Related categories
Siblings:
55 found
Search inside:
(import / add options)   Sort by:
1 — 50 / 55
  1. Emmanuel Alloa (2013). Visual Studies in Byzantium. A Pictorial Turn Avant la Lettre. Journal of Visual Culture 12 (1):3-29.
    As Hegel once said, in Byzantium, between homoousis and homoiousis, the difference of one letter could decide the life and death of thousands. As this article seeks to argue, Byzantine thinking was not only attentive to conceptual differences, but also to iconic ones. The iconoclastic controversy (726-842 AD) arose from two different interpretations of the nature of images: whereas iconoclastic philosophy is based on the assumption of a :fundamental 'iconic identity', iconophile philosophy defends the idea of'iconic difference'. And while the (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  2. Emmanuel Alloa (2007). The Madness of Sight. In Karin Leonhard & Silke Horstkotte (eds.), Seeing Perception. Cambridge Scholars Publishing: 40-59.
    Viewing Vermeer with Merleau-Ponty's eyes.
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  3. Arnold Berleant (ed.) (2002). The Environment and the Arts. Ashgate Press.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  4. Jenifer Booth (2007). The Contemporary Aristotelian Museum: Exploring the Museum as a Site of MacIntyre's Tradition‐Constituted Enquiry. Journal for Cultural Research 11 (2):141-159.
    The connection is made between the Royal Museum of Scotland and encyclopaedia, one of MacIntyre's three rival versions of moral enquiry. It is then asked how MacIntyre's other two methods, genealogy and tradition‐constituted enquiry, would function within a museum. It is proposed that the museum fulfils Haldane's criterion for tradition‐constituted enquiry in that it combines the immanence and open‐endedness of the methods of enquiry with transcendence in the objects of enquiry. The ethical judgments of the visitors constitute transcendent truth in (...)
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  5. Miro Brada, We Are Again at the Very Beginning. Nove Slovo.
    About selected philosophical questions of the past and today, with Egon Bondy (1930-2007). In a reaction to his response, I'll add a redefinition of the existential view of decision that is incomplete, and an explanation why 'social science' can be mathematized. The article also include my other ideas which have been developed since 1995. The interview was published in Blisty and Nove Slovo (2003), and some experts were published in The Ice House, Holland Park, London (2013), and Parallax Art Fair (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  6. Francesca Brencio (ed.) (2014). Corpo e spazio. A partire da Francesca Woodman.
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  7. Robert Briscoe, Depiction, Pictorial Experience, and Vision Science.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience or ‘seeing-in’, to use Richard Wollheim’s familiar expression. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that seeing-in and seeing face-to-face are experiences of the same psychological, explanatory kind. (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  8. Austin Corbett (2009). Beyond Ghost in the (Human) Shell. Journal of Evolution and Technology 20 (1):43-50.
    The cyborg inscribes itself nearly everywhere, forcing us to re-examine discourses of humanity, modernity, Japan, and technology. I will trace the early history of the cyborg, from its hidden roots and precursors in fin de siècle Gothic fiction to its fully formed conception in 1990s science fiction and Donna Haraway’s Cyborg Manifesto. I will then move beyond the well-known cyborg genealogy to delve into contemporary portrayals that radically expand the cyborg’s political potential, and posthuman role, through an analysis of Kenji (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  9. James Elkins (2012). Whitney Davis's General Theory of Visual Culture. [REVIEW] College Art Association Books Reviews.
    This is a brief essay on Whitney Davis's book. A shorter version, edited down by the College Art Association, is on their online book reviews site (protected by a paywall).
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  10. C. E. Emmer (2008). Crowther and the Kantian Sublime in Art. In Valerio Rohden, Ricardo R. Terra & Guido A. de Almeida (eds.), Recht und Frieden in der Philosophie Kants: Akten des X. Internationalen Kant-Kongresses [Right and Peace in Kant's Philosophy: Proceedings of the 10th International Kant Congress] 5 vols. Walter de Gruyter.
    Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  11. C. E. Emmer (2004). Representing Place. [REVIEW] Review of Metaphysics 57 (3):610-612.
  12. C. E. Emmer (2001). The Senses of the Sublime: Possibilities for a Non-Ocular Sublime in Kant's Critique of Judgment. In Volker Gerhardt, Rolf Horstmann & Ralph Schumacher (eds.), Kant und die Berliner Aufklärung: Akten des IX. Internationalen Kant-Kongresses, Vol. 3. Walter de Gruyter.
    It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  13. Fimiani Filippo (2014). Only noise if you can see. Lebenswelt. Aesthetics and Philosophy of Experience 1 (4).
