Ontology as critique
Gravity and resonance in Rachel Rose's installation Everything and More
Bibliographic Data
| ID | 5717686 |
|---|---|
| Authors | Geistė Marija Kinčinaitytė (0000-0002-3874-852X, University of Cambridge, corresponding author) |
| Year | 2025 |
| Volume | 14 |
| Issue | 1 |
| Pages | 51-65 |
| Publication date | 2025-04-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Moving Image Review & Art Journal (MIRAJ (JOURNAL) |
| Journal identifiers | ISSN: 2045-6298 • E-ISSN: 2045-6301 |
| Publisher | Intellect (PUBLISHER • GB) |
| DOI | 10.1386/miraj_00149_1 |
| OpenAlex | W4410117326 |
| Language | EN |
| References cited | 2 |
This article explores how Rachel Rose rethinks the concept of immersion in relation to the quality of flatness in sound, image and projection, which does not refer to transcendence to an illusory space but is thought of in terms of bringing us closer to being in the world as being-with, towards shared vulnerability and finitude. Considering the context of the COVID-19 pandemic, during which this article was developed, I draw on Jean-Luc Nancy's notions of resonance and sensation to explore the philosophical layers embedded in Rose's installation Everything and More (2015) that invites the viewer to enter a space journey towards mortality. This wider context is discussed in relation to Nancy's ideas about resonance, tone and intensity as a tension of being, which are also formally expressed in Rose's approach to the tensions between gravity and a sense of weightlessness in the installation
Epistemology · Geometry · Ontology · Mathematics · Philosophy · Posthumanist Ethics and Activism · Samuel Beckett and Modernism · Theatre and Performance Studies
| Highly cited | No |
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