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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Philosophy of Art</h1><div class="u-tcGrayDark">70,028 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Philosophy of Art</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Philosophy_of_Art/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Philosophy_of_Art/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Philosophy_of_Art/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Philosophy_of_Art">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19593863" data-work_id="19593863" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19593863/THE_MIGRANT_AS_CONSCIENTIOUS_OBJECTOR_Joseph_Nechvatal_interview">THE MIGRANT AS CONSCIENTIOUS OBJECTOR: Joseph Nechvatal interview</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">THE MIGRANT AS CONSCIENTIOUS OBJECTOR: Joseph Nechvatal interviewed by Thyrza Nichols Goodeve for the Brooklyn Rail</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19593863" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8ca79aa0912efdf48ab253bbd2569dac" rel="nofollow" data-download="{"attachment_id":40716997,"asset_id":19593863,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40716997/download_file?st=MTc0MDcwMTY4Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="369618" href="https://sva.academia.edu/JosephNechvatal">Joseph Nechvatal</a><script data-card-contents-for-user="369618" type="text/json">{"id":369618,"first_name":"Joseph","last_name":"Nechvatal","domain_name":"sva","page_name":"JosephNechvatal","display_name":"Joseph Nechvatal","profile_url":"https://sva.academia.edu/JosephNechvatal?f_ri=5290","photo":"https://0.academia-photos.com/369618/96400/12674747/s65_joseph.nechvatal.jpg"}</script></span></span></li><li class="js-paper-rank-work_19593863 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19593863"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 19593863, container: ".js-paper-rank-work_19593863", }); 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Langer's Philosophy of Art (2016)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">How did the philosophy of Henri Bergson look before Gilles Deleuze’s Bergsonism? This article provides a situated answer to that question by performing a close reading of Susanne K. Langer’s early engagement with Bergson in her monograph... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30571078" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">How did the philosophy of Henri Bergson look before Gilles Deleuze’s Bergsonism? This article provides a situated answer to that question by performing a close reading of Susanne K. Langer’s early engagement with Bergson in her monograph Feeling and Form from 1953. Both Bergson and Langer argue against polemical philosophizing. Such polemical modes of doing philosophy distort insight into the thought of the philosophers in question and in philosophical questions per se (such as questions about artistic creation). My reading of Langer’s Bergson is therefore infused with what is nowadays called a new materialist impetus of non-linearity, a non-oppositional philosophizing, and the reading follows the methodology of diffractive reading, a thinking outside fixed and fixating schools of thought. I argue that in spite of Langer’s explicit, i.e., polemical objection to Bergson’s work and to its use by artists, it is a Bergsonism with which Langer’s work is infused.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30571078" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ebef736c3fef1ca0ee24c0671a80f92b" rel="nofollow" data-download="{"attachment_id":51012984,"asset_id":30571078,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51012984/download_file?st=MTc0MDcwMTY4Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1275225" href="https://uu.academia.edu/IrisvanderTuin">Iris van der Tuin</a><script data-card-contents-for-user="1275225" type="text/json">{"id":1275225,"first_name":"Iris","last_name":"van der Tuin","domain_name":"uu","page_name":"IrisvanderTuin","display_name":"Iris van der Tuin","profile_url":"https://uu.academia.edu/IrisvanderTuin?f_ri=5290","photo":"https://0.academia-photos.com/1275225/468246/57980821/s65_iris.van_der_tuin.jpeg"}</script></span></span></li><li class="js-paper-rank-work_30571078 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30571078"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30571078, container: ".js-paper-rank-work_30571078", }); 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$(".js-view-count[data-work-id=30571078]").text(description); $(".js-view-count-work_30571078").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_30571078").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="30571078"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8409" rel="nofollow" href="https://www.academia.edu/Documents/in/Henri_Bergson">Henri Bergson</a>, <script data-card-contents-for-ri="8409" type="text/json">{"id":8409,"name":"Henri Bergson","url":"https://www.academia.edu/Documents/in/Henri_Bergson?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8417" rel="nofollow" href="https://www.academia.edu/Documents/in/Alfred_North_Whitehead">Alfred North Whitehead</a>, <script data-card-contents-for-ri="8417" type="text/json">{"id":8417,"name":"Alfred North Whitehead","url":"https://www.academia.edu/Documents/in/Alfred_North_Whitehead?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="25387" rel="nofollow" href="https://www.academia.edu/Documents/in/Ernst_Cassirer">Ernst Cassirer</a><script data-card-contents-for-ri="25387" type="text/json">{"id":25387,"name":"Ernst Cassirer","url":"https://www.academia.edu/Documents/in/Ernst_Cassirer?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30571078]'), work: {"id":30571078,"title":"Bergson before Bergsonism: Traversing \"Bergson's Failing\" in Susanne K. 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My reading of Langer’s Bergson is therefore infused with what is nowadays called a new materialist impetus of non-linearity, a non-oppositional philosophizing, and the reading follows the methodology of diffractive reading, a thinking outside fixed and fixating schools of thought. 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Langer","url":"https://www.academia.edu/Documents/in/Susanne_K._Langer?f_ri=5290"},{"id":1445729,"name":"Diffractive Reading","url":"https://www.academia.edu/Documents/in/Diffractive_Reading?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_48279172" data-work_id="48279172" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/48279172/Insularit%C3%A0_Una_metafora_per_l_opera_d_arte">Insularità. Una metafora per l’opera d’arte</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A partire dai primi anni del XX secolo, anzitutto in area germanofona e poi in Italia e in altri contesti, all’interno delle concezioni che hanno insistito sull’autonomia come carattere distintivo dell’arte, si è fatto ricorso a più... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_48279172" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A partire dai primi anni del XX secolo, anzitutto<br />in area germanofona e poi in Italia e<br />in altri contesti, all’interno delle concezioni<br />che hanno insistito sull’autonomia come<br />carattere distintivo dell’arte, si è fatto ricorso<br />a più riprese alla metafora dell’insularità.<br />Le particolarità di un’isola – l’essere<br />separata dalle altre terre e “incorniciata”<br />dal mare, l’avere contorni ben defi niti, il distinguersi<br />per particolari elementi autoctoni<br />– sono state adattate all’opera d’arte per<br />rivendicarne l’autosuffi cienza semantica<br />e la conseguente esigenza di essere compresa<br />e interpretata secondo principi a essa<br />immanenti. Di qui l’impiego di vocaboli quali<br />il tedesco Inselhaftigkeit e il suo corrispettivo<br />italiano “insularità”. Alla storia di questi<br />termini in ambito estetico e storico-artistico,<br />che coinvolge personalità come Simmel,<br />Lukács, Dessoir, Ortega y Gasset, Schlosser,<br />Croce, Betti, Pareyson e altri studiosi, sono<br />dedicate le pagine di questo volumetto.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/48279172" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="07fbbe1086ff38f832ca5330cfdd5886" rel="nofollow" data-download="{"attachment_id":66970368,"asset_id":48279172,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66970368/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="850529" href="https://unica.academia.edu/LucaVargiu">Luca Vargiu</a><script data-card-contents-for-user="850529" type="text/json">{"id":850529,"first_name":"Luca","last_name":"Vargiu","domain_name":"unica","page_name":"LucaVargiu","display_name":"Luca Vargiu","profile_url":"https://unica.academia.edu/LucaVargiu?f_ri=5290","photo":"https://0.academia-photos.com/850529/50505971/38532255/s65_luca.vargiu.jpg"}</script></span></span></li><li class="js-paper-rank-work_48279172 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="48279172"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 48279172, container: ".js-paper-rank-work_48279172", }); 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$(".js-view-count[data-work-id=48279172]").text(description); $(".js-view-count-work_48279172").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_48279172").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="48279172"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="27258" rel="nofollow" href="https://www.academia.edu/Documents/in/Georg_Simmel">Georg Simmel</a><script data-card-contents-for-ri="27258" type="text/json">{"id":27258,"name":"Georg Simmel","url":"https://www.academia.edu/Documents/in/Georg_Simmel?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=48279172]'), work: {"id":48279172,"title":"Insularità. Una metafora per l’opera d’arte","created_at":"2021-05-04T10:02:05.736-07:00","url":"https://www.academia.edu/48279172/Insularit%C3%A0_Una_metafora_per_l_opera_d_arte?f_ri=5290","dom_id":"work_48279172","summary":"A partire dai primi anni del XX secolo, anzitutto\nin area germanofona e poi in Italia e\nin altri contesti, all’interno delle concezioni\nche hanno insistito sull’autonomia come\ncarattere distintivo dell’arte, si è fatto ricorso\na più riprese alla metafora dell’insularità.\nLe particolarità di un’isola – l’essere\nseparata dalle altre terre e “incorniciata”\ndal mare, l’avere contorni ben defi niti, il distinguersi\nper particolari elementi autoctoni\n– sono state adattate all’opera d’arte per\nrivendicarne l’autosuffi cienza semantica\ne la conseguente esigenza di essere compresa\ne interpretata secondo principi a essa\nimmanenti. Di qui l’impiego di vocaboli quali\nil tedesco Inselhaftigkeit e il suo corrispettivo\nitaliano “insularità”. Alla storia di questi\ntermini in ambito estetico e storico-artistico,\nche coinvolge personalità come Simmel,\nLukács, Dessoir, Ortega y Gasset, Schlosser,\nCroce, Betti, Pareyson e altri studiosi, sono\ndedicate le pagine di questo volumetto.","downloadable_attachments":[{"id":66970368,"asset_id":48279172,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":850529,"first_name":"Luca","last_name":"Vargiu","domain_name":"unica","page_name":"LucaVargiu","display_name":"Luca Vargiu","profile_url":"https://unica.academia.edu/LucaVargiu?f_ri=5290","photo":"https://0.academia-photos.com/850529/50505971/38532255/s65_luca.vargiu.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":27258,"name":"Georg Simmel","url":"https://www.academia.edu/Documents/in/Georg_Simmel?f_ri=5290","nofollow":true},{"id":69386,"name":"Benedetto Croce","url":"https://www.academia.edu/Documents/in/Benedetto_Croce?f_ri=5290"},{"id":221094,"name":"José Ortega y Gasset","url":"https://www.academia.edu/Documents/in/Jose_Ortega_y_Gasset?f_ri=5290"},{"id":274748,"name":"Emilio Betti","url":"https://www.academia.edu/Documents/in/Emilio_Betti?f_ri=5290"},{"id":320072,"name":"Luigi Pareyson","url":"https://www.academia.edu/Documents/in/Luigi_Pareyson?f_ri=5290"},{"id":861174,"name":"György Lukács","url":"https://www.academia.edu/Documents/in/Gy%C3%B6rgy_Luk%C3%A1cs?f_ri=5290"},{"id":1161200,"name":"Julius von Schlosser","url":"https://www.academia.edu/Documents/in/Julius_von_Schlosser?f_ri=5290"},{"id":2899685,"name":"Insularità","url":"https://www.academia.edu/Documents/in/Insularit%C3%A0?f_ri=5290"},{"id":3931501,"name":"Max Dessoir","url":"https://www.academia.edu/Documents/in/Max_Dessoir?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29244258" data-work_id="29244258" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29244258/Illusions_et_exigences_du_jugement_esth%C3%A9tique">Illusions et exigences du jugement esthétique</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">L’appréciation esthétique oscille le plus souvent, tel un pendule, entre deux sortes d’illusions : celle de l’objectivité du beau (comme si la beauté pouvait être un attribut de la chose même), et celle de sa subjectivité (selon la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29244258" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">L’appréciation esthétique oscille le plus souvent, tel un pendule,  entre deux sortes d’illusions : celle de l’objectivité du beau (comme si la beauté pouvait être un attribut de la chose même), et celle de sa subjectivité (selon la formule du relativisme : « à chacun ses goûts »). Il s’agit ici de penser les critères du jugement de goût par-delà le réalisme dogmatique et le relativisme nihiliste, à la faveur d’un relativisme hiérarchique. Le sentiment du beau s’inscrit dans un contexte social, historique et psychologique, certes, mais il y a quelque chose d’universel dans la relativité du beau. Tous les goûts ne se valent pas, et les critères de la hiérarchisation des jugements de goûts sont immanents à l’activité de juger comme telle. L’article cherche à préciser ces critères.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29244258" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ee6fe135da611ef1d15c3b16544065b7" rel="nofollow" data-download="{"attachment_id":49693968,"asset_id":29244258,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49693968/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="52648405" href="https://paris-sorbonne.academia.edu/VincentCitot">Vincent Citot</a><script data-card-contents-for-user="52648405" type="text/json">{"id":52648405,"first_name":"Vincent","last_name":"Citot","domain_name":"paris-sorbonne","page_name":"VincentCitot","display_name":"Vincent Citot","profile_url":"https://paris-sorbonne.academia.edu/VincentCitot?f_ri=5290","photo":"https://0.academia-photos.com/52648405/14554845/69208155/s65_vincent.citot.jpg"}</script></span></span></li><li class="js-paper-rank-work_29244258 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29244258"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29244258, container: ".js-paper-rank-work_29244258", }); 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$(".js-view-count[data-work-id=29244258]").text(description); $(".js-view-count-work_29244258").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29244258").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29244258"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="68023" rel="nofollow" href="https://www.academia.edu/Documents/in/Beauty">Beauty</a>, <script data-card-contents-for-ri="68023" type="text/json">{"id":68023,"name":"Beauty","url":"https://www.academia.edu/Documents/in/Beauty?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="75948" rel="nofollow" href="https://www.academia.edu/Documents/in/Esth%C3%A9tique">Esthétique</a><script data-card-contents-for-ri="75948" type="text/json">{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29244258]'), work: {"id":29244258,"title":"Illusions et exigences du jugement esthétique","created_at":"2016-10-18T10:34:27.555-07:00","url":"https://www.academia.edu/29244258/Illusions_et_exigences_du_jugement_esth%C3%A9tique?f_ri=5290","dom_id":"work_29244258","summary":"L’appréciation esthétique oscille le plus souvent, tel un pendule, entre deux sortes d’illusions : celle de l’objectivité du beau (comme si la beauté pouvait être un attribut de la chose même), et celle de sa subjectivité (selon la formule du relativisme : « à chacun ses goûts »). Il s’agit ici de penser les critères du jugement de goût par-delà le réalisme dogmatique et le relativisme nihiliste, à la faveur d’un relativisme hiérarchique. Le sentiment du beau s’inscrit dans un contexte social, historique et psychologique, certes, mais il y a quelque chose d’universel dans la relativité du beau. Tous les goûts ne se valent pas, et les critères de la hiérarchisation des jugements de goûts sont immanents à l’activité de juger comme telle. L’article cherche à préciser ces critères.","downloadable_attachments":[{"id":49693968,"asset_id":29244258,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":52648405,"first_name":"Vincent","last_name":"Citot","domain_name":"paris-sorbonne","page_name":"VincentCitot","display_name":"Vincent Citot","profile_url":"https://paris-sorbonne.academia.edu/VincentCitot?f_ri=5290","photo":"https://0.academia-photos.com/52648405/14554845/69208155/s65_vincent.citot.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":68023,"name":"Beauty","url":"https://www.academia.edu/Documents/in/Beauty?f_ri=5290","nofollow":true},{"id":75948,"name":"Esthétique","url":"https://www.academia.edu/Documents/in/Esth%C3%A9tique?f_ri=5290","nofollow":true},{"id":647748,"name":"Esthétique , Philosophie De L'Art","url":"https://www.academia.edu/Documents/in/Esthetique_Philosophie_De_LArt?f_ri=5290"},{"id":959141,"name":"Philosophy of Beauty","url":"https://www.academia.edu/Documents/in/Philosophy_of_Beauty?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_47776692" data-work_id="47776692" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/47776692/Pr%C3%B3logo_a_Metaf%C3%ADsica_y_ficci%C3%B3n_extracient%C3%ADfica_de_Quentin_Meillassoux_2020_">Prólogo a "Metafísica y ficción extracientífica" de Quentin Meillassoux (2020)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">El presente texto es el prólogo para mi traducción de Q. Meillassoux, "Metafísica y ficción extracientífica" (Santiago: Roneo, 2020), que co-escribimos M. Ramírez y yo. Contiene una explicación general del 'realismo especulativo' y el rol... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_47776692" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">El presente texto es el prólogo para mi traducción de Q. Meillassoux, "Metafísica y ficción extracientífica" (Santiago: Roneo, 2020), que co-escribimos M. Ramírez y yo. Contiene una explicación general del 'realismo especulativo' y el rol que el filósofo Q. Meillassoux juega en él, a partir de su propuesta de 'materialismo especulativo' y la crítica a la noción de 'correlacionismo' allí implicada. Luego, el prólogo entrega indicaciones sobre la relación entre metafísica y ficción propuesta por el autor.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/47776692" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6ddb71223dab0a6213591b3f4d95206e" rel="nofollow" data-download="{"attachment_id":66718723,"asset_id":47776692,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66718723/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="908371" href="https://uctemuco.academia.edu/JeanPaulGrassetB">Jean-Paul Grasset B.