    What happens to critical and aesthetic discourse when a painter promises that he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the White cube of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a so-called (...)
    Remove from this list |
    Translate to English
    | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  14. Furmuzachi Gabriel, Stalling for Time.
    Carel Fabritius left behind few but important works of art. We are concerned here with the View in Delft, and attempt to make two points about it. The first is that this small painting manages to break away from the classical perception of perspective, an endeavor informed mostly by new findings in the field of optics of the time. The second point, theoretically related to the first, stresses compositional elements that would bring View in Delft closer to a meditation on (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  15. Michalle Gal (2015). Aestheticism: Deep Formalism and the Emergence of Modernist Aesthetics. Peter Lang AG.
    This book offers, for the first time in aesthetics, a comprehensive account of aestheticism of the 19<SUP>th</SUP> century as a philosophical theory of its own right. Taking philosophical and art-historical viewpoints, this cross-disciplinary book presents aestheticism as the foundational movement of modernist aesthetics of the 20<SUP>th</SUP> century. Emerging in the writings of the foremost aestheticists - Oscar Wilde, Walter Pater, James Whistler, and their formalist successors such as Clive Bell, Roger Fry, and Clement Greenberg - aestheticism offers a uniquely synthetic (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  16. Bennett Gilbert, Certeau: The Question of the Subject.
    A reading of two essays by Certeau against spatialized critical theory and in support of a critical rhetorical approach to dialectic. (Draft.). (2010).
    Remove from this list |
    Translate to English
    | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  17. Cristian Hainic (2011). The Nuts and Bolts of Arts Management: A Discussion on a Recent Handbook in the Field. [REVIEW] Journal for Communication and Culture 1 (2):167-170.
    Brindle, Meg and Constance DeVereaux, eds. The Arts Management Handbook: New Directions for Students and Practitioners. Armonk, New York: M.E. Sharpe, 2011.
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  18. Melinda C. Hall (2014). Picturing Disability: Beggar, Freak, Citizen, and Other Photographic Rhetoric. [REVIEW] Journal of Literary and Cultural Disability Studies 8 (1):121-124.
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  19. Napoleon Ono Imaah (2013). The Architecture of History. Dialogue and Universalism 19 (3/5):307-323.
    The paper examines the bond between architecture and history on the premise that everybody is familiar with both architecture and history. The paper views architecture as a profession that is satiated with imaginative and creative thinking; and contends that architecture extends, historically, into wherever human beings live their life. The author opines that architecture easily extends its influence, as a vivid universal metaphor into every sphere of human activity as a synonym, in building either concrete or abstract forms. Thus, the (...)
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  20. Napoleon Ono Imaah (2006). Synergy and Dialogue. Dialogue and Universalism 16 (11/12):57-67.
    This paper acknowledges the fact human beings are social animals, as they tend to live in well-organized societies. However, human population expansion explodes into internal implosions that continue to wreck havoc globally on the social, economic, political, architectural, and aesthetic environments. To harness the universal territorial imperatives, of contending components harmoniously, the world requires synergy and dialogue.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  21. Tony E. Jackson (2009). The Technology of the Novel: Writing and Narrative in British Fiction. Johns Hopkins UP.
    This book explains the novel as a genre in terms of spoken language, oral story, and writing. It begins by laying out certain grounding concepts. The cognitive sciences have established that language and story are constitutive elements of the human animal. Both language and story are built into our cognitive make-up and have specifiable qualities. It is also the case that if we think historically and anthropologically, then we can establish that oral story in oral culture is the default kind (...)
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  22. Marzenna Jakubczak (2011). Natura i Bogini. Ekofeministyczna rewizja mitów według Mariji Gimbutas. Kultura I Historia 20.
    In this paper I reflect on the mythocreative potential of Gimbutas’ narrative reconstruction of archaic culture and its impact on the contemporary critique of culture. First, I revise the notion of ‘nature’ in the context of two opposing conceptual paradigms of change-over-time, namely cyclic and linear. Then, I discuss symbolic connotation of ‘Nature – Culture’ interrelationship with special reference to the ‘idyllic vision of Goddess’ proposed by Marija Gimbutas (1921-1994), American archaeologist of Lithuanian origin, the author of the groundbreaking books (...)
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  23. Galen A. Johnson (2008). Présence de L’Oeuvre, Un Passé Qui Ne Passe Pas: Merleau-Ponty and Paul Klee. Alter: revue de phénoménologie 16:227-242.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  24. Albert A. Johnstone (1984). Languages and Non-Languages of Dance. In Maxine Sheets-Johnstone (ed.), Illuminating Dance: Philosophical Explorations.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  25. Gerald Keaney (2014). The Life and Times of Johnny Xerox. Philosofict (2).
