These short reflections, from UC Berkeley faculty in a variety of disciplines, respond to the following question: “What does the phrase ‘time-based art’ mean to you? What are the central stakes, conventions, challenges, and opportunities of durational art in the contexts in which you work?” Collectively, they probe a wide range of practices and contexts, including, for example, Mexican festivals and midwestern American carnivals, Syrian documentary films and the “image-event,” bystander recordings of US police and state harassment of black men, and the photographic interventions of the Colombian artist Oscar Muñoz. The respondents are Weihong Bao, Natalia Brizuela, Allan deSouza, Suzanne Guerlac, SanSan Kwan, Anneka Lenssen, Angela Marino, Jeffrey Skoller, and Winnie Wong.
This essay analyzes the social and economic forces behind the push for online education (especially in public universities), the discourses that support it, and the sometimes surprising discursive alliances that form among critics of the university. It also considers the opportunities as well as the risks of digital humanities and calls for increasing digital literacy on the part of humanists.
This paper explores Bataille's writings on primitive art, specifically his essay on the Lascaux cave, in order to elaborate a notion not of the informe (as contemporary art critics have done), but of the fictive figural image. It reads this "useless image"——a term borrowed from Bataille——in the work of Magritte through Bergson's notion of resemblance and the operation of attentive recognition.