Aesthetics

Edited by Rafael De Clercq (Lingnan University)
261 found
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1 — 50 / 261
  1. added 2019-09-22
    Etika ako estetika existencie v prieniku súčasnej kultúry a filozofie.Lukáš Švihura - 2017 - In Oľga Sisáková (ed.), Umenie života vo filozofickej reflexii. Prešov, Slovensko: pp. 57-78.
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  2. added 2019-09-22
    Byť Európanom. Estetizácia etiky Andreja Vandráka.Lukáš Švihura - 2017 - In Vasil Gluchman (ed.), Etické myslenie minulosti a súčasnosti. Etika v minulosti - minulosť v etike / Ethical Thinking Past & Present. Ethics in the Past - the Past in Ethics. Prešov, Slovensko: pp. 129-148.
    The article updates the work of an important Prešov philosopher and educator Andrej Vandrák The Elements of Philosophical Ethics, which shows that scientific personalities of 19th century Prešov were intellectually close to European thought schools. Apart from Kant and Fries Vandrák’s works were also influenced by European philosophy as a whole, thus influencing Vandrák’s perception of inter alia, good and beautiful and the connection between ethical and aesthetic. These thought in Vandrák’s works show known European tendency and the topic which, (...)
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  3. added 2019-09-21
    Heidegger and the Poetics of Time.Rebecca Longtin - 2017 - Gatherings: The Heidegger Circle Annual 7:124 - 141.
    Heidegger’s engagement with the poet Friedrich Hölderlin often dwells on the issue of temporality. For Heidegger, Hölderlin is the most futural thinker (zukünftigster Denker) whose poetry is necessary for us now and must be wrested from being buried in the past. Heidegger frames his reading of Hölderlin in terms of past, present, and future and, more importantly, describes him as being able to poetize time. This paper examines what it means to poetize time and why Hölderlin’s poetry in particular allows (...)
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  4. added 2019-09-19
    Dancing with Time: The Garden as Art.Isis Brook - forthcoming - British Journal of Aesthetics:ayz039.
    Dancing with Time: The Garden as ArtPOWELLJOHNPETER LANG. 2019. pp. 204. £45.00.
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  5. added 2019-09-19
    The Value of Popular Music: An Approach From Post-Kantian Aesthetics.Theodore Gracyk - forthcoming - British Journal of Aesthetics:ayz036.
    The Value of Popular Music: An Approach from Post-Kantian AestheticsSTONEALISONPALGRAVE MACMILLAN. 2016. pp. 294. £29.99.
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  6. added 2019-09-16
    Tecnología de la experiencia. Trata de personas.Francisco Barrón - 2019 - Estudios Del Discurso 5 (2):40-65.
    This article is an attempt to approach what is currently called human trafficking among legal circles and journalistic discourses, from an aesthetic-technological perspective, as a technology that seeks to produce an experience of the obliteration of bodies. Firstly, we make a characterization of the way these discourses operate, as well as of their effects in order to indicate just how incapable of pondering aesthetic-technological functioning they are, as far as the technology experience postulated herein. In the final part the article, (...)
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  7. added 2019-09-15
    The Incognito of a Thief: Johannes Climacus and the Poetics of Self-Incrimination.Martijn Boven - 2019 - In Adam Buben, Eleanor Helms & Patrick Stokes (eds.), The Kierkegaardian Mind. London, UK: pp. 409-420.
    In this essay, I advance a reading of Philosophical Crumbs or a Crumb of Philosophy, published by Søren Kierkegaard under the pseudonym Johannes Climacus. I argue that this book is animated by a poetics of self-incrimination. Climacus keeps accusing himself of having stolen his words from someone else. In this way, he deliberately adopts the identity of a thief as an incognito. To understand this poetics of self-incrimination, I analyze the hypothetical thought-project that Climacus develops in an attempt to show (...)