</a><script data-card-contents-for-user="908371" type="text/json">{"id":908371,"first_name":"Jean-Paul","last_name":"Grasset B.","domain_name":"uctemuco","page_name":"JeanPaulGrassetB","display_name":"Jean-Paul Grasset B.","profile_url":"https://uctemuco.academia.edu/JeanPaulGrassetB?f_ri=5290","photo":"https://0.academia-photos.com/908371/10435294/93998900/s65_jean-paul.grasset_b..jpg"}</script></span></span></li><li class="js-paper-rank-work_47776692 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="47776692"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 47776692, container: ".js-paper-rank-work_47776692", }); 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Meillassoux, \"Metafísica y ficción extracientífica\" (Santiago: Roneo, 2020), que co-escribimos M. Ramírez y yo. Contiene una explicación general del 'realismo especulativo' y el rol que el filósofo Q. Meillassoux juega en él, a partir de su propuesta de 'materialismo especulativo' y la crítica a la noción de 'correlacionismo' allí implicada. 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Nuance</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Tiger C. Roholt explains why grooves, which are forged in music's rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8735347" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Tiger C. Roholt explains why grooves, which are forged in music's rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed through our bodily engagement with music. We grasp a groove bodily by moving with music's pulsations. By invoking the French philosopher Maurice Merleau-Ponty's notion of "motor intentionality," Roholt shows that the "feel" of a groove, and the understanding of it, are two sides of a coin: to "get" a groove just is to comprehend it bodily and to feel that embodied comprehension.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8735347" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="baa47e60452fe00b6389f8151d7aad0e" rel="nofollow" data-download="{"attachment_id":35093053,"asset_id":8735347,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35093053/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="18273498" href="https://montclair.academia.edu/TigerRoholt">Tiger Roholt</a><script data-card-contents-for-user="18273498" type="text/json">{"id":18273498,"first_name":"Tiger","last_name":"Roholt","domain_name":"montclair","page_name":"TigerRoholt","display_name":"Tiger Roholt","profile_url":"https://montclair.academia.edu/TigerRoholt?f_ri=5290","photo":"https://0.academia-photos.com/18273498/5113807/82258237/s65_tiger.roholt.jpg"}</script></span></span></li><li class="js-paper-rank-work_8735347 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8735347"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8735347, container: ".js-paper-rank-work_8735347", }); 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Roholt explains why grooves, which are forged in music's rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed through our bodily engagement with music. We grasp a groove bodily by moving with music's pulsations. By invoking the French philosopher Maurice Merleau-Ponty's notion of \"motor intentionality,\" Roholt shows that the \"feel\" of a groove, and the understanding of it, are two sides of a coin: to \"get\" a groove just is to comprehend it bodily and to feel that embodied comprehension.","downloadable_attachments":[{"id":35093053,"asset_id":8735347,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":18273498,"first_name":"Tiger","last_name":"Roholt","domain_name":"montclair","page_name":"TigerRoholt","display_name":"Tiger Roholt","profile_url":"https://montclair.academia.edu/TigerRoholt?f_ri=5290","photo":"https://0.academia-photos.com/18273498/5113807/82258237/s65_tiger.roholt.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":809,"name":"Analytic 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Teoria filozoficzna i praktyka artystyczna ponowoczesności</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_13959376" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji. <br /> <br />Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność? <br /> <br />Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/13959376" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="77695b2cd97f2bb9213ef29d0e920043" rel="nofollow" data-download="{"attachment_id":56840903,"asset_id":13959376,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56840903/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1934801" href="https://amu.academia.edu/AndrzejMarzec">Andrzej Marzec</a><script data-card-contents-for-user="1934801" type="text/json">{"id":1934801,"first_name":"Andrzej","last_name":"Marzec","domain_name":"amu","page_name":"AndrzejMarzec","display_name":"Andrzej Marzec","profile_url":"https://amu.academia.edu/AndrzejMarzec?f_ri=5290","photo":"https://0.academia-photos.com/1934801/652084/20810388/s65_andrzej.marzec.jpg"}</script></span></span></li><li class="js-paper-rank-work_13959376 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13959376"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13959376, container: ".js-paper-rank-work_13959376", }); 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Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność? \r\n \r\nKategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.","downloadable_attachments":[{"id":56840903,"asset_id":13959376,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1934801,"first_name":"Andrzej","last_name":"Marzec","domain_name":"amu","page_name":"AndrzejMarzec","display_name":"Andrzej Marzec","profile_url":"https://amu.academia.edu/AndrzejMarzec?f_ri=5290","photo":"https://0.academia-photos.com/1934801/652084/20810388/s65_andrzej.marzec.jpg"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=5290","nofollow":true},{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=5290","nofollow":true},{"id":188,"name":"Cultural 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Merleau-Ponty","url":"https://www.academia.edu/Documents/in/Maurice_Merleau-Ponty?f_ri=5290"},{"id":8436,"name":"Edmund Husserl","url":"https://www.academia.edu/Documents/in/Edmund_Husserl?f_ri=5290"},{"id":16561,"name":"Jean Paul Sartre","url":"https://www.academia.edu/Documents/in/Jean_Paul_Sartre?f_ri=5290"},{"id":25273,"name":"French philosophy","url":"https://www.academia.edu/Documents/in/French_philosophy?f_ri=5290"},{"id":26193,"name":"Merleau-Ponty","url":"https://www.academia.edu/Documents/in/Merleau-Ponty?f_ri=5290"},{"id":1222774,"name":"Continental Philosophy and Aesthetics","url":"https://www.academia.edu/Documents/in/Continental_Philosophy_and_Aesthetics?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34915814" data-work_id="34915814" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34915814/Art_Art_or_Art_Art_artworks_and_identity_problem">Art = Art or Art  Art: artworks and identity problem</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In the article «From zombie art to dead art» philosopher Raamy Majeed from Cambridge University touches on a number of traditional issues for the philosophy of art and aesthetics. Considering the phenomenon of zombie art, – these artworks... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34915814" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In the article «From zombie art to dead art» philosopher Raamy Majeed from Cambridge University touches on a number of traditional issues for the philosophy of art and aesthetics. Considering the phenomenon of zombie art, – these artworks of art have received so much physical damage that they no longer treat like these as such, – Raamy Majeed makes a provocative conclusion that any artwork can be regarded as identical to itself as an artifact. This conclusion allows us to take radical physicalism position in the field of art. 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and the project of \"critical theory\" in general and in particular in art history, also on Peter Bürger's work.","downloadable_attachments":[{"id":32388301,"asset_id":5198950,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2925607,"first_name":"Elad","last_name":"Lapidot","domain_name":"cecille","page_name":"EladLapidot","display_name":"Elad Lapidot","profile_url":"https://cecille.academia.edu/EladLapidot?f_ri=5290","photo":"https://0.academia-photos.com/2925607/2658643/19792481/s65_elad.lapidot.jpg"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=5290","nofollow":true},{"id":384,"name":"German Studies","url":"https://www.academia.edu/Documents/in/German_Studies?f_ri=5290","nofollow":true},{"id":662,"name":"German 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js-work-card work_33438281" data-work_id="33438281" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33438281/NORMATIVITY_AND_BEAUTY_IN_CONTEMPORARY_ARTS">NORMATIVITY AND BEAUTY IN CONTEMPORARY ARTS</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Our intuitions related to art are generally associated to ideas such as creativity, freedom of expression, experimentation. The fact that so many artists (especially writers, but also musicians, painters, performance artists) are or have... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33438281" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Our intuitions related to art are generally associated to ideas such as creativity, freedom of expression, experimentation. The fact that so many artists (especially writers, but also musicians, painters, performance artists) are or have been people with training in legal disciplines should be taken into account when considering the apparently extrinsic relationship between art and law. The question we have to answer is the following.<br />When we make a judgment of taste looking, say, at the Mona Lisa, what does<br />that mean exactly? What do we mean when we say that “the Mona Lisa is beautiful and an absolute masterpiece of Western art”? This statement contains a judgment of taste (Mona Lisa is beautiful) and an artistic judgment (it is a masterpiece of Western art). In what follows I will show that: i) the two judgments are different, ii) both judgments have normative nature, but the normativity of the judgment of taste refers to different elements from the artistic judgment and, finally, iii) contemporary visual arts require the formulation of an artistic judgment rather than a judgment of taste.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33438281" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e406c12c7cfcedc2e81f88c3544dd963" rel="nofollow" data-download="{"attachment_id":53488307,"asset_id":33438281,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53488307/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1119439" href="https://unito.academia.edu/TizianaAndina">Tiziana Andina</a><script data-card-contents-for-user="1119439" type="text/json">{"id":1119439,"first_name":"Tiziana","last_name":"Andina","domain_name":"unito","page_name":"TizianaAndina","display_name":"Tiziana Andina","profile_url":"https://unito.academia.edu/TizianaAndina?f_ri=5290","photo":"https://0.academia-photos.com/1119439/3283889/3864403/s65_tiziana.andina.jpg"}</script></span></span></li><li class="js-paper-rank-work_33438281 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33438281"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33438281, container: ".js-paper-rank-work_33438281", }); });</script></li><li class="js-percentile-work_33438281 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33438281; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_33438281"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_33438281 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="33438281"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33438281; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33438281]").text(description); $(".js-view-count-work_33438281").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33438281").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33438281"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12912" rel="nofollow" href="https://www.academia.edu/Documents/in/Normativity">Normativity</a><script data-card-contents-for-ri="12912" type="text/json">{"id":12912,"name":"Normativity","url":"https://www.academia.edu/Documents/in/Normativity?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33438281]'), work: {"id":33438281,"title":"NORMATIVITY AND BEAUTY IN CONTEMPORARY ARTS","created_at":"2017-06-13T06:51:34.244-07:00","url":"https://www.academia.edu/33438281/NORMATIVITY_AND_BEAUTY_IN_CONTEMPORARY_ARTS?f_ri=5290","dom_id":"work_33438281","summary":"Our intuitions related to art are generally associated to ideas such as creativity, freedom of expression, experimentation. The fact that so many artists (especially writers, but also musicians, painters, performance artists) are or have been people with training in legal disciplines should be taken into account when considering the apparently extrinsic relationship between art and law. The question we have to answer is the following.\nWhen we make a judgment of taste looking, say, at the Mona Lisa, what does\nthat mean exactly? What do we mean when we say that “the Mona Lisa is beautiful and an absolute masterpiece of Western art”? This statement contains a judgment of taste (Mona Lisa is beautiful) and an artistic judgment (it is a masterpiece of Western art). In what follows I will show that: i) the two judgments are different, ii) both judgments have normative nature, but the normativity of the judgment of taste refers to different elements from the artistic judgment and, finally, iii) contemporary visual arts require the formulation of an artistic judgment rather than a judgment of taste.","downloadable_attachments":[{"id":53488307,"asset_id":33438281,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1119439,"first_name":"Tiziana","last_name":"Andina","domain_name":"unito","page_name":"TizianaAndina","display_name":"Tiziana Andina","profile_url":"https://unito.academia.edu/TizianaAndina?f_ri=5290","photo":"https://0.academia-photos.com/1119439/3283889/3864403/s65_tiziana.andina.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":12912,"name":"Normativity","url":"https://www.academia.edu/Documents/in/Normativity?f_ri=5290","nofollow":true},{"id":68023,"name":"Beauty","url":"https://www.academia.edu/Documents/in/Beauty?f_ri=5290"},{"id":996370,"name":"Aesthetic Judgement","url":"https://www.academia.edu/Documents/in/Aesthetic_Judgement?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_48732649" data-work_id="48732649" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/48732649/Before_Sunrise_Before_Sunset_Before_Midnight_A_Philosophical_Exploration">Before Sunrise, Before Sunset, Before Midnight: A Philosophical Exploration</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Richard Linklater’s celebrated Before trilogy chronicles the love of Jesse (Ethan Hawke) and Céline (Julie Delpy) who first meet up in Before Sunrise, later reconnect in Before Sunset and finally experience a fall-out in Before Midnight.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_48732649" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Richard Linklater’s celebrated Before trilogy chronicles the love of Jesse (Ethan Hawke) and Céline (Julie Delpy) who first meet up in Before Sunrise, later reconnect in Before Sunset and finally experience a fall-out in Before Midnight. Not only do these films present storylines and dilemmas that invite philosophical discussion, but philosophical discussion itself is at the very heart of the trilogy.<br /><br />This book, containing specially commissioned chapters by a roster of international contributors, explores the many philosophical themes that feature so vividly in the interactions between Céline and Jesse, including:<br /><br />the nature of love, romanticism and marriage<br />the passage and experience of time<br />the meaning of life<br />the art of conversation<br />the narrative self<br />gender<br />death<br /><br />Including an interview with Julie Delpy in which she discusses her involvement in the films and the importance of studying philosophy.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/48732649" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9f52579cdc2051b9c8a0036d77a1ca40" rel="nofollow" data-download="{"attachment_id":67188431,"asset_id":48732649,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67188431/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2931844" href="https://kuleuven.academia.edu/HansMaes">Hans Maes</a><script data-card-contents-for-user="2931844" type="text/json">{"id":2931844,"first_name":"Hans","last_name":"Maes","domain_name":"kuleuven","page_name":"HansMaes","display_name":"Hans Maes","profile_url":"https://kuleuven.academia.edu/HansMaes?f_ri=5290","photo":"https://0.academia-photos.com/2931844/968916/3919603/s65_hans.maes.jpg"}</script></span></span></li><li class="js-paper-rank-work_48732649 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="48732649"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 48732649, container: ".js-paper-rank-work_48732649", }); });</script></li><li class="js-percentile-work_48732649 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 48732649; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_48732649"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_48732649 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="48732649"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 48732649; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=48732649]").text(description); $(".js-view-count-work_48732649").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_48732649").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="48732649"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5288" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Film">Philosophy of Film</a>, <script data-card-contents-for-ri="5288" type="text/json">{"id":5288,"name":"Philosophy of Film","url":"https://www.academia.edu/Documents/in/Philosophy_of_Film?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a><script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=48732649]'), work: {"id":48732649,"title":"Before Sunrise, Before Sunset, Before Midnight: A Philosophical Exploration","created_at":"2021-05-05T08:16:37.206-07:00","url":"https://www.academia.edu/48732649/Before_Sunrise_Before_Sunset_Before_Midnight_A_Philosophical_Exploration?f_ri=5290","dom_id":"work_48732649","summary":"Richard Linklater’s celebrated Before trilogy chronicles the love of Jesse (Ethan Hawke) and Céline (Julie Delpy) who first meet up in Before Sunrise, later reconnect in Before Sunset and finally experience a fall-out in Before Midnight. Not only do these films present storylines and dilemmas that invite philosophical discussion, but philosophical discussion itself is at the very heart of the trilogy.\n\nThis book, containing specially commissioned chapters by a roster of international contributors, explores the many philosophical themes that feature so vividly in the interactions between Céline and Jesse, including:\n\nthe nature of love, romanticism and marriage\nthe passage and experience of time\nthe meaning of life\nthe art of conversation\nthe narrative self\ngender\ndeath\n\nIncluding an interview with Julie Delpy in which she discusses her involvement in the films and the importance of studying philosophy. ","downloadable_attachments":[{"id":67188431,"asset_id":48732649,"asset_type":"Work","always_allow_download":false},{"id":67196622,"asset_id":48732649,"asset_type":"Work","always_allow_download":false},{"id":67174320,"asset_id":48732649,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2931844,"first_name":"Hans","last_name":"Maes","domain_name":"kuleuven","page_name":"HansMaes","display_name":"Hans Maes","profile_url":"https://kuleuven.academia.edu/HansMaes?f_ri=5290","photo":"https://0.academia-photos.com/2931844/968916/3919603/s65_hans.maes.