Results for 'art’s dynamic ontology'

975 found
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  1. Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz".Cynthia R. Nielsen - 2016 - Journal of Applied Hermeneutics (1).
    Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his (...)
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  2. ART(S) OF BECOMING: PERFORMATIVE ENCOUNTERS IN CONTEMPORARY POLITICAL ART.İbrahim Okan Akkin - 2017 - Dissertation, Middle East Technical University
    This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism of (...)
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  3. Fake Views—or Why Concepts are Bad Guides to Art’s Ontology.Michel-Antoine Xhignesse - 2018 - British Journal of Aesthetics 58 (2):193-207.
    It is often thought that the boundaries and properties of art-kinds are determined by the things we say and think about them. More recently, this tendency has manifested itself as concept-descriptivism, the view that the reference of art-kind terms is fixed by the ontological properties explicitly or implicitly ascribed to art and art-kinds by competent users of those terms. Competent users are therefore immune from radical error in their ascriptions; the result is that the ontology of art must begin (...)
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  4. Sartre's Postcartesian Ontology: On Negation and Existence.William Melaney - 2009 - Analecta Husserlia 104:37-54.
    This article maintains that Jean-Paul Sartre’s early masterwork, Being and Nothingness, is primarily concerned with developing an original approach to the being of consciousness. Sartre’s ontology resituates the Cartesian cogito in a complete system that provides a new understanding of negation and a dynamic interpretation of human existence. The article examines the role of consciousness, temporality and the relationship between self and others in the light of Sartre’s arguments against “classical” rationalism. The conclusion suggests that Sartre’s departure from (...)
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  5. Roleplaying Game–Based Engineering Ethics Education: Lessons from the Art of Agency.Trystan S. Goetze - 2024 - Proceedings of the 2024 American Society for Engineering Education St. Lawrence Section Annual Conference.
    How do we prepare engineering students to make ethical and responsible decisions in their professional work? This paper presents an approach that enhances engineering students’ engagement with ethical reasoning by simulating decision-making in a complex scenario. The approach has two principal inspirations. The first is Anthony Weston’s scenario-based teaching. Weston’s concept of a scenario is a situation that changes in response to choices made by participants, according to an inner logic. Scenarios can dynamically explore open-ended complex problems without imposing predetermined (...)
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  6.  40
    Peirce's Suspended Second, and Art's 'Ethical Phenomenology'.Nat Trimarchi - 2024 - Cosmos and History 20 (2):318-399.
    The fundamental problem for theoretical aesthetics is its inability to account for art’s meaning-value (Trimarchi, 2022). As previously argued, Art’s higher meaning is only found emerging from the artwork’s tacit dimensions, where empirical-historical intentionality is almost completely inconsequential (Trimarchi, 2024b). The latter’s interpretable ‘phenomenology of sequence’ produces a false theorising tendency, disconnecting art from the history of ideas and severing aesthetics from ethics and logic. Art appears ‘infinitely interpretable’, hence entirely subjective. Adapting Arnold’s (2011) actantial processual approach, I (...)
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  7. Photographic Art: An Ontology Fit to Print.Christy Mag Uidhir - 2012 - Journal of Aesthetics and Art Criticism 70 (1):31-42.
    A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print (...), the most plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)
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  8. Kant's intelligible standpoint on action.Adrian M. S. Piper - 2001 - In Hans-Ulrich Baumgarten & Carsten Held (eds.), Systematische Ethik mit Kant. Alber.
    This essay attempts to render intelligible (you will pardon the pun) Kant's peculiar claims about the intelligible at A 539/B 567 – A 541/B 569 in the first Critique, in which he asserts that (1) ... [t]his acting subject would now, in conformity with his intelligible character, stand under no temporal conditions, because time is only a condition of appearances, but not of things in themselves. In him no action would begin or cease. Consequently it would not be subjected to (...)
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  9. Situated Cognition, Dynamic Systems, and Art.Ingar Brinck - 2007 - Janus Head 9 (2):407-431.
    It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist's work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the (...)
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  10. Aesthetics in Motion. On György Szerdahely’s Dynamic Aesthetics.Botond Csuka - 2018 - In Anthropologische Ästhetik in Mitteleuropa (1750–1850). Anthropological Aesthetics in Central Europe (1750–1850). (Bochumer Quellen und Forschungen zum achtzehnten Jahrhundert, 9). Hannover, Németország: pp. 153-180.
