東華大學圖書館 |

Common Senses: The Postwar Sensorium and Contemporary Art in Taiwan /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Common Senses: The Postwar Sensorium and Contemporary Art in Taiwan // Pei-chun Viola Hsieh.
作者:	Hsieh, Pei-chun Viola,
面頁冊數:	1 electronic resource (231 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-04, Section: A.
Contained By:	Dissertations Abstracts International85-04A.
標題:	Art history. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30635834
ISBN:	9798380534451

Common Senses: The Postwar Sensorium and Contemporary Art in Taiwan /
Hsieh, Pei-chun Viola,

Common Senses: The Postwar Sensorium and Contemporary Art in Taiwan /Pei-chun Viola Hsieh. - 1 electronic resource (231 pages)

Source: Dissertations Abstracts International, Volume: 85-04, Section: A.

This dissertation examines the relationship between Taiwanese contemporary art, the human sensorium, and the island's specific geopolitics from the 1980s to the present. The relocation of Chiang Kai-Shek's Republic of China Army from mainland China to Taiwan following its defeat by the Chinese Communist Party in 1949 marked the emergence of a distinct sensory framework in the lived experience of those living on the island, shaped by tensions between Taiwan and China. The outbreak of the Korean War in 1950 intensified this political antagonism, engendering strategic triangulation between the Kuomintang (KMT), the United States, and the People's Republic of China (PRC). This antagonism affected far more than global diplomacy, as it intertwined with both the processes of modernization on the island and the production of subjectivity in the everyday lives of Taiwanese people. Today, in 2023, the ramification of this specific local history persists, haunting the island even as its political and business leaders have enthusiastically embraced neoliberal globalization. This dissertation attends to this haunted history and traces its irruptions into the present. It examines how this highly charged corner of the Cold War stimulated sense/perception and artistic production in Taiwan, and how contemporary artistic practices have responded to this lingering, mediated sensory condition.Tracing threes specific consolidations of senses-hearing, vision, and touch-this study explores several privileged sites of sense perception that each relate to both local history and artistic. In chapter one, I focus is on the sound of the female voice-a politically powerful tool of differentiation from the early twentieth century onward, and one that recent contemporary artists have archivally retrieved for their own ends. In chapter two, I observe an often absurd give-and-take between visibility and invisibility, epitomized in certain specifically Taiwanese modes of bureaucratic obscurity and erasure. In chapter three, I borrow media theorist Erkki Huhtamo's concept of "tactiloclasm1 "-a fear and resistance to being touched-to elucidate the way official Taiwanese institutions (such as the Taipei Fine Arts Museum [TFAM]) have infused the familiar museological prohibition on touching art works with political significance (while certain young Taiwanese artists have taken the prohibition as a provocation to violate it). The dissertation combines genealogical tracings with illuminating case studies in order to identify pivotal moments when new modes of artistic imagining and the militant sensibility of the KMT have collided. Thus, chapter one focuses on artists Wang Hong-Kai, Chen Ting-Jung, and Chang Wen-Hsuan's reclamation of the female voice in the new millennium, pushing against the dominant soundscape in which the soft female voice is the preferred mode of everyday communication. In chapter two, works by Chen Chieh-Jen, Su Yu-Hsien, and Chang Wen-Hsuan are shown to resist the so-called "black screen," a term originating in the 2010s to denote the suspicious disappearance of security camera footage that would have otherwise documented governmental abuse but that has since come to stand in for a range of official attempts to obscure and hide evidence. Chapter three focuses on one of the artist Wang Te-Yu's turn-of-the-millennium inflatable installations and argues that her rebellious challenge to the ocular-centric nature of Taiwanese contemporary art suggests an alternative mode of tactile intelligence. Never losing sight of the island's dominant politico-military sensibility, this dissertation asserts that the works of art examined here are best understood as a form of politico-sensorial intervention, in which the artist does not seek to phenomenologically immerse the viewer in sensorial overload but rather explore and indeed produce new political possibilities for the sense.