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=5290","nofollow":true},{"id":5288,"name":"Philosophy of Film","url":"https://www.academia.edu/Documents/in/Philosophy_of_Film?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":8850,"name":"Melancholy","url":"https://www.academia.edu/Documents/in/Melancholy?f_ri=5290"},{"id":15341,"name":"Aesthetics and Ethics","url":"https://www.academia.edu/Documents/in/Aesthetics_and_Ethics?f_ri=5290"},{"id":18900,"name":"Philosophy of Love","url":"https://www.academia.edu/Documents/in/Philosophy_of_Love?f_ri=5290"},{"id":112930,"name":"Richard Linklater","url":"https://www.academia.edu/Documents/in/Richard_Linklater?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45659627" data-work_id="45659627" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45659627/The_Scope_of_Aesthetic_Consciousness_Working_with_Husserl">The Scope of Aesthetic Consciousness: Working with Husserl</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Part I sets out the most essential features of Husserl’s understanding of aesthetic consciousness, namely, its status as mode of valuing grounded in the realm of sensory and/or phantasy appearance, which involves the disinterested... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45659627" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Part I sets out the most essential features of<br />Husserl’s understanding of aesthetic consciousness, namely, its status as mode of valuing<br />grounded in the realm of sensory and/or phantasy appearance, which involves the<br />disinterested appreciation of such appearances. A number of comparisons and contrasts are<br />made with Kant’s aesthetics (with which Husserl’s has some affinity). We then move on to<br />discussion of the varieties of aesthetic object that Husserl identifies. Part II addresses those<br />arising from ‘external perception’ most notably the aesthetic consciousness of nature, and<br />Part III discusses the aesthetics of phantasy as such, and of the spatial arts, and of the<br />symbolically presented arts of literature and music. In Part IV, we address the interesting<br />general significance that Husserl assigns to the aesthetic and beauty, and in Conclusion, we<br />offer a critical review of his theory overall and a further development of one of its most<br />interesting points.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45659627" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="833db8722775c7b79aba2dc513e1f5d0" rel="nofollow" data-download="{"attachment_id":66160475,"asset_id":45659627,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66160475/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="25666302" href="https://ria.academia.edu/PaulCrowther">Paul Crowther</a><script data-card-contents-for-user="25666302" type="text/json">{"id":25666302,"first_name":"Paul","last_name":"Crowther","domain_name":"ria","page_name":"PaulCrowther","display_name":"Paul Crowther","profile_url":"https://ria.academia.edu/PaulCrowther?f_ri=5290","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_45659627 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45659627"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45659627, container: ".js-paper-rank-work_45659627", }); 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A number of comparisons and contrasts are\nmade with Kant’s aesthetics (with which Husserl’s has some affinity). We then move on to\ndiscussion of the varieties of aesthetic object that Husserl identifies. Part II addresses those\narising from ‘external perception’ most notably the aesthetic consciousness of nature, and\nPart III discusses the aesthetics of phantasy as such, and of the spatial arts, and of the\nsymbolically presented arts of literature and music. In Part IV, we address the interesting\ngeneral significance that Husserl assigns to the aesthetic and beauty, and in Conclusion, we\noffer a critical review of his theory overall and a further development of one of its most\ninteresting points.","downloadable_attachments":[{"id":66160475,"asset_id":45659627,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":25666302,"first_name":"Paul","last_name":"Crowther","domain_name":"ria","page_name":"PaulCrowther","display_name":"Paul Crowther","profile_url":"https://ria.academia.edu/PaulCrowther?f_ri=5290","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=5290","nofollow":true},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":5960,"name":"Continental Philosophy","url":"https://www.academia.edu/Documents/in/Continental_Philosophy?f_ri=5290"},{"id":8436,"name":"Edmund Husserl","url":"https://www.academia.edu/Documents/in/Edmund_Husserl?f_ri=5290"},{"id":23487,"name":"Husserl","url":"https://www.academia.edu/Documents/in/Husserl?f_ri=5290"},{"id":91963,"name":"Aesthetic Experience","url":"https://www.academia.edu/Documents/in/Aesthetic_Experience?f_ri=5290"},{"id":1222774,"name":"Continental Philosophy and Aesthetics","url":"https://www.academia.edu/Documents/in/Continental_Philosophy_and_Aesthetics?f_ri=5290"},{"id":2531819,"name":"Husserlian Phenomenology and Contemporary Continental Philosophy","url":"https://www.academia.edu/Documents/in/Husserlian_Phenomenology_and_Contemporary_Continental_Philosophy?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29608488" data-work_id="29608488" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29608488/Heidegger_in_Sanat_Felsefesi_%C3%9Czerine">Heidegger’in Sanat Felsefesi Üzerine</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29608488" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="344772ef048f303934bdb25ff0a6843d" rel="nofollow" data-download="{"attachment_id":99442083,"asset_id":29608488,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/99442083/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="29977331" href="https://independent.academia.edu/Alk%C4%B1mSayg%C4%B1n">Dr. Alkım Saygın</a><script data-card-contents-for-user="29977331" type="text/json">{"id":29977331,"first_name":"Dr. Alkım","last_name":"Saygın","domain_name":"independent","page_name":"AlkımSaygın","display_name":"Dr. Alkım Saygın","profile_url":"https://independent.academia.edu/Alk%C4%B1mSayg%C4%B1n?f_ri=5290","photo":"https://0.academia-photos.com/29977331/8647036/93762872/s65_dr._alk_m.sayg_n.jpg"}</script></span></span></li><li class="js-paper-rank-work_29608488 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29608488"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29608488, container: ".js-paper-rank-work_29608488", }); 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$(".js-view-count[data-work-id=29608488]").text(description); $(".js-view-count-work_29608488").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29608488").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29608488"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="8437" rel="nofollow" href="https://www.academia.edu/Documents/in/Martin_Heidegger">Martin Heidegger</a>, <script data-card-contents-for-ri="8437" type="text/json">{"id":8437,"name":"Martin Heidegger","url":"https://www.academia.edu/Documents/in/Martin_Heidegger?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="63044" rel="nofollow" href="https://www.academia.edu/Documents/in/Sanat_Tarihi">Sanat Tarihi</a>, <script data-card-contents-for-ri="63044" type="text/json">{"id":63044,"name":"Sanat Tarihi","url":"https://www.academia.edu/Documents/in/Sanat_Tarihi?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="110613" rel="nofollow" href="https://www.academia.edu/Documents/in/Felsefe">Felsefe</a>, <script data-card-contents-for-ri="110613" type="text/json">{"id":110613,"name":"Felsefe","url":"https://www.academia.edu/Documents/in/Felsefe?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="162828" rel="nofollow" href="https://www.academia.edu/Documents/in/Sanat">Sanat</a><script data-card-contents-for-ri="162828" type="text/json">{"id":162828,"name":"Sanat","url":"https://www.academia.edu/Documents/in/Sanat?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29608488]'), work: {"id":29608488,"title":"Heidegger’in Sanat Felsefesi Üzerine","created_at":"2016-11-02T01:05:39.155-07:00","url":"https://www.academia.edu/29608488/Heidegger_in_Sanat_Felsefesi_%C3%9Czerine?f_ri=5290","dom_id":"work_29608488","summary":null,"downloadable_attachments":[{"id":99442083,"asset_id":29608488,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":29977331,"first_name":"Dr. Alkım","last_name":"Saygın","domain_name":"independent","page_name":"AlkımSaygın","display_name":"Dr. Alkım Saygın","profile_url":"https://independent.academia.edu/Alk%C4%B1mSayg%C4%B1n?f_ri=5290","photo":"https://0.academia-photos.com/29977331/8647036/93762872/s65_dr._alk_m.sayg_n.jpg"}],"research_interests":[{"id":8437,"name":"Martin Heidegger","url":"https://www.academia.edu/Documents/in/Martin_Heidegger?f_ri=5290","nofollow":true},{"id":63044,"name":"Sanat Tarihi","url":"https://www.academia.edu/Documents/in/Sanat_Tarihi?f_ri=5290","nofollow":true},{"id":110613,"name":"Felsefe","url":"https://www.academia.edu/Documents/in/Felsefe?f_ri=5290","nofollow":true},{"id":162828,"name":"Sanat","url":"https://www.academia.edu/Documents/in/Sanat?f_ri=5290","nofollow":true},{"id":332480,"name":"Varoluşçuluk","url":"https://www.academia.edu/Documents/in/Varolu%C5%9F%C3%A7uluk?f_ri=5290"},{"id":514467,"name":"Fenomenoloji","url":"https://www.academia.edu/Documents/in/Fenomenoloji?f_ri=5290"},{"id":686075,"name":"Ahlak Felsefesi","url":"https://www.academia.edu/Documents/in/Ahlak_Felsefesi?f_ri=5290"},{"id":703877,"name":"Sanat Felsefesi","url":"https://www.academia.edu/Documents/in/Sanat_Felsefesi?f_ri=5290"},{"id":981078,"name":"Felsefe Eğitimi","url":"https://www.academia.edu/Documents/in/Felsefe_Egitimi?f_ri=5290"},{"id":1034030,"name":"Düşünce Tarihi","url":"https://www.academia.edu/Documents/in/Dusunce_Tarihi?f_ri=5290"},{"id":1892266,"name":"Felsefe Tarihi","url":"https://www.academia.edu/Documents/in/Felsefe_Tarihi?f_ri=5290"},{"id":1901129,"name":"İnsan Felsefesi","url":"https://www.academia.edu/Documents/in/%C4%B0nsan_Felsefesi?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4207542" data-work_id="4207542" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4207542/Penser_limage_I_3e_%C3%A9d_2019_">Penser l'image I (3e éd. 2019)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Qu'est-ce qu'une image ? La multiplication proliférante des images semble bien – et c'est là son paradoxe – inversement proportionnelle à notre faculté de dire ce qu'est réellement une image. Si notre interaction quotidienne avec les... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4207542" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Qu'est-ce qu'une image ? La multiplication proliférante des images semble bien – et c'est là son paradoxe – inversement proportionnelle à notre faculté de dire ce qu'est réellement une image. Si notre interaction quotidienne avec les écrans a fait disparaître certaines peurs archaïques quant au pouvoir perturbateur des images, cette normalisation des rapports fait elle-même écran à une confrontation réelle avec l'efficace des images. <br />Prenant acte du fait que l'image n'est pas structurée comme un langage, cet ouvrage se fait le témoin des débats actuels autour des logiques imaginales, notamment les Bildwissenschaften allemandes ainsi que les visual studies aux Etats-Unis. Que ce soit à partir d'une perspective contemporaine ou encore depuis une position délibérément anachronique, les différents essais forment ensemble un arsenal conceptuel permettant d'affronter de façon nouvelle la question de l'image et de son efficace.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4207542" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="117298b30b807ec5cb7674a26390c3d6" rel="nofollow" data-download="{"attachment_id":58284596,"asset_id":4207542,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58284596/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3866038" href="https://unifr.academia.edu/EmmanuelAlloa">Emmanuel Alloa</a><script data-card-contents-for-user="3866038" type="text/json">{"id":3866038,"first_name":"Emmanuel","last_name":"Alloa","domain_name":"unifr","page_name":"EmmanuelAlloa","display_name":"Emmanuel Alloa","profile_url":"https://unifr.academia.edu/EmmanuelAlloa?f_ri=5290","photo":"https://0.academia-photos.com/3866038/2211657/60146227/s65_emmanuel.alloa.jpg"}</script></span></span></li><li class="js-paper-rank-work_4207542 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4207542"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4207542, container: ".js-paper-rank-work_4207542", }); 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La multiplication proliférante des images semble bien – et c'est là son paradoxe – inversement proportionnelle à notre faculté de dire ce qu'est réellement une image. Si notre interaction quotidienne avec les écrans a fait disparaître certaines peurs archaïques quant au pouvoir perturbateur des images, cette normalisation des rapports fait elle-même écran à une confrontation réelle avec l'efficace des images.\r\nPrenant acte du fait que l'image n'est pas structurée comme un langage, cet ouvrage se fait le témoin des débats actuels autour des logiques imaginales, notamment les Bildwissenschaften allemandes ainsi que les visual studies aux Etats-Unis. Que ce soit à partir d'une perspective contemporaine ou encore depuis une position délibérément anachronique, les différents essais forment ensemble un arsenal conceptuel permettant d'affronter de façon nouvelle la question de l'image et de son efficace.","downloadable_attachments":[{"id":58284596,"asset_id":4207542,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3866038,"first_name":"Emmanuel","last_name":"Alloa","domain_name":"unifr","page_name":"EmmanuelAlloa","display_name":"Emmanuel Alloa","profile_url":"https://unifr.academia.edu/EmmanuelAlloa?f_ri=5290","photo":"https://0.academia-photos.com/3866038/2211657/60146227/s65_emmanuel.alloa.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=5290","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=5290","nofollow":true},{"id":925,"name":"Visual Anthropology","url":"https://www.academia.edu/Documents/in/Visual_Anthropology?f_ri=5290","nofollow":true},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=5290"},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=5290"},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=5290"},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290"},{"id":9351,"name":"Image Analysis","url":"https://www.academia.edu/Documents/in/Image_Analysis?f_ri=5290"},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=5290"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=5290"},{"id":51885,"name":"Bildwissenschaft","url":"https://www.academia.edu/Documents/in/Bildwissenschaft?f_ri=5290"},{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory?f_ri=5290"},{"id":670462,"name":"Philosophy of the Image","url":"https://www.academia.edu/Documents/in/Philosophy_of_the_Image?f_ri=5290"},{"id":1136949,"name":"Visual Culture / Bildwissenschaft","url":"https://www.academia.edu/Documents/in/Visual_Culture_Bildwissenschaft?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25632200" data-work_id="25632200" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/25632200/Foto%C4%9Fraf%C4%B1n_%C4%B0mgeleri_Temsil_Ger%C3%A7eklik_ve_Dijital_%C3%87a%C4%9Fda_Foto%C4%9Fraf">Fotoğrafın İmgeleri: Temsil, Gerçeklik ve Dijital Çağda Fotoğraf</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25632200" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="574576a0ed415ef1a24e074fd4f0cd05" rel="nofollow" data-download="{"attachment_id":45964977,"asset_id":25632200,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button 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class="InlineList-item-text" data-has-card-for-ri="10503" rel="nofollow" href="https://www.academia.edu/Documents/in/Photography_Theory">Photography Theory</a>, <script data-card-contents-for-ri="10503" type="text/json">{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="20079" rel="nofollow" href="https://www.academia.edu/Documents/in/History_of_photography">History of photography</a><script data-card-contents-for-ri="20079" type="text/json">{"id":20079,"name":"History of photography","url":"https://www.academia.edu/Documents/in/History_of_photography?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=25632200]'), work: {"id":25632200,"title":"Fotoğrafın İmgeleri: Temsil, Gerçeklik ve Dijital Çağda 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Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=5290","nofollow":true},{"id":20079,"name":"History of photography","url":"https://www.academia.edu/Documents/in/History_of_photography?f_ri=5290","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_64156786" data-work_id="64156786" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/64156786/Concepts_and_Problems_in_Visual_Art">Concepts and Problems in Visual Art</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This is a description of a set of over 70 videos on art theory and art history.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/64156786" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a4692475ac43eadd0c206226a1c3e726" rel="nofollow" data-download="{"attachment_id":76320424,"asset_id":64156786,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/76320424/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" 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href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" 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Hereld","profile_url":"https://pepperdine.academia.edu/DianaCHereld?f_ri=5290","photo":"https://0.academia-photos.com/788914/268089/10805085/s65_diana_c..hereld.jpg"}</script></span></span></li><li class="js-paper-rank-work_6737808 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6737808"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6737808, container: ".js-paper-rank-work_6737808", }); });</script></li><li class="js-percentile-work_6737808 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 6737808; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_6737808"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_6737808 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="6737808"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 6737808; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=6737808]").text(description); $(".js-view-count-work_6737808").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6737808").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="6737808"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="161" rel="nofollow" href="https://www.academia.edu/Documents/in/Neuroscience">Neuroscience</a>, <script data-card-contents-for-ri="161" type="text/json">{"id":161,"name":"Neuroscience","url":"https://www.academia.edu/Documents/in/Neuroscience?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1751" rel="nofollow" href="https://www.academia.edu/Documents/in/Creativity">Creativity</a>, <script data-card-contents-for-ri="1751" type="text/json">{"id":1751,"name":"Creativity","url":"https://www.academia.edu/Documents/in/Creativity?