    György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both British criticism and German (...)
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  11. The Dynamic Process of Being (a Person): Two Process-Ontological Theories of Personal Identity.Daniel Robert Siakel - 2014 - Process Studies 43 (2):4-28.
    The purpose of this article is to introduce, interpret, and develop two incompatible process -ontological theories of personal identity that have received little attention in analytic metaphysics. The first theory derives from the notion of personal identity proposed in Alfred North Whitehead’s philosophy, but I interpret this notion differently from previous commentators. The Whiteheadian theory may appeal to those who believe that personal identity involves an entity or entities that are essentially dynamic, but has nothing to do with diachronic (...)
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  12. Conceptual Art (Taylor’s Version).Sherri Irvin - 2025 - In Brandon Polite (ed.), Taylor Swift and the Philosophy of Re-recording: The Art of Taylor's Versions. Bloomsbury.
    Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...)
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  13. Criticism of individualist and collectivist methodological approaches to social emergence.S. M. Reza Amiri Tehrani - 2023 - Expositions: Interdisciplinary Studies in the Humanities 15 (3):111-139.
    ABSTRACT The individual-community relationship has always been one of the most fundamental topics of social sciences. In sociology, this is known as the micro-macro relationship while in economics it refers to the processes, through which, individual actions lead to macroeconomic phenomena. Based on philosophical discourse and systems theory, many sociologists even use the term "emergence" in their understanding of micro-macro relationship, which refers to collective phenomena that are created by the cooperation of individuals, but cannot be reduced to individual actions. (...)
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  14. After Hegel: Art and ontology in Nancy's critique of romanticism.Alison Ross - 2011 - MonoKL 10:149-163.
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  15. THE PHILOSOPHY OF GILLES DELEUZE - ALEXIS KARPOUZOS.Alexis Karpouzos - 2024 - Philosophy in Review 1:10.
    Difference and Repetition: Deleuze’s magnum opus, “Difference and Repetition” (1968), explores the interplay between difference and repetition. He argues that difference is fundamental to reality, and repetition is not mere duplication but a creative force. Deleuze challenges conventional notions of identity and sameness, emphasizing the productive potential of difference. Gilles Deleuze’s “Difference and Repetition” is a seminal work that challenges traditional Western metaphysics and offers a fresh perspective on concepts like identity, repetition, and creativity. Let’s explore some key ideas from (...)
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  16. Thinking with Susanne Langer: Sonar Entanglements with the Non-human.Lona Gaikis - 2021 - Open Philosophy 4 (1):149-161.
    An aesthetic and epistemological departure from ocular centrism has occurred in the wake of current technological evolutions and the posthuman turn. The sonic exploration of the more-than-human takes artists and philosophers beyond anthropomorphism to reveal the hidden patterning of life forms and yet-unfathomed universes. The conflation of nature with culture is one shift that takes place when thinking with sounds and rhythm and studying our environments. On an ontological level, a reordering of subject and object occurs when encountering the reciprocal (...)
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  17. 'Art' in Nancy's 'first philosophy': The artwork and the praxis of sense making.Alison Ross - 2008 - Research in Phenomenology 38 (1):18-40.
    For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder); second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. (...)
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  18. A Twist in the Plot - Systems Thinking and Building Models for Analyzing Literary Artwork.Ben Moshe Sheli - manuscript
    Models are being used extensively for practicing and understanding scientific, engineering and mathematical subjects, but are rarely used as art analyzing tools, particularly, in learning environments. Contrarily, using art to explain mathematical ideas is not unprecedented. Strogatz (1988), for example, built a model based on Romeo and Juliet’s love story and used it to explain the idea of differential mathematics, and system dynamics. Artwork, specially written and plastic classics, is a fixed form of art. We frame them and put them (...)
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  19. The Ontological Diversity of Visual Artworks.Sherri Irvin - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New waves in aesthetics. New York: Palgrave-Macmillan. pp. 1-19.
    Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a (...)
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  20. Strategic Afro-Modernism, Dynamic Hybridity, and Bebop's Socio-Political Significance.Cynthia R. Nielsen - 2013 - In Mathieu Deflem (ed.), Music and Law: Sociology of Crime, Law and Deviance, Volume 18. Emerald Books. pp. 129-148.
