Artistic Identity Research Articles

Diverse Experiences: Strategies of Display at Tate Modern

Since opening in 2000, Tate Modern’s thematic displays of the collection have increasingly allowed for multiple stories to be told about art made after 1900. The purpose is to question, disrupt, and enrich the established, canonical, view of a single master-narrative so as to diversify our experiences and allow space for work that has been excluded in earlier histories. Such a revision lets us all engage with more art. As a result, the range and identities of artists has expanded considerably and with that shift has come the inclusion of different media. Such openness has only been possible because of a programme of changing annual displays and by completely re-installing the collection on a number of occasions, most recently for the opening of the New Tate Modern in 2016. Tate Modern’s strategies for display are, therefore, open to a widerange of ideas and concerns that reflect our position of connecting our audience with the art of the times.

Somos Todos Artistas. Um exercício de reflexão a respeito da autonomia criativa e das formas de classificação relacionadas à criação

This article is about the construction of identities of artists working in the streets taking as reference the movemnt "Life is a party". This movement occurs since 2002 and put all together artists from the music, visual arts, dramatic art, literature of "cordel", "Tambor de Crioula", poetry and "Bumba meu bi" with performances every thursday in the center of the brazilian city São Luís do Maranhão. This approach includes reflections about expressions showed in this event as "art of the streets" or "art in the streets", as a singular mode of solidarity among the artists and a way to build social relations. In the case analysed here, the production of art implies a identity of artist that deny the institutional and market relations of meaning.

„Tote Aber Leben Länger“. The Second Viennese school and its place in the reflections of selected composers from the second half of the twentieth century (Lutosławski, Ligeti, Lachenmann, Harvey)

The juxtaposition of classicism and actuality is a good description of the ambiguous position occupied by the Second Viennese School not only in the eyes of the scholars who research it, but also of composers who can be regarded as its successors. However, in the works and writings originating from the Second Viennese School we find a concentration of problems encountered by contemporary composers, especially the modernist ones. The aim of this article is to examine the role played by the representatives of the Second Viennese School in the reflections of selected twentieth-century composers, concerning their place in music history, the expressive categories present in their work, and their ambiguous attitude to tonality. A separate subject to be explored is the discourse used by contemporary composers to describe the music of their predecessors, full of both analytical categories and vivid metaphors. The quoted composers (Witold Lutos?awski, Gy?rgy Ligeti, Helmut Lachenmann and Jonathan Harvey) may be identified with more-or-less radical modernist views. This article is guided by the thinking of Gianmario Borio and the idea of ?historical appropriation?, according to which analysis of the works of the past helps composers to create their own artistic identities and to define their own place in the history of music.

Méprisé, mais pas méprisable – échec de la rhétorique de dissuasion dans Demain matin, Montréal m’attend de Michel Tremblay

Despised but not Despicable – Failure of the Rhetoric of Dissuasion in Demain matin, Montréal m’attend by Michel Tremblay In Demain matin, Montréal m’attend, a comedy by Michel Tremblay written in the era of a Quiet Revolution, contempt takes on an argumentative value. Lola Lee, a singer and artist in La Main –an artistic neighborhood in Montreal. Lola’s younger sister –Louise –is jealous of the popularity gained by her older sibling. Lola Lee, in the attempt to discourage Louise from the idea of following in her footsteps travels with her through the most infamous artistic venues. During this trip Louise meets artists with questionable morals. The aim of the article is firstly to show how this journey, instead of generating contempt, becomes the core of searching for your own artistic identity. Secondly, the article explains how Tremblay’s art, using metaphors in the style of Almodóvar, represent the national dramaturgy of Quebec, in which the hero, which is an allegory of the whole society, undergoes an evolution that allows him to appreciate his own identity instead of despising it.

The Finnish Poet Pentti Saarikoski (1937-1983)

The poet Pentti Saarikoski (1937-1983) was one of the most significant Finnish writers of the 20th century. He was also a prolific translator, who received many prestigious awards for his literary production. Throughout his life Saarikoski showed evidence of a certain psychopathology and mental complications for which he was twice hospitalized. The paper argues that Saarikoski possessed a large number of autistic traits and elevated symptomatology of ADHD. The traits of these conditions are often found in persons with high creative achievement. The works of the psychiatrist Michael Fitzgerald provide the theoretical background, on which the biographic evidence from Saarikoski’s childhood and adult life is analyzed. The identity diffusion under which the poet suffered can be shown as beneficial to this level of creativity. Saarikoski was an autistic writer, who visualized his poetry which eventually provided him with artistic identity. In addition to autistic traits and high intelligence, Saarikoski also sought novelty and sensation, which can be attributed to his ADHD traits.

