Posted by: Johan Normark | October 29, 2013

Maya Arte(Facts)

I have been invited to a session at the Association of Art Historians 40th  Annual Conference in London at the Royal College of Art, 10-12 April 2014. Although I am not an art historian I have covered certain aspects of Maya art in my previous studies. However, it is not my knowledge of Maya art that is the cause for the invitation. It is my coverage of Speculative Realism (SR) and Object Oriented Ontology (OOO) on this blog.  Two of my latest articles, one on senses and one on gender, cover some aspects of SR but most of my articles on SR and OOO issues in archaeology are either in press, in review or in preparation. This session, organized by Dr Aron Vineger, allows me to do a Meillassouxian analysis of Maya art. So far I have not come up with an abstract but suggestions are welcome. Here is the abstract of the session: 

This panel looks to the debates surrounding the concepts of fact, factuality, and facticity in order to ask questions about the material and ontological aspects of art making in conjunction with those raised by the fact-family of terms in (social) science, history, and philosophy. And if we extend a preoccupation with fact, to the concept of the ‘fetish,’ which shares the same root as fact, we also encompass religion, economy, anthropology, and colonialism. One might make the argument that facticity is one of the most compelling ways of exploring the interconnections between all of these domains.

Some version of the fact/value issue has always been operative in art history, criticism, and aesthetics. For artists and theorists, a notion of the ‘pictorial fact’ has been integral to claims of objectivity, singularity, and a sheer ‘thereness’ in excess of any signification, meaning, and value. This panel is also spurred on by some compelling new thoughts about factuality and facticity that have been launched in the last few years. For example, Bruno Latour’s concept of the ‘factish,’ Quentin Meillassoux’s notion of ‘factiality,’ and Jean-Luc Nancy’s reinterpretation of Kant’s ‘fact of reason,’ have reawakened an interest in and critique of phenomenological and social scientific articulations of fact in relationship to politics, freedom, contingency, and the absolute.

This panel encourages speculative and concrete reflections on matters of fact in relationship to the intersections of art, history, visual culture, ethics, and politics whatever the manifest content, location, or time period. 

Santa Cruz


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