    In this chapter, I argue that one can articulate a historically attuned and analytically rich model for understanding jazz in its various inflections. That is, on the one hand, such a model permits us to affirm jazz as a historically conditioned, dynamic hybridity. On the other hand, to acknowledge jazz’s open and multiple character in no way negates our ability to identify discernible features of various styles and aesthetic traditions. Additionally, my model affirms the sociopolitical, legal (Jim Crow and (...)
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  21. Philosophy’s Artful Conversation, by D. N. Rodowick. [REVIEW]Timothy Yenter - 2016 - Teaching Philosophy 39 (4):565-567.
    Philosophy’s Artful Conversation draws on Gilles Deleuze, Stanley Cavell, and the later writing by Ludwig Wittgenstein to defend a “philosophy of the humanities.” Both because film studies is historically a site of contention and theoretical upheaval and because Rodowick accepts Cavell’s idea that (at least in the American context) film is philosophy made ordinary, bringing philosophical questions of skepticism and perfectionism into filmgoers’ lives inescapably, it makes sense to build this vision for the humanities out of writing on film. Although (...)
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  22. Attempting art: an essay on intention-dependence.Michel-Antoine Xhignesse - 2017 - Dissertation, Mcgill University
    Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...)
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  23. André Bazin's Eternal Returns: An Ontological Revision.Jeff Fort - 2021 - Film-Philosophy 25 (1):42-61.
    The recent publication of André Bazin's Écrits complets (2018), an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple (“Bazin and ontology”) nonetheless retains its fascination. Rather (...)
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  24. A new framework for host-pathogen interaction research.Hong Yu, Li Li, Anthony Huffman, John Beverley, Junguk Hur, Eric Merrell, Hsin-hui Huang, Yang Wang, Yingtong Liu, Edison Ong, Liang Cheng, Tao Zeng, Jingsong Zhang, Pengpai Li, Zhiping Liu, Zhigang Wang, Xiangyan Zhang, Xianwei Ye, Samuel K. Handelman, Jonathan Sexton, Kathryn Eaton, Gerry Higgins, Gilbert S. Omenn, Brian Athey, Barry Smith, Luonan Chen & Yongqun He - 2022 - Frontiers in Immunology 13.
    COVID-19 often manifests with different outcomes in different patients, highlighting the complexity of the host-pathogen interactions involved in manifestations of the disease at the molecular and cellular levels. In this paper, we propose a set of postulates and a framework for systematically understanding complex molecular host-pathogen interaction networks. Specifically, we first propose four host-pathogen interaction (HPI) postulates as the basis for understanding molecular and cellular host-pathogen interactions and their relations to disease outcomes. These four postulates cover the evolutionary dispositions involved (...)
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  25. Process Ontology in the Context of John Dupré's Philosophy of Biology.Okan Nurettin Okur - 2023 - Metazihin 6 (2):97-118.
    Substantialism, which is an extremely common paradigm in Western philosophy, has dominated the sciences over time. Arguing that the authentic structure of existence is fixed and unchangeable; over time, with the development of modern physics, this understanding, which was easily adopted due to the precision of mechanical and mathematical explanations and the ease of categorization, created a school of biology that tried to develop through quantitative propositions; thus, living things were considered static entities that could be understood through reverse engineering. (...)
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  26. The Pragmatic Constraint and Revisionary Ontologies of Art.Eric Wilkinson - 2021 - American Society for Aesthetics Graduate E-Journal 13 (1):19-22.
    At the heart of Anders Pettersson’s 2017 book, The Idea of a Text and the Nature of Textual Meaning, is his proposed “cluster” definition of a textual work. On this view, a text is a cluster of three kinds of objects: all the physical exemplars of the work, the work’s meaning, and the complex signs that convey that meaning. Pettersson contrasts this with the “ordinary conception” of a text, wherein a text is a unitary object made of the signs and (...)
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  27. Chaos Theory and Merleau-Ponty's Ontology: Beyond the Dead Father's Paralysis towards a Dynamic and Fragile Materiality.Glen Mazis - 1999 - In Olkowski And Morely (ed.), Merleau-Ponty: Interiority and Exteriority, Psychic Life and the World. Suny Press. pp. 217--241.