    A superhero story where the protagonist questions the purpose of being a superhero in the first place.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  26. Gerald Keaney (2012). Free Play and the Foreclosure of New Babylon. Environment and Planning D 30:418-433.
    Automation may be able to completely eliminate the need for labour. But how should we use the freed-up time? In his proposal for a future urbanism, New Babylon, Constant Nieuwenhuys thought people would engage in nonstop free play, remaking surroundings. I argue that at the core of New Babylon is an intuition about a satisfying life, that of Homo ludens. This intuition had a broad appeal in the 1960s. New Babylon is an intuition pump, not a utopia, and Constant wants (...)
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  27. Magda Keaney & Gerald Keaney (2007). The DNA of DIY. Photofile (81):60-63.
    We argue DIY art provides a relatively pressure-free learning environment, using self-portraits as our main examples.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  28. Gavin Keeney, Dossier Gaialight 2007-2011.
    Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video Games (2011) (...)
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  29. Gavin Keeney (2011). "Else-Where": Essays in Art, Architecture, and Cultural Production 2002-2011. Cambridge Scholars Publishing.
    “Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main repression (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  30. P. Kivy (2000). Philosophies of Arts (N. Potter). Philosophical Books 41 (1):74-76.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  31. Donald Kuspit (ed.) (1998). Art Criticism.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  32. Karin Leonhard & Silke Horstkotte (eds.) (2007). Seeing Perception. Cambridge Scholars Publishing.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  33. Scott A. Lukas & John Marmysz (eds.) (2009). Fear, Cultural Anxiety, and Transformation: Horror, Science Fiction, and Fantasy Films Remade. Lexington Books.
    This collection was inspired by the observation that film remakes offer us the opportunity to revisit important issues, stories, themes, and topics in a manner that is especially relevant and meaningful to contemporary audiences. Like mythic stories that are told again and again in differing ways, film remakes present us with updated perspectives on timeless ideas. While some remakes succeed and others fail aesthetically, they always say something about the culture in which_and for which_they are produced. Contributors explore the ways (...)
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  34. Jeff Malpas, At the Threshold: The Edge of Liminality.
    Every threshold is placed at an edge, and yet not merely an edge, for the threshold always carries with it a sense of opening up toward or closing away from. Only that place at the edge that anticipates or remembers can constitute a threshold. The threshold thus is not a place in which one can remain – to do so is for it to cease to be a threshold – but is always a place of movement and transition. Indeed, one (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  35. Jean-Paul Martinon (ed.) (2013). The Curatorial: A Philosophy of Curating. Bloomsbury.
    This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the curatorial' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. -/- In order to start thinking about curating, this book takes (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  36. Jennifer A. McMahon (2012). Deflating Metaphors and Emerging Contexts: Messing with Your Mind in a Material World. In Natasha Bullock & Alexie Glass-Kantor (eds.), Adelaide Biennial 2012 Catalogue, Parallel Collisions. Art Gallery of South Australia. 194-98.
    A discussion of the way the visual artists represented in Adelaide’s 2012 Biennale draw attention to new conceptions of place, time and self which highlight the contingent nature of the narratives that underlie our day to day existence. Disenchantment or re-enchantment are increasingly redundant conceptions. Such narratives are always fluid. Among the ebbs and flows, new conceptions emerge, providing in effect new ways of being in the world, and in turn prompting a reshuffling of what we thought we knew.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  37. Jennifer A. McMahon (2011). The Shades in Platon's Mirror: The Ethical, Political and Aesthetic in the Art of Mischa Kuball. Column 8:99-104.
    Plato’s distinction between appearance and reality which he attempts to demonstrate in his allegory of the cave established the conceptual framework for theories of knowledge for many centuries. The quest for certainty set us on the path to believing that reality is there to be discovered. We only have to open our eyes and minds. Yet a recurring question about the interface between culturally acquired concepts and objective sense perception remains a point of contention. Mischa Kuball’s Platon’s Mirror addresses this (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  38. Jennifer A. McMahon (2008). Backing Kant, with Interest. Australian and New Zealand Journal of Art 9 (1/2):90-99.
    The idea of a ‘global’ concept of art might suggest a transcending of the categories which would locate an artwork relative to one place and one time. Is this possible? If we answer in the negative, this suggests that a global concept of art is not possible, but on the positive side, the significance of the particular is kept intact. If we answer in the affirmative, then a global concept of art is possible, but we lose the very aspect that (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  39. Jennifer A. McMahon (2008). The Romantic Spirit. ArtLink 28 (2):13-15.
