Search results for 'Time in art' (try it on Scholar)

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  1.  20
    Daniel L. Tate (2012). In the Fullness of Time: Gadamer on the Temporal Dimension of the Work of Art. Research in Phenomenology 42 (1):92-113.
    Abstract In Gadamer's later writings on art, his investigation into the being of the work exploits the temporal resonance of the concept of performative enactment ( Vollzug ), which displaces the priority of play ( Spiel ) in his earlier account. Drawing upon Heidegger, Gadamer deploys the concepts of tarrying ( Verweilen ) and the while ( die Weile ) to elucidate the temporality of the work of art as an event of being. On the one hand, tarrying describes the (...)
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  2.  4
    Paul Mattick (2003). Art in its Time: Theories and Practices of Modern Aesthetics. Routledge.
    Art In Its Time takes a close look at the way in which art has become integral to the everyday 'ordinary' life of modern society. It explores the prevalent notion of art as transcending its historical moment, and argues that art cannot be separated from the everyday as it often provides material to represent social struggles and class, to explore sexuality, and to think about modern industry and our economic relationships.
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  3.  30
    Yve Lomax (2005). Sounding the Event: Escapades in Dialogue and Matters of Art, Nature and Time. I.B. Tauris.
    What constitutes an event? Propelled by this question, Sounding the Event encounters a variety of theories and a host of issues that have implications for not only conceptions of nature and becoming, subject and substance but also practices of time, art and photography. This book explores dialogue in its writing and as it encounters the philosophical utterances of Michel Serres, Isabelle Stengers, Alfred North Whitehead, Jean-Franbliogçois Lyotard, Maurice Blanchot, Gilles Deleuze and Fbliogelix Guattari, and Alain Badiou.
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  4. Simon Haines (2007). Time in Philosophy and Art. In Jan Lloyd Jones (ed.), Art and Time. Australian Scholarly Publishing 13.
     
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  5. Susan Tridgell (2007). Retrieving the Past, Transforming the Future: Time and Art in Autobiographies of Childhood and Incarceration. In Jan Lloyd Jones (ed.), Art and Time. Australian Scholarly Publishing 190.
     
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  6. Leonard Shlain (1991/1993). Art & Physics: Parallel Visions in Space, Time, and Light. Quill/W. Morrow.
    Art interprets the visible world, physics charts its unseen workings--making the two realms seem completely opposed. But in Art & Physics, Leonard Shlain tracks their breakthroughs side by side throughout history to reveal an astonishing correlation of visions. From teh classical Greek sculptors to Andy Warhol and Jasper Johns, and from Aristotle to Einstein, aritsts have foreshadowed the discoveries of scientists, such as when Money and Cezanne intuited the coming upheaval in physics that Einstein would initiate. In this lively and (...)
     
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  7.  9
    Helen Beebee (2013). Michelle Bastian Completed Her Ph. D. In Philosophy at the University of New South Wales. She is Currently a Chancellor's Fellow at the Edinburgh College of Art, University of Edinburgh. Her Work Focuses on the Use of Time in Social Practises of Inclusion and Exclusion. [REVIEW] In Katrina Hutchison & Fiona Jenkins (eds.), Women in Philosophy: What Needs to Change? OUP Usa 261.
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  8. E. H. Gombrich (1991). Topics of Our Time Twentieth-Century Issues in Learning and in Art.
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  9. Sachchidanand Hiranand Vatsyayan (1981). A Sense of Time: An Exploration of Time in Theory, Experience, and Art. Oxford University Press.
     
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  10. Manuela Friedrich (1997). " Reaction Time" in the Neural Network Module ART 1. Poznan Studies in the Philosophy of the Sciences and the Humanities 56:215-238.
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  11. E. H. Gombrich (1994). Topics of Our Time: Comments on Twentieth-Century Issues in Learning and in Art. Journal of Aesthetics and Art Criticism 52 (2):247-249.
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  12. Ewa Wójtowicz (2001). Time and Real - Time in Online Art. Art Inquiry. Recherches Sur les Arts 3:215-228.
     