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  28. Re-Worlding the World: Schelling's Philosophy of Art.Nat Trimarchi - 2006 - Philosophia Naturalis.
    The problem with how we mythologise reality is arguably at the core of humanity’s ecological/existential crisis. While others have pointed to this, F. W. Schelling produced a philosophy of art which both confirms it and lays the foundations for how it can be addressed. This involves reversing the polarities of the ‘modern mythology’, related directly to Art-and-Humanity’s joint meaning crisis which Schelling claimed originates in our alienation from Nature and the rise of ‘revealed religion’. Despite his resurgence (inspiring Complexity Science), (...)
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  29. Ontological theory for ontological engineering: Biomedical systems information integration.James M. Fielding, Jonathan Simon, Werner Ceusters & Barry Smith - 2004 - In Fielding James M., Simon Jonathan, Ceusters Werner & Smith Barry (eds.), Proceedings of the Ninth International Conference on the Principles of Knowledge Representation and Reasoning (KR2004), Whistler, BC, 2-5 June 2004. pp. 114–120.
    Software application ontologies have the potential to become the keystone in state-of-the-art information management techniques. It is expected that these ontologies will support the sort of reasoning power required to navigate large and complex terminologies correctly and efficiently. Yet, there is one problem in particular that continues to stand in our way. As these terminological structures increase in size and complexity, and the drive to integrate them inevitably swells, it is clear that the level of consistency required for such navigation (...)
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  30. The Powers View of Properties, Fundamental Ontology, and Williams’s Arguments for Static Dispositions.Joseph A. Baltimore - 2019 - Erkenntnis 84 (2):437-453.
    This paper examines the need for static dispositions within the basic ontology of the powers view of properties. To lend some focus, Neil Williams’s well developed case for static dispositions is considered. While his arguments are not necessarily intended to address fundamental ontology, they still provide a useful starting point, a springboard for diving into the deeper metaphysical waters of the dispositionalist approach. Within that ontological context, this paper contends that Williams’s arguments fail to establish the need to (...)
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  31. (9 other versions)Stepping Beyond the Newtonian Paradigm in Biology. Towards an Integrable Model of Life: Accelerating Discovery in the Biological Foundations of Science.Plamen L. Simeonov, Edwin Brezina, Ron Cottam, Andreé C. Ehresmann, Arran Gare, Ted Goranson, Jaime Gomez-­‐Ramirez, Brian D. Josephson, Bruno Marchal, Koichiro Matsuno, Robert S. Root-­Bernstein, Otto E. Rössler, Stanley N. Salthe, Marcin Schroeder, Bill Seaman & Pridi Siregar - 2012 - In Plamen L. Simeonov, Leslie S. Smith & Andrée C. Ehresmann (eds.), Integral Biomathics: Tracing the Road to Reality. Springer. pp. 328-427.
    The INBIOSA project brings together a group of experts across many disciplines who believe that science requires a revolutionary transformative step in order to address many of the vexing challenges presented by the world. It is INBIOSA’s purpose to enable the focused collaboration of an interdisciplinary community of original thinkers. This paper sets out the case for support for this effort. The focus of the transformative research program proposal is biology-centric. We admit that biology to date has been more fact-oriented (...)
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  32. On Gadamerian Hermeneutics: Fusions of Horizons, Dialogue, and Evolution(s) within Culture as Dynamic System of Meaning.Iñaki Xavier Larrauri Pertierra - 2020 - Eidos. A Journal for Philosophy of Culture 4 (4):45-62.
    Culture as a dynamic system of meaningful relations can naturally accommodate a hermeneutic analysis. In this essay, the notion of Gadamer’s hermeneutics as involving interpretable meaning throughout experiential reality permits a natural concordance with an understanding of culture as meaningful. The Gadamerian idea that prejudices inform the horizons that make our experiences intelligible is applied to the view that culture is both a self-enclosed structure that is given by one’s horizon and one that continuously points past this horizon in (...)
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  33. The arts of action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...)
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  34. Summary by an AI of Jean-Louis Boucon's "Introduction to the Ontology of Knowledge" and "Time, Space, and World as Knowledge" 20240724.Jean-Louis Boucon - 2024 - Academia.Edu.
