10 found

Year:

  1. Enhancing Presence: Sensory Integration and Proprioception in Cinema.Eleftheria Astrinaki - 2012 - Asage 4 (2):1-9.
    Film theory and aesthetics have been influenced by recent research on perception in cognitive science and neuroscience, as well as in computing and new media technology. We need to approach film with this kind of research in mind and focus on the conscious processing of film, treating it as a kind of immersive perceptual event. My paper is divided in three parts. In the first part, I review the renewed interest in realism in film as expressed through the concept of (...)
     
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  2. The Soviet Aesthetics of Aleksandr Voronsky: A Brief Exposition.Alzo David-West - 2012 - Asage 4 (2):10-19.
    This paper presents a concise exposition of the aesthetic theory of the early Soviet literary critic Aleksandr Voronsky, the editor of Red Virgin Soil who was executed in Josef Stalin’s Great Purge. Despite an anthology of Voronsky’s writings, published for the first time in English in 1998, no English-language scholarly attention has been paid to this work of non-Stalinist Soviet aesthetics. The author focuses on Voronsky’s Marxism-Plekhanovism, his understanding of art and the unconscious, and his method of aesthetic evaluation.
     
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  3. Book Review: Noël Carroll, Living in an Artworld. [REVIEW]Erum Naqvi - 2012 - Asage 4 (2):20-22.
     
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  4. Humanization Of Christian Sacred Art And Its Erosion As A Vehicle Of Contemplative Intellection.Martyn Amugen - 2012 - Asage 4 (1):1-9.
    This paper argues that for sacred art to remain sacred art it must follow certain traditional forms of aesthetics, which in turn allow it to be conducive as a vehicle toward intellection. Moreover, this paper argues that sacred art can only be called such when it follows the inherent symbolism of the religion from which it originates. The arguments for the above position take place against the background of Aldous Huxley’s definition of the perennial philosophy and a more traditional approach (...)
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  5. The Mathematical and Temporal Basis of Judgments of the Sublime.Daniel Cole - 2012 - Asage 4 (1):10-18.
    In this paper, I elaborate the difference between the concept of infinity and the idea of infinity through Cantor's diagonalization proof to illuminate a passage in Kant's Critique of Judgment. Taking Lyotard's analysis of aesthetic judgments as the basis for my own project, I focus on the idea of a collapse of temporality required for objective cognition and its concomitant preclusion of cognitive subjectivity. Finally, after borrowing language from Hegel's Phenomenology of Spirit, I show that even though there is not (...)
     
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  6. The Routledge Companion to Philosophy and Music. [REVIEW]Marlies De Munck - 2012 - Asage 4 (1):24-26.
     
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  7. Can Digital Pictures Qualify As Photographs?Geert Gooskens - 2012 - Asage 4 (1):17-23.
    Can digital pictures qualify as photographs? The commonsensical answer is that they can. We are happy to call a picture of a scene made with a digital camera a photograph. According to William Mitchell, however, we are wrong to do so. Pictures made with digital cameras would not qualify as photographs, because they lack a certain realism essential to classical, i.e. film-based, photography. In the following, I first present two ways in which film-based photographs are realistic . Next, I discuss (...)
     
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  8. The Art Instinct:: Beauty, Pleasure, and Human Evolution.Nigel Gully - 2012 - Asage 4 (1):27-28.
     
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  9. Sympathy For The Devil. The Paradox Of Emotional Response To Fiction.Gemma Manresa - 2012 - Asage 4 (1):29-30.
     
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  10. Pretence Problems and Make-Believe Emotions.Simone Neuber - 2012 - Asage 4 (1):31.
     
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