The Music of Joseph Joachim by Katharina Uhde

Reviewed by: The Music of Joseph Joachim by Katharina Uhde Robert W. Eshbach The Music of Joseph Joachim. By Katharina Uhde. Woodbridge: Boydell, 2018. [xxv, 506 p. ISBN 9781783272846 (hardcover), $99.00.] Music examples, illustrations, appendix, bibliography, index. In early middle age, Joseph Joachim abandoned his creative life as a composer. He never made explicit his reasons for doing so, but for him to have given up such an essential part of his artistic identity they must have been acute and compelling. "Only he is a genuine artist," he wrote to Bettina von Arnim, "for whom art is not a pendant that he can put on or remove at will" (p. 59, my trans.; original in Ver -steigerung 155, am 5 Juli 1929; I. [End Page 268] Autographen aus verschiedenen Gebieten; II. Handschriftlicher Nachlaß der Bettine von Arnim; Dritter und letzter Teil [Berlin: Karl Ernst Henrici, 1929], 59). What could have caused him to renounce such a deeply felt vocation—one which held such promise of success? Donald Tovey hints at various explanations for Joachim's decision, among them the momentous personal and aesthetic rift that occurred midcentury between the advocates of a gradually evolving musical art rooted in "timeless" canonic texts and principles, and the radical "progressive" party that gathered around Franz Liszt in the 1850s. This "War of the Romantics" was the first great questioning of the meaning and utility of the classical canon, founded upon the works of Ludwig van Beethoven and Johann Sebastian Bach, and expanded both backward and forward in time. It is likely that this increasingly acrimonious and partisan dispute played a substantial role in Joachim's decision. Tovey suggests this, citing Joachim's lasting distaste for "musical metaphysics, what with Wagner and Liszt and the eternal jabber of their disciples" (Mary Grierson, Donald Francis Tovey: A Biography Based on Letters [London: Oxford University Press, 1952], 104). Like Feliz Mendelssohn-Bartholdy and Johannes Brahms, Joachim preferred to speak through his tones; he avoided musical diatribe, and he never engaged in journalism. Therein lies much of the interest and significance of Katharina Uhde's The Music of Joseph Joachim: the first and only comprehensive exploration of the evolution of Joseph Joachim's musical thought. In the pages of Uhde's monograph we experience the maturation of one of the greatest minds of the long nineteenth century as represented in his music. Though Joachim's compositions never enduringly entered the repertoire, much less the canon, with Uhde's guidance they offer a fascinating in sight into their creator's musical, personal, intellectual, and spiritual journey, while illuminating the milieux in which his early life unfolded. Uhde is perhaps uniquely qualified to take on a task of such magnitude and intellectual challenge. The scope of her researches is astonishing: there seems to be no archive she has not visited and no scrap of paper she has not examined, interpreted, and contextualized. Her command of the secondary literature is similarly comprehensive, encompassing aspects of history, biography, literary criticism, psychology, music analysis, and performance practice. A performing violinist of significant attainments, an engaging writer, and an erudite as well as indefatigable scholar, Uhde leads us confidently on an excursion of potentially bewildering complexity. From the beginning, Joachim was a reluctant composer, lacking in selfconfidence. As a youth, he was admonished by his uncle Wilhelm Frigdor for his fecklessness: "When he is older, if he stands there merely as a violin player, then he is nothing" (family correspondence, Vienna, 2 December 1844, bequest of Agnes Keep, British Library, Music Collections, Add. MS 42718). Yet it was in his compositions that he worked out his deepest concerns: his obsessive infatuation with Gisela von Arnim; his identity as a Hungarian, a Jew, a German, and a Victorian Englishman; his dual musical life as a virtuoso and a composer; his scholarly and literary interests; and his conflicting allegiances to mentors and friends. There was never a composer for whom the struggle to find a style was so fraught with personal consequences. The poor public reception of his profoundly serious works may have played a part in steering Joachim away from a composing career. "You know what little sympathy my music has met with...