    This summary is not exactly the way I would have done it myself but I must admit that my writing is sometimes a challenge to read. So I asked an AI to do this summary expecting that it will give an easily understandable although not totally accurate view on Ontology of Knowledge and from this general understanding help the reader to read the original papers. Jean-Louis Boucon’s works, "Introduction to the Ontology of Knowledge" and "Time, Space, and World (...)
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  35.  73
    Reviving Spiritualism with Monads: Francisque Bouillier's Impossible Mission.Delphine Antoine-Mahut - 2015 - British Journal for the History of Philosophy 23 (6):1106-1127.
    This paper studies Francisque Bouillier’s contribution to cousinian Spiritualism, from his first text on the History of Cartesian Philosophy from 1839 (revised version from 1842) to the publication of Du principe vital et de l’âme pensante (1864), a work which was likewise considerably amended as a result of the polemics it gave rise to. The paper is concerned with the reception of Leibniz in a double sense. In a positive sense, Bouillier managed to reintegrate in the caricature of the Cartesian (...)
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  36. Remodel[l]ing Reality. Wittgenstein's übersichtliche Darstellung & the phenomenon of Installation in visual art.Tine Wilde - 2008 - Dissertation, University of Amsterdam
    Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of übersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the übersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the ambiguity of (...)
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  37. Art and Imagination.Nick Wiltsher & Aaron Meskin - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. New York: Routledge. pp. 179–191.
    It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular (...)
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  38. What if Heidegger used Fountain instead of van Gogh’s Shoes to launch the Origin of a Work of Art?’.Paul Halloran - 2020 - Toutfait Online Journal.
    Heidegger’s reimagining of the artwork was instrumental in forcing a re-evaluation of modern aesthetic assumptions in the first half of the twentieth century. Heidegger’s theory of the origin of the work of art derives from a hermeneutic analysis of a single van Gogh masterpiece. On Heidegger’s view, the artwork provides a substantive and practical way of accessing the nature of art even if questions remain about all manifestations of the nature of art in general. This paper turns his analysis to (...)
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  39. Image and ontology in Merleau-Ponty.Trevor Perri - 2013 - Continental Philosophy Review 46 (1):75-97.
    Although better known for his phenomenology of perception and the perceived world, Merleau-Ponty’s writings also contain the outlines of a rich and unique account of the imagination and the imaginary. In this paper, I explicate the phenomenology of the image that Merleau-Ponty develops throughout his work. I show how Merleau-Ponty develops this account of the image in critical response to Sartre and in a way that follows from his own descriptions of what painters do when they paint and of what (...)
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  40. W poszukiwaniu ontologicznych podstaw prawa. Arthura Kaufmanna teoria sprawiedliwości [In Search for Ontological Foundations of Law: Arthur Kaufmann’s Theory of Justice].Marek Piechowiak - 1992 - Instytut Nauk Prawnych PAN.
    Arthur Kaufmann is one of the most prominent figures among the contemporary philosophers of law in German speaking countries. For many years he was a director of the Institute of Philosophy of Law and Computer Sciences for Law at the University in Munich. Presently, he is a retired professor of this university. Rare in the contemporary legal thought, Arthur Kaufmann's philosophy of law is one with the highest ambitions — it aspires to pinpoint the ultimate foundations of law by explicitly (...)
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  41. Weaving Artistic Archipelagos in Afro Diasporic Networks.Frédéric Lefrançois - 2022 - Sociocriticism 36 (1-2).
    Through the prism of archipelicity, the artistic production of the Afro-American Diaspora reveals its diffractive potential: at once close to and far from its original origins, it unfolds in the in-between of a double consciousness. In his seminal essay, Paul Gilroy calls for the overcoming of binary oppositions in order to better apprehend the complexity of Afro-diasporic intellectual culture, which he sees as specifically transnational (Gilroy, 1993). As inclusive as this theoretical framework may seem, it is challenged by the inherent (...)
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  42. Time's Arrow in a Quantum Universe: On the Status of Statistical Mechanical Probabilities.Eddy Keming Chen - 2020 - In Valia Allori (ed.), Statistical Mechanics and Scientific Explanation: Determinism, Indeterminism and Laws of Nature. Singapore: World Scientific. pp. 479–515.
