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  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 (...)
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  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.
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  3. Arnold Berleant (ed.) (2002). The Environment and the Arts. Ashgate Press.
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  4. Austin Corbett (2009). Beyond Ghost in the (Human) Shell. Journal of Evolution and Technology 20 (1).
    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 (...)
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  5. James Elkins (2012). Whitney Davis's General Theory of Visual Culture. [REVIEW] College Art Association Books Reviews (Online).
    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).
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  6. 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.
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  7. C. E. Emmer (2004). Representing Place. [REVIEW] Review of Metaphysics 57 (3):610-612.
  8. 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.
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  9. 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 (...)
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  10. 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.
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  11. 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 (...)
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  12. 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.
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  13. Albert A. Johnstone (1984). Languages and Non-Languages of Dance. In Maxine Sheets-Johnstone (ed.), Illuminating Dance: Philosophical Explorations.
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  14. 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 (...)
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  15. 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.
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  16. Gavin Keeney (2011). &Quot;else-Where&Quot;: 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 (denoted over the course of the studies as the “Real-Irreal” or “Else-where”). While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational (...)
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  17. Donald Kuspit (ed.) (1998). Art Criticism.
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  18. 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 (...)
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  19. 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 (...)
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  20. Kevin Melchionne (2002). Front Yards. In Arnold Berleant (ed.), The Environment and the Arts. Ashgate Press.
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  21. Kevin Melchionne (1998). Re-Thinking Site-Specificity in Public Art: Some Critical and Philosophical Problems. In Donald Kuspit (ed.), Art Criticism. 36-49.
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  22. Mara Miller (2008). Japanese Gardens as Texts and Contexts. East-West Connections 7 (1):85-106.
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  23. 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.
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  24. 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 (...)
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  25. 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.
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  26. Lauren Tillinghast (2004). Essence and Anti-Essentialism About Art. British Journal of Aesthetics 44 (2):167-183.
    I argue that clarity about essence provides the tools both to isolate a distinct concept of art and to see why anti-essentialism is a plausible, though incomplete, doctrine about it. While this concept is not the only concept currently expressed by our word ‘art’, it is an interesting, and might be an important, one. One of the challenges it poses to conceptual analysis is to explain what it is to be better than being good of a thing's kind, where this (...)
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  27. Edward Willatt (2008). 'Art as Non-Knowledge: Gilles Deleuze on Consciousness and Apprenticeship'. In Daniel Meyer-Dinkgräfe (ed.), Consciousness, Theatre, Literature and the Arts 2007. Cambridge Scholars Press.
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