Artistic effects and national identity in relation to colors in poetry

Artistic effects and national identity in relation to colors in poetry

THE OLGINSKY ORPHANAGES OF THE VYATKA PROVINCE AT THE TURN OF THE 19TH-20TH CENTURIES AS IN THE MATERIALS OF THE CENTRAL STATE ARCHIVE OF THE KIROV REGION. HISTORICAL AND ARCHITECTURAL ASPECT

A special place in the system of children’s care in the Russian Empire at the turn of the 19th-20th centuries belonged to the Olginsky orphanages, named in honor of Princess Olga — the daughter of the Emperor Nikolai II. They were the smallest type of children’s institutions in Russia, which appeared in a similar way to the charity institutions for adults: working buildings and shelters for the homeless. The idea of educating and raising children in an orphanage, supervising them, and most importantly introducing them to work and craft should have saved them in the future from poverty, unemployment, and marginalization. This paper analyzes the Olginsky orphanages of the Vyatka Province, at the turn of the 19th-20th centuries, the features of their exterior, development, organization, structure, construction, and functioning. The author relies on the documents identified for the first time during the research work of the Central State Archive of the Kirov Region. The results show that there were three Olginsky shelters in the Vyatka Province — they were founded in the Izhevsk factory, in the town Mozhga, and the town of Slobodsky. The author notes that those who initiated the opening of orphanages and financed their construction, were in most cases individuals: at the Izhevsk factory they were Izhevsk workers, in Mozhga it was the chief of the Yelabuga District, Ivan Mikhailovich Poyarkov, and in Slobodsky they were merchants. In general, such orphanages had a positive impact on orphans and street children, because there, they received the necessary education and craft training, which later allowed them to lead an independent life and earn a living. In this article, the author confirms the authorship of the constructed orphanage buildings: in Mozhga, it was the famous architect of the Vyatka Province M. A. Buchholz, a contemporary of an equally famous architect I. A. Charushin; at the Izhevsk factory it was A. Grebenshchikov (later with the participation of I. A. Charushin); and the architect Andreev in Slobodsky. The author has established that from an architectural point of view, the buildings of the orphanages were quite diverse, but modest in their design, they did not have signs of monumentality, did not solve significant urban planning problems and, in general, did not contradict the existing artistic and aesthetic ideals of the period.

Female perspectives on the Relationship between Janet Frame's autobiography and fiction

Female perspectives on the Relationship between Janet Frame's autobiography and fiction Eva Rueschmann Josephine A. McQuail , ed. Janet Frame in Focus: Women Analyze the Works of the New Zealand Writer. Jefferson, NC: McFarland, 2018. 207 pp. $49.95 ISBN: 9781476669731 In Patricia Moran's foreword to Janet Frame in Focus: Women Analyze the Work of the New Zealand Writer, she points out that Janet Frame may be more widely known as the [End Page 145] subject of Jane Campion's 1990 film An Angel at My Table , based on Frame's autobiography, than as a prolific writer of fiction, short stories, and poetry in her own right. Born in Dunedin, New Zealand, in 1924, Frame lived a life that was marked by multiple family tragedies, illness, and poverty; a profound sense of marginalization and insecurity; and an eight-year stay in a mental institution in her twenties, following a misdiagnosis of schizophrenia. From a young age, Frame showed an extraordinary literary inventiveness and startlingly original prose. This unconventionality and her painful shyness often resulted in her social isolation and misunderstanding by a conformist society. Yet Frame's literary talent ultimately saved her life and creativity: in 1952, the announcement of the Hubert Church Memorial Award for her first shortstory collection, The Lagoon and Other Stories (1951), was a pivotal turning point and spared her from the looming certainty of a devastating lobotomy at the young age of twenty-eight. Writing became a refuge for what Frame called her "homelessness of self." Today Frame is highly regarded for her complex experimental (some people argue postmodern) writing and her poetic, richly metaphoric use of language—but she is less well known in the United States. This new collection of scholarly essays edited by Josephine McQuail, a professor of English at Tennessee Technical University, reintroduces Frame as a writer of autobiography, fiction, and poetry to an American audience and seeks to redress the dominant preoccupation with Frame as New Zealand's stereotyped "mad woman artist." Janet Frame in Focus features ten essays—eight written exclusively for this book—that offer an array of critical approaches but center on the ways in which Frame wrote about her childhood and life experiences, her quest for an artistic identity and voice, and her preoccupation with language—its conventionality and potential for originality and rebellion—in both her autobiography and her fiction. Overall, the collection follows in a tradition of feminist criticism concerned with social images of the female writer and artist as "mad" and "dangerous." In the wake of the women's movement of the 1970s, two influential works by prominent feminist scholars, Elaine Showalter's The Female Malady: Women, Madness, and English Culture, 1890–1980 (1985) and Sandra Gilbert and Susan Gubar's The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (1979), famously critiqued the gendered conception of female creativity as malady and insanity. This critique echoed Frame's own perspective on the gendered social construction of mental illness decades before. Among previous scholarly studies of Frame's writing, Gina Mercer's Janet Frame: Subversive Fictions (1995), which employs Luce Irigaray and Hélène Cixous as theoretical frameworks, is the most explicitly feminist treatment of Frame's work. Mercer is somewhat dismissive of Frame's autobiography as too linear and transparent compared to the radical feminist potential of her complex prose. In contrast, Claire Bazin, a French expert on Frame at the University of Paris Ouest Nanterre, argues in her book Janet Frame (2011) that Frame's more conventionally narrated autobiography serves as a valuable key to unlock the meaning of her fiction. Claire Bazin is one of the principal contributors to Janet Frame in Focus, with her essay on strategies of avoidance in The Lagoon and Other Stories. Bazin's scholarship on Frame also inspired her former students Aurelia Mouzet, Manon-Lili Morand, Jennifer Boum Make, and Marion Clavier to contribute original essays for this volume. These scholars bring a French perspective to Frame's writing, deploying the theories of Mikhail Bakhtin, Jean-François [End Page 146] Lyotard, Homi Bhabha, and Sigmund Freud in their both modern and postmodern readings of Frame. Janet Frame in...

