From the "Topos of Nothingness" to the "Space of Transparency": Kitarō Nishida's Notion of Shintai and Its Influence on Art and Architecture (Part 1)
David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Philosophy East and West 58 (1):83 - 107 (2008)
In his philosophy of nothingness, Kitarō Nishida illuminates the matrix of transformation of the world "from the Created to the Creating" (tsukuru mono kara tsukurareta mono e) through shintai, or the body. In this matrix, shintai enters into the stage of an action-sensation continuum and emerges as the immaculate iconic tool of nothingness to create new figures as extended self. This idea of shintai has resonance with the development of postwar art in Japan. The "Space of Transparency" put forth by Ufan Lee, the leader of Monoha, is the principal example. This essay investigates Nishida's notion of shintai and its influence on Lee's theory of art
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