The Crossing of the Visible
David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Stanford University Press (2004)
Painting, according to Jean-Luc Marion, is a central topic of concern for philosophy, particularly phenomenology. For the question of painting is, at its heart, a question of visibility—of appearance. As such, the painting is a privileged case of the phenomenon; the painting becomes an index for investigating the conditions of appearance—or what Marion describes as “phenomenality” in general. In The Crossing of the Visible, Marion takes up just such a project. The natural outgrowth of his earlier reflections on icons, these four studies carefully consider the history of painting—from classical to contemporary—as a fund for phenomenological reflection on the conditions of (in)visibility. Ranging across artists from Raphael to Rothko, Caravaggio to Pollock, The Crossing of the Visible offers both a critique of contemporary accounts of the visual and a constructive alternative. According to Marion, the proper response to the “nihilism” of postmodernity is not iconoclasm, but rather a radically iconic account of the visual and the arts that opens them to the invisible.
|Keywords||Visual perception Perspective Painting Philosophy Phenomenology|
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|Call number||ND1140.M3513 2004|
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Citations of this work BETA
Ian Rottenberg (2014). Fine Art as Preparation for Christian Love. Journal of Religious Ethics 42 (2):243-262.
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