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4215" rel="nofollow" href="https://www.academia.edu/Documents/in/Evolution_of_Music">Evolution of Music</a>, <script data-card-contents-for-ri="4215" type="text/json">{"id":4215,"name":"Evolution of Music","url":"https://www.academia.edu/Documents/in/Evolution_of_Music?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a><script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6737808]'), work: {"id":6737808,"title":"Damasio on the Origins of Creativity Neuroscience 2013 coverage for Pathways in Music","created_at":"2014-04-12T15:30:43.324-07:00","url":"https://www.academia.edu/6737808/Damasio_on_the_Origins_of_Creativity_Neuroscience_2013_coverage_for_Pathways_in_Music?f_ri=5290","dom_id":"work_6737808","summary":null,"downloadable_attachments":[{"id":33453881,"asset_id":6737808,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":788914,"first_name":"Diana C.","last_name":"Hereld","domain_name":"pepperdine","page_name":"DianaCHereld","display_name":"Diana C. Hereld","profile_url":"https://pepperdine.academia.edu/DianaCHereld?f_ri=5290","photo":"https://0.academia-photos.com/788914/268089/10805085/s65_diana_c..hereld.jpg"}],"research_interests":[{"id":161,"name":"Neuroscience","url":"https://www.academia.edu/Documents/in/Neuroscience?f_ri=5290","nofollow":true},{"id":1751,"name":"Creativity","url":"https://www.academia.edu/Documents/in/Creativity?f_ri=5290","nofollow":true},{"id":4215,"name":"Evolution of Music","url":"https://www.academia.edu/Documents/in/Evolution_of_Music?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":97297,"name":"Origins of music","url":"https://www.academia.edu/Documents/in/Origins_of_music?f_ri=5290"},{"id":315041,"name":"Antonio Damásio","url":"https://www.academia.edu/Documents/in/Antonio_Dam%C3%A1sio?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35843610" data-work_id="35843610" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35843610/The_Experimental_Practice_as_Complex_Adaptive_System">The Experimental Practice as Complex Adaptive System</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Generative Code If we consider our viewpoints , perceptions, and conceptions the results of political, economical, or cultural exposures which are themselves the results of hugely disparate human and non-human constructs; and if we... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35843610" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Generative Code If we consider our viewpoints , perceptions, and conceptions the results of political, economical, or cultural exposures which are themselves the results of hugely disparate human and non-human constructs; and if we consider these as being magnified by advances in communications and technologies over the last century; if we understand that this has led to an altered perception of the production of knowledge which foregrounds its fragile and temporal nature, then we can establish that knowledge production has changed from being dependent on identity and definition, to one that produces movement and possibility. Modes of being/doing have been transformed by advances in science and technology. In addition to this, our understanding of being and doing has been transformed by discoveries at the heart of science and the nature of genesis. The new ideas and concepts that proliferate as a result of technological invention has revolutionised our relationship with the world in terms of thinking and perceiving. These altered relationships regarding our integration into the world provide an altered understanding of form as being /doing. This relationship has always been explored through the experimental art practice, never more than now has this relationship carried so much in terms of an understanding of our position as percievers and concievers in rapidly moving cultural predicaments. This is because the experimental practice redraws our relationship with knowledge production as socio-cultural and politico-economic processes instigated from collective purpose/content trajectories at the same time incorporating disseminated dialogues of intervention and chance. It provides a model or a blue print for how invention-the genesis of ideas, values and things-is created, established and utilised which can aid creative intervention across disciplines and borders.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35843610" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8a124bcff196cc2dfacc75d33aafadb1" rel="nofollow" data-download="{"attachment_id":55721951,"asset_id":35843610,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55721951/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26285373" href="https://ucreative.academia.edu/ClareqBeattie">Clare Beattie</a><script data-card-contents-for-user="26285373" type="text/json">{"id":26285373,"first_name":"Clare","last_name":"Beattie","domain_name":"ucreative","page_name":"ClareqBeattie","display_name":"Clare Beattie","profile_url":"https://ucreative.academia.edu/ClareqBeattie?f_ri=5290","photo":"https://0.academia-photos.com/26285373/13037742/14379667/s65_clare.beattie.jpg"}</script></span></span></li><li class="js-paper-rank-work_35843610 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35843610"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35843610, container: ".js-paper-rank-work_35843610", }); 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$(".js-view-count[data-work-id=35843610]").text(description); $(".js-view-count-work_35843610").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35843610").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35843610"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1386" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="20816" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_Theory_and_Politics">Art Theory and Politics</a>, <script data-card-contents-for-ri="20816" type="text/json">{"id":20816,"name":"Art Theory and Politics","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Politics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="21220" rel="nofollow" href="https://www.academia.edu/Documents/in/Creative_thinking">Creative thinking</a><script data-card-contents-for-ri="21220" type="text/json">{"id":21220,"name":"Creative thinking","url":"https://www.academia.edu/Documents/in/Creative_thinking?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35843610]'), work: {"id":35843610,"title":"The Experimental Practice as Complex Adaptive System","created_at":"2018-02-05T09:29:26.966-08:00","url":"https://www.academia.edu/35843610/The_Experimental_Practice_as_Complex_Adaptive_System?f_ri=5290","dom_id":"work_35843610","summary":"The Generative Code If we consider our viewpoints , perceptions, and conceptions the results of political, economical, or cultural exposures which are themselves the results of hugely disparate human and non-human constructs; and if we consider these as being magnified by advances in communications and technologies over the last century; if we understand that this has led to an altered perception of the production of knowledge which foregrounds its fragile and temporal nature, then we can establish that knowledge production has changed from being dependent on identity and definition, to one that produces movement and possibility. Modes of being/doing have been transformed by advances in science and technology. In addition to this, our understanding of being and doing has been transformed by discoveries at the heart of science and the nature of genesis. The new ideas and concepts that proliferate as a result of technological invention has revolutionised our relationship with the world in terms of thinking and perceiving. These altered relationships regarding our integration into the world provide an altered understanding of form as being /doing. This relationship has always been explored through the experimental art practice, never more than now has this relationship carried so much in terms of an understanding of our position as percievers and concievers in rapidly moving cultural predicaments. This is because the experimental practice redraws our relationship with knowledge production as socio-cultural and politico-economic processes instigated from collective purpose/content trajectories at the same time incorporating disseminated dialogues of intervention and chance. It provides a model or a blue print for how invention-the genesis of ideas, values and things-is created, established and utilised which can aid creative intervention across disciplines and borders.","downloadable_attachments":[{"id":55721951,"asset_id":35843610,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26285373,"first_name":"Clare","last_name":"Beattie","domain_name":"ucreative","page_name":"ClareqBeattie","display_name":"Clare Beattie","profile_url":"https://ucreative.academia.edu/ClareqBeattie?f_ri=5290","photo":"https://0.academia-photos.com/26285373/13037742/14379667/s65_clare.beattie.jpg"}],"research_interests":[{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":20816,"name":"Art Theory and Politics","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Politics?f_ri=5290","nofollow":true},{"id":21220,"name":"Creative thinking","url":"https://www.academia.edu/Documents/in/Creative_thinking?f_ri=5290","nofollow":true},{"id":147121,"name":"Fine Arts Education","url":"https://www.academia.edu/Documents/in/Fine_Arts_Education?f_ri=5290"},{"id":152388,"name":"Art Theory and Criticism","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Criticism?f_ri=5290"},{"id":223841,"name":"Brian Massumi","url":"https://www.academia.edu/Documents/in/Brian_Massumi?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_23640221" data-work_id="23640221" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/23640221/Review_of_David_Fergusons_Courtyard_for_a_Bird_installation_and_dance_performance_piece_at_the_Nanaimo_Art_Gallery">Review of David Ferguson's 'Courtyard for a Bird,' installation and dance performance piece at the Nanaimo Art Gallery</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">David Ferguson's large-scale paintings give a first impression of thick, built-up impasto and painterly textures. Overall, this new body of work addresses themes of sanctuary and flight through mediations of vision, visionary experience.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_23640221" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">David Ferguson's large-scale paintings give a first impression of thick, built-up impasto and painterly textures.  Overall, this new body of work addresses themes of sanctuary and flight through mediations of vision, visionary experience. and movement. It is only when one examines another aspect of his newest works, his austerely minimalistic, monochromatic wall assemblages, that the viewer perceives the effect of built-up paint in the larger chromatic works is an illusion. The grounds for Ferguson's painterly surfaces are, themselves, sculptural works:  cast-cotton fibre panels mounted on board. Each is unique, bearing a different aspect, expressing a specific "character."</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/23640221" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0911d17119ac088deecdefb0116fc304" rel="nofollow" data-download="{"attachment_id":44050376,"asset_id":23640221,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/44050376/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12374567" href="https://vwu.academia.edu/YvonneOwens">Yvonne Owens</a><script data-card-contents-for-user="12374567" type="text/json">{"id":12374567,"first_name":"Yvonne","last_name":"Owens","domain_name":"vwu","page_name":"YvonneOwens","display_name":"Yvonne Owens","profile_url":"https://vwu.academia.edu/YvonneOwens?f_ri=5290","photo":"https://0.academia-photos.com/12374567/17161443/19026203/s65_yvonne.owens.jpg"}</script></span></span></li><li class="js-paper-rank-work_23640221 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="23640221"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 23640221, container: ".js-paper-rank-work_23640221", }); 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$(".js-view-count[data-work-id=23640221]").text(description); $(".js-view-count-work_23640221").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_23640221").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="23640221"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="945" rel="nofollow" href="https://www.academia.edu/Documents/in/Performing_Arts">Performing Arts</a>, <script data-card-contents-for-ri="945" type="text/json">{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a><script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=23640221]'), work: {"id":23640221,"title":"Review of David Ferguson's 'Courtyard for a Bird,' installation and dance performance piece at the Nanaimo Art Gallery","created_at":"2016-03-23T19:07:26.984-07:00","url":"https://www.academia.edu/23640221/Review_of_David_Fergusons_Courtyard_for_a_Bird_installation_and_dance_performance_piece_at_the_Nanaimo_Art_Gallery?f_ri=5290","dom_id":"work_23640221","summary":"David Ferguson's large-scale paintings give a first impression of thick, built-up impasto and painterly textures. Overall, this new body of work addresses themes of sanctuary and flight through mediations of vision, visionary experience. and movement. It is only when one examines another aspect of his newest works, his austerely minimalistic, monochromatic wall assemblages, that the viewer perceives the effect of built-up paint in the larger chromatic works is an illusion. The grounds for Ferguson's painterly surfaces are, themselves, sculptural works: cast-cotton fibre panels mounted on board. Each is unique, bearing a different aspect, expressing a specific \"character.\" ","downloadable_attachments":[{"id":44050376,"asset_id":23640221,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12374567,"first_name":"Yvonne","last_name":"Owens","domain_name":"vwu","page_name":"YvonneOwens","display_name":"Yvonne Owens","profile_url":"https://vwu.academia.edu/YvonneOwens?f_ri=5290","photo":"https://0.academia-photos.com/12374567/17161443/19026203/s65_yvonne.owens.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=5290","nofollow":true},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=5290","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":9030,"name":"Canadian art","url":"https://www.academia.edu/Documents/in/Canadian_art?f_ri=5290"},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=5290"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=5290"},{"id":152388,"name":"Art Theory and Criticism","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Criticism?f_ri=5290"},{"id":535345,"name":"Philosophy of Dance and Theatre Arts","url":"https://www.academia.edu/Documents/in/Philosophy_of_Dance_and_Theatre_Arts?f_ri=5290"},{"id":595534,"name":"Contemporary Canadian Art","url":"https://www.academia.edu/Documents/in/Contemporary_Canadian_Art?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_52323472" data-work_id="52323472" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/52323472/Art_and_the_Possibility_of_Failure">Art and the Possibility of Failure</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Humans have developed various practices to confront the indeterminacy of their existence. Roughly speaking, there are two types of such practices. On the one hand are those through which humans control the uncertainty that permeates their... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_52323472" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Humans have developed various practices to confront the indeterminacy of their existence. Roughly speaking, there are two types of such practices. On the one hand are those through which humans control the uncertainty that permeates their actions and choices. These are practices of self-reassurance and risk reduction. On the other hand are practices in which humans welcome or search out uncertainty, practices that are explicitly open to the risk of failure. One particularly remarkable example of the latter set is art. Art is a practice that embraces the uncertainty of human existence in a special way. Generally speaking, artworks do not aim to reassure. Rather, they are open to uncertainty. Thus, art represents a special mode of reflecting on a constitutive feature of human existence, namely, the possibility of failure. What does it mean that art is, in principle, always susceptible to failure? The present article explores this question.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/52323472" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="51a6e3ea2e713a9be1864d76acbd54bc" rel="nofollow" data-download="{"attachment_id":69641348,"asset_id":52323472,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/69641348/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2787220" href="https://fu-berlin.academia.edu/GeorgBertram">Georg W. 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Roughly speaking, there are two types of such practices. On the one hand are those through which humans control the uncertainty that permeates their actions and choices. These are practices of self-reassurance and risk reduction. On the other hand are practices in which humans welcome or search out uncertainty, practices that are explicitly open to the risk of failure. One particularly remarkable example of the latter set is art. Art is a practice that embraces the uncertainty of human existence in a special way. Generally speaking, artworks do not aim to reassure. Rather, they are open to uncertainty. Thus, art represents a special mode of reflecting on a constitutive feature of human existence, namely, the possibility of failure. What does it mean that art is, in principle, always susceptible to failure? The present article explores this question.","downloadable_attachments":[{"id":69641348,"asset_id":52323472,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2787220,"first_name":"Georg W.","last_name":"Bertram","domain_name":"fu-berlin","page_name":"GeorgBertram","display_name":"Georg W. Bertram","profile_url":"https://fu-berlin.academia.edu/GeorgBertram?f_ri=5290","photo":"https://0.academia-photos.com/2787220/911312/1138949/s65_georg_w..bertram.jpg"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=5290","nofollow":true},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10809271" data-work_id="10809271" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10809271/Seung_Hoon_Jeong_Cinematic_Interfaces_Film_Theory_After_New_Media">Seung-Hoon Jeong: Cinematic Interfaces. Film Theory After New Media</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Der Begriff des Interface kategorisiert die Ausprägungsstufen einer kommunikationsstabilisierenden Schnittstelle als Interaktionsmechanismus, wobei die Interaktion von maschinellen Komponenten (Hardware, Software) sowie die vielfältigen... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10809271" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Der Begriff des Interface kategorisiert die Ausprägungsstufen einer kommunikationsstabilisierenden Schnittstelle als Interaktionsmechanismus, wobei die Interaktion von maschinellen Komponenten (Hardware, Software) sowie die vielfältigen Interaktionen zwischen UserIn und Maschine zur Geltung gebracht werden.