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  1. Estelle Barrett & Barbara Bolt (eds.) (2013). Carnal Knowledge: Towards a 'New Materialism' Through the Arts. I.B. Tauris.
    Carnal Knowledge is an outcome of the renewed energy and interest in moving beyond the discursive construction of reality to understand the relationship between what is conceived of as reality and materiality, described as the "material turn." It draws together established and emerging writers, whose research spans dance, music, film, fashion, design, photography, literature, painting and stereo-immersive VR, to demonstrate how art allows us to map the complex relations between nature and culture, between the body, language and knowledge. These writings (...)
     
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  2. Barbara Bolt (2013). Introduction : Toward a "New Materialism" Through the Arts. In Estelle Barrett & Barbara Bolt (eds.), Carnal Knowledge: Towards a 'New Materialism' Through the Arts. I.B. Tauris.
     
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  3. Christopher Barnett, Pietism Kierkegaard, Estelle Barrett, Kristeva Reframed, Barbara Bolt & Heidegger Reframed (2011). BALDWIN Thomas & Consuelo PRETI (Eds): GE Moore: Early. British Journal for the History of Philosophy 19 (5):1017-1019.
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  4. Barbara Bolt (ed.) (2007). Sensorium: Aesthetics, Art, Life. Cambridge Scholars Pub..
    This book presents a timely reconfiguration of the relations between art, philosophy, ethics, and aesthetics. Through connection with a range of contemporary social and philosophical issues and movements, this collection of essays highlights the imperative of sensorial aesthetics. The book focuses on the radical philosophical approach to aesthetics enabled by the works of Jean-François Lyotard and Gilles Deleuze. From these philosophers an older meaning of aesthetic has been recalled. Before it indicated primarily the theory of art and beauty, “aesthetic” referred (...)
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  5. Barbara Bolt (2007). The Techno-Sublime: Towards a Post-Aesthetic. In , Sensorium: Aesthetics, Art, Life. Cambridge Scholars Pub.. 43--51.
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  6. Barbara Bolt (2004). Art Beyond Representation: The Performative Power of the Image. I.B. Tauris.
    Refuting the assumption that art is a representational practice, Bolt's striking argument engages with the work of Heidegger, Deleuze and Guattari, C.S.Peirce and Judith Butler to argue for a performative relationship between art and artist. Drawing on themes as diverse as the work of Cezanne and of Francis Bacon, the transubstantiation of the Catholic sacrament and Wilde's novel The Picture of Dorian Gray , she challenges the metaphor of light as enlightenment, reconceiving this revealing light as the blinding glare of (...)
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  7. Barbara Bolt (2000). Shedding Light for the Matter. Hypatia 15 (2):202-216.
    : This paper critiques enlightenment notions of representation and rehearses an alternative model of mapping that is grounded in performance. Working from her own practice as a landscape painter, Bolt argues that the particular experience of the "glare" of Australian light fractures the nexus between light, form, knowledge, and subjectivity. This rupture prompts a move from shedding light ON the matter to shedding light FOR the matter and suggests an emergent rather than a representational practice.
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