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  8. added 2019-09-14
    Mary Shelley’s ‘Romantic Spinozism’.Eileen Hunt Botting - forthcoming - History of European Ideas:1-18.
    ABSTRACT Mary Shelley (1797–1851) developed a ‘Romantic Spinozism’ from 1817 to 1848. This was a deterministic worldview that adopted an ethical attitude of love toward the world as it is, must be, and will be. Resisting the psychological despair and political inertia of fatalism, her ‘Romantic Spinozism’ affirmed the forward-looking responsibility of people to love their neighbors and sustain the world, including future generations, even in the face of seeming apocalypse. This history of Shelley’s reception of Spinoza begins with the (...)
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  9. added 2019-09-12
    Wat is sexy? Een oefening in feministische filosofie.Hans Maes - 2019 - Antwerp: Letterwerk.
    Wanneer ben je sexy, en wie bepaalt dat eigenlijk? Gelden dezelfde normen voor mannen en vrouwen? En hoe moeten we als maatschappij omgaan met de toenemende druk om er hot uit te zien? In dit boek zoekt filosoof Hans Maes een antwoord op deze vragen. Onderweg reflecteert hij over sekssymbolen, over de erotiserende werking van macht en rijkdom, en over de rol van kunst. Hij buigt zich over de notie van seksuele authenticiteit en lanceert ten slotte ook een oproep voor (...)
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  10. added 2019-09-12
    Cryptophasia and the Question of Database.Ekin Erkan - 2019 - Triple Ampersand.
    Postmodernity’s cultural database logic and the consequent filmic characteristics of the digital age were fostered by Lev Manovich’s 1999 essay “The Database as Symbolic Form,” whereby Manovich furthered Roland Barthes’ adoption of Saussurrean sign-systems to describe cultural phenomena. In particular, Manovich applied Saussure’s description to postmodernity, delineating a juncture from modernism’s narrative-thralldom in the computer age, as “[i]nteractive interfaces foreground the paradigmatic dimension and often make explicit paradigmatic sets. Yet, they are still organized along the syntagmatic dimension” (232). The interface (...)
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  11. added 2019-09-12
    Can Film Show What Philosophy Won't Say? The "Film as Philosophy" Debate, and a Reading of Rashomon.Jônadas Techio - 2018 - Dissertatio 47 (S6):69-105.
    Seguindo os passos de Stanley Cavell e de Stephen Mulhall, argumentarei neste artigo que o cinema pode oferecer contribuições genuínas para a filosofia. Para tanto procurarei mostrar que os principais obstáculos para considerar o cinema como capaz de fazer filosofia derivam de pontos de vista bastante restritivos sobre a natureza da racionalidade, da cognição, do significado - e, finalmente, da filosofia e do cinema eles mesmos. Apresentarei alguns desses obstáculos e indicarei formas de removê-los, adotando uma interpretação mais ampla dessas (...)
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  12. added 2019-09-12
    Merleau-Ponty and Nishida: "Interexpression" as Motor-Perceptual Faith.Adam Loughnane - 2017 - Philosophy East and West 67 (3):710-737.
    This essay places Nishida Kitarō in dialogue with Maurice Merleau-Ponty regarding motor-perceptual aspects underlying their theories of artistic expression. The analysis begins by comparing their interpretations of negation as articulated in their later works and seeks to understand their poetic renderings of artistic practice as proposing a mutual and reciprocal form of negation. By analyzing their conceptions of negation as implicit to their depictions of artistic expression, this essay looks to expand their concepts of negation from a perceptual to a (...)
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  13. added 2019-09-12
    Etika ako estetika existencie (Pokus o určenie trendov estetizácie ľudskej skúsenosti).Lukáš Švihura - 2014 - 9. Študentská Vedecká Konferencia: Zborník Plných Príspevkov.
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  14. added 2019-09-10
    The Bold Thesis Retried: On Cinema as Philosophy.Paisley Livingston - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. New York: Routledge. pp. 81-91.
