, General, The University of Western Australia, language: English, abstract: The paper focuses on explaining why today (conceptual) and post-conceptual art practices generated from specific theories during the 1960s and 1970s would precipitate the need for the decline of philosophical aesthetics in discussing today¿s contemporary art. Today, since ¿aesthetic experience is to be conceived as conforming to the ruling cultural ideology¿ much of the ¿visual turn¿, would derive from street artists, sub-cultures and darker cultures who, rebellious by nature use (conceptual) and post-conceptual art practices, which increasingly produce theoretical positions, which contribute to the discursive paradigms adopted by today¿s theoreticians of visual culture.Also contributing to the ¿visual turn¿, is the active role played by gallery audiences who help to produce the meaning of the work itself¿their role now has largely changed from passive contemplation to active participation. The paper defines why the preponderance of perspectives accumulated today (used by theoreticians of visual culture) informed by the artist¿s intention as a new theory in itself and the audience as ¿participant¿ is currently outweighing the significance of aesthetic theory. In the paper, I define and evaluate why philosophical aesthetics is no longer being seen as necessary to provide critical reflection of new media, post-conceptual art practices and the digital revolution.

Essay from the year 2008 in the subject Museum Studies, , language: English, abstract: The essay discusses the German philologist, archaeologist and historian J.J. Winckelmann¿s theoretical influence on the conception of the Classical museum model as defined and established by the Louvre within the nineteenth-century in Paris. From its initiation, the Louvre would furnish an example for the Metropolitan and for scores of galleries around the world to replicate. This would include the Egyptian Museum in Cairo, the National Archaeological Museum of Athens and the Ancient Iran Museum in Tehran. Winckelmann¿s historicism would encourage the implementation of new ideas and practices related to the meaning and connoisseurship of art and aesthetics in Western Europe within nineteenth-century gallery systems as they began to develop new practices for displaying art in which the singling out of specific cultures within an historic hierarchical context would become prominent. The essay discusses how Winckelmann¿s ideas would inspire a curatorial system and condition of representation of art for the Louvre as the Classical museum paradigm established in the nineteenth-century.

Throughout the mid-1970s until the early 1990s, video art as vehicles for social, cultural, and political analysis were prominent within global museum based contemporary art exhibitions. For many, video art during this period stood for contemporary art. Yet from the outset, video art's incorporation into art museums has brought about specific problems in relation to its acquisition and exhibition. This book analyses, discusses, and evaluates the problematic nature and form of video art within four major contemporary art museums--the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London, and the Art Gallery of New South Wales (AGNSW) in Sydney. In this book, the author discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of video art and contends that analogue video art would be instrumental in the evolution of the contemporary art museum. By addressing some of the problems that analogue video art presented to those museums under discussion, this study penetratingly reveals how video art challenged institutional structures and had demanded more flexible viewing environments from those structures. It first defines the classical museum structure established by the Louvre Museum in Paris during the 19th century and then examines the transformation from this museum structure to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA was the first major museum to exhibit analogue video art in a concerted fashion, and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. In this book, MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery, and the AGNSW in order to define a lineage of development in relation to video art. Extremely well researched and well written, this book covers an exhaustive, substantive, and relevant range of issues. These issues include video art (its origin, significance, significant movements, institutional challenges, and relationship to television), the establishment of the museum (its patronage and curatorial strategy) from the Louvre to MoMA, the relationship of MoMA to the Metropolitan Museum of Art, a comparative analysis of three museums in three countries on three continents, a close examination of video art exhibition, a closer look at three seminal video artists, and, finally, a critical overview of video art and its future exhibition. This unique book also covers an important period in the genesis of video art and its presentation within significant national and global cultural institutions. Those cultural institutions not only influence a meaningful part of the cultural life of four unique countries but also represent the cultural forces emerging in capital cities on three continents. By itself, this sort of geographic and institutional breadth challenges any previous study on the subject. This book successfully provides a historical explanation for the museum/gallery's relationship to video art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the book contains a theoretical discussion of the problems related to video art imagery with the period of High Modernism; it examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct major contemporary art institutions. The Problematic of Video Art in the Museum, 1968-1990 is an important book for all art history and museum collections.