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  1. added 2018-11-26
    Por una estética apegada a la vida.José Ramón Fabelo Corzo - 2010 - Revista de Filosofía (Venezuela) 66 (3):89-100.
    Los actuales procesos de estetización del mundo de la vida y de transformación de objetos cotidianos en obras de arte tienden a ser interpretados teóricamente como una difuminación de las fronteras entre arte y vida. Cualquier cosa puede ser arte -afirma Arthur C. Danto, uno de los más reconocidos filósofos del arte de la actualidad-, pero ¿lo puede ser en realidad? Este ensayo se cuestiona esa afirmación basado en los límites axiológicos de la misma.
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  2. added 2018-08-20
    Machines for Living: Philosophy of Technology and the Photographic Image.Ryan Wittingslow - 2014 - Dissertation, University of Sydney
    This dissertation examines the relationship that exists between two distinct and seemingly incompatible bodies of scholarship within the field of contemporary philosophy of technology. The first, as argued by postmodern pragmatist Barry Allen, posits that our tools and what we make with them are epistemically important; disputing the idea that knowledge is strictly sentential or propositional, he claims instead that knowledge is the product of a performance that is both superlative and artefactual, rendering technology importantly world-constituting. The second, as argued (...)
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  3. added 2018-04-10
    A New Conception of 'Art'.Jakob Zaaiman - 2018
    The traditional conception of art is about sensual beauty and refined taste; modern art on the other hand has introduced an entirely unexpected dimension to the visual arts, namely that of ‘revelatory narrative’. Classical art aspires to present works which can be appreciated as sensually beautiful; modern art, when it succeeds, presents us instead with the unsettling narrative. This radical difference in artistic purpose is something relatively new, and not yet fully appreciated or understood.
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  4. added 2018-01-10
    Gombrich: la Historia del arte y las humanidades.Carlos Vanegas - 2016 - In El pluralismo del pensar. Historia del arte y humanismo. Medellín, Colombia: Universidad de Antioquia. pp. 127-149.
    Gombrich: la Historia del arte y las humanidades hace un estudio de la sobresaliente figura de Ernst Gombrich (1909-2001), como un punto de encuentro común para el investigador y el alumno sobre el arte y sus relatos legitimadores en la tradición humanista. De esta manera, planteo el interés por pensar la Historia del arte para el presente, en el cual Gombrich se enfrena al problema del método de la Historia como una humanidad en el ámbito académico, tanto en el mundo (...)
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  5. added 2018-01-10
    Yosman Botero y Postcolombino.Carlos Vanegas - 2016 - Co-herencia:301-303.
    La obra de Yosman Botero siempre ha orbitado entre paradojas. Desde los mismos lugares suplementarios de su obra, como los títulos de sus series Full of Emptiness (2013), Immaterial matter (2014) y Postcolombino (2016) se plantea una encrucijada tanto de la “supervivencia de las imágenes” del arte como de su capacidad comunicativa de la realidad: ya sea esta la experiencia del arte o la realidad social colombiana, o lo que sea que entendemos por “lo real”, tan cara a las propuestas (...)
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  6. added 2018-01-10
    Paul Gauguin y Mario Vargas Llosa, entre el arte y la literatura. Manao Tupapau-El espíritu del muerto la recuerda, 1892.Carlos Vanegas - 2015 - Poliantea:227-251.
    Entre el arte y la literatura se han generado múltiples reflexiones que han sido estudiadas por la historia del arte, la teoría literaria y la estética, entre otros. Igualmente, podemos considerar una larga tradición de artistas y escritores que se han empeñado, por medio de ensayos, críticas y manifiestos, en considerar los ámbitos y lugares de competencia de cada forma artística, así como sus lugares de similitud y diferencia en una larga tradición de préstamos interartísticos entre la palabra y la (...)
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  7. added 2018-01-10
    Ante la fragilidad de la memoria.Carlos Vanegas, Javier Domínguez, Carlos Arturo Fernández & Daniel Tobón - 2014 - In Carlos Vanegas, Javier Domínguez, Carlos Arturo Fernández & Daniel Tobón (eds.), El arte y la Fragilidad de la memoria. Medellín, Colombia: Sílaba Editores. pp. 259-275.
    Si no me falla la memoria, fue el dibujante Álvaro Barrios quien afirmó que el trabajo del artista contemporáneo colombiano se desarrolla según una agenda de trabajo. Si miramos algunos fenómenos del arte último en Colombia, podemos señalar que su agenda está determinada por el intento de comprensión de los procesos de la violencia en el país, a partir de una amplia gama de aproximaciones al concepto de memoria que ha tenido resonancia en las disciplinas humanísticas, las investigaciones académicas, el (...)