    In a quantum universe with a strong arrow of time, it is standard to postulate that the initial wave function started in a particular macrostate---the special low-entropy macrostate selected by the Past Hypothesis. Moreover, there is an additional postulate about statistical mechanical probabilities according to which the initial wave function is a ''typical'' choice in the macrostate. Together, they support a probabilistic version of the Second Law of Thermodynamics: typical initial wave functions will increase in entropy. Hence, there are two (...)
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  43.  73
    The Art of Mapping between Land and Mind.Francesco Ragazzi (ed.) - 2024 - Venice: Ca' Foscari University Press.
    In the creation of maps, scientific knowledge related to mathematics and physics combines with knowledge specific to graphic or artistic disciplines. Since all maps are artifacts whose aesthetic qualities convey information that simultaneously engages the fields of ontology, epistemology, and politics, they are objects of undeniable interest for philosophical inquiry. Following what has been termed “the cartographic turn in social sciences”, The Art of Mapping Between Land and Mind delves into two intertwining issues. On one side, it examines how (...)
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  44. Categorizing Art.Kiyohiro Sen - 2024 - Dissertation, University of Tokyo
    This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...)
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  45. Not One, Not Two: Toward an Ontology of Pregnancy.Maja Sidzinska - 2017 - Feminist Philosophy Quarterly 3 (4):1-23.
    Basic understandings of subjectivity are derived from the principles of masculine embodiment such as temporal stability and singularity. But pregnancy challenges such understandings because it represents a sort of splitting of the body. In the pregnant situation, a subject may experience herself as both herself and an other, as well as neither herself nor an other. This is logically untenable—an impossibility. If our discourse depends on singular, fixed referents, then what paradigms of identity are available to the pregnant subject? What (...)
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  46. Why Joseph Margolis Has Never Been an Analytic Philosopher of Art.Roberta Dreon & Francesco Ragazzi - 2022 - JOLMA - The Journal for the Philosophy of Language, Mind, and the Arts 3 (2):333-364.
    In this paper, we support a continuistic reading of Joseph Margolis' philosophy, defending the claim that in the 1970s, Margolis tackled the issues suggested by the analytic philosophy of art from an original theoretical perspective and through conceptual tools exceeding the analytical framework. Later that perspective turned out to be a radically pragmatist one, in which explicitly tolerant realistic claims and non-reductive naturalism converged with radical historicism and contextualism. We will endorse this thesis by focusing on two important concepts appearing (...)
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  47. Against digital ontology.Luciano Floridi - 2009 - Synthese 168 (1):151 - 178.
    The paper argues that digital ontology (the ultimate nature of reality is digital, and the universe is a computational system equivalent to a Turing Machine) should be carefully distinguished from informational ontology (the ultimate nature of reality is structural), in order to abandon the former and retain only the latter as a promising line of research. Digital vs. analogue is a Boolean dichotomy typical of our computational paradigm, but digital and analogue are only “modes of presentation” of Being (...)
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  48. Curation as Ontology, or Can We Fold Reality as an Object?Jan Gresil Kahambing - 2024 - Cosmos and History 20 (1):179-220.
    I propose to open a discussion on a realist philosophy of curation. To do so, I plot premises that will move towards such a philosophy. While I am neither introducing a new ontology nor contributing to metaphysics, I deal with metaphysical and ontological issues as these engage in the philosophy of curation and the philosophy of museums. In particular, I start with a museological or curatorial realism towards a discussion on meeting curation with the broadness of reality. There are (...)
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  49. Heidegger's Argument for Fascism.Neil Sinhababu - forthcoming - Philosophy and Phenomenological Research.
    Heidegger’s ontological views, his observations about liberalism and fascism, and his evaluative commitments are three premises of an argument for fascism. The ontological premise is that integrated wholes and objects of a creator or user’s will are ontologically superior, as Being and Time suggests in discussing Being-a-whole, creating art, and using equipment. The social premise is that fascist societies are wholes integrated by dictatorial will, while liberal societies are looser aggregates of free individuals, as Heidegger describes in his 1930s seminars. (...)
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  50. L'art désœuvré, modes d'emploi. Entre esthétique et théorie de la restauration.Filippo Fimiani - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (1):52-72.
    In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between (...)
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