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  13.  15
    Giorgio Torraca (1994). Science and Conservation: The Work of Art in the Flow of Time. World Futures 40 (1):129-132.
    The technology of conservation needs the best possible knowledge of the artifact and its changes in time. Scientists lack the deep sensorial knowledge of the object that the restorer, on the contrary, possesses.
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  14. John Paul Ricco (2014). The Decision Between Us: Art and Ethics in the Time of Scenes. University of Chicago Press.
    _The Decision Between Us _combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that “decision” is as much an aesthetic as it is an ethical (...)
     
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  15.  5
    G. R. Levy & H. A. Groenewegen-Frankfort (1953). Arrest and Movement. An Essay on Space and Time in the Representational Art of the Ancient Near East. Journal of Hellenic Studies 73 (4):179.
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  16. Sue Vice (2001). “It's About Time”: The Chronotope of the Holocaust in Art Spiegelman's Maus'. In Jan Baetens (ed.), The Graphic Novel. Leuven University Press 47--60.
     
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  17.  7
    William M. Hawley (2012). Actors and Acting in Shakespeare's Time: The Art of Stage Playing. By John H. Astington. The European Legacy 17 (3):412 - 413.
    The European Legacy, Volume 17, Issue 3, Page 412-413, June 2012.
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  18.  1
    Vjačeslav V. Ivanov (1973). The Category of Time in Twentieth-Century Art and Culture. Semiotica 8 (1):1-45.
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  19. Lynn Ransom (2006). Bianca Kühnel, The End of Time in the Order of Things: Science and Eschatology in Early Medieval Art. Regensburg: Schnell & Sterner, 2003. Pp. 384; 174 Black-and-White and Color Figures. €61.68. [REVIEW] Speculum 81 (1):220-222.
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  20. Anna-Teresa Tymieniecka & World Congress of Phenomenology (1991). New Queries in Aesthetics and Metaphysics Time, Historicity, Art, Culture, Metaphysics, the Transnatural.
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  21. Kia Lindroos (1998). Now-Time Image-Space: Temporalization of Politics in Walter Benjamin's Philosophy of History and Art. University of Jyväskylä.
  22.  6
    Carolyn Drake (2001). Form in Time: The Perceptual Discovery of Art. Trends in Cognitive Sciences 5 (11):463-464.
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  23. Eleonora Jedlińska (2011). Homelessness of Art Work / Homelessness of Memory: Moshe Kupferman\'s The Rift in Time. Art Inquiry. Recherches Sur les Arts 13:75-94.
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  24. Gabriel Motzkin (1997). The Intuition of Time Between Science and Art History in the Early Twentieth Century. Science in Context 10 (1).
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  25.  3
    H. J. B. & Martin P. Nilsson (1921). Primitive Time-Reckoning. A Study in the Origins and First Development of the Art of Counting Time Among the Primitive and Early Culture Peoples. Journal of Hellenic Studies 41:158.
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  26.  2
    Antonio Negri & Max Henninger (2007). Art and Culture in the Age of Empire and the Time of the Multitudes. Substance 36 (1):48-55.
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  27. Jonathan Dollimore (2003). Art in Time of War: Towards a Contemporary Aesthetic. In John J. Joughin & Simon Malpas (eds.), The New Aestheticism. Manchester University Press 3642.
     
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  28. Max Henninger (2007). Introduction to Antonio Negri's "Art and Culture in the Age of Empire and the Time of the Multitudes". Substance 36 (1):47-47.
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  29. Virginia Roehrig Kaufmann (1990). Joachim M. Plotzek, Andachtsbücher des Mittelalters Aus Privatbesitz. Cologne: Stadt Köln and Schnütgen Museum, 1987. Pp. 250; 358 Color Plates, 2 Black-and-White Plates. Roger S. Wieck, Time Sanctified: The Book of Hours in Medieval Art and Life. With Essays by Lawrence R. Poos, Virginia Reinburg, and John Plummer. New York: George Braziller, in Association with the Walters Art Gallery, Baltimore, 1988. Pp. 230; 40 Color Plates, 132 Black-and-White Plates. $45. [REVIEW] Speculum 65 (2):485-489.
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  30. Harold Osborne (1975). "The New Humanism: Art in a Time of Change": Barry Schwartz. [REVIEW] British Journal of Aesthetics 15 (4):377.
     