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  8. added 2018-01-10
    La fotografía y los desplazamientos en el arte contemporáneo colombiano. [REVIEW]Carlos Vanegas - 2013 - Cuadernos de Música, Artes Visuales y Artes Escénicas:137-140.
    PHOTOGRAPHY AND ITS DISPLACEMENTS IN COLOMBIAN CONTEMPORARY ART. BOOK REVIEW: THE LIMITS OF THE INDEX. THE PHOTOGRAPHIC IMAGE AND CONTEMPORARY ART IN COLOMBIA BY EFREN GIRALDO.
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  9. added 2017-10-02
    Sublimidad e imaginación en el combate tierra-mundo: una lectura existencialista de la desgarradura del arte en Heidegger.Francisco Salinas - 2014 - Aisthesis 56:39-52.
    [ENG] On the basis of a reading of Heidegger's Der Ursprung des Kunstwerkes, the problematic of understanding the relational concepts of "earth" and "world" is developed. The proposal here is situated from an existential approach that links the earth with the concepts of sublimity and world, understood on the basis of an opening within imagination. To articulate these ideas, this paper fundamentally draws from arguments by Kant, Nancy and Arendt. The proposal here is that Heidegger seeks to explain how the (...)
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  10. added 2017-06-24
    Introduction to the Issue: Psychophysical Integrity of the Human Self. Comparative Approach: Philosophy, Literature and Art.Marzenna Jakubczak - 2015 - Argument: Biannual Philosophical Journal 5 (1):5-8.
    The current issue of Argument: Biannual Philosophical Journal (2015, vol. 5, no. 1) provides a platform for cross‑cultural studies of the human body, the embodied mind, agency, intentionality, and various axiological aspects of the human psychophysical identity. Out of the twenty articles that compose this issue, thirteen original papers address the leading theme, namely Psychophysical integrity of the human self. Comparative approach: philosophy, literature and art. The multidisciplinary and comparative perspectives include references to Western and eastern cultural traditions, as well (...)
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  11. added 2017-06-24
    Architektura stupy buddyjskiej jako przykład projektu sakralnego.Marzenna Jakubczak - 1999 - In Ewa Rewers (ed.), Przestrzeń, filozofia i architektura. Poznań, Poland: Wydawnictwo Fundacji Humaniora. pp. 251-268.
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  12. added 2017-05-09
    WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
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  13. added 2016-10-17
    A RELÁCIÓESZTÉTIKA IDEIGLENES KÖZÖSSÉGEI.Horváth Gizella - 2016 - In Gizela Horvath & Rozália Klára Bakó (eds.), Közbeszédaktusok. Partiumi Kiadó, Debfeceni Egyetemi Kiadó. pp. 179-195..
    The notion of “relational aesthetics” was created by Nicolas Bourriaud in 1995 to describe the new artistic phenomena of the nineties. According to Bourriaud the manifestations of relational art create temporary communities, thus turning art into a social laboratory. This paper investigates the communities arising through these artistic endeavors. My hypothesis is that the empty communities motivated solely by the artistic event are not more consistent than the audience of a play or a performance, furthermore, they do not transcend the (...)
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  14. added 2016-10-13
    In Monstrous Shallows: Pinpointing Where the Real Art of Jeff Koons Lies.Jakob Zaaiman - 2016 - Alldaynight.Info.
    Art is about the exploration of the strange and disturbing; it is not about classical fine crafting. Artists use artworks to exteriorise their inner landscapes, thereby allowing others to experience their take on life, at least vicariously. It is this exteriorisation which is ‘art’, not the aesthetic features of the individual artworks themselves, which is properly the domain of crafting and design. Aesthetics cannot explain the work of many major modern contemporary artists, because it fails to locate the underlying unifying (...)
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  15. added 2016-08-29
    Art: A Brief History of Absence.Davor Dzalto - 2015 - Filozofija I Društvo 26 (3):652-676.
    This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all of (...)
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  16. added 2016-03-24
    Vertiginous Acedie.Gavin Keeney - manuscript
    Review of “Gaiety is the Most Outstanding Feature of the Soviet Union: New Art from Russia,” Saatchi Gallery, London, England, and “Calder After the War,” Pace Gallery, London, England, April 2013. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 157-60.
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  17. added 2016-03-24
    "Shadow-Lands": The Suffering Image.Gavin Keeney - manuscript
    Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.
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  18. added 2016-01-03
    How to Understand Modern Contemporary Art, Enjoy It, and Not Be Fooled.Jakob Zaaiman - 2016 - Alldaynight.Info.
