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issue-04-cover
Issue 4
Winter 2003
Art and Pain

Issue 4

Art and Pain

Nescio, sed sentio et excrucior: The many faces of art and pain

Paul Monaghan
University of Melbourne
When Ann McCulloch, Ron Goodrich and I decided that the theme of the fifth Double Dialogues Conference was to be ‘Art and Pain’, I somewhat cynically remarked, "Oh good, that will bring them out",

Art Through Pain – The Panacea

Angela O’Brien
University of Melbourne
Goethe once said, "Romanticism is a disease, classicism is health". The central character in Goethe's epistolary novel, The Sorrows of Young Werther has come to symbolise the hypersensitive artist.

Depression and Expression: Life Begins on the Other Side of Despair

Ann McCulloch with Aliki Pavlou
Deakin University
Our study, to be entitled, "In the Heart of Hell: Depression and its Expression," is one that contends that Literature expresses the ineffable nature of depression in its symbolic mode

On Depression Considered as Acephalic Melancholia

Justin Clemens
Deakin University
This statement by Nancy opens a subsection of his book entitled "Pain, suffering, unhappiness,"(1977:143) in which the question of art necessarily arises, and arises necessarily because of modern art’s integral link to aesthetics, the science of feeling.

Pain and the Sublime

Tim Mehigan
University of Melbourne
Pain does not emerge as a topic of philosophical interest until the work of Michel de Montaigne in the late sixteenth century, claiming "that which sharpens our pain and heightens our sensual pleasure results from our brimming imagination".

Reconciling Difference: Art as Reparation and Healing

Estelle Barrett
Deakin University
This paper demonstrates the way shamanism and psychoanalysis are deeply related as first signalled by Claude Lévi-Strauss. It then creates a context in which the question of body and mind, creativity and healing is discoursed in an interdisciplinary manner.

Heiner Müller’s Germania 3 Ghosts at Dead Man: Atrocity and Pain in German History and Theatre

Denise Varney
University of Melbourne
Racist, class-based and sexist hate-speech is injurious speech that exposes the linguistic vulnerability of subjects and the power of language to wound like a sword.

Surveillance Aesthetics and Theatre against “Empire”

Peter Eckersall
University of Melbourne
Over the 1990s technologies and uses of surveillance developed at an expediential rate. We became accustomed to the presence of micro-cameras, sound recording devices, cross-referencing databases and software designed to recognise shapes and patterns, even human faces.

Bloody Roman Narratives: Gladiators, “Fatal Charades” & Senecan Theatre

Paul Monaghan
University of Melbourne
In an interview not long before his death in 1995, East German playwright Heiner Müller predicted that the theatrical medium would soon be faced with an important decision.

Nervous Dramaturgy: Pain, Performance and Excess in the Work of Dr Jean-Martin Charcot, 1862-1893

Jonathan Marshall
University of Melbourne
Charcot has attracted interest from scholars of many disciplines, bringing to bear many different methodologies.

Toni Dove’s Artificial Changelings: Collapsing Time and Feeling e/Motional Spaces

Peta Tait
La Trobe University
Toni Dove's extraordinary Artificial Changelings offers the spectator an interactive engagement connecting body movement, perceptual motion and screen imagery. It reconfigures the convention of a spectator’s embodied liveness by linking his or her sensory motion to observed images using movement.

Loss, Grief and Representation: “Getting on with It”

David Ritchie
Deakin University
This paper is concerned with the social, spiritual and expressive ways of dealing with the pain of grief over loss of objects, of relationships, of persons, of the self.

Abstract Art: Pain and Discomfort

Rob Haysom
Deakin University
Abstract art is often the most baffling to a viewer who may search in vain for a figurative reference or recognisable element. Abstraction may refer to "art that stylises, simplifies, or deliberately distorts something that exists in the real world".

“Ravaged Kingdom”: Approaching Pain through Gameplay

Kathy Mueller
RMIT University
How does each of us cope with emotional pain? Do we bury it, process it, or transmute it? Coping strategies may depend upon whether the pain is the product of one particular event or loss or whether it is compounded by ongoing, socially-mediated processes.

Anecdotes and Antidotes: Stories as Balms, Storytelling as Healing

Stephen Goddard
Deakin University
This presentation re-visits a series of ‘dialogues’ that occurred during the video practice of my recently completed doctoral research project. The result of the creative practice was a video postcard entitled Lorne Story.

Art, Pain, Children: Utopian and Dystopian Discourses in Picture Books

Clare Bradford
Deakin University
It is often assumed that picture books are intended for young children and that they are therefore mainly concerned with safe and reassuring stories, say, about home and family, friends and starting school.

Waking from the Porcelain Dream: The Role of Government in Reducing Anthropocentrism

Scott Rawlings
Deakin University
In terms of environmental policy, community outrage is a term that gained currency with John Elkington’s Cannibals with Forks: The triple bottom line of 21st Century business.

Art and Pain Exhibition

Review of Double Dialogues Art and Pain Exhibition

Justin Clemens
Deakin University
The alleged links between "art" and "pain" are today familiar to the point of cliché. The image of the tortured artist still dominates Hollywood representations.

Poetry

Tim Potter
Tim Potter was chosen to write poems in the spirit of the Double Dialogues conference.

Text & Image: Creative Responses to Double Dialogues Art and Pain Exhibition

Various
The conference Double Dialogues 5, Art and Pain, involved the presentation of a number of papers dealing specifically with the Visual Arts.

Creative Work

Poetry

Myron Lysenko
I’ve chosen two of my poems to illustrate different types of pain. I could have selected any number of poems because most of my work comes from some sort of conscious or subconscious pain.

Writing the Ache

Graduate Writers Collective
Melbourne University
The craft of writing is an often overwhelming practice. In what way does the narrative voice interpellate you into the story? How has the author utilised silences?

Poems and Pain

Eddie Paterson
I wanted to address three different types of artistic pain in writing. The first is personal pain and trying to find the humour in sadness, which I think art should attempt to reach for and capture.

If human life and pain are inseparable, then it is no surprise that human art and pain are so interwoven. Something productive needs to be done with pain, and one of the most productive things to do with pain is to make art from it.

The essayists in this issue of Double Dialogues explore the remodelling of lived experience into artificially constructed aesthetic forms, venturing to elucidate art’s strong connection to pain in human life.

 

Double Dialogues | Refereed Arts Journal | ISSN 1447-9591  
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