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  31. Ivan Sanders (1978). Has Shaped Their Lives and Art Ever Since. Tamas Kabdebo is a Poet, Translator and Novelist Who Makes His Home in England. His Minden Ido\(Every Time) is a Tribute to the Impulsive Heroism of Youth and the Wistful Acquies-Cence of Middle Age. [REVIEW] Kriterion: Journal of Philosophy 175:8.
     
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  32. Zoé Whitley (2014). Today and Yesterday, Forever: Negotiating Time and Space in the Art of Mame-Diarra Niang and Dineo Seshee Bopape. Technoetic Arts 12 (2):175-183.
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  33. Philip S. Rawson (2005). Art and Time. Monograph Collection (Matt - Pseudo).
     
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  34.  4
    Charlie Gere (2006). Art, Time, and Technology. Berg.
    This book explores how the practice of art, in particular of avant-garde art, keeps our relation to time, history and even our own humanity open. Examining key moments in the history of both technology and art from the beginnings of industrialisation to today, Charlie Gere explores both the making and purpose of art and how much further it can travel from the human body.
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  35.  20
    Derek Allan (2013). Art and Time. Cambridge Scholars.
    A well-known feature of great works of art is their power to “live on” long after the moment of their creation – to remain vital and alive long after the culture in which they were born has passed into history. This power to transcend time is common to works as various as the plays of Shakespeare, the Victory of Samothrace, and many works from early cultures such as Egypt and Buddhist India which we often encounter today in major art (...)
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  36. Stephen Snyder (2010). Arthur Danto’s Andy Warhol: The Embodiment of Theory in Art and the Pragmatic Turn. Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. (...)
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  37.  8
    L. G. Underwood (2007). Now Bounded, Now Immeasurable: Perspectives on Time in Disability, in Suffering and at End of Life. Medical Humanities 33 (1):11-15.
    Novels, films, poems and visual art can expand our view of time in ways that can be useful in dealing with disability, suffering and end of life. In particular, they can reveal more complex ways to view time. This can be effective both for the person suffering and for those who care for them. Our typical ways of viewing time include linear sequential clock time, which progresses in an evenly parsed, ordered, unidirectional way, and memory or (...)
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  38.  34
    Stephen Snyder (2015). The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge. CounterText 1 (3).
    Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...)
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  39.  23
    Wilfried van Damme (2010). Ernst Grosse and the "Ethnological Method" in Art Theory. Philosophy and Literature 34 (2):302-312.
    Why are the Germans good at music, whereas the Dutch excel in painting? What are the reasons for the outstanding draftsmanship of Australian Aboriginals, and why does this skill seem absent among West African peoples, who appear concerned rather with sculpture? Could it be that the Japanese do not share the European preference for symmetry in decorative art? Moreover, why do tastes in the visual arts, music, and literature change so noticeably throughout history? Is it possible that, despite differences across (...)
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  40. Charles Biederman & David Bohm (1999). Bohm-Biederman Correspondence: Creativity in Art and Science. Routledge.
    "It was sheer chance that I encountered David Bohm's writing in 1958 ... I knew nothing about him. What struck me about his work and prompted my initial letter was his underlying effort to seek for some larger sense of reality, which seemed a very humanized search." - Charles Biederman, from the foreword of the book This book marks the beginning of a four thousand page correspondence between Charles Biederman, founder of Constructivism in the 1930s, and David Bohm the prestigious (...)
     