    This paper begins by presenting a simple model that maps some salient positions on the topic of cinema as philosophy, including the very strong claims that are constitutive of what has been stipulated to be “the bold thesis.” It is contended that examples that have been adduced in the literature as substantiating that bold thesis in fact only support weaker claims. It is argued in favor of accepting some such theses on the topic. It is then introduced a number of (...)
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  15. added 2019-09-10
    Are There Definite Objections to Film as Philosophy? Metaphilosophical Considerations.Diana Neiva - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. Nova Iorque, NY, Estados Unidos: pp. 116-134.
    The “film as philosophy” (FAP) hypothesis turned into a field if its own right during the 2000s, after S. Mulhall’s On Film (2001). In this work, Mulhall defended that some films philosophize for themselves. This caused controversy. Around the same time of On Film’s release, B. Russell published the article “The philosophical limits of film” (2000). This article had one of the first attacks against FAP, posing some main objections based on metaphilosophical grounds, which were called the “generality” and the (...)
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  16. added 2019-09-10
    Philosophical Experience and Experimental Film.Chris Falzon - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. New York: Routledge. pp. 159-173.
    One way that philosophy can be related to film is via the notion of experiment. This connection is usually discussed in terms of similarities between film and the thought experiments that can be found within philosophical texts. However, rather than subsuming film to the philosophical thought experiment, which risks missing what film itself contributes to the proceedings, it is more interesting to see how the cinematic medium might allow for forms of experimentation that go beyond what can be undertaken within (...)
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  17. added 2019-09-10
    Movies, Narration and the Emotions.Noel Carroll - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. Routledge. pp. 209-221.
    In “Movies, Narrative and Emotion” there is an attempt to suggest the ways in which a certain form of narrative organization, to which we can call “erotetic narration,” This can be co-ordinated with the emotional address of the motion picture in terms of what can be called “criterial prefocusing.” On this view, the primary way in which the emotions are engaged is character-directed, the protagonist’s goals providing grounds which generate the narrative questions that the movie goes on to answer.
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  18. added 2019-09-10
    Philosophical Dimensions of Cinematic Experience.David Davies - 2019 - In Christina Rawls, Diana Neiva & Steven Gouveia (eds.), Philosophy and Film: Bridging Divides. New York: Routledge. pp. 135-156.
    This chapter critically examines the idea that some cinematic artworks “do philosophy”. It is argued that any interesting “film as philosophy” thesis must satisfy two conditions: (FP1) In any advance in philosophical understanding attributable to a cinematic artwork, the philosophical content through which such an advance is accomplished must be articulated in a manner that is distinctively cinematic, on a proper understanding of the latter; (FP2) The advance in philosophical understanding attributable to a cinematic artwork must occur in the course (...)
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  19. added 2019-09-09
    Extracting Fictional Truth From Unreliable Sources.Emar Maier & Merel Semeijn - manuscript
    A fictional text is commonly viewed as constituting an invitation to play a certain game of make-believe, with the individual sentences written by the author providing the propositions we are to imagine and/or accept as true within the fiction. However, we can’t always take the text at face value. What narratologists call ‘unreliable narrators’ may present a confused or misleading picture of the fictional world. Meanwhile there has been a debate in philosophy about so-called ‘imaginative resistance’ in which we are (...)
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  20. added 2019-09-07
    Un coup de dès jamais n'abolira le hasard.Mitsou with Tibor Papp Ronat - 1986 - Paris, France: Change errant.
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  21. added 2019-09-07
    Bibiographie résumée des travaux de Mitsou Ronat.Pierre Pica - 1986 - Recherches Linguistiques de Vincennes 14:207-222.
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  22. added 2019-09-07
    Un coup de dès jamais n'abolira le hasard.Mitsou Ronat & Tibor Papp - 1981 - Paris, France: Change errant.
