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Effects of different potassium supply and light intensity on photosynthetic capacity of oilseed rape leaves
Zi-yao HE, Qi-rui CHEN, Wen-shi HU, He-he GU, Yi SONG, Xiao-lei YE, Yang-yang ZHANG, Zhi-feng LU, Tao REN, Jian-wei LU
CHINESE JOURNAL OF OIL CROP SCIENCES ›› 2024, Vol. 46 ›› Issue (4) : 843-854.
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A between After Art and Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction Share public link
The introductory chapter holds the foundational manifesto of Joselit’s theory, widely used for quick reference.
[Image / Artifact] ───> [Enters Network] ───> [Circulates / Multiplies] ───> [Gains Network Power] after art david joselit pdf
It is this disconnect that After Art confronts. Joselit argues that we can no longer afford to focus solely on the production of original, discrete artworks by a singular artist genius. Instead, he proposes a radical recentering: we must look at what happens after art is made, when it enters into complex circuits of circulation, replication, and reformatting.
Since its publication in 2012, After Art has generated significant discussion, with critics largely agreeing on the book’s importance while raising pointed questions about its scope and method. A between After Art and Walter Benjamin's The
If you are looking for a legitimate copy of "After Art" by David Joselit, visit Princeton University Press or search your local library’s eBook database. Always support the theorists who help us see the present more clearly.
The physical, bounded properties of an artwork (e.g., oil on canvas, carved marble). Instead, he proposes a radical recentering: we must
For decades, art theory was dominated by the concept of "medium specificity"—the idea that painting should look like painting, and sculpture should explore three-dimensional space. Joselit replaces "medium" with A format is not tied to a specific material. Rather, it is a mechanism for capturing, storing, and deploying images across various platforms. A digital file, a traveling biennial exhibition, or a branded architectural space are all formats. They allow images to morph and adapt to different contexts without losing their underlying data structure. 2. The Readymade 2.0
Ultimately, David Joselit’s After Art challenges us to stop viewing art as a passive window to another world. In a fully networked society, art is a node—a highly synchronized, active agent capable of disrupting, rerouting, and exposing the global political structures that govern our digital lives.
Joselit argues that in the digital age, images gain power not through their singular origin, but through their circulation. Images act as —they are traded, shared, and recontextualized across global networks. A meme, a digital artwork, or a screen-captured image becomes valuable through the sheer velocity and volume of its dissemination. 2. The Shift from Object to Network
When readers search for the After Art David Joselit PDF, they are typically looking for a framework to understand this digital migration. Joselit argues that art today no longer marks a point of origin. Instead, it operates as a node within a vast network. "After art" does not mean the death of creative expression. Rather, it signifies the end of art as a discrete, isolated object, redefining it as a dynamic catalyst for information exchange. The Central Thesis: From Form to Network
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