The article is an investigation into theatricality from various standpoints (among others those o... more The article is an investigation into theatricality from various standpoints (among others those of Michael Fried, Claire Bishop, Juliane Rebentisch and Samuel Weber) in order to focus on different views on theatricality considered as partially emancipated from theatre and to verify if and to what extent each of them can apply to installation artworks as environments and intermedial devices. Ultimately the article propounds the idea of a paradoxical anti-theatrical theatricality of installation art, grasped in its very connection to site-specificity, critically engaging Martin Heidegger’s insights regarding the «Gestell» and the «work-being» of the work of art, as a general theoretical basis through which a particular focus of ‘specificity’ of installation is endorsed.
The main topic of the article is the reconstruction of Adorno's claims on education through the p... more The main topic of the article is the reconstruction of Adorno's claims on education through the parallel consideration of his analyses of media such as radio and television in their immanent logic. His participation to the Radio Research Project (1938-1939) about radio music is also considered with its "dramatic" outcome: the clash of Adorno's theoretical views and Lazarsfeld's "educational" program's empirical impact. I suggest that Adorno's priority was not to just resist to authoritarian and impositional aspects of the socio-psychological experiments standing behind the project's attempt to produce educational effects, but to analyze the technological medium itself in its "physiognomy". My further claim is that Adorno's critical "mediological" attempts to catch the internal qualities of media are analogous to his strategy to "understand" artworks in their specific technique and articulation. In both cases the analysis must also dwell with "historical forces" and "anthropologi-cal changes" in perception and behavior. One of these change is the Halbbildung which has historically replaced the Bildung. The article points out that Adorno does not simply insist on themes such as the standardization of mass media products stressing the ideological presuppositions of their "ubiq-uity", but looks for the determination, through fundamentally pedagogical means, of a change in the audience's way to address and experience media, i.e. with a more responsible and free attitude.
The article is an investigation into theatricality from various standpoints (among others those o... more The article is an investigation into theatricality from various standpoints (among others those of Michael Fried, Claire Bishop, Juliane Rebentisch and Samuel Weber) in order to focus on different views on theatricality considered as partially emancipated from theatre and to verify if and to what extent each of them can apply to installation artworks as environments and intermedial devices. Ultimately the article propounds the idea of a paradoxical anti-theatrical theatricality of installation art, grasped in its very connection to site-specificity, critically engaging Martin Heidegger’s insights regarding the «Gestell» and the «work-being» of the work of art, as a general theoretical basis through which a particular focus of ‘specificity’ of installation is endorsed.
The main topic of the article is the reconstruction of Adorno's claims on education through the p... more The main topic of the article is the reconstruction of Adorno's claims on education through the parallel consideration of his analyses of media such as radio and television in their immanent logic. His participation to the Radio Research Project (1938-1939) about radio music is also considered with its "dramatic" outcome: the clash of Adorno's theoretical views and Lazarsfeld's "educational" program's empirical impact. I suggest that Adorno's priority was not to just resist to authoritarian and impositional aspects of the socio-psychological experiments standing behind the project's attempt to produce educational effects, but to analyze the technological medium itself in its "physiognomy". My further claim is that Adorno's critical "mediological" attempts to catch the internal qualities of media are analogous to his strategy to "understand" artworks in their specific technique and articulation. In both cases the analysis must also dwell with "historical forces" and "anthropologi-cal changes" in perception and behavior. One of these change is the Halbbildung which has historically replaced the Bildung. The article points out that Adorno does not simply insist on themes such as the standardization of mass media products stressing the ideological presuppositions of their "ubiq-uity", but looks for the determination, through fundamentally pedagogical means, of a change in the audience's way to address and experience media, i.e. with a more responsible and free attitude.
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Papers by Elena Tavani