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  23. added 2019-09-07
    Faye.Mitsou Ronat - 1980 - Lausanne, Suisse: L'âge d'homme.
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  24. added 2019-09-07
    Un coup de dès ...pour la première fois grandeur nature.Mitsou Ronat - 1980 - la Quinzaine Littéraire 319:14.
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  25. added 2019-09-07
    Scrambling peut-elle être française ?Mitsou Ronat - 1975 - Cahier de Poétique Comparée 2 (2):47-92.
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  26. added 2019-09-07
    Questions sur les idéologies qui président à, et naissent de, l'utilisation des Théories linguistiques par la littérature.Mitsou Ronat - 1972 - In Actes du colloque de Cluny II. Paris: pp. 128-140.
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  27. added 2019-09-07
    Hypothèses. Trois entretiens et trois études sur la linguistique et la poétique.Roman Jakobson, Morris Halle & Noam Chomsky (eds.) - 1972 - Paris, France: Seghers-Laffont.
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  28. added 2019-09-07
    Notes sur une théorie de la forme des langues, suivie de Note jointe sur l'inconscient des langues.Mitsou Ronat - 1972 - In Roman Jakobson, Morris Halle & Noam Chomsky (eds.), Hypothèses. Trois entretiens et trois études sur la linguistique et la poétique. Paris: Éditions Seghers/Laffont. pp. 167-219.
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  29. added 2019-09-07
    Notes on Traditional Kitsch.Aleksa Ĉelebonović - 1969 - In Gillo Dorfles (ed.), Kitsch: The World of Bad Taste. New York: Bell Publishing. pp. 280-289.
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  30. added 2019-09-07
    Kitsch: The World of Bad Taste.Gillo Dorfles & John McHale (eds.) - 1969 - New York: Bell Publishing.
    Gillo Dorfles offers a veritable "catalogue raisonne of reigning bad taste" in the visual arts. His purpose is not simply to entertain but rather to demonstrate the contagious and corrosive nature of a phenomenon that threatens to debilitate the creative energies of the very society that spawned it. He and the other contributors examine the use of kitsch in politics, religion, advertising, film, architecture and design, "pornokitsch," and the modern trappings that surround birth, family life and death. To document the (...)
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  31. added 2019-09-06
    El Infierno y Salvando al soldado Pérez. Entre el realismo macabro y el ridículo mágico.Mario Edmundo Chávez Tortolero - 2019 - In Carlos Oliva Mendoza & Luis Guillermo Martínez Gutiérrez (eds.), Cine mexicano y filosofía. Editorial Itaca.
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  32. added 2019-09-06
    Digital Art and Their Uniqueness Without Aura.Ahmad Ibrahim Badry & Akhyar Yusuf Lubis - 2018 - In Melani Budianta, Manneke Budiman, Abidin Kusno & Mikihiro Moriyama (eds.), Cultural Dynamics in Globalized World. London, UK: pp. 89-95.
    Modern technology plays an important role in our daily lives. Many people use technology for their works, interactions, and special interests such as art. Art as a discipline, which expresses human emotion and creative side, takes a new form for its contextualization with the help of information technology. A neologism for this discipline is “digital art.” Some experts who employ a traditional value in their aesthetical perspective consider this new approach unlikely. Walter Benjamin, an eminent figure from this group, stated (...)
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  33. added 2019-09-06
    Au sujet de "Tel Quel".Mitsou Ronat - 1969 - In Situation de "Tel Quel" et problèmes de l'avant-garde. Paris: pp. 119-136.
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  34. added 2019-09-04
    The Aesthetic Significance of the Lying-Misleading Distinction.Jessica Pepp - forthcoming - British Journal of Aesthetics:ayz032.
    There is a clear intuitive difference between lying and attempting to mislead. Recent efforts to analyse this difference, and to define lying in ways that respect it, are motivated by the conviction that the difference is important or significant in some way. Traditionally, the importance of the lying-misleading distinction has been cashed out in moral terms, but this approach faces a number of challenges. The purpose of this paper is to suggest and develop a different way in which the lying-misleading (...)
