- Submit
-
Browse
- All Categories
- Metaphysics and Epistemology
- Value Theory
- Science, Logic, and Mathematics
- Science, Logic, and Mathematics
- Logic and Philosophy of Logic
- Philosophy of Biology
- Philosophy of Cognitive Science
- Philosophy of Computing and Information
- Philosophy of Mathematics
- Philosophy of Physical Science
- Philosophy of Social Science
- Philosophy of Probability
- General Philosophy of Science
- Philosophy of Science, Misc
- History of Western Philosophy
- Philosophical Traditions
- Philosophy, Misc
- Other Academic Areas
- More
Switch to: References
Citations of:
Add citations
You must login to add citations.
|
|
|
Narrativity is basically linked to the dynamics of the events and actions which are told and it depends on the pragmatic context, mainly on the narrator and his audience, i.e. on the discursive setting. These dynamics ask for an adequate theoretical frame, e.g. in the format of dynamical system theory or vector analysis. Furthermore, narrativity can be manifested in different modalities. We shall present some specimens of analysis in the linguistic modality (spontaneous oral tales, folktales), in the visual modality (painting (...) |
|
|
Habitat dioramas depicting ecological relations between organisms and their natural environments have become the preferred mode of museum display in most natural history museums in North America and Europe. Dioramas emerged in the late nineteenth century as an alternative mode of museum installation from taxonomically arranged cases. We suggest that this change was closely connected to the emergence of a biogeographical framework rooted in evolutionary theory and positing the existence of distinct biogeographical zones. We tie the history of dioramas to (...) |
|
|
Computer vision aims to produce an understanding of digital image’s content and the generation or transformation of images through software. Today, a significant amount of computer vision algorithms rely on techniques of machine learning which require large amounts of data assembled in collections, or named data sets. To build these data sets a large population of precarious workers label and classify photographs around the clock at high speed. For computers to learn how to see, a scale articulates macro and micro (...) |
|
|
This article takes as its provocation Marx's intriguing statement about the disjunction between the flowering of Greek art and the underdeveloped stage of social and economic development made as an epilogue to the Introduction to the Grundrisse in order to ask what are the relations between that which has been considered art and what Marx calls `production as such'. In the elaborated conditions of contemporary capitalist societies, we can ask: Is art still being made? To examine this question I juxtapose (...) |
|
|
Marshall McLuhan understood television as a tactile medium. This understanding implied what Bruno Latour might call a ‘symmetrical’ conception of tactility. According to McLuhan, not only human actors are endowed with the sense of touch. In addition, TV, digital computers and other ‘electric media’ use light beams and similar scanning techniques for ceaselessly ‘caressing the contours’ of their surroundings. This notion of tactility was crucially shaped by the holistic aesthetics of the early Bauhaus. To get at the specific features of (...) |
|
|
ArgumentIl s’agira, en s’appuyant sur les analyses de Heidegger, Merleau-Ponty et Gadamer, et sur des exemples empruntés aussi bien à l’architecture et à la peinture qu’à la littérature, à la poésie et à la musique, de montrer que l’œuvre d’art, loin d’être intemporelle, possède une temporalité spécifique, qui est celle de la présence actuelle et de la contemporanéité. |
|
|
ABSTRACTIn this article I examine Merleau-Ponty’s understanding of the relation between literature, being and perception. I focus especially on two of Merleau-Ponty’s courses at Collège de France:... |
|
|
This article deals with the aesthetics of the art documentary of the 1940s and 1950s, which can be considered as the Golden Age of the genre. Prior to the breakthrough of television in Europe, which would usurp and standardize the art documentary, cinematic reproductions of artworks resulted in experimental shorts that were highly self-reflexive. These films became visual laboratories to investigate the tensions between movement and stasis, the two- and three-dimensional, and the real and the artificial—a film on art was (...) |
PhilPapers logo by Andrea Andrews and Meghan Driscoll.
This site uses cookies and Google Analytics (see our terms & conditions for details regarding the privacy implications). Use of this site is subject to terms & conditions.
All rights reserved by The PhilPapers Foundation
Server: philpapers-web-78d668d859-drd59 uwo