Questions of the Performing Interpratation of the Song without Words op.109 F. Mendelssohn

The article examines some issues of the performing interpretation of the Song without Words, Op.109 for cello and piano by Felix Mendelssohn-Bartholdi. Songs without words occupy a special place among Mendelssohn's chamber works. The composer, relying on everyday music, created a new type of romantic piano miniature. Eight notebooks, written for piano, which embodied the artistic ideals of the era of romanticism, very soon gained popularity. Song without words, op. 109. for cello and piano, the only one among this genre fits organically into a single sphere of romantic images. The primary tasks of the interpretation of this work include a number of aspects. Namely: performance, upon activation of the inner ear, melodious lyric melodies., emphasizing the sound capabilities of the instruments; the variability of the construction of periods as an element of the romantic form; the importance of the rhythmic sphere, the expressive possibilities of the accompaniment, dynamics, agogics and phrasing. F. Mendelssohn's works are in demand in Uzbekistan. They are included in concert performances and educational programs. The comprehension of the romantic musical world of the composer by Uzbek musicians opens up new opportunities for the disclosure of artistic content, refracted through national perception.

BARIŞ MANÇO’NUN “DÖRT KAPI” ADLI ESERİNİN METİNLERARASILIK BAĞLAMINDA İNCELENMESİ

Julia Kristeva tarafından oluşturulan metinlerarasılık, tarihsel metinlerin birbirleriyle olan karşılıklı etkileşim ve alışverişine dayalı olarak kurgulanan post-modern bir söylem biçimidir. Bu yönüyle metinlerarasılık, aynı zamanda kolektif bir hafızanın ürünü olarak kavramları veya olguları zamandan bağımsız olarak yeniden üreterek toplumsal belleğin canlı kalmasına da yardımcı olur. Müzik eserleri de -doğası gereği- metinlerarası söylemlerin kullanılabileceği alanların başında gelmektedir. Nitekim XX. yüzyıl Türk popüler müzik tarihi açısından önemli bir isim olan Barış Manço, gündelik kaygılara ve konulara sıkışmayan eserleri ve özgün sanatçı kimliği ile alanında iz bırakmış sanatçılardan biri olarak bu çalışmaya konu olmuştur. Geçmiş ve bugün arasında kurduğu ilişkinin yanı sıra eserlerindeki çok katmanlı söylem biçimi, Manço’yu döneminin çok ötesine taşıyabilmiştir. Barış Manço’nun şarkılarında genellikle didaktik konular ağır basmakla birlikte dini motifli eserleri incelendiğinde, Anadolu inanç sistemleri ve özellikle Türk-İslam tasavvufuna ait pek çok mistik temayı bulabilmek mümkündür. İnanç, insan olmak ve öteki dünya gibi pek çok felsefi konuyu eserlerine taşıyan sanatçı, bestelediği şarkılarla Türk popüler müzik tarihinde ayrıcalıklı bir yerde durmaktadır. Bu şarkılardan birisi sanatçının 1985 yılında çıkardığı “24 Ayar” adlı albümünde yer alan Dört Kapı adlı eserdir. Türk-İslam kültüründen pek çok mistik söylemi içinde barındıran bu eser, nitel araştırma deseni kullanılarak metinlerarası bir bakışla incelenmeye çalışılmıştır.