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  35. added 2019-09-03
    Towards a Phenomenological Analysis of Fictional Emotions.Marco Cavallaro - 2019 - Phainomenon. Journal of Phenomenological Philosophy 29:57-81.
  36. added 2019-09-02
    Our Everyday Aesthetic Evaluations of Architecture.Abel B. Franco - forthcoming - British Journal of Aesthetics:ayz018.
    I argue that our everyday evaluations of architecture are primarily evaluations of spaces and, in particular, of their inhabitability— that is, whether they serve or can serve to the realization of our individual ideal of life. Inhabitability is not only a functional criterion but an aesthetic one as well. It is aesthetic insofar as the evaluations about inhabitability include evaluations about the quality of the experience of actually doing something in —or simply occupying—a particular space. This aesthetic aspect of our (...)
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  37. added 2019-09-02
    Contemporary Kitsch: The Death of Pseudo-Art and the Birth of Everyday Cheesiness (A Postcolonial Inquiry).Max Ryynänen - 2018 - Terra Aestheticae: Journal of Russian Society for Aesthetics 1 (1):70-86.
    The discourse on kitsch has changed tone. The concept, which in the early 20th century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity (e.g. Greenberg on Repin). The late 20th century scholars gazed at it with critical curiosity (Eco, Kulka, Calinescu). What we now have is a profound interest in and acceptance of cute mass-produced objects. It has become marginal to use the concept to criticize pseudo-art. Scholars who (...)
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  38. added 2019-09-02
    Othered Body, Obscene Self(Ie): A Sartrean Reading of Kim Kardashian-West.Elese B. Dowden & Elese Dowden - 2017 - Hecate 43 (2):117-130.
    In this existential reading of Kim Kardashian-West's International Women's Day selfie of 2016, I focus on the rise of selfie culture and public discourse around emerging digital representations of women's bodies. The selfie is a relatively new phenomenon, and is particularly curious because of the subject/object paradox it creates; in taking a selfie, a person asserts control over their own image, but at the same time, becomes object in their own gaze. My argument is that selfies, like other assertions of (...)
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  39. added 2019-09-01
    Review of Siddhartha Biswas's Theatre Theory and Performance: A Critical Interrogation. [REVIEW]Subhasis Chattopadhyay - 2019 - Prabuddha Bharata or Awakened India 124 (9):672-4.
    Biswas's book is a panoramic treatment of contemporary world theatre. The book under review will help both the neophyte, as also a scholar to negotiate ancient dramaturgy and more recent theatre. Biswas's eye for details is also remarked in this review. The review shows how Biswas, as it were, has written a manifesto of protest in this book.
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  40. added 2019-08-29
    Aesthetics of History: The Example of Russia.Pavel Simashenkov - 2019 - Modern European Researches 3 (2019):47-55.
    The article highlights the problem of studying historical time in terms of aesthetics and social ethics. The essence of history, according to the author, is not so much in retrospection or reflection, but in the gap between feeling and awareness. Guided by the apophatic method, the author analyzes the historiosophical views of domestic and foreign scholars and comes to the conclusion that the Soviet paradigm is true, where the only vector of human development is the liberation of labor in the (...)
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  41. added 2019-08-28
    Things: In Touch with the Past.Elizabeth Scarbrough - forthcoming - British Journal of Aesthetics:ayz037.
    Things: In Touch with the PastKorsmeyerCarolynOUP. 2019. PP. 224. £32.99.
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  42. added 2019-08-24
    Imagining in Response to Fiction: Unpacking the Infrastructure.Alon Chasid - forthcoming - Philosophical Explorations:1-18.
    Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that they presuppose a cognitive (...)
