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Dedicated to Sublimity

by E-Saggila

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Picking up from where she left off with last years successful Tools of My Purpose, E-Saggila has returned to BANK employing a more sublime and immersive electronic document. Previously leaning toward noisier and distorted rhythms, she has incorporated more sophisticated elements into writing and production. Dedicated to Sublimity is a product of growth and progression but still reflects the raw elements we’ve heard in her early recordings. Lush and atmospheric elements coincide with the brutality of her live sets and play off one another as a cohesive representation of the E-Saggila project.
released July 13, 2018 Written Produced and Recorded by Rita Mikhael published by BANK Records NYC Ltd
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Browse: / / March / / Pictorial Address and Seriality in Art

Pictorial Address and Seriality in Art

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Jason Kass recenlty completed his PhD at Winchester School of Art. The title of his thesis is ‘Cognitive Aspects of Pictorial A ddress and Seriality in Art: A Practice-led Investigation’. In this post he offers an overview ofthe nature and scope of hisresearch.

Jason Kass

My doctoral research explored the perceptual and cognitive processes that underlie spectatorship of pictorial artworks and incorporated insights into the production of new works of art. The fundamental premise of my research was that artworks exist as part of the visual world and are subject to the same visual processes as ordinary scenes and objects. Applying existing empirical findings from cognitive psychology to spectatorship of works of art allows for a more complete understanding of pictorial address.

Using theories and methods from psychology to understand the experience of artworks is not in itself novel. The field of empirical aesthetics boasts a wide literature comprising experiments around aesthetic preference and art appreciation. My research differs based on my position as a visual artist rather than a scientist and my emphasis on relating psychological findings to existing art theory and art historical narratives. The incorporation of practice-based research in the form of producing new works of art (Fig. 2) also brings a different perspective to an established yet often divisive discipline.

Figure 1. Installation shot from PhD exhibition.

Within the thesis, I focused on seriality as an aesthetic strategy and the mode of address offered by serial works of art. Serial artworks have previously been theorised, in particular by Coplans (1968), who established a distinction between serial artworks that comprise multiple discrete but related instances and pictures produced along the masterpiece model. Fer (2004) has said about seriality, “It brings with it a whole set of assumptions about the nature of aesthetic experience as direct and spontaneous” (p.4).

It took a different perspective (in this instance, that of evolutionary developmental biology, so-called ‘evo devo’), to motivate this kind of experimentation. From the evo-devo perspective, bias partly explains what evolution and adaptation has occurred. Rodents’ teeth and fishes’ bodies look the way they do because the way that creatures grow makes those characteristics more likely to arise. Bias thus becomes a much more significant concept in evolutionary explanation. By bringing the phenomenon to the fore, the EES hopes it will be investigated.

The EES, at least as my collaborators and I frame it, is best viewed as an alternative research programme for evolutionary biology. Inspired by recent findings emerging within evolutionary biology and adjacent fields, the EES starts from the assumption that developmental processes play important roles as causes of novel (and potentially beneficial) phenotypic variation, causes of differences in fitness of those variants, and causes of inheritance. In contrast to how evolution has traditionally been conceived, in the EES the burden of creativity in evolution does not rest on natural selection alone. This alternative way of thinking is being used to generate fresh hypotheses and establish new research agendas. It’s early days, but there are already signs that this research is starting to yield dividends.

If evolution is not to be explained solely in terms of changes in gene frequencies; if previously rejected mechanisms such as the inheritance of acquired characteristics turn out to be important after all; and if organisms are acknowledged to bias evolution through development, learning and other forms of plasticity – does all this mean a radically different and profoundly richer account of evolution is emerging? No one knows: but from the perspective of our adapting dog-walker, evolution is looking less like a gentle genetic stroll, and more like a frantic struggle by genes to keep up with strident developmental processes.

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Kevin Laland

is professor of behavioural and evolutionary biology at University of St Andrews in Scotland, and project leader of the extended evolutionary synthesis research programme . His latest book is (2017).

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