![]() Johnson relies less on such appropriations and recombinations than on a more 'organic' painterly exchange. With the arrival of post-modern theories of the 'death of the author', the named artist was no longer the unique source of images, which could be borrowed from others and recombined in ways that disguised the individual will. This term needs some explaining: although anonymity and collaboration was the hallmark of art workshops of the early Renaissance, in nineteenth-century and twentieth-century western art the individual artist was exalted as a way of guaranteeing value. 2 The three small works in the Vizard Foundation Collection exemplify the breadth of his recent activity, with the focus on collaboration. Johnson's status today is that of the most consistent, culturally sensitive and aesthetically successful exponent of the cross-cultural gesture that typifies postcolonial art in this country. Johnson's apparent appropriation of their art caused controversy in the later 1980s, before the cultural basis of his interventions with Indigenous artists was properly understood, when he was parcelled together with the Sydney post-modernist, Imants Tillers (whose practice has a very different philosophical basis). This took place on several levels: he used dotting techniques and perspectival schemes inspired by Papunya art he formed (with his then wife, the critic and historian of Western Desert art, Vivien Johnson) one of the finest private collections of Papunya painting and he befriended the prominent artists Turkey Tolson Tjupurrula, Michael Nelson Jagamara and Clifford Possum Tjapaltjarri, making collaborative works with all three. By the late 1970s, Johnson had re-emerged in a new guise, making photographs and small acrylic paintings that documented his experiences and friendships after 1980, these figured Aboriginal painters at Papunya, the Central Australian government settlement that since 1971 had been the home of the vital new dot painting movement.įor the next decade Tim Johnson was the most notable white Australian artist whose work engaged with Aboriginal art. Around 1970, the former architecture student from the University of Sydney was one of several practitioners of a new 'post-object' conceptual art, performance art and musical performance. The goal of this paper is to bring to the attention of the philosophers of science these and other aspects of the AB effect which are neglected or inadequately treated in literature.Tim Johnson has been at the forefront of experiment in more than one phase of contemporary Australian art. The idealizations required for the AB effect are also responsible for the existence of unitarily inequivalent representations of the canonical commutation relations and of the current algebra, representations which an observer confined to the electron’s configuration space could invoke to ‘explain’ AB-type effect without the need to posit a hidden magnetic field. Standard accounts of idealizations tout the role they play in making tractable the analysis of the target system by contrast, the idealizations involved in the AB effect make its analysis both conceptually and mathematically challenging. The original worry about the use of idealizations is replaced by a new one namely, how can actual world experiments serve to confirm the AB effect if it concerns the behavior of a fictional system? Struggle with this issue helps to account for the fact that almost three decades elapsed before a consensus emerged that the predicted AB effect had received solid experimental support. The point of studying such a fictional system is to understand the foundations of quantum mechanics and how its predictions depart from those of classical mechanics. The idealizations involved in the Aharonov–Bohm effect do not, it is claimed, fit this paradigm rather the target system is a fictional system characterized by features that, though physically possible, are not realized in the actual world. ![]() On standard accounts of scientific theorizing, the role of idealizations is to facilitate the analysis of some real world system by employing a simplified representation of the target system, raising the obvious worry about how reliable knowledge can be obtained from inaccurate descriptions. ![]()
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