    Modern contemporary art remains a mystery because most people – including art critics and even artists themselves – are unable to see beyond the imprisoning confines of classical fine art. Everything is judged in terms of beauty and technical skill, when it should be viewed from a quite different perspective, namely that of the imaginative world that the modern artwork is a part of. Successful and authentic modern art is about creating worlds of the imagination - like a film, or (...)
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  19. added 2015-10-08
    Cultural Appropriation Without Cultural Essentialism?Erich Hatala Matthes - 2016 - Social Theory and Practice 42 (2):343-366.
    Is there something morally wrong with cultural appropriation in the arts? I argue that the little philosophical work on this topic has been overly dismissive of moral objections to cultural appropriation. Nevertheless, I argue that philosophers working on epistemic injustice have developed powerful conceptual tools that can aid in our understanding of objections that have been levied by other scholars and artists. I then consider the relationship between these objections and the harms of cultural essentialism. I argue that focusing on (...)
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  20. added 2015-09-01
    Realism in Film (and Other Representations).Robert Hopkins - forthcoming - In Katherine Thomson-Jones (ed.), Current Controversies in the Philosophy of Film. Routledge.
    What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper question: (...)
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  21. added 2015-08-03
    For ‘Art’ to Be ‘Art’, It has to Be Strange and Disturbing.Jakob Zaaiman - 2015 - Alldaynight.Info.
    What follows here is not a definition of art by decree. Nor is this some kind of art manifesto. We are not saying this is how art should be, or could be, but how it is, if you let go of the prison of aesthetics, and follow an infinitely more interesting conceptual trail. This is about uncovering and identifying an approach to art which avoids the triviality of sensory-based aesthetic theory and moves instead towards exploring the experiential worlds that art (...)
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  22. added 2015-05-24
    Commentary On: Chiara Pollaroli's "T(R)Opical Patterns in Advertising".Gilbert Plumer - 2013 - In D. Mohammed & M. Lewiński (eds.), Virtues of Argumentation. Proceedings of the 10th International Conference of the Ontario Society for the Study of Argumentation [CD-ROM]. Centre for Research in Reasoning, Argumentation and Rhetoric, and the University of Windsor. pp. 1-5.
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  23. added 2015-05-19
    Seeing the Impossible.Andreas Elpidorou - 2016 - Journal of Aesthetics and Art Criticism 74 (1):11-21.
    I defend the view that it is not impossible to see the impossible. I provide two examples in which one sees the impossible and defend these examples from potential objections. Theories of depiction should make room for impossible depictions.
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  24. added 2015-01-15
    Emmanuel Alloa (Ed.): Erscheinung und Ereignis. Zur Zeitlichkeit des Bildes, München 2013. [REVIEW]Martina Sauer - 2015 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 15 (1).
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  25. added 2015-01-05
    Les Conditions De L'ecriture Sur L'habiter. Le Defi De Deux Discours Savants : L'architecture Et La Philosophie.Madjid Chachour & Zine Mohammed Chaouki - 2019 - Revue AT-TADWIN 5 (12):366-382.
    Les vertus de l’écrit sur l’oîkos (l’habitation chez les grecques) ou les récits du Domus (l’habitation chez les romains) et les conditions dont ces derniers leurs favorisent l’écriture posent l’hypothèse sur la nature des relations qui existent entre l'expérience de l’habiter et sa sémantique spatiale, l’écrit des philosophes contemporains dans ce domaine est, cependant convergeant vers un savoir qui s’articule au niveau de la configuration d’un seuil interprétatif très complexe. En effet, en tant que précurseurs dans la compréhension de la (...)
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  26. added 2014-12-14
    Metaphysisch malen: Philosophie und Bild bei Giorgio de Chirico.Andreas Dorschel - 2009 - In Kunst und Wissen in der Moderne. Böhlau. pp. 123-132.
    ‘Metaphysical painting’ (‘pittura metafisica’) is a paradoxical term: extrasensory sensuousness, as it were. Painting is the representation of visible surfaces; metaphysics rejects surfaces, as deceptive, in favour of the deeper essence. But Giorgio de Chirico (1888–1978) who coined the term ‘pittura metafisica’ in 1919 was a follower of the anti-essentialist Nietzsche. ‘Metaphysics’, then, is not about discovering the essence of things but about shaping their appearances, their ‘physique’. This is an intriguing concept and the corollary to a subtle artistic oeuvre.
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  27. added 2014-11-06
    Technological Stripping and Meaning Production in 'Duchamp’s The Large Glass'.Monika Wludzik - 2014 - Avant: Trends in Interdisciplinary Studies (2):193-206.