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10809271" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8170af12485bbb4669dad4ba3bea1283" rel="nofollow" data-download="{"attachment_id":36659249,"asset_id":10809271,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36659249/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13079251" href="https://fh-muenster.academia.edu/LarsChristianGrabbe">Lars Christian Grabbe</a><script data-card-contents-for-user="13079251" type="text/json">{"id":13079251,"first_name":"Lars Christian","last_name":"Grabbe","domain_name":"fh-muenster","page_name":"LarsChristianGrabbe","display_name":"Lars Christian Grabbe","profile_url":"https://fh-muenster.academia.edu/LarsChristianGrabbe?f_ri=5290","photo":"https://0.academia-photos.com/13079251/3689520/160555875/s65_lars_christian.grabbe.jpeg"}</script></span></span></li><li class="js-paper-rank-work_10809271 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10809271"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10809271, container: ".js-paper-rank-work_10809271", }); 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Only as contingent beings could we claim the yet-unclaimed and the already-unlearnt. This is where knowledge begins to unravel, and where it is constantly... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4564851" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Like the unlearnt, the unmade 'allows' us to reclaim our right to our contingency. Only as contingent beings could we claim the yet-unclaimed and the already-unlearnt. 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class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27566423/_Una_ontolog%C3%ADa_del_presente_cr%C3%ADtico_est%C3%A9tica_en_Baudelaire">¿Una ontología del presente crítico-estética en Baudelaire?</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">El presente ensayo desea mostrar en qué sentido podemos hablar de Baudelaire como de un ontólogo del presente, apoyados en las observaciones de Foucault de que encontramos manifiesta en la vida y en la obra del artista la divisa moderna... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27566423" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">El presente ensayo desea mostrar en qué sentido podemos hablar de Baudelaire como de un ontólogo del presente, apoyados en las observaciones de Foucault de que encontramos manifiesta en la vida y en la obra del artista la divisa moderna por excelencia, darse por sí mismo el propio presente como tarea y, a su vez, de que dicha tarea se tradujo en el poeta en una «voluntad de " heroificar " el presente», tarea esencialmente crítica y estética.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27566423" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d7355698139edd4753341c5cdcfdff11" rel="nofollow" data-download="{"attachment_id":47820654,"asset_id":27566423,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" 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Ávila","profile_url":"https://javeriana.academia.edu/Hern%C3%A1n%C3%81vila?f_ri=5290","photo":"https://0.academia-photos.com/10838977/5278857/14823436/s65_hern_n._vila.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":972,"name":"Self and Identity","url":"https://www.academia.edu/Documents/in/Self_and_Identity?f_ri=5290","nofollow":true},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":6027,"name":"Enlightenment","url":"https://www.academia.edu/Documents/in/Enlightenment?f_ri=5290"},{"id":11927,"name":"Michel Foucault","url":"https://www.academia.edu/Documents/in/Michel_Foucault?f_ri=5290"},{"id":12317,"name":"Judith Butler","url":"https://www.academia.edu/Documents/in/Judith_Butler?f_ri=5290"},{"id":26780,"name":"Baudelaire","url":"https://www.academia.edu/Documents/in/Baudelaire?f_ri=5290"},{"id":52096,"name":"Foucault power/knowledge - discourse","url":"https://www.academia.edu/Documents/in/Foucault_power_knowledge_-_discourse?f_ri=5290"},{"id":107427,"name":"Aufklärung","url":"https://www.academia.edu/Documents/in/Aufkl%C3%A4rung?f_ri=5290"},{"id":977510,"name":"Art and Modernity","url":"https://www.academia.edu/Documents/in/Art_and_Modernity?f_ri=5290"},{"id":1477285,"name":"Michel Foucault: The subject and power","url":"https://www.academia.edu/Documents/in/Michel_Foucault_The_subject_and_power?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9984002" data-work_id="9984002" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9984002/Intent_In_Tents_and_Intense">Intent, In Tents and Intense</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The concept of Original Artistic Intent is difficult to apply to Tibetan thangkas. Thangkas are composite objects produced by painters and tailors with differing intents, skills and training. Iconographic specifications, regional and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9984002" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The concept of Original Artistic Intent is difficult to apply to Tibetan thangkas. Thangkas are composite objects produced by painters and tailors with differing intents, skills and training. Iconographic specifications, regional and doctrinal differences in style, changes in form from harsh treatment and altered mountings all complicate the issue. 2008</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9984002" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1d2ea8b0296d5b7914fd6f3ead1f8ba5" rel="nofollow" data-download="{"attachment_id":36126384,"asset_id":9984002,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36126384/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22231386" href="https://independent.academia.edu/ashaftel">ann shaftel</a><script data-card-contents-for-user="22231386" type="text/json">{"id":22231386,"first_name":"ann","last_name":"shaftel","domain_name":"independent","page_name":"ashaftel","display_name":"ann shaftel","profile_url":"https://independent.academia.edu/ashaftel?f_ri=5290","photo":"https://0.academia-photos.com/22231386/6552067/7408174/s65_ann.shaftel.jpg"}</script></span></span></li><li class="js-paper-rank-work_9984002 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9984002"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9984002, container: ".js-paper-rank-work_9984002", }); 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Iconographic specifications, regional and doctrinal differences in style, changes in form from harsh treatment and altered mountings all complicate the issue. 2008","downloadable_attachments":[{"id":36126384,"asset_id":9984002,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":22231386,"first_name":"ann","last_name":"shaftel","domain_name":"independent","page_name":"ashaftel","display_name":"ann shaftel","profile_url":"https://independent.academia.edu/ashaftel?f_ri=5290","photo":"https://0.academia-photos.com/22231386/6552067/7408174/s65_ann.shaftel.jpg"}],"research_interests":[{"id":113,"name":"Buddhism","url":"https://www.academia.edu/Documents/in/Buddhism?f_ri=5290","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=5290","nofollow":true},{"id":1222,"name":"Buddhist Philosophy","url":"https://www.academia.edu/Documents/in/Buddhist_Philosophy?f_ri=5290","nofollow":true},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=5290","nofollow":true},{"id":2905,"name":"Tibetan Studies","url":"https://www.academia.edu/Documents/in/Tibetan_Studies?f_ri=5290"},{"id":2906,"name":"Buddhist Studies","url":"https://www.academia.edu/Documents/in/Buddhist_Studies?f_ri=5290"},{"id":5106,"name":"Himalayan culture","url":"https://www.academia.edu/Documents/in/Himalayan_culture?f_ri=5290"},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290"},{"id":11987,"name":"Art Conservation","url":"https://www.academia.edu/Documents/in/Art_Conservation?f_ri=5290"},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=5290"},{"id":15945,"name":"Himalayan Civilization-Nepal","url":"https://www.academia.edu/Documents/in/Himalayan_Civilization-Nepal?f_ri=5290"},{"id":16766,"name":"Anthropology of Tibet and the Himalayas","url":"https://www.academia.edu/Documents/in/Anthropology_of_Tibet_and_the_Himalayas?f_ri=5290"},{"id":18313,"name":"Tibetan Buddhism","url":"https://www.academia.edu/Documents/in/Tibetan_Buddhism?f_ri=5290"},{"id":19093,"name":"Indian Buddhism","url":"https://www.academia.edu/Documents/in/Indian_Buddhism?f_ri=5290"},{"id":21265,"name":"Art and technology","url":"https://www.academia.edu/Documents/in/Art_and_technology?f_ri=5290"},{"id":26248,"name":"Art Theory and Ethics","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Ethics?f_ri=5290"},{"id":29966,"name":"Tibetan and Himalayan societies","url":"https://www.academia.edu/Documents/in/Tibetan_and_Himalayan_societies?f_ri=5290"},{"id":43802,"name":"Buddhist art and architecture","url":"https://www.academia.edu/Documents/in/Buddhist_art_and_architecture?f_ri=5290"},{"id":52021,"name":"Himalayan Art","url":"https://www.academia.edu/Documents/in/Himalayan_Art?f_ri=5290"},{"id":62231,"name":"Tibetan Art","url":"https://www.academia.edu/Documents/in/Tibetan_Art?f_ri=5290"},{"id":64104,"name":"Conservation- restoration mural and canvas painting","url":"https://www.academia.edu/Documents/in/Conservation-_restoration_mural_and_canvas_painting?f_ri=5290"},{"id":65173,"name":"Indian folk art and folklore","url":"https://www.academia.edu/Documents/in/Indian_folk_art_and_folklore?f_ri=5290"},{"id":148229,"name":"Religion and Art, Sanskrit Studies, Sanskrit Aesthetics, Indian Philosophy, Indian Music, Dance and Arts","url":"https://www.academia.edu/Documents/in/Religion_and_Art_Sanskrit_Studies_Sanskrit_Aesthetics_Indian_Philosophy_Indian_Music_Dance_and_?f_ri=5290"},{"id":195617,"name":"Tibetan and Himalayan Art 15th-17th hCenturies; 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To this point, in the book Rules of Play, Salen and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2619921" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">When discussing modern entertainment, people frequently use the terms "interactive" and "noninteractive" despite the fact that there is no clear consensus on what these concepts mean. To this point, in the book Rules of Play, Salen and Zimmerman write, "Interactivity is one of those words which can mean everything and nothing at once." (2005: 58) Despite this ambiguity, there is an apparent consensus that interactivity is essential to understanding the difference between computer games and other forms of entertainment. It is often said that computer games are different from films, literature, and other works of art precisely because computer games are interactive and these other media are not. Not only is interactivity considered to be necessary to a computer game, but games are often criticized by gaming reviewers for having long noninteractive portions such as cutscenes, suggesting that interactivity is essential for a computer game to be successful (Newman 2004). So what is interactivity?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2619921" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ff0aa6c14d57bcc0f9296a75da45a7c2" rel="nofollow" data-download="{"attachment_id":30622875,"asset_id":2619921,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30622875/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26967" href="https://hkbu.academia.edu/JonathanFrome">Jonathan Frome</a><script data-card-contents-for-user="26967" type="text/json">{"id":26967,"first_name":"Jonathan","last_name":"Frome","domain_name":"hkbu","page_name":"JonathanFrome","display_name":"Jonathan Frome","profile_url":"https://hkbu.academia.edu/JonathanFrome?f_ri=5290","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_2619921 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2619921"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2619921, container: ".js-paper-rank-work_2619921", }); 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$(".js-view-count[data-work-id=2619921]").text(description); $(".js-view-count-work_2619921").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_2619921").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="2619921"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="803" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5199" rel="nofollow" href="https://www.academia.edu/Documents/in/Video_Games">Video Games</a>, <script data-card-contents-for-ri="5199" type="text/json">{"id":5199,"name":"Video Games","url":"https://www.academia.edu/Documents/in/Video_Games?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a><script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2619921]'), work: {"id":2619921,"title":"The Ontology of Interactivity","created_at":"2013-02-20T06:41:58.878-08:00","url":"https://www.academia.edu/2619921/The_Ontology_of_Interactivity?f_ri=5290","dom_id":"work_2619921","summary":"When discussing modern entertainment, people frequently use the terms \"interactive\" and \"noninteractive\" despite the fact that there is no clear consensus on what these concepts mean. To this point, in the book Rules of Play, Salen and Zimmerman write, \"Interactivity is one of those words which can mean everything and nothing at once.\" (2005: 58) Despite this ambiguity, there is an apparent consensus that interactivity is essential to understanding the difference between computer games and other forms of entertainment. It is often said that computer games are different from films, literature, and other works of art precisely because computer games are interactive and these other media are not. Not only is interactivity considered to be necessary to a computer game, but games are often criticized by gaming reviewers for having long noninteractive portions such as cutscenes, suggesting that interactivity is essential for a computer game to be successful (Newman 2004). 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The Logic of Sensation', 2012)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Nawoord bij de Nederlandse vertaling van Gilles Deleuzes Francis Bacon. Logique de la sensation (Amsterdam: Octavo, 2014) door Sjoerd van Tuinen, januari 2012, <a href="mailto:vantuinen@gmail.com" rel="nofollow">vantuinen@gmail.com</a>.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5118681" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e788525543f7d75a5257ab586ac0f0ea" rel="nofollow" data-download="{"attachment_id":32938501,"asset_id":5118681,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32938501/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="220231" href="https://eur.academia.edu/SjoerdvanTuinen">Sjoerd van Tuinen</a><script data-card-contents-for-user="220231" type="text/json">{"id":220231,"first_name":"Sjoerd","last_name":"van Tuinen","domain_name":"eur","page_name":"SjoerdvanTuinen","display_name":"Sjoerd van Tuinen","profile_url":"https://eur.academia.edu/SjoerdvanTuinen?f_ri=5290","photo":"https://0.academia-photos.com/220231/263918/311868/s65_sjoerd.van_tuinen.jpg"}</script></span></span></li><li class="js-paper-rank-work_5118681 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5118681"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5118681, container: ".js-paper-rank-work_5118681", }); 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$(".js-view-count[data-work-id=5118681]").text(description); $(".js-view-count-work_5118681").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5118681").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5118681"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">24</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3242" rel="nofollow" href="https://www.academia.edu/Documents/in/Intermediality">Intermediality</a>, <script data-card-contents-for-ri="3242" type="text/json">{"id":3242,"name":"Intermediality","url":"https://www.academia.edu/Documents/in/Intermediality?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4404" rel="nofollow" href="https://www.academia.edu/Documents/in/Abstract_Art">Abstract Art</a><script data-card-contents-for-ri="4404" type="text/json">{"id":4404,"name":"Abstract Art","url":"https://www.academia.edu/Documents/in/Abstract_Art?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5118681]'), work: {"id":5118681,"title":"Deleuze en de schilderkunst (unabridged Afterword for the Dutch translation of Gilles Deleuze's 'Francis Bacon. The Logic of Sensation', 2012)","created_at":"2013-11-16T01:24:32.614-08:00","url":"https://www.academia.edu/5118681/Deleuze_en_de_schilderkunst_unabridged_Afterword_for_the_Dutch_translation_of_Gilles_Deleuzes_Francis_Bacon_The_Logic_of_Sensation_2012_?f_ri=5290","dom_id":"work_5118681","summary":"Nawoord bij de Nederlandse vertaling van Gilles Deleuzes Francis Bacon. Logique de la sensation (Amsterdam: Octavo, 2014) door Sjoerd van Tuinen, januari 2012, vantuinen@gmail.com.","downloadable_attachments":[{"id":32938501,"asset_id":5118681,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":220231,"first_name":"Sjoerd","last_name":"van Tuinen","domain_name":"eur","page_name":"SjoerdvanTuinen","display_name":"Sjoerd van Tuinen","profile_url":"https://eur.academia.edu/SjoerdvanTuinen?f_ri=5290","photo":"https://0.academia-photos.com/220231/263918/311868/s65_sjoerd.van_tuinen.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=5290","nofollow":true},{"id":3242,"name":"Intermediality","url":"https://www.academia.edu/Documents/in/Intermediality?f_ri=5290","nofollow":true},{"id":4404,"name":"Abstract Art","url":"https://www.academia.edu/Documents/in/Abstract_Art?f_ri=5290","nofollow":true},{"id":5081,"name":"Painting","url":"https://www.academia.edu/Documents/in/Painting?f_ri=5290"},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290"},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=5290"},{"id":8601,"name":"German Expressionism","url":"https://www.academia.edu/Documents/in/German_Expressionism?f_ri=5290"},{"id":11510,"name":"Deleuze","url":"https://www.academia.edu/Documents/in/Deleuze?f_ri=5290"},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=5290"},{"id":14546,"name":"Modernism (Art History)","url":"https://www.academia.edu/Documents/in/Modernism_Art_History_?f_ri=5290"},{"id":17981,"name":"Bacon, Francis","url":"https://www.academia.edu/Documents/in/Bacon_Francis?f_ri=5290"},{"id":19915,"name":"Gilles Deleuze and Felix Guattari","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze_and_Felix_Guattari?f_ri=5290"},{"id":26210,"name":"Philosophy of Images","url":"https://www.academia.edu/Documents/in/Philosophy_of_Images?f_ri=5290"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=5290"},{"id":31591,"name":"Abstract Expressionism","url":"https://www.academia.edu/Documents/in/Abstract_Expressionism?f_ri=5290"},{"id":46969,"name":"Francis Bacon (Painter)","url":"https://www.academia.edu/Documents/in/Francis_Bacon_Painter_?f_ri=5290"},{"id":81195,"name":"Expressionism","url":"https://www.academia.edu/Documents/in/Expressionism?f_ri=5290"},{"id":86638,"name":"Vitalism","url":"https://www.academia.edu/Documents/in/Vitalism?f_ri=5290"},{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory?f_ri=5290"},{"id":197539,"name":"Mannerism","url":"https://www.academia.edu/Documents/in/Mannerism?f_ri=5290"},{"id":239733,"name":"Diagrammatic thought + Deleuzian images of thought","url":"https://www.academia.edu/Documents/in/Diagrammatic_thought_Deleuzian_images_of_thought?f_ri=5290"},{"id":289368,"name":"Faciality","url":"https://www.academia.edu/Documents/in/Faciality?f_ri=5290"},{"id":683015,"name":"Philosophy of Painting","url":"https://www.academia.edu/Documents/in/Philosophy_of_Painting?