English

ISBN: 9798380534451Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Contemporary art

Common Senses: The Postwar Sensorium and Contemporary Art in Taiwan /
LDR:05349nmm a22004333i 4500 001 2435270
005 20251001074902.5
006 m o d
007 cr|nu||||||||
008 261011s2023 miu||||||m |||||||eng d
020 $a 9798380534451
035 $a (MiAaPQD)AAI30635834
035 $a AAI30635834
040 $a MiAaPQD $b eng $c MiAaPQD $e rda
100 1 $a Hsieh, Pei-chun Viola, $e author. $3 3825523
245 1 0 $a Common Senses: The Postwar Sensorium and Contemporary Art in Taiwan / $c Pei-chun Viola Hsieh.
264 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2023
300 $a 1 electronic resource (231 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 85-04, Section: A.
500 $a Advisors: Hatch, Kevin Committee members: McDonough, Tom; Walker, Julia; Fa-Ti, Fan.
502 $b Ph.D. $c State University of New York at Binghamton $d 2023.
520 $a This dissertation examines the relationship between Taiwanese contemporary art, the human sensorium, and the island's specific geopolitics from the 1980s to the present. The relocation of Chiang Kai-Shek's Republic of China Army from mainland China to Taiwan following its defeat by the Chinese Communist Party in 1949 marked the emergence of a distinct sensory framework in the lived experience of those living on the island, shaped by tensions between Taiwan and China. The outbreak of the Korean War in 1950 intensified this political antagonism, engendering strategic triangulation between the Kuomintang (KMT), the United States, and the People's Republic of China (PRC). This antagonism affected far more than global diplomacy, as it intertwined with both the processes of modernization on the island and the production of subjectivity in the everyday lives of Taiwanese people. Today, in 2023, the ramification of this specific local history persists, haunting the island even as its political and business leaders have enthusiastically embraced neoliberal globalization. This dissertation attends to this haunted history and traces its irruptions into the present. It examines how this highly charged corner of the Cold War stimulated sense/perception and artistic production in Taiwan, and how contemporary artistic practices have responded to this lingering, mediated sensory condition.Tracing threes specific consolidations of senses-hearing, vision, and touch-this study explores several privileged sites of sense perception that each relate to both local history and artistic. In chapter one, I focus is on the sound of the female voice-a politically powerful tool of differentiation from the early twentieth century onward, and one that recent contemporary artists have archivally retrieved for their own ends. In chapter two, I observe an often absurd give-and-take between visibility and invisibility, epitomized in certain specifically Taiwanese modes of bureaucratic obscurity and erasure. In chapter three, I borrow media theorist Erkki Huhtamo's concept of "tactiloclasm1 "-a fear and resistance to being touched-to elucidate the way official Taiwanese institutions (such as the Taipei Fine Arts Museum [TFAM]) have infused the familiar museological prohibition on touching art works with political significance (while certain young Taiwanese artists have taken the prohibition as a provocation to violate it). The dissertation combines genealogical tracings with illuminating case studies in order to identify pivotal moments when new modes of artistic imagining and the militant sensibility of the KMT have collided. Thus, chapter one focuses on artists Wang Hong-Kai, Chen Ting-Jung, and Chang Wen-Hsuan's reclamation of the female voice in the new millennium, pushing against the dominant soundscape in which the soft female voice is the preferred mode of everyday communication. In chapter two, works by Chen Chieh-Jen, Su Yu-Hsien, and Chang Wen-Hsuan are shown to resist the so-called "black screen," a term originating in the 2010s to denote the suspicious disappearance of security camera footage that would have otherwise documented governmental abuse but that has since come to stand in for a range of official attempts to obscure and hide evidence. Chapter three focuses on one of the artist Wang Te-Yu's turn-of-the-millennium inflatable installations and argues that her rebellious challenge to the ocular-centric nature of Taiwanese contemporary art suggests an alternative mode of tactile intelligence. Never losing sight of the island's dominant politico-military sensibility, this dissertation asserts that the works of art examined here are best understood as a form of politico-sensorial intervention, in which the artist does not seek to phenomenologically immerse the viewer in sensorial overload but rather explore and indeed produce new political possibilities for the sense.
546 $a English
590 $a School code: 0792
650 4 $a Art history. $3 2122701
650 4 $a Art criticism. $3 526357
650 4 $a Military studies. $3 2197382
653 $a Contemporary art
653 $a Senses
653 $a Taiwan
653 $a Cold War
653 $a Political possibilities
690 $a 0377
690 $a 0750
690 $a 0365
710 2 $a State University of New York at Binghamton. $b Art History. $e degree granting institution. $3 3820321
720 1 $a Hatch, Kevin $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 85-04A.
790 $a 0792
791 $a Ph.D.
792 $a 2023
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30635834