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Avant-nostalgia

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113
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~1h 53min
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English
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Published 2002 Unit for the Study of Philosophy in Art 7 views
ISBN
1901085708
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Paperback
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About Author

John Baldacchino

John Baldacchino is the author of «Post-Marxist Marxism: Questioning the Answer» (1996), «Easels of Utopia: Art's Fact Returned»(1998), «Avant-Nostalgia: An Excuse to pause» (2002), «Education Beyond Education: Self and the Imaginary in Maxine Greene's Philosophy» (2008), «Makings of the Sea: Journey, Doubt and Nostalgia» (2010) and «Art's Way Out: Exit Pedagogy and the Cultural Condition» (2012), «John Dewey: Liberty and the Pedagogy of Disposition» (2013), «Mediterranean Art and Education» (2013, with Raphael Vella) and «Democracy without Confession» (2013, with Kenneth Wain). He has just completed a co-edited book on the philosophy of Kenneth Wain, to be published by the end of 2013. John Baldacchino is Chair of Arts Education at the University of Dundee, Scotland. He served as Associate Dean and Professor at Falmouth University, England; as Associate Professor at Columbia University's Teachers College, New York; as Reader (Associate Prof.) in Critical Theory at Gray's School of Art, The Robert Gordon University in Scotland and as Lecturer (Assistant Prof.) of Art Education and Cultural Theory at the University of Warwick in England.

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Avant-nostalgia brings together textual and visual narratives scattered around four themes: knowledge, memory, touch, and return. The text starts where the image ends. The image originates where the text is fulfilled. These are after-images of a reading of art and literature on the grounds of polity, history and geography. The narratives that emerge within the visual arts and literature chart the grounds of polity. Such grounds manifest a history that is ‘contemporary’ — in that it takes serious account of ‘our’ time — where democracy and freedom must be regarded as moral imperatives. Equally, grounds express a geography that is specific to physical and ontological spaces, where: (a) location emerges from the choices that are intended to facilitate a visitation of art; and which (b) provide grounds for a discussion of matters like anamnesis, nostalgia and aporia. The discussion retains a ‘fragmentary’ format by way of excusing the discussant from epistemological compartments.

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