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2470453" data-work_id="2470453" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2470453/De_stilte_en_het_onuitsprekelijke">De stilte en het onuitsprekelijke</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Onze huidige cultuur, met name de alomtegenwoordige beeldcultuur, lijkt meer dan ooit aan verstilling toe. We leven meer dan ooit in een constante toevloed, een total flow van beelden en geluiden, waarin nauwelijks nog plaats is voor... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2470453" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Onze huidige cultuur, met name de alomtegenwoordige beeldcultuur, lijkt meer dan ooit aan verstilling toe. We leven meer dan ooit in een constante toevloed, een total flow van beelden en geluiden, waarin nauwelijks nog plaats is voor verstilling. We worden overspoeld door een ware beeldenstorm, die ons tijd noch ruimte laat om het beeld tot ons te laten doordringen. Op televisie bijvoorbeeld laat de snelheid van het beeld zelfs geen ruimte meer voor het ogenblik: het ene beeld kondigt permanent het volgende beeld aan, het beeld zelf, de oogopslag, vervluchtigt en lost op als damp in de ether. Als er al van enige dichtheid of densiteit sprake is, dan is het de kijkdichtheid, de dictatuur van de kijkdichtheid, die steeds opnieuw op de consumptie van het beeld is gefixeerd, deze aanzwengelt, maar tegelijk elke verdieping van of in het beeld onmogelijk maakt.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2470453" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f0428ca67a8be9ab698455e0fde2f870" rel="nofollow" data-download="{"attachment_id":30490802,"asset_id":2470453,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30490802/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="197137" href="https://vub.academia.edu/AntoonVandenbraembussche">Antoon Van den Braembussche</a><script data-card-contents-for-user="197137" type="text/json">{"id":197137,"first_name":"Antoon","last_name":"Van den Braembussche","domain_name":"vub","page_name":"AntoonVandenbraembussche","display_name":"Antoon Van den Braembussche","profile_url":"https://vub.academia.edu/AntoonVandenbraembussche?f_ri=5290","photo":"https://0.academia-photos.com/197137/1000678/1251497/s65_antoon.vandenbraembussche.jpg"}</script></span></span></li><li class="js-paper-rank-work_2470453 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2470453"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2470453, container: ".js-paper-rank-work_2470453", }); 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$(".js-view-count[data-work-id=2470453]").text(description); $(".js-view-count-work_2470453").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_2470453").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="2470453"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="122" rel="nofollow" href="https://www.academia.edu/Documents/in/Comparative_Religion">Comparative Religion</a>, <script data-card-contents-for-ri="122" type="text/json">{"id":122,"name":"Comparative Religion","url":"https://www.academia.edu/Documents/in/Comparative_Religion?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="803" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2018" rel="nofollow" href="https://www.academia.edu/Documents/in/Plato">Plato</a><script data-card-contents-for-ri="2018" type="text/json">{"id":2018,"name":"Plato","url":"https://www.academia.edu/Documents/in/Plato?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2470453]'), work: {"id":2470453,"title":"De stilte en het onuitsprekelijke","created_at":"2013-01-27T02:12:18.204-08:00","url":"https://www.academia.edu/2470453/De_stilte_en_het_onuitsprekelijke?f_ri=5290","dom_id":"work_2470453","summary":"Onze huidige cultuur, met name de alomtegenwoordige beeldcultuur, lijkt meer dan ooit aan verstilling toe. We leven meer dan ooit in een constante toevloed, een total flow van beelden en geluiden, waarin nauwelijks nog plaats is voor verstilling. We worden overspoeld door een ware beeldenstorm, die ons tijd noch ruimte laat om het beeld tot ons te laten doordringen. Op televisie bijvoorbeeld laat de snelheid van het beeld zelfs geen ruimte meer voor het ogenblik: het ene beeld kondigt permanent het volgende beeld aan, het beeld zelf, de oogopslag, vervluchtigt en lost op als damp in de ether. Als er al van enige dichtheid of densiteit sprake is, dan is het de kijkdichtheid, de dictatuur van de kijkdichtheid, die steeds opnieuw op de consumptie van het beeld is gefixeerd, deze aanzwengelt, maar tegelijk elke verdieping van of in het beeld onmogelijk maakt.","downloadable_attachments":[{"id":30490802,"asset_id":2470453,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":197137,"first_name":"Antoon","last_name":"Van den Braembussche","domain_name":"vub","page_name":"AntoonVandenbraembussche","display_name":"Antoon Van den Braembussche","profile_url":"https://vub.academia.edu/AntoonVandenbraembussche?f_ri=5290","photo":"https://0.academia-photos.com/197137/1000678/1251497/s65_antoon.vandenbraembussche.jpg"}],"research_interests":[{"id":122,"name":"Comparative Religion","url":"https://www.academia.edu/Documents/in/Comparative_Religion?f_ri=5290","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=5290","nofollow":true},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":2018,"name":"Plato","url":"https://www.academia.edu/Documents/in/Plato?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290"},{"id":7322,"name":"Mysticism","url":"https://www.academia.edu/Documents/in/Mysticism?f_ri=5290"},{"id":20221,"name":"The Sublime","url":"https://www.academia.edu/Documents/in/The_Sublime?f_ri=5290"},{"id":26418,"name":"Kabbalah","url":"https://www.academia.edu/Documents/in/Kabbalah?f_ri=5290"},{"id":35596,"name":"Vedanta","url":"https://www.academia.edu/Documents/in/Vedanta?f_ri=5290"},{"id":38210,"name":"Yogacara","url":"https://www.academia.edu/Documents/in/Yogacara?f_ri=5290"},{"id":40633,"name":"Consciousness Studies","url":"https://www.academia.edu/Documents/in/Consciousness_Studies?f_ri=5290"},{"id":50365,"name":"Filosofie","url":"https://www.academia.edu/Documents/in/Filosofie?f_ri=5290"},{"id":73726,"name":"Esoteric Philosophy","url":"https://www.academia.edu/Documents/in/Esoteric_Philosophy?f_ri=5290"},{"id":90831,"name":"Essays","url":"https://www.academia.edu/Documents/in/Essays?f_ri=5290"},{"id":115179,"name":"Comparative Mystical Literature","url":"https://www.academia.edu/Documents/in/Comparative_Mystical_Literature?f_ri=5290"},{"id":166758,"name":"Mahayana","url":"https://www.academia.edu/Documents/in/Mahayana?f_ri=5290"},{"id":1023336,"name":"Universal Spirituality","url":"https://www.academia.edu/Documents/in/Universal_Spirituality?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_74063576" data-work_id="74063576" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/74063576/Do_Animals_Make_Art_or_the_Evolutionary_Continuity_of_Species_A_Case_for_Uniqueness">Do Animals Make Art or the Evolutionary Continuity of Species: A Case for Uniqueness</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">When Władysław Tatarkiewicz wrote that there are only two things that can be said about art: that it is a human activity, not a product of nature, and that it is a conscious activity (or its product), adding that every statement about art... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_74063576" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">When Władysław Tatarkiewicz wrote that there are only two things that can be said about art: that it is a human activity, not a product of nature, and that it is a conscious activity (or its product), adding that every statement about art different from the ones mentioned above was always finally overthrown (Tatarkiewicz, 1980, p. 37), he probably did not think that the first claim could be questioned by anyone. In the following paper, I will trace the history of observations of "artistic behaviors" that were made by animal ethologists and then processed by evolutionary art philosophers who may lead to the hypothesis about the validity of assigning artistic abilities to animals. In respect to this article is aimed at a wide audience. I will also demonstrate that the question: whether, and in what sense, animals create art is in fact a question about a definition of art that could include this type of intentional animal acts.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/74063576" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c407389834d61dc1fb3d181e5c970236" rel="nofollow" data-download="{"attachment_id":82351097,"asset_id":74063576,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/82351097/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="943415" href="https://wroc.academia.edu/JerzyLuty">Jerzy Luty</a><script data-card-contents-for-user="943415" type="text/json">{"id":943415,"first_name":"Jerzy","last_name":"Luty","domain_name":"wroc","page_name":"JerzyLuty","display_name":"Jerzy Luty","profile_url":"https://wroc.academia.edu/JerzyLuty?f_ri=5290","photo":"https://0.academia-photos.com/943415/529544/669919/s65_jerzy.luty.jpg"}</script></span></span></li><li class="js-paper-rank-work_74063576 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="74063576"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 74063576, container: ".js-paper-rank-work_74063576", }); 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$(".js-view-count[data-work-id=74063576]").text(description); $(".js-view-count-work_74063576").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_74063576").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="74063576"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="300" rel="nofollow" href="https://www.academia.edu/Documents/in/Mathematics">Mathematics</a>, <script data-card-contents-for-ri="300" type="text/json">{"id":300,"name":"Mathematics","url":"https://www.academia.edu/Documents/in/Mathematics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="60526" rel="nofollow" href="https://www.academia.edu/Documents/in/Evolutionary_Aesthetics">Evolutionary Aesthetics</a><script data-card-contents-for-ri="60526" type="text/json">{"id":60526,"name":"Evolutionary Aesthetics","url":"https://www.academia.edu/Documents/in/Evolutionary_Aesthetics?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=74063576]'), work: {"id":74063576,"title":"Do Animals Make Art or the Evolutionary Continuity of Species: A Case for Uniqueness","created_at":"2022-03-19T04:48:19.245-07:00","url":"https://www.academia.edu/74063576/Do_Animals_Make_Art_or_the_Evolutionary_Continuity_of_Species_A_Case_for_Uniqueness?f_ri=5290","dom_id":"work_74063576","summary":"When Władysław Tatarkiewicz wrote that there are only two things that can be said about art: that it is a human activity, not a product of nature, and that it is a conscious activity (or its product), adding that every statement about art different from the ones mentioned above was always finally overthrown (Tatarkiewicz, 1980, p. 37), he probably did not think that the first claim could be questioned by anyone. In the following paper, I will trace the history of observations of \"artistic behaviors\" that were made by animal ethologists and then processed by evolutionary art philosophers who may lead to the hypothesis about the validity of assigning artistic abilities to animals. In respect to this article is aimed at a wide audience. I will also demonstrate that the question: whether, and in what sense, animals create art is in fact a question about a definition of art that could include this type of intentional animal acts.","downloadable_attachments":[{"id":82351097,"asset_id":74063576,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":943415,"first_name":"Jerzy","last_name":"Luty","domain_name":"wroc","page_name":"JerzyLuty","display_name":"Jerzy Luty","profile_url":"https://wroc.academia.edu/JerzyLuty?f_ri=5290","photo":"https://0.academia-photos.com/943415/529544/669919/s65_jerzy.luty.jpg"}],"research_interests":[{"id":300,"name":"Mathematics","url":"https://www.academia.edu/Documents/in/Mathematics?f_ri=5290","nofollow":true},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":60526,"name":"Evolutionary Aesthetics","url":"https://www.academia.edu/Documents/in/Evolutionary_Aesthetics?f_ri=5290","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_72142399" data-work_id="72142399" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/72142399/Philosophie_des_corps_en_mouvement_entre_limprovisation_en_danse_et_la_philosophie_de_Bergson_%C3%A9tude_de_limm%C3%A9diatet%C3%A9">Philosophie des corps en mouvement : entre l'improvisation en danse et la philosophie de Bergson : étude de l'immédiateté</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La rencontre de la philosophie avec la danse, en redefinissant un terrain theorico-pratique, permet de saisir les corporeites en jeu a un niveau sensible et a un niveau representationnel, a travers la relation gravitaire. Les collectifs... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_72142399" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La rencontre de la philosophie avec la danse, en redefinissant un terrain theorico-pratique, permet de saisir les corporeites en jeu a un niveau sensible et a un niveau representationnel, a travers la relation gravitaire. Les collectifs de danse qui se constituent dans les annees 1960 et 1970 aux Etats-Unis (le Judson Dance Theatre et le Grand Union) mettent en cause la fonction-auteur entre les membres des collectifs, et operent une repartition du poids dans le corps et entre les corps. L&#39;improvisation exprime singulierement quelques-unes des multiples directions prises par cette dehierarchisation, dans une experience gravitaire qui permet en meme temps d&#39;en critiquer le mythe d&#39;une authenticite a soi et de poser les termes du probleme d&#39;une composition dans l&#39;immediatete. En travaillant cette derniere au plus pres des mouvements danses de Julyen Hamilton, se pense un present de l&#39;improvisation comme attention, dans un echo saisissant avec la philosophie de ...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/72142399" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="32913937" href="https://unsam.academia.edu/MarieBardet">Marie Bardet</a><script data-card-contents-for-user="32913937" type="text/json">{"id":32913937,"first_name":"Marie","last_name":"Bardet","domain_name":"unsam","page_name":"MarieBardet","display_name":"Marie Bardet","profile_url":"https://unsam.academia.edu/MarieBardet?f_ri=5290","photo":"https://0.academia-photos.com/32913937/74046185/62536788/s65_marie.bardet.jpg"}</script></span></span></li><li class="js-paper-rank-work_72142399 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="72142399"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 72142399, container: ".js-paper-rank-work_72142399", }); 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$(".js-view-count[data-work-id=72142399]").text(description); $(".js-view-count-work_72142399").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_72142399").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="72142399"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="803" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1556" rel="nofollow" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a>, <script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8302" rel="nofollow" href="https://www.academia.edu/Documents/in/Gilles_Deleuze">Gilles Deleuze</a><script data-card-contents-for-ri="8302" type="text/json">{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=72142399]'), work: {"id":72142399,"title":"Philosophie des corps en mouvement : entre l'improvisation en danse et la philosophie de Bergson : étude de l'immédiateté","created_at":"2022-02-21T15:03:18.358-08:00","url":"https://www.academia.edu/72142399/Philosophie_des_corps_en_mouvement_entre_limprovisation_en_danse_et_la_philosophie_de_Bergson_%C3%A9tude_de_limm%C3%A9diatet%C3%A9?f_ri=5290","dom_id":"work_72142399","summary":"La rencontre de la philosophie avec la danse, en redefinissant un terrain theorico-pratique, permet de saisir les corporeites en jeu a un niveau sensible et a un niveau representationnel, a travers la relation gravitaire. Les collectifs de danse qui se constituent dans les annees 1960 et 1970 aux Etats-Unis (le Judson Dance Theatre et le Grand Union) mettent en cause la fonction-auteur entre les membres des collectifs, et operent une repartition du poids dans le corps et entre les corps. L\u0026#39;improvisation exprime singulierement quelques-unes des multiples directions prises par cette dehierarchisation, dans une experience gravitaire qui permet en meme temps d\u0026#39;en critiquer le mythe d\u0026#39;une authenticite a soi et de poser les termes du probleme d\u0026#39;une composition dans l\u0026#39;immediatete. En travaillant cette derniere au plus pres des mouvements danses de Julyen Hamilton, se pense un present de l\u0026#39;improvisation comme attention, dans un echo saisissant avec la philosophie de ...","downloadable_attachments":[],"ordered_authors":[{"id":32913937,"first_name":"Marie","last_name":"Bardet","domain_name":"unsam","page_name":"MarieBardet","display_name":"Marie Bardet","profile_url":"https://unsam.academia.edu/MarieBardet?f_ri=5290","photo":"https://0.academia-photos.com/32913937/74046185/62536788/s65_marie.bardet.jpg"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=5290","nofollow":true},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=5290","nofollow":true},{"id":8409,"name":"Henri Bergson","url":"https://www.academia.edu/Documents/in/Henri_Bergson?f_ri=5290"},{"id":8760,"name":"Jacques Rancière","url":"https://www.academia.edu/Documents/in/Jacques_Ranci%C3%A8re?f_ri=5290"},{"id":535345,"name":"Philosophy of Dance and Theatre Arts","url":"https://www.academia.edu/Documents/in/Philosophy_of_Dance_and_Theatre_Arts?f_ri=5290"},{"id":591453,"name":"Dance improvisation","url":"https://www.academia.edu/Documents/in/Dance_improvisation?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44269100 coauthored" data-work_id="44269100" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44269100/Teresa_Fazan_Marta_Maliszewska_eds_Zofia_Rydet_mi%C4%99dzy_sztuk%C4%85_a_dokumentem">Teresa Fazan, Marta Maliszewska (eds.), Zofia Rydet – między sztuką a dokumentem</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Numer monograficzny pisma "Sztuka i Filozofia" wydany po ogólnopolskiej konferencji "Wokół Zofii Rydet. Między sztuką a dokumentem", która odbyła się na Uniwersytecie Warszawskim 18-19.06.2018.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44269100" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5bdb93a6bf4ee03d359aba6ab5870364" rel="nofollow" data-download="{"attachment_id":64645762,"asset_id":44269100,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64645762/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="62727752" href="https://uw.academia.edu/TeresaFazan">Teresa Fazan</a><script data-card-contents-for-user="62727752" type="text/json">{"id":62727752,"first_name":"Teresa","last_name":"Fazan","domain_name":"uw","page_name":"TeresaFazan","display_name":"Teresa Fazan","profile_url":"https://uw.academia.edu/TeresaFazan?f_ri=5290","photo":"https://0.academia-photos.com/62727752/31428580/167172345/s65_teresa.fazan.