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  41. George Kubler (ed.) (1992). The Life of Forms in Art. Zone Books.
    In this beautiful meditation on the history of art and the problem of style, Henri Focillon describes how art forms change over time. Although he argues that the development of art is reducible to external political, social, or economic determinants, one of his great achievements was to lodge a concept of autonomous and organic artistic creation within the shifting domain of materials and techniques. Focillon emphasizes the universal presence of contradictory tendencies that give all styles manifold, stratified character.The Life (...)
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  42. Paavo Pylkkanen (ed.) (2002). Bohm-Biederman Correspondence: Creativity in Art and Science. Routledge.
    _"It was sheer chance that I encountered David Bohm's writing in 1958... I knew nothing about him. What struck me about his work and prompted my initial letter was his underlying effort to seek for some larger sense of reality, which seemed a very humanized search." - __Charles Biederman, from the foreword of the book This book marks the beginning of a four thousand page correspondence between Charles Biederman, founder of Constructivism in the 1930s, and David Bohm the prestigious physicist (...)
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  43. Paavo Pylkkanen (ed.) (1999). Bohm-Biederman Correspondence: Creativity in Art and Science. Routledge.
    _"It was sheer chance that I encountered David Bohm's writing in 1958... I knew nothing about him. What struck me about his work and prompted my initial letter was his underlying effort to seek for some larger sense of reality, which seemed a very humanized search." - __Charles Biederman, from the foreword of the book This book marks the beginning of a four thousand page correspondence between Charles Biederman, founder of Constructivism in the 1930s, and David Bohm the prestigious physicist (...)
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  44. Paavo Pylkkanen (ed.) (1999). Bohm-Biederman Correspondence: Creativity in Art and Science. Routledge.
    _"It was sheer chance that I encountered David Bohm's writing in 1958... I knew nothing about him. What struck me about his work and prompted my initial letter was his underlying effort to seek for some larger sense of reality, which seemed a very humanized search." - __Charles Biederman, from the foreword of the book This book marks the beginning of a four thousand page correspondence between Charles Biederman, founder of Constructivism in the 1930s, and David Bohm the prestigious physicist (...)
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  45.  25
    Elizabeth Grierson (2011). Art and Creativity in the Global Economies of Education. Educational Philosophy and Theory 43 (4):336-350.
    Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input-output, means-end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are raised, such as: (...)
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  46.  5
    Sabína Jankovičová & Magda Petrjánošová (2011). How They Made Us Believe Their Truths: Monumental Art in Public Spaces Before and After the Fall of Communism. Human Affairs 21 (4):367-381.
    This paper is concerned with monumental art in Slovakia before and after the fall of Communism in 1989. Generally, art in public spaces is important, because it influences the knowledge and feelings the people who use this space have about the past and the present, and thus influences the shared social construction of who we are as a social group. In this article we concentrate on the period of Communism and the formal and iconographic aspects that were essential to art (...)
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  47.  5
    David H. Fleming (2013). Charcoal Matter with Memory: Images of Movement, Time and Duration in the Animated Films of William Kentridge. Film-Philosophy 17 (1):402-423.
    In his temporal philosophy based on the writing of Henri Bergson, Gilles Deleuze describes duration ( durée ) as a becoming that endures in time. Reifications of this complex philosophical concept become artistically expressed, I argue, in the form and content of South African artist William Kentridge's series of 'charcoal drawings for projection.' These exhibited art works provide intriguing and illuminating 'philosophical' examples of animated audio-visual media, which expressively plicate distinct images of movement and time. The composition of (...)
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  48.  7
    Meredith Tromble (2009). The Advent of Chemical Symbolism in the Art of Sonya Rapoport. Foundations of Chemistry 11 (1):51-60.
    This paper explores the use of chemical symbolism in works by the new media artist Sonya Rapoport, with a focus on the pivotal Cobalt series from the late 1970s. These works, drawings on computer printouts generated by research at the Lawrence Berkeley Laboratory, respond to experiments in nuclear chemistry. They mark the beginning of three productive decades in which Rapoport produced a variety of images related to chemistry in her work. She states, “I looked for authentic research projects that were (...)
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  49.  16
    Trevor Mowchun (2015). A Machine’s First Glimpse in Time and Space. Evental Aesthetics 4 (2):77-102.
    The primary objective of this two-part essay is to theorize the relationships between religious disenchantment, the autonomy of art, and the phenomenon of contingency. These connections are held to be vital for an understanding of modern aesthetics in general, and the possibility is put forth that they come to a head in the most modern of all the arts: cinema. In the first part, an account of the contemporary rift between the immanence of art and the transcendence of the divine (...)
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  50.  3
    Valentin I. Tolstykh (1987). In the Mirror of Art: Vladimir Vysotskii as a Cultural Phenomenon. Russian Studies in Philosophy 26 (1):25-52.
    The universal social significance of the phenomena of artistic culture has its own specific features. Often it is something standing alone, an "exception to the rule," which nonetheless gives expression to some important tendency in the evolution of literature and art. This has been the case, in particular, with the works of Vladimir Vysotskii, who only a short time ago still seemed to some as some almost peripheral offshoot of the real artistic process, a kind of "nonsense," having no (...)
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