VOTKINSK CITY-PLANT ARCHITECTURAL SPACE IN THE 19th AND EARLY 20th CENTURIES

The article is devoted to the architectural space role in the formation and preservation of the architectural and artistic identity of Votkinsk city-plant associated with the name of the Russian composer P. I. Tchaikovsky. The authors show the importance of factory and city government in beautification of this ancient city. The main elements of architectural space and gardening at different stages of the formation and development of the city are analyzed as well as small architectural forms and their current status. The analysis of the Votkinsk improvement allows us to conclude that it is necessary to conduct a thorough pre-design analysis prior to the urban development.

A lion in a matchbox: Artistic identity and cracking the professional code in American higher education

Abstract This article is an analysis of the culture of academic professionalism of art programmes in American universities. In the Gilded Age, American universities underwent significant reforms that transformed them in to centres for professional education in Medicine, Law, social work, and other professions, including the visual arts. College art was transformed during these years. Guided by theory set forth by Burton Bledstein, the article decodes this new culture with concepts of time spent in practice and training, the specialized spaces (for art this meant studios and classrooms), and words (the discourse, terminology and language that distinguishes professionals from their clientele). These concepts help embody a collective professional identity of people with boundaries to regulate the social experience art faculty and students in a new, and at times troubled modern culture of professionalism.

Whiteness, Artist Identities, and Artworld Spaces

This paper considers a research study into the artist identity formation in young people engaged in a teen arts internship program at a contemporary arts center in post-Katrina New Orleans using the construct of whiteness to examine access to artist identities and artworld spaces. Art has always been embedded into the cultural and spiritual practices of people’s everyday lives. Yet, modern and contemporary artworld identities and spaces have been shaped by exclusionary and oppressive practices. In the city of New Orleans, there is a persistent presence of African American art and cultural practices that thrive outside of artworld institutions. And yet, as this study demonstrates, artworld identities and spaces within the city of New Orleans and beyond, even when they espouse social justice orientations, often remain within the milieu of whiteness and related power structures.

Parsuna – the first secular representation of the traditional Russian icon

The second half of the 15th century in the Russian Church history marked a strong decline of spiritual life, which naturally found its reflection in the icon painting. The feeling of integrity of an image, its depth were lost. At the same time, the weakening influence of the Orthodox Balkans and the Byzantine Empire gave way to the influence of the Catholic West with its profoundly different principles of religious art.In this transitional period of the Russian cultural life, characterized by the transformation of the medieval worldview and the formation of new artistic ideals, appeared parsuna (a rough Russian transliteration of the Latin word “persona”) - an early secular portrait of a lay person in the iconographic style that represents an important transition in Russia’s art history. The first pasruna were painted, most probably, by the iconographers of the Moscow Kremlin Armoury in the 17th century. The painters of these portraits were usually monks that tended to be anonymous, showing a humility.Although the stylized forms used in parsuna reveal a lack of concern with preserving the actual features of a person, but rather their overall image (special attributes and signatures allow to define represented), it still can be viewed as one of the very first attempts to look at person not only through the rigid iconographic canons, but also through a prism of psychological interpretation. Thus, this transitional image may be concerned as the initial fundamental step on the way to the further introduction fo the European portrait tradition in Russia.In this study, we would like to consistently trace how parsuna, thanks to its completely new stylistic value, can be considered one of the earliest stages on the way to the secularization of the Russian art in the early 17th century, which led to the separation from the strict iconographic religious canons and, consequently, to the rapprochement with the European art.

