GPS, Masaki Fujihata, 藝術與科技，痕跡，地圖，地景，複數世界觀
Through Masaki Fujihata’s GPS works, this article proposes to provide a survey on the appropriation of GPS technology by art. With the knowledge in mind that this technology is originally developed as a military navigation system, we are interested in how the technological landscape is represented through this technology adopted by this Japanese artist. What kind of relationship is knitted between man and territory in this landscape? How trace, narration, map and space shape one another? We will see how the vision of the world constructed by the original and any later uses considered “useful” can be changed and all this consequently helps forming plural visions of the world.
GPS, Masaki Fujihata, art and technology, trace, map, landscape, plural visions of the world
Helen Grace's Abstract
Deterritorialisation or extra-territoriality?
Between globalization and localization we can say a kind of deterritorialization exists, (as Deleuze and Guattari understand the term) – a continuum that in practice destabilizes the polarity of the two original terms, producing its own ‘micro-climates’ of influence, beyond the power structures of geopolitics (though not undetermined by them). We can attempt to rethink a relation to art and aesthetics within the multiple modernities of Asia, disrupting a linear and singular history of world art that increasingly seeks to incorporate regional and stylistic variants in order to refresh itself, and so the environmental model of ‘micro-climate’ seems a productive way of thinking and of clearing a space for contemplation and revival of thought, beyond the solidification of market values within broader global circuits.
However, there is also a danger that the very looseness and openness of a deterritorialized space lends itself to fresh forms of colonization, so that we may end up with a situation of extra-territoriality, rather than a new and different ‘reterritorialisation’, remapping a previous world. By ‘extra-territoriality’, we mean the possibility of a zone of operation beyond the jurisdiction of local law and operating according to the laws of an external power. (Examples are the operation of diplomatic services, military bases or foreign ‘concessions’).
Although the term generally belongs to the sphere of geopolitics and international law, can we say that art operates in an extra-territorial sense? In this paper I want to consider an instance of extraterritoriality in the circulation of private art collections in Asia, focusing on the LV exhibition held in Hong Kong this summer and on some other regional examples. In discussing this phenomenon I am interested in historical patterns of exchange and the ways in which contemporary circuits are beginning to reverse the direction of flows, also shifting them in new directions, establishing new circuits and pathways beyond horizontal ‘East-West’ polarities.
Elizabeth Tsai's Abstract
In Taiwan, there can be noticed the brand from colonization of the past, the current dispute on the status of the nation, that is, on independence or unification with China, and immense impact of the reality of international situation. The dilemma of modernity as a both philosophical and cultural issue arises out of the western thinkers’ reflection on and their attempted solution for the enormous crisis due to the civilization developed since the Renaissance of the 15th century, which was founded upon rational subjectivity. However, the phenomena of all sorts of distortion and alienation caused by modernization are by no means peculiar to western societies. The ideologies exported through global colonization and trade have left most peoples and generations worldwide with various degrees of influences of modernity. It is note worthy that the non-western countries tend to regard the movement of modernization as westernization while managing to catch up with the western progress and success as they undergo the collapse of their pre-modern societies built upon of morality, religion and authority. In this regard, the dilemma of modernity is a global current situation, not merely a regional reality. The socio-political systems and patterns of life in Taiwan display both the achievements and the drawbacks of modernity.
This paper attempts to forward a constructive strategy to reconstruct the human civilization free of repression by replacing the rational principle with the aesthetic principle. I start with a philosophical explication of the discovery of the rational subjectivity, the priority of reason, and the alienation of it to elucidate the reason why the dilemma of modernity today is indeed the dilemma of reason itself. Then I proceed to provide a tentative solution for the situation described, given the acknowledgement of the dilemma of modernity. I contend that the replacement of reason with the will to power does not lead to a civilization free of repression; instead, it brings forward new forms of repression after abolishing the former ones of reason. Therefore I maintain that we need to disenchant the myth of the priority of reason while retaining its positive and appropriate function, to reinstate the free and creative nature of imagination, and to establish new social order with the aesthetic principle of art. It will be pointed out that the aesthetics of Kant, Schiller, and Marcuse have developed a social function of art that transcends the realm of art itself. These philosophers claim that the essence of art is free creation, wherein heterogeneous elements can coordinate in harmony, and the aesthetic principle it follows inculcates a naturally formed, not forced, reasonable order inherent in the creative freedom. In other words, the price of having order in the repressive civilization founded upon rational principle is the freedom of individuals, whereas the aesthetic principle provides the possibility of establishing order without the individual freedom being sacrificed.
Finally I probe into the feasibility of realizing the mentioned idea in Taiwan’s society and the international order. As a member of international community, Taiwan has no way out of the dilemma of modernity. However, we are at the same time confronted with the challenges of both the difficult task of establishing our cultural uniqueness and the invasion of alien cultures. I conclude that the aesthetic principle of art is appropriate for Taiwan to fit herself into the framework of international order, because this very principle can turn the localization/internationalization dilemma into a co-construction of multiple local developments together with a diverse but unified international order.
modernity, the dilemma of modernity, rational subjectivity, rationalization, substantive rationality, instrumental rationality, alienation, Imagination, transcendental schema, aesthetic, genius, disinterested pleasure, purposiveness without purposes, common sense, free play, non-repressive society, exemplary originality,
The names on the list are in alphabetical order