    A central idea of Romanticism in the arts is the idea that art or the aesthetic experience of nature reveals truth or insight about the human condition and relation to nature. What kind of truth could this be and how could perceptual objects reveal it?
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  40. Kevin Melchionne (2002). Front Yards. In Arnold Berleant (ed.), The Environment and the Arts. Ashgate Press.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  41. Kevin Melchionne (1998). Re-Thinking Site-Specificity in Public Art: Some Critical and Philosophical Problems. In Donald Kuspit (ed.), Art Criticism. 36-49.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  42. V. A. Melnikov & D. A. Ilyamova (2013). Leonardo da Vinci's Hidden Images. "The Arno Valley Landscape" . Mystic Silence 540 Years Long. Liberal Arts in Russia 2 (3):216--227.
    This paper is devoted to Leonardo da Vinci’s ‘The Arno Valley Landscape‘. The historical aspect of the subject under study has been considered, as well as the methodological issues in learning the professional drawing techniques in the framework of Leonardo’s ten attributes of sight and the Thinking through Drawing methodology. Our approach allows formulating the figurative and artistic component of the masterpiece and find out Leonardo’s hidden messages, full of mystics and symbolism.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  43. Daniel Meyer-Dinkgräfe (ed.) (2008). Consciousness, Theatre, Literature and the Arts 2007. Cambridge Scholars Press.
  44. Mara Miller (2008). Japanese Gardens as Texts and Contexts. East-West Connections 7 (1):85-106.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  45. Gregory Minissale (2009). Enacting Higher Order Thoughts: Velazquez and Las Meninas. Journal of Consciousness Studies 16 (2-3):165-89.
    This paper bridges art history and consciousness studies and investigates the network of gazes and frames in Las Meninas and how this engages with a system of higher-order thoughts and reflexive operations.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  46. Pierre Pica & Tibor Papp (eds.) (1988). Transparence Et Opacité. Littérature Et Sciences Cognitives. Cerf.
    Une théorie de la littérature s'appuyant sur les contraintes de langue mises en évidence par la grammaire chomskyenne est-elle envisageable ? Une telle théorie peut-elle reprendre en des termes nouveaux le programme de recherche envisagé - en termes sémiotiques - par Jakobson, qui tentait de constituer une théorie générale du langage, de la poésie et de l'art ? -/- Une théorie linguistique peut-elle participer à la découverte de nouvelles formes littéraires dont elle s'enrichirait en retour ? C'est ce que suggère (...)
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  47. Veikko Rantala (2011). Aesthetic Tension. Cognitive Aspects of Interpretation. Peter Lang.
    This is an interdisciplinary study of what is cognitively going on when we interpret, respresent, or evaluate cultural entities, works of art included. In addition, the role of interpretation in experience and in cultural objects is elucidated from a cognitive point of view. The book relies on theories of action, perception, possible worlds, modalities, intentionality. cognition, and brain research, and it contains anumber of case studies. The book ptovides some new insights into some much-discussed problems related to interpretation.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  48. Dominique Raynaud (2009). Why Did Geometrical Optics Not Lead to Perspective in Medieval Islam? In M. Cherkaoui & P. Hamilton (eds.), Raymond Boudon: A Life in Sociology. Bardwell Press. 243-266.
    The idea that linear perspective arose only in the West due to the strength of an unusual process of rationalization is denied by the fact that IXth century Islamic scholars had yet a thorough knowledge of the optical and geometrical materials required in perspective. In addition, the process of rationalization was rarely so intense as in that time, because truth uniqueness and scientific communalism were core values of Medieval Islam. The puzzle is not a matter of less or more rationality, (...)
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  49. Daniel Rubinstein (2008). Life More Photographic; Mapping the Networked Image. photographies 1 (1):9-28.
    Twenty two years since the arrival of the first consumer digital camera (Tatsuno 36) Western culture is now characterised by ubiquitous photography. The disappearance of the camera inside the mobile phone has ensured that even the most banal moments of the day can become a point of photographic reverie, potentially shared instantly. Supported by the increased affordability of computers, digital storage and access to broadband, consumers are provided with new opportunities for the capture and transmission of images, particularly online where (...)
    Remove from this list |
    Translate to English
    | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  50. Amy M. Schmitter (2003). The Verificationist in Spite of Himself. History and Theory 42 (3):412–423.
    Review Essay of Keith Moxey, The Practice of Persuasion: Paradox and Power in Art History.
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
1 — 50 / 55