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  43. added 2019-08-24
    Belief-Like Imagining and Correctness.Alon Chasid - forthcoming - American Philosophical Quarterly.
    (although the publisher does not allow to upload the paper before it is in print, they do allow to send it to individuals; if someone is interested, please e-mail me). -/- This paper explores the sense in which correctness applies to belief-like imaginings. It begins by establishing that when we imagine, we ‘direct’ our imaginings at a certain imaginary world, taking the propositions we imagine to be assessed for truth in that world. It then examines the relation between belief-like imagining (...)
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  44. added 2019-08-24
    Derrida's Shylock: The Letter and the Life of Law.Katrin Trüstedt - 2019 - In Peter Goodrich & Michel Rosenfeld (eds.), Administering Interpretation: Derrida, Agamben, and the Political Theology of Law. New York, NY, USA: pp. 168-185..
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  45. added 2019-08-24
    Auftritt in Vertretung: Zu Kents parrhesia in Shakespeares King Lear.Katrin Trüstedt - 2018 - In Rüdiger Campe & Malte Wessels (eds.), Begriff und Figur der freien Rede in der Frühen Neuzeit. Freiburg im Breisgau, Germany: pp. 101–124..
  46. added 2019-08-23
    Feeling at One: Socio-Affective Distribution, Vibe, and Dance-Music Consciousness.Maria A. G. Witek - 2019 - In Ruth Herbert, Eric Clarke & David Clarke (eds.), Music and Consciousness 2: Worlds, Practices, Modalities. New York: Oxford University Press. pp. 93–112.
    In this chapter, the embodied consciousness of clubbing and raving is considered through the theory of extended mind, according to which the mind is a distributed system where brain, body, and environment play equal parts. Building on the idea of music as affective atmosphere, a case is made for considering the vibe of a dance party as cognitively, socially, and affectively distributed. The chapter suggests that participating in the vibe affords primary musical consciousness—a kind of pre-reflexive state characterized by affective (...)
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  47. added 2019-08-23
    Navigating Agamben’s Cinematic Paradox Via Laruellean Immanence: A Hacktivist Cast Study.Ekin Erkan - 2019 - MediaCommons 8:1-23.
    While many film theorists declare Agamben as, in equal part, a Deleuzian film theorist, I pose that, through this Benjaminian lens, we can parse distinctive cinematic questions that Agamben exclusively pursues - in particular, cinema's potential as a repurposive counter-dispositif to combat dominant forms via critique. This is not to suggest that parallels do not exist between Agamben and Deleuze’s approaches: as Meillassoux has noted, Deleuze's logic of representation (also known as "correlationism") develops an "image of thought that attempts to (...)
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  48. added 2019-08-23
    On Levi R. Bryant’s “Dim Media”: The Age of Disruption, Homeless Media, and Problematzing Latour’s Apolitical “Flat Ontology” by Ekin Erkan.Ekin Erkan - 2019 - MediaCommons:1-20.
    Where Deleuze and Guattari introduce us to “lines of flight,” they transcode the mechanics of “flight” through “capture,” fomenting what is understood by many as Deleuze’s philosophical thesis: forging an analog relationship between univocity and difference via multiplicitious immanence. This is, of course, posed against Freud’s molar unities in their second chapter “One or Several Wolves.” Thus, if Heidegger is the philosopher par excellance of queries between hermeneutics and immanence (the philosopher of anti-immanence), it is Deleuze who asks “what is (...)
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  49. added 2019-08-23
    The Generic Unmasked: Reproducibility and Profanation.Ekin Erkan - 2019 - Triple Ampersand 8:5.
    Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with aesthetics, and, (...)
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  50. added 2019-08-22
    Spelling Identity: Ch or Sz? (Translation).Stanisław Niewiadomski, Małgorzata A. Szyszkowska & Brian Harlen - 2000 - In Maja Trochimczyk (ed.), After Chopin. Essays in Polish Music.
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1 — 50 / 261