    The scope of the essay is limited by the ideas behind the mechanisation of desire as conceptualised in The Large Glass by Marcel Duchamp. This glass-based installation depicts a convoluted mechanism, as the full-title of the work suggests, representing The Bride Stripped Bare by her Bachelors, Even. Using tropes and figures from his earlier studies, the artist designed a machine for the production of desire, rendering the unconscious mechanical and dynamic. The paper aims to present selected aspects of the installation, (...)
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  28. added 2014-08-11
    Lambert Wiesing, Sehen lassen. Die Praxis des Zeigens, Berlin 2013. [REVIEW]Martina Sauer - 2014 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 14 (3).
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  29. added 2014-07-21
    Dr. M.A. [REVIEW]Sauer Martina - 1914 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 14 (3):1-3.
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  30. added 2014-03-27
    Imagination in Non-Representational Painting.Andreas Elpidorou - 2010 - In Jonathan Webber (ed.), Reading Sartre: On Phenomenology and Existentialism. Routledge.
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  31. added 2014-03-22
    Pictorial Orientation Matters.John Dilworth - 2003 - British Journal of Aesthetics 43 (1):39-56.
    Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common (...)
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  32. added 2014-03-04
    A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  33. added 2013-10-01
    Tükröm, tükröm... Az önarckép lehetőségei a kortárs képzőművészetben.Gizela Horvath - 2012 - Korunk (9):19-28.
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  34. added 2013-10-01
    Whose Shoes? Identity in Works of Art.Gizela Horvath - 2011 - Synthesis Philosophica 26 (2):283-297.
    The problem of identity in the world of art is relevant from many perspectives. This paper aims at discussing the identity of the work of art. The discussion is built in three steps: the problem of identification of an object as work of art, the problem of the relevant properties of a work of art and the question of the author of the work of art as decisive (or not) for the identification of a work of art. These issues are (...)
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  35. added 2013-08-28
    Synaesthesia and Kinaesthetics.Joerg Fingerhut, Sabine Flach & Jan Söffner - 2011 - Peter Lang.
    A myriad of sensations inform and direct us when we engage with the environment. To understand their influence on the development of our habitus it is important to focus on unifying processes in sensing. This approach allows us to include phenomena that elude a rather narrow view that focuses on each of the five discrete senses in isolation. One of the central questions addressed in this volume is whether there is something like a sensual habitus, and if there is, how (...)
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  36. added 2013-07-05
    Fear and Anxiety in the Dimensions of Art.Maria Popczyk - 2012 - Argument: Biannual Philosophical Journal 2 (2):333–346.
    In the paper I am concerned with various manifestations of aesthetic fear and anxiety, that is, fear and anxiety triggered by works of art, which I am discussing from aesthetic as well as anthropological perspectives. I am analysing the link between fear and pleasure in catharsis, in Edmund Burke’s notion of the sublime, and in reference to Goya’s Black Paintings and to Paul Virilio’s thought. Both aesthetic fear and aesthetic anxiety exist alongside other emotions, such as pity and sadness, and, (...)
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  37. added 2012-12-15
    Dossier Chris Marker: The Suffering Image.Gavin Keeney - 2012 - Cambridge Scholars Press.
    This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...)
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  38. added 2012-05-28
    Intentional Image and Transcendental Image in the Work of Art.Bogdan Nita - 2012 - Image 2 (2321):231.
    The purpose of this paper is to show that images have an ontological support by which they obtain an independent existence from the mind. In accordance with the new theories of aesthetics, we will see that the object of art is taken as an object of thought. Image has an important role in the existence of the work of art; therefore the image becomes an object of thought. To show how the image is independent from the mind or to show (...)
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  39. added 2012-01-28
    Wittgenstein and Surrealism.Chrysoula Gitsoulis - 2012 - Essays in Philosophy 13 (1):74-84.
    There are two aspects to Wittgenstein’s method of deconstructing pseudo-philosophical problems that need to be distinguished: (1) describing actual linguistic practice, and (2) constructing hypothetical ‘language-games’. Both methods were, for Wittgenstein, indispensable means of clarifying the ‘grammar’ of expressions of our language -- i.e., the appropriate contexts for using those expressions – and thereby dissolving pseudo-philosophical problems. Though (2) is often conflated with (1), it is important to recognize that it differs from it in important respects. (1) can be seen (...)
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  40. added 2009-11-10
    Challenging Partial Intentionalism.Hans Maes - 2008 - Journal of Visual Arts Practice 7 (1):85-94.
    Paisley Livingston claims that an artist’s intentions are successfully realized and hence determinate of the meaning of a work if and only if they are compatible and “mesh” with the linguistic and conventional meanings of the text or artefact taken in its target or intended context. I argue that this specific standard of success is not without its difficulties. First, I show how an artist’s intention can sometimes be constitutive of a work’s meaning even if there is no significant meshing (...)
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