Editing violin works for four-string domra as an artistic interpretation of the author’s text (in connection with the sound-making will of the performer)

Editing violin works for four-string domra as an artistic interpretation of the author’s text (in connection with the sound-making will of the performer)

Portraits of Human Monsters in the Renaissance: Dwarves, Hirsutes, and Castrati as Idealized Anatomical Anomalies

Portraits of Human Monsters in the Renaissance: Dwarves, Hirsutes, and Castrati as Idealized Anatomical Anomalies

The Aesthetic of fish scale Texture Patterns as Textile Designs Embellishments

The aesthetic of fish scale texture pattern as a textile designs embellishments are employed as an artistic substance in textile design. There are four types of fishes that can be found in the seas of Malaysia, namely Thread Fish Bream, Herring, John Snapper and Malabar Red Snapper. They are of various shapes and sizes, shiny, weight and texture. The four distinct kinds of fish scales being investigated had proved to be of distinct dimensions, shapes and textures. Fish scales such as Placoid scales, Ganoid’s scales, Cycloid scales and Ctenoid scales were used to study its aesthetic qualities. In this study, the researchers have analyzed the aesthetic qualities of the four fish scales in terms of Clive Bell (1914/2014) and Roger Fry (1920/2011) formalism theory thought that formal aesthetic features of the fish scales are determined by the lines, shapes, form, texture and varieties. The findings showed that the Malabar Red Snapper has the thickest scales. The John Snapper has a texture that looks like a fingerprint and the scales of Herring has an interesting surface. It has contour lines. Its scales are also attractive because the edge produces furry lines after the drying process. Fish scales also have their own unique characteristics. They can be smooth and flat when water is spread over and become hard and rolled under the sunshine. Then, the fish scales are smoothen again when water is spread over and vice versa. Hence, this study serves as an artistic identity and determine the textile designs recognition.

Identity Complexes and Science Identity in Early Secondary: Mono-topical or in Combination with Other Topical Identities

Prior research suggests that students endorsing a science identity are more likely to participate in optional science experiences and choose STEM careers. Science identity is a topical identity, which refers to an identity related to a topic rather than a social or cultural group. However, studies of topical identities typically examine them in isolation. The current study identified typically occurring combinations of topical identities as identity complexes to determine whether science identity would tend to occur within STEM-only complexes or together within larger topical identity complexes. Over 1200 urban public-school students in 6th, 7th, and 9th grades from two different regions in the USA completed surveys asking about their topical identities, choice preferences, and optional science experiences. Latent class analyses revealed that students often endorse science identities in the context of other unrelated identities like athletic and artistic identities. Further, the frequency (overall and relative to each other) of the two high-science identity complexes varied substantially by gender, ethnicity, and grade. These patterns were not simple reflects of the commonly observed overall rates of science identity by demographics. Further, students in topical complexes with high science identity still had high participation in optional science experiences despite having many topical identities that could compete for time.

어린 시절의 순수 기억이 예술적 정체성에 미치는 영향: 미술교육에의 시사점

이 글은 어린 시절의 기억이 미술가들의 예술적 정체성을 결정짓는 중요한 요인으로 작용하는 이유를 파악하였다. 이를 위해 먼저 기억이 예술적 정체성에 영향을 미친 미술가 두 명의 사례연구를 소개하였다. 그런 다음 기억을 다룬 서양철학의 역사를 통해 이를 해석하였다. 앙리 베르그손에게 있어 미술가들의 어린 시절의 기억은 습관 기억과 구별되는 순수 기억에 속한다. 순수 기억은 개인의 의지와 상관하지 않고 출현하는 우발적 기억이다. 인지 능력으로서 기억을 확인한 들뢰즈는 인지에서의 세 단계의 종합과정을 확인하였다. 첫 단계의 종합에서는 외부에서 온 감정적 충격 또는 자극/불연속성의 물질이 유한한 상상을 불러 모은다. 두 번째 단계의 종합은 첫 단계, 즉 외부 자극에 상상력이 동반된 상황에 기억이 초대되는 것이다. 그리고 세 번째 단계의 종합은 자극, 상상, 기억을 토대로 사유하는, 즉 개념을 만드는 단계이다. 따라서 우발적 기억은 먼저 자극과 상상이 불러일으킨 상태에서 떠오르는 것이다. 두 번째 단계의 종합에서 나타나는 기억은 과거의 순간들을 담지하고 있지 않으며 과거의 형식 그 자체만을 지닐 뿐이다. 이러한 기억은 사유하는 세 번째 종합의 단계에서 변형되면서 단순한 기억의 재현이 아닌 현재의 시간적 차원을 만들어낸다. 이 단계는 전치와 위장으로 나타나는 반복에 의해 행해진다. 그리고 이러한 성격의 반복이 차이를 만든다. 이상의 연구결과가 미술교육에 시사하는 점은 미술교육이 어린 나이의 학생들에게 살아있는 기억으로, 즉 언제든지 우발적 기억으로 떠오를 수 있는 잠재성의 장으로 구축해야 한다는 것이다.