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-44269100">+1</span><div class="hidden js-additional-users-44269100"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/WydawnictwoSemper">Wydawnictwo Semper</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-44269100'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-44269100').html(); 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Między sztuką a dokumentem\", która odbyła się na Uniwersytecie Warszawskim 18-19.06.2018.","downloadable_attachments":[{"id":64645762,"asset_id":44269100,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":62727752,"first_name":"Teresa","last_name":"Fazan","domain_name":"uw","page_name":"TeresaFazan","display_name":"Teresa Fazan","profile_url":"https://uw.academia.edu/TeresaFazan?f_ri=5290","photo":"https://0.academia-photos.com/62727752/31428580/167172345/s65_teresa.fazan.jpg"},{"id":175061874,"first_name":"Wydawnictwo","last_name":"Semper","domain_name":"independent","page_name":"WydawnictwoSemper","display_name":"Wydawnictwo Semper","profile_url":"https://independent.academia.edu/WydawnictwoSemper?f_ri=5290","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36102618" data-work_id="36102618" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36102618/Review_of_Sonia_Sedivy_Beauty_and_the_End_of_Art_Wittgenstein_Plurality_and_Perception_Bloomsbury_2016_">Review of Sonia Sedivy, Beauty and the End of Art: Wittgenstein, Plurality and Perception (Bloomsbury, 2016)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">news/beauty-and-the-end-of-art-wittgenstein-plurality-and-perception/ As the title and subtitle suggest, there are many themes addressed in this book, perhaps too many. Certainly, too many for me to do justice to the multifarious strands... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36102618" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">news/beauty-and-the-end-of-art-wittgenstein-plurality-and-perception/ As the title and subtitle suggest, there are many themes addressed in this book, perhaps too many. Certainly, too many for me to do justice to the multifarious strands they generate. Sonia Sedivy's aim is to find a new intersection in the relationships between art, aesthetic properties, beauty, perception, Wittgensteinian realism and Kant's aesthetics. She looks for a way in which beauty might speak to a sense of ending in Western art without that implying that art is stopping, but rather that it is completely open. The book concludes with the proposal that beauty is the value of perceptual engagement, of the world's inseparable perceptible presence to us, and that this core value in human life may be reaffirmed for art.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36102618" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5a99bc3fce05c2505803e28d1391880b" rel="nofollow" data-download="{"attachment_id":55993772,"asset_id":36102618,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55993772/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2902" href="https://herts.academia.edu/DanieleMoyalSharrock">Danièle Moyal-Sharrock</a><script data-card-contents-for-user="2902" type="text/json">{"id":2902,"first_name":"Danièle","last_name":"Moyal-Sharrock","domain_name":"herts","page_name":"DanieleMoyalSharrock","display_name":"Danièle Moyal-Sharrock","profile_url":"https://herts.academia.edu/DanieleMoyalSharrock?f_ri=5290","photo":"https://0.academia-photos.com/2902/1262/20548733/s65_dani_le.moyal-sharrock.jpg"}</script></span></span></li><li class="js-paper-rank-work_36102618 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36102618"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36102618, container: ".js-paper-rank-work_36102618", }); 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Certainly, too many for me to do justice to the multifarious strands they generate. Sonia Sedivy's aim is to find a new intersection in the relationships between art, aesthetic properties, beauty, perception, Wittgensteinian realism and Kant's aesthetics. She looks for a way in which beauty might speak to a sense of ending in Western art without that implying that art is stopping, but rather that it is completely open. The book concludes with the proposal that beauty is the value of perceptual engagement, of the world's inseparable perceptible presence to us, and that this core value in human life may be reaffirmed for art.","downloadable_attachments":[{"id":55993772,"asset_id":36102618,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2902,"first_name":"Danièle","last_name":"Moyal-Sharrock","domain_name":"herts","page_name":"DanieleMoyalSharrock","display_name":"Danièle Moyal-Sharrock","profile_url":"https://herts.academia.edu/DanieleMoyalSharrock?f_ri=5290","photo":"https://0.academia-photos.com/2902/1262/20548733/s65_dani_le.moyal-sharrock.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":14023,"name":"Wittgenstein","url":"https://www.academia.edu/Documents/in/Wittgenstein?f_ri=5290","nofollow":true},{"id":42310,"name":"Arthur Danto","url":"https://www.academia.edu/Documents/in/Arthur_Danto?f_ri=5290","nofollow":true},{"id":68023,"name":"Beauty","url":"https://www.academia.edu/Documents/in/Beauty?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33870941" data-work_id="33870941" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33870941/%D0%9F%D0%9E%D0%9B%D0%98%D0%A2%D0%98%D0%9A%D0%98_%D0%A0%D0%90%D0%9D%D0%9D%D0%95%D0%A1%D0%9E%D0%92%D0%95%D0%A2%D0%A1%D0%9A%D0%9E%D0%93%D0%9E_%D0%90%D0%92%D0%90%D0%9D%D0%93%D0%90%D0%A0%D0%94%D0%90_%D0%9E%D0%A2_%D0%91%D0%95%D0%A1%D0%9F%D0%A0%D0%95%D0%94%D0%9C%D0%95%D0%A2%D0%9D%D0%9E%D0%A1%D0%A2%D0%98_%D0%9A_%D0%96%D0%98%D0%97%D0%9D%D0%95%D0%A1%D0%A2%D0%A0%D0%9E%D0%95%D0%9D%D0%98%D0%AE_">ПОЛИТИКИ РАННЕСОВЕТСКОГО АВАНГАРДА: ОТ «БЕСПРЕДМЕТНОСТИ» К «ЖИЗНЕСТРОЕНИЮ»</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">История и теория искусства по-прежнему рассматривают социополитический контекст как набор внешних факторов, относя взаимоотношения между искусством и политикой к отдельной области социологии искусства. На примере раннесоветского... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33870941" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">История и теория искусства по-прежнему рассматривают социополитический контекст как набор внешних факторов, относя взаимоотношения между искусством и политикой к отдельной области социологии искусства. На примере раннесоветского авангардного искусства мы показываем взаимосвязь между чистотой формы в искусстве и политической ангажированностью как неотъемлемую характеристику и конструктивный фактор самого авангарда. Мы берем за отправную точку короткий период преподавания К. Малевича в Витебске в УНОВИС как ключевой момент выхода супрематической эстетики в широкое прикладное социальное поле. С помощью оригинальной эстетической концепции французского философа Ж. Рансьера пытаемся показать, что именно последовательная разработка возможностей своих медиумов творцами чистых форм (беспредметниками) привела в пореволюционной России к их прямому вовлечению в жизнестроительную программу. И наоборот, новая политическая реальность не могла быть представлена средствами традиционного искусства и затребовала новых художественных форм репрезентации и языков выражения. Таким образом, между эстетикой и политикой, между автономией искусства и его идеологической ангажированностью обнаруживается достаточно сложная диалектическая взаимосвязь, способствующая на определенном этапе появлению более новаторской и динамичной художественной практики.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33870941" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="75c1586b08f03f076e103946c3bed7f5" rel="nofollow" data-download="{"attachment_id":53848529,"asset_id":33870941,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53848529/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1007118" href="https://independent.academia.edu/%D0%A0%D0%BE%D0%BC%D0%B0%D0%BD%D0%9E%D1%81%D0%BC%D0%B8%D0%BD%D0%BA%D0%B8%D0%BD">Роман Осминкин</a><script data-card-contents-for-user="1007118" type="text/json">{"id":1007118,"first_name":"Роман","last_name":"Осминкин","domain_name":"independent","page_name":"РоманОсминкин","display_name":"Роман Осминкин","profile_url":"https://independent.academia.edu/%D0%A0%D0%BE%D0%BC%D0%B0%D0%BD%D0%9E%D1%81%D0%BC%D0%B8%D0%BD%D0%BA%D0%B8%D0%BD?f_ri=5290","photo":"https://0.academia-photos.com/1007118/2761317/15277545/s65__._.jpg"}</script></span></span></li><li class="js-paper-rank-work_33870941 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33870941"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33870941, container: ".js-paper-rank-work_33870941", }); 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$(".js-view-count[data-work-id=33870941]").text(description); $(".js-view-count-work_33870941").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33870941").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33870941"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a><script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33870941]'), work: {"id":33870941,"title":"ПОЛИТИКИ РАННЕСОВЕТСКОГО АВАНГАРДА: ОТ «БЕСПРЕДМЕТНОСТИ» К «ЖИЗНЕСТРОЕНИЮ»","created_at":"2017-07-13T07:19:26.975-07:00","url":"https://www.academia.edu/33870941/%D0%9F%D0%9E%D0%9B%D0%98%D0%A2%D0%98%D0%9A%D0%98_%D0%A0%D0%90%D0%9D%D0%9D%D0%95%D0%A1%D0%9E%D0%92%D0%95%D0%A2%D0%A1%D0%9A%D0%9E%D0%93%D0%9E_%D0%90%D0%92%D0%90%D0%9D%D0%93%D0%90%D0%A0%D0%94%D0%90_%D0%9E%D0%A2_%D0%91%D0%95%D0%A1%D0%9F%D0%A0%D0%95%D0%94%D0%9C%D0%95%D0%A2%D0%9D%D0%9E%D0%A1%D0%A2%D0%98_%D0%9A_%D0%96%D0%98%D0%97%D0%9D%D0%95%D0%A1%D0%A2%D0%A0%D0%9E%D0%95%D0%9D%D0%98%D0%AE_?f_ri=5290","dom_id":"work_33870941","summary":"История и теория искусства по-прежнему рассматривают социополитический контекст как набор внешних факторов, относя взаимоотношения между искусством и политикой к отдельной области социологии искусства. На примере раннесоветского авангардного искусства мы показываем взаимосвязь между чистотой формы в искусстве и политической ангажированностью как неотъемлемую характеристику и конструктивный фактор самого авангарда. Мы берем за отправную точку короткий период преподавания К. Малевича в Витебске в УНОВИС как ключевой момент выхода супрематической эстетики в широкое прикладное социальное поле. С помощью оригинальной эстетической концепции французского философа Ж. Рансьера пытаемся показать, что именно последовательная разработка возможностей своих медиумов творцами чистых форм (беспредметниками) привела в пореволюционной России к их прямому вовлечению в жизнестроительную программу. И наоборот, новая политическая реальность не могла быть представлена средствами традиционного искусства и затребовала новых художественных форм репрезентации и языков выражения. Таким образом, между эстетикой и политикой, между автономией искусства и его идеологической ангажированностью обнаруживается достаточно сложная диалектическая взаимосвязь, способствующая на определенном этапе появлению более новаторской и динамичной художественной практики.","downloadable_attachments":[{"id":53848529,"asset_id":33870941,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1007118,"first_name":"Роман","last_name":"Осминкин","domain_name":"independent","page_name":"РоманОсминкин","display_name":"Роман Осминкин","profile_url":"https://independent.academia.edu/%D0%A0%D0%BE%D0%BC%D0%B0%D0%BD%D0%9E%D1%81%D0%BC%D0%B8%D0%BD%D0%BA%D0%B8%D0%BD?f_ri=5290","photo":"https://0.academia-photos.com/1007118/2761317/15277545/s65__._.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=5290","nofollow":true},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=5290","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":18707,"name":"Political Art","url":"https://www.academia.edu/Documents/in/Political_Art?f_ri=5290"},{"id":157702,"name":"Participatory and Relational Arts","url":"https://www.academia.edu/Documents/in/Participatory_and_Relational_Arts?f_ri=5290"},{"id":632564,"name":"Socially Engaged Art","url":"https://www.academia.edu/Documents/in/Socially_Engaged_Art-1?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29995528" data-work_id="29995528" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29995528/%D0%9F%D0%A0%D0%95%D0%92%D0%A0%D0%AA%D0%A9%D0%90%D0%9D%D0%95%D0%A2%D0%9E_%D0%9D%D0%90_%D0%A2%D0%AF%D0%9B%D0%9E%D0%A2%D0%9E_%D0%92_%D0%9C%D0%90%D0%A8%D0%98%D0%9D%D0%90_%D0%98_%D0%92%D0%AA%D0%97%D0%A5%D0%9E%D0%94%D0%AA%D0%A2_%D0%9D%D0%90_%D0%9F%D0%A0%D0%9E%D0%9F%D0%90%D0%93%D0%90%D0%9D%D0%94%D0%90%D0%A2%D0%90_%D0%92%D0%AA%D0%92_%D0%92%D0%98%D0%97%D0%A3%D0%90%D0%9B%D0%9D%D0%98%D0%A2%D0%95_%D0%98%D0%97%D0%9A%D0%A3%D0%A1%D0%A2%D0%92%D0%90_%D0%92_%D0%9F%D0%95%D0%A0%D0%98%D0%9E%D0%94%D0%90_1918_1936_%D0%93">ПРЕВРЪЩАНЕТО НА ТЯЛОТО В МАШИНА И ВЪЗХОДЪТ НА ПРОПАГАНДАТА ВЪВ ВИЗУАЛНИТЕ ИЗКУСТВА В ПЕРИОДА 1918 – 1936 Г</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Резюме. Проследявайки тенденциите във визуалните изкуства в Германия, Франция и Италия в периода 1918 – 1936 г. и поставяйки ги на философски анализ, можем да разберем по какъв начин тялото на спортиста се естетизира и се превръща в... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29995528" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Резюме. Проследявайки тенденциите във визуалните изкуства в Германия, Франция и Италия в периода 1918 – 1936 г. и поставяйки ги на философски анализ, можем да разберем по какъв начин тялото на спортиста се естетизира и се превръща в машина за печелене на символен капитал за тоталитарните режими. Този период е и свидетелство за възхода и установяването на пропа-гандата. Тази тенденция се оказва стабилна и доминантна десетилетия по-къс-но, когато визуалните изкуства продължават с пропагандна цел да представят образите на спортистите-машини. В периода между двете световни войни в хуманитарните науки се забеляз-ва един стремеж да се обясни каква грешка в прогреса довежда до най-уни-щожителната до този момент Първа световната война. Освалд Шпенглер в " Залезът на Запада " (1918) вижда проблема в културата, която, превърнала се в цивилизация, вече няма своята живителна сила. Нидерландският филолог и философ Йохан Хьойзинха в " Homo Ludens " (1938) вижда проблема в стана-лата прекалено сериозна игра, в абсолютизирането на победата и желанието за трупане на материални блага, в изкривената житейска философия, която вижда смисъла в надмощието над другите, а не във взаимната игра. Появява се психоанализата на Зигмунд Фройд и Карл Г. Юнг и всички търсят отговор на въпроса защо прогресът доведе до това динамитът да се използва за убий-ства, а не за строенето на тунели, какво накара хората на Модерността да се впуснат в най-кървавите и варварски войни в историята на човечеството. Вероятен отговор на въпроса може би трябва да се потърси в отношението към човека, в естетизирането на телесността в този период и във възприятие-то на героичното. Акцентът на тази статия е върху естетизирането на тялото на спортиста като пример за това как тялото започва да има амбивалентна функция (Grigorov, 2015). Двойствената му функционалност е резултат от</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29995528" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="24bdd14f9d9aa5dd63f6fb99b29f5e26" rel="nofollow" data-download="{"attachment_id":50453693,"asset_id":29995528,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50453693/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="56985369" href="https://nsa-bg.academia.edu/BoryanaAngelovaIgova">Boryana Angelova-Igova</a><script data-card-contents-for-user="56985369" type="text/json">{"id":56985369,"first_name":"Boryana","last_name":"Angelova-Igova","domain_name":"nsa-bg","page_name":"BoryanaAngelovaIgova","display_name":"Boryana Angelova-Igova","profile_url":"https://nsa-bg.academia.edu/BoryanaAngelovaIgova?f_ri=5290","photo":"https://0.academia-photos.com/56985369/14970733/15719527/s65_boryana.angelova-igova.jpg"}</script></span></span></li><li class="js-paper-rank-work_29995528 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29995528"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29995528, container: ".js-paper-rank-work_29995528", }); 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Проследявайки тенденциите във визуалните изкуства в Германия, Франция и Италия в периода 1918 – 1936 г. и поставяйки ги на философски анализ, можем да разберем по какъв начин тялото на спортиста се естетизира и се превръща в машина за печелене на символен капитал за тоталитарните режими. Този период е и свидетелство за възхода и установяването на пропа-гандата. Тази тенденция се оказва стабилна и доминантна десетилетия по-къс-но, когато визуалните изкуства продължават с пропагандна цел да представят образите на спортистите-машини. В периода между двете световни войни в хуманитарните науки се забеляз-ва един стремеж да се обясни каква грешка в прогреса довежда до най-уни-щожителната до този момент Първа световната война. Освалд Шпенглер в \" Залезът на Запада \" (1918) вижда проблема в културата, която, превърнала се в цивилизация, вече няма своята живителна сила. Нидерландският филолог и философ Йохан Хьойзинха в \" Homo Ludens \" (1938) вижда проблема в стана-лата прекалено сериозна игра, в абсолютизирането на победата и желанието за трупане на материални блага, в изкривената житейска философия, която вижда смисъла в надмощието над другите, а не във взаимната игра. Появява се психоанализата на Зигмунд Фройд и Карл Г. Юнг и всички търсят отговор на въпроса защо прогресът доведе до това динамитът да се използва за убий-ства, а не за строенето на тунели, какво накара хората на Модерността да се впуснат в най-кървавите и варварски войни в историята на човечеството. Вероятен отговор на въпроса може би трябва да се потърси в отношението към човека, в естетизирането на телесността в този период и във възприятие-то на героичното. Акцентът на тази статия е върху естетизирането на тялото на спортиста като пример за това как тялото започва да има амбивалентна функция (Grigorov, 2015). Двойствената му функционалност е резултат от","downloadable_attachments":[{"id":50453693,"asset_id":29995528,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":56985369,"first_name":"Boryana","last_name":"Angelova-Igova","domain_name":"nsa-bg","page_name":"BoryanaAngelovaIgova","display_name":"Boryana Angelova-Igova","profile_url":"https://nsa-bg.academia.edu/BoryanaAngelovaIgova?f_ri=5290","photo":"https://0.academia-photos.com/56985369/14970733/15719527/s65_boryana.angelova-igova.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=5290","nofollow":true},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":814,"name":"Ethics","url":"https://www.academia.edu/Documents/in/Ethics?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":14189,"name":"Philosophy of Sport","url":"https://www.academia.edu/Documents/in/Philosophy_of_Sport?f_ri=5290"},{"id":521044,"name":"Philosophy of Sports","url":"https://www.academia.edu/Documents/in/Philosophy_of_Sports?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9793412" data-work_id="9793412" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9793412/Bild_und_Interface_Zur_sinnlichen_Wahrnehmung_digitaler_Visualit%C3%A4t">Bild und Interface. Zur sinnlichen Wahrnehmung digitaler Visualität</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Völlig neue Bild- und Erfahrungswelten versprechen die jüngsten Produkte der Medienindustrie ihren Usern. Euphorisch investieren Google, Microsoft und Co. Unsummen in digitale Medientechnologien wie Virtual-Reality-Displays. Jeder... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9793412" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Völlig neue Bild- und Erfahrungswelten versprechen die jüngsten Produkte der Medienindustrie ihren Usern. Euphorisch investieren Google, Microsoft und Co. Unsummen in digitale Medientechnologien wie Virtual-Reality-Displays. Jeder Blockbuster muss in 3D gedreht werden. Entwicklungen wie diese verdeutlichen nicht nur den hohen Stellenwert, der sowohl der technologischen Seite als auch den ästhetischen Strategien visueller Medien zukommt. Sie werfen auch eine Reihe von Fragen auf: Wie adressieren multimodale Medienarrangements die Sinne der Rezipienten? Welche Rolle spielen Technologie und Wahrnehmung bei der Modellierung von Bildwirkungen? Um diese Fragen zu beantworten, legt der vorliegende Band den Fokus auf die Analyse medialer Interfaces. Konzentrierte sich die Bewegtbilder-Reihe bislang auf den Film, widmet sich Bild und Interface auch interaktiven Digital- und Computerspielbildern. Dadurch sollen weitere Bausteine einer kritischen Bewegtbildwissenschaft herausgearbeitet werden.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9793412" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="37263fe90791d315e17ed1f9e75b9214" rel="nofollow" data-download="{"attachment_id":35967937,"asset_id":9793412,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35967937/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13079251" href="https://fh-muenster.academia.edu/LarsChristianGrabbe">Lars Christian Grabbe</a><script data-card-contents-for-user="13079251" type="text/json">{"id":13079251,"first_name":"Lars Christian","last_name":"Grabbe","domain_name":"fh-muenster","page_name":"LarsChristianGrabbe","display_name":"Lars Christian Grabbe","profile_url":"https://fh-muenster.academia.edu/LarsChristianGrabbe?f_ri=5290","photo":"https://0.academia-photos.com/13079251/3689520/160555875/s65_lars_christian.grabbe.jpeg"}</script></span></span></li><li class="js-paper-rank-work_9793412 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9793412"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9793412, container: ".js-paper-rank-work_9793412", }); 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Zur sinnlichen Wahrnehmung digitaler Visualität","created_at":"2014-12-16T05:03:20.684-08:00","url":"https://www.academia.edu/9793412/Bild_und_Interface_Zur_sinnlichen_Wahrnehmung_digitaler_Visualit%C3%A4t?f_ri=5290","dom_id":"work_9793412","summary":"Völlig neue Bild- und Erfahrungswelten versprechen die jüngsten Produkte der Medienindustrie ihren Usern. Euphorisch investieren Google, Microsoft und Co. Unsummen in digitale Medientechnologien wie Virtual-Reality-Displays. Jeder Blockbuster muss in 3D gedreht werden. Entwicklungen wie diese verdeutlichen nicht nur den hohen Stellenwert, der sowohl der technologischen Seite als auch den ästhetischen Strategien visueller Medien zukommt. Sie werfen auch eine Reihe von Fragen auf: Wie adressieren multimodale Medienarrangements die Sinne der Rezipienten? Welche Rolle spielen Technologie und Wahrnehmung bei der Modellierung von Bildwirkungen? Um diese Fragen zu beantworten, legt der vorliegende Band den Fokus auf die Analyse medialer Interfaces. Konzentrierte sich die Bewegtbilder-Reihe bislang auf den Film, widmet sich Bild und Interface auch interaktiven Digital- und Computerspielbildern. Dadurch sollen weitere Bausteine einer kritischen Bewegtbildwissenschaft herausgearbeitet werden.","downloadable_attachments":[{"id":35967937,"asset_id":9793412,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13079251,"first_name":"Lars Christian","last_name":"Grabbe","domain_name":"fh-muenster","page_name":"LarsChristianGrabbe","display_name":"Lars Christian Grabbe","profile_url":"https://fh-muenster.academia.edu/LarsChristianGrabbe?f_ri=5290","photo":"https://0.academia-photos.com/13079251/3689520/160555875/s65_lars_christian.grabbe.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=5290","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=5290","nofollow":true},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":863,"name":"Visual 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href="https://www.academia.edu/4332837/_New_Negro_Movement_Encyclopedia_of_African_American_History_2010_">“New Negro Movement.” Encyclopedia of African American History (2010)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Christopher Buck, “New Negro Movement.” Encyclopedia of African American History. Edited by Leslie Alexander & Walter Rucker. Santa Barbara, CA: ABC-CLIO, 2010. Pp. 925–927 (Vol. 3).</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4332837" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7a6bf455bb81f8bf64b31f64e0f9cc87" rel="nofollow" data-download="{"attachment_id":31784443,"asset_id":4332837,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31784443/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="184507" href="https://psu-us.academia.edu/ChristopherBuck">Christopher Buck</a><script data-card-contents-for-user="184507" type="text/json">{"id":184507,"first_name":"Christopher","last_name":"Buck","domain_name":"psu-us","page_name":"ChristopherBuck","display_name":"Christopher Buck","profile_url":"https://psu-us.academia.edu/ChristopherBuck?f_ri=5290","photo":"https://0.academia-photos.com/184507/1953985/8181236/s65_christopher.buck.png"}</script></span></span></li><li class="js-paper-rank-work_4332837 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4332837"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4332837, container: ".js-paper-rank-work_4332837", }); 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Philosophische Beiträge</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Die Beiträge dieses Bandes werfen die Frage nach dem Erkenntniswert der Literatur auf. Der erste Teil des Bandes enthält Beiträge, welche die Frage nach dem Verhältnis zwischen literarischen und anderen Weisen menschlicher... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4276150" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Die Beiträge dieses Bandes werfen die Frage nach dem Erkenntniswert der Literatur auf. Der erste Teil des Bandes enthält Beiträge, welche die Frage nach dem Verhältnis zwischen literarischen und anderen Weisen menschlicher Selbstverständigung diskutieren. Im zweiten Teil des Buches finden sich Aufsätze, welche die verschiedenen Argumente, die in der Diskussion um die Frage nach dem kognitiven Wert der Literatur eine Rolle spielen, einer eingehenden Prüfung unterziehen. Sie fragen danach, ob und inwieweit die Literatur Wissen vermittelt. Die Beiträge des dritten Teils vertiefen die Untersuchungen zum kognitiven Wert der Literatur, indem sie verschiedene Formen des Wissens behandeln. Besondere Aufmerksamkeit erhalten die Vergegenwärtigungsleitung der Literatur, das propositionale Wissen, das Zeugniswissen und das begriffliche Wissen. Der vierte Teil des Buches schließlich enthält Aufsätze, die sich mit der Literatur als Quelle moralischen Wissens beschäftigen und den Beitrag der Literatur zu psychologischen Fragen diskutieren, welche das Verständnis der Rolle der Gefühle und die narrative Dimension der Selbstidentität betreffen.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4276150" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="07329ef0a4df755ea82144d09d517fa2" rel="nofollow" data-download="{"attachment_id":64035335,"asset_id":4276150,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64035335/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="168910" href="https://uni-marburg1.academia.edu/IngridVendrellFerran">Ingrid Vendrell-Ferran</a><script data-card-contents-for-user="168910" type="text/json">{"id":168910,"first_name":"Ingrid","last_name":"Vendrell-Ferran","domain_name":"uni-marburg1","page_name":"IngridVendrellFerran","display_name":"Ingrid Vendrell-Ferran","profile_url":"https://uni-marburg1.academia.edu/IngridVendrellFerran?f_ri=5290","photo":"https://0.academia-photos.com/168910/42617/19119815/s65_ingrid.vendrell_ferran.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-4276150">+1</span><div class="hidden js-additional-users-4276150"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://uni-jena.academia.edu/ChristophDemmerling">Christoph Demmerling</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-4276150'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-4276150').html(); 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Philosophische Beiträge","created_at":"2013-08-19T18:59:00.064-07:00","url":"https://www.academia.edu/4276150/Wahrheit_Wissen_und_Erkenntnis_in_der_Literatur_Philosophische_Beitr%C3%A4ge?f_ri=5290","dom_id":"work_4276150","summary":"Die Beiträge dieses Bandes werfen die Frage nach dem Erkenntniswert der Literatur auf. Der erste Teil des Bandes enthält Beiträge, welche die Frage nach dem Verhältnis zwischen literarischen und anderen Weisen menschlicher Selbstverständigung diskutieren. Im zweiten Teil des Buches finden sich Aufsätze, welche die verschiedenen Argumente, die in der Diskussion um die Frage nach dem kognitiven Wert der Literatur eine Rolle spielen, einer eingehenden Prüfung unterziehen. Sie fragen danach, ob und inwieweit die Literatur Wissen vermittelt. Die Beiträge des dritten Teils vertiefen die Untersuchungen zum kognitiven Wert der Literatur, indem sie verschiedene Formen des Wissens behandeln. Besondere Aufmerksamkeit erhalten die Vergegenwärtigungsleitung der Literatur, das propositionale Wissen, das Zeugniswissen und das begriffliche Wissen. Der vierte Teil des Buches schließlich enthält Aufsätze, die sich mit der Literatur als Quelle moralischen Wissens beschäftigen und den Beitrag der Literatur zu psychologischen Fragen diskutieren, welche das Verständnis der Rolle der Gefühle und die narrative Dimension der Selbstidentität betreffen. ","downloadable_attachments":[{"id":64035335,"asset_id":4276150,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":168910,"first_name":"Ingrid","last_name":"Vendrell-Ferran","domain_name":"uni-marburg1","page_name":"IngridVendrellFerran","display_name":"Ingrid Vendrell-Ferran","profile_url":"https://uni-marburg1.academia.edu/IngridVendrellFerran?f_ri=5290","photo":"https://0.academia-photos.com/168910/42617/19119815/s65_ingrid.vendrell_ferran.jpg"},{"id":653274,"first_name":"Christoph","last_name":"Demmerling","domain_name":"uni-jena","page_name":"ChristophDemmerling","display_name":"Christoph Demmerling","profile_url":"https://uni-jena.academia.edu/ChristophDemmerling?f_ri=5290","photo":"https://0.academia-photos.com/653274/9724475/10832001/s65_christoph.demmerling.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":815,"name":"Epistemology","url":"https://www.academia.edu/Documents/in/Epistemology?f_ri=5290","nofollow":true},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=5290","nofollow":true},{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=5290","nofollow":true},{"id":5289,"name":"Philosophy of Literature","url":"https://www.academia.edu/Documents/in/Philosophy_of_Literature?f_ri=5290"},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290"},{"id":20987,"name":"Analytic Aesthetics","url":"https://www.academia.edu/Documents/in/Analytic_Aesthetics?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44216375" data-work_id="44216375" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44216375/_La_concezione_hegeliana_dell_ironia_e_il_corso_berlinese_del_1828_29_Studi_di_estetica_16_monographic_section_Rethinking_Hegels_Aesthetics_ed_by_F_Iannelli_A_P_Olivier_K_Vieweg_2020_pp_129_145">"La concezione hegeliana dell ironia e il corso berlinese del 1828-29", «Studi di estetica», 16 (monographic section: "Rethinking Hegel's Aesthetics", ed. by F. Iannelli, A. P. Olivier, K. Vieweg), 2020, pp. 129-145</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The aim of the paper is to analyze the Hegelian interpretation of the notion of “irony” in the light of its evolution thorough the Berlin courses and in a comparison with the edition of the Ästhetik published by Hotho. The analysis of the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44216375" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The aim of the paper is to analyze the Hegelian interpretation of the notion of “irony” in the light of its evolution thorough the Berlin courses and in a comparison with the edition of the Ästhetik published by Hotho. The analysis of the last course of the 1828-29 is of particular importance, because there the notion of irony, which traditionally appears to be harshly criticized by Hegel, is taken as a decisive moment for the very concept of art. In this course, Hegel explicitly distinguishes between a “practical irony”, which he continues to criticize, and an irony that we could define as “artistic” or “aesthetic”, which he instead assumes as a significant moment in the constitution of the ideal. The discussion of this course can lead to a redefinition of Hegel’s interpretation of irony as it has been established by much of the critical tradition.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44216375" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="31dbd89b02e6a92f6bbd5c1bfcae9de1" rel="nofollow" data-download="{"attachment_id":64582723,"asset_id":44216375,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64582723/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="30275218" href="https://unipd.academia.edu/FrancescoCampana">Francesco Campana</a><script data-card-contents-for-user="30275218" type="text/json">{"id":30275218,"first_name":"Francesco","last_name":"Campana","domain_name":"unipd","page_name":"FrancescoCampana","display_name":"Francesco Campana","profile_url":"https://unipd.academia.edu/FrancescoCampana?f_ri=5290","photo":"https://0.academia-photos.com/30275218/10494100/11709277/s65_francesco.campana.png"}</script></span></span></li><li class="js-paper-rank-work_44216375 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44216375"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44216375, container: ".js-paper-rank-work_44216375", }); 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$(".js-view-count[data-work-id=44216375]").text(description); $(".js-view-count-work_44216375").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44216375").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44216375"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1258" rel="nofollow" href="https://www.academia.edu/Documents/in/Romanticism">Romanticism</a>, <script data-card-contents-for-ri="1258" type="text/json">{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6202" rel="nofollow" href="https://www.academia.edu/Documents/in/German_Idealism">German Idealism</a><script data-card-contents-for-ri="6202" type="text/json">{"id":6202,"name":"German Idealism","url":"https://www.academia.edu/Documents/in/German_Idealism?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44216375]'), work: {"id":44216375,"title":"\"La concezione hegeliana dell ironia e il corso berlinese del 1828-29\", «Studi di estetica», 16 (monographic section: \"Rethinking Hegel's Aesthetics\", ed. by F. Iannelli, A. P. Olivier, K. Vieweg), 2020, pp. 129-145","created_at":"2020-10-02T10:43:53.405-07:00","url":"https://www.academia.edu/44216375/_La_concezione_hegeliana_dell_ironia_e_il_corso_berlinese_del_1828_29_Studi_di_estetica_16_monographic_section_Rethinking_Hegels_Aesthetics_ed_by_F_Iannelli_A_P_Olivier_K_Vieweg_2020_pp_129_145?f_ri=5290","dom_id":"work_44216375","summary":"The aim of the paper is to analyze the Hegelian interpretation of the notion of “irony” in the light of its evolution thorough the Berlin courses and in a comparison with the edition of the Ästhetik published by Hotho. The analysis of the last course of the 1828-29 is of particular importance, because there the notion of irony, which traditionally appears to be harshly criticized by Hegel, is taken as a decisive moment for the very concept of art. In this course, Hegel explicitly distinguishes between a “practical irony”, which he continues to criticize, and an irony that we could define as “artistic” or “aesthetic”, which he instead assumes as a significant moment in the constitution of the ideal. The discussion of this course can lead to a redefinition of Hegel’s interpretation of irony as it has been established by much of the critical tradition.","downloadable_attachments":[{"id":64582723,"asset_id":44216375,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":30275218,"first_name":"Francesco","last_name":"Campana","domain_name":"unipd","page_name":"FrancescoCampana","display_name":"Francesco Campana","profile_url":"https://unipd.academia.edu/FrancescoCampana?f_ri=5290","photo":"https://0.academia-photos.com/30275218/10494100/11709277/s65_francesco.campana.png"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":6202,"name":"German Idealism","url":"https://www.academia.edu/Documents/in/German_Idealism?f_ri=5290","nofollow":true},{"id":6453,"name":"German Romanticism","url":"https://www.academia.edu/Documents/in/German_Romanticism?f_ri=5290"},{"id":7942,"name":"Hegel","url":"https://www.academia.edu/Documents/in/Hegel?f_ri=5290"},{"id":10758,"name":"Modernity","url":"https://www.academia.edu/Documents/in/Modernity?f_ri=5290"},{"id":18108,"name":"G.W.F. Hegel","url":"https://www.academia.edu/Documents/in/G.W.F._Hegel?f_ri=5290"},{"id":40167,"name":"Early German Romanticism","url":"https://www.academia.edu/Documents/in/Early_German_Romanticism?f_ri=5290"},{"id":54659,"name":"Subjectivity","url":"https://www.academia.edu/Documents/in/Subjectivity?f_ri=5290"},{"id":107623,"name":"Romantic Irony","url":"https://www.academia.edu/Documents/in/Romantic_Irony?f_ri=5290"},{"id":110988,"name":"Irony","url":"https://www.academia.edu/Documents/in/Irony?f_ri=5290"},{"id":127827,"name":"German romanticism and idealism","url":"https://www.academia.edu/Documents/in/German_romanticism_and_idealism?f_ri=5290"},{"id":480954,"name":"Classical German Philosophy","url":"https://www.academia.edu/Documents/in/Classical_German_Philosophy?f_ri=5290"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32379204" data-work_id="32379204" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32379204/Obligations_to_Artworks_as_Duties_of_Love_Estetika_">Obligations to Artworks as Duties of Love (Estetika)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">It is uncontroversial that our engagement with artworks is constrained by obligations; most commonly, these consist in obligations to other persons, such as artists, audiences, and owners of artworks. A more controversial claim is that we... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32379204" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">It is uncontroversial that our engagement with artworks is constrained by obligations; most commonly, these consist in obligations to other persons, such as artists, audiences, and owners of artworks. A more controversial claim is that we have genuine obligations to artworks themselves. I defend a qualified version of this claim. However, I argue that such obligations do not derive from the supposed moral rights of artworks – for no such rights exist. Rather, I argue that these obligations are instances of duties of love: obligations that one incurs in virtue of loving some object, be it a person or, in this case, an artwork.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32379204" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8672edac4e065158615c62344c4f639d" rel="nofollow" data-download="{"attachment_id":52581970,"asset_id":32379204,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52581970/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3659577" href="https://txstate.academia.edu/AnthonyCross">Anthony Cross</a><script data-card-contents-for-user="3659577" type="text/json">{"id":3659577,"first_name":"Anthony","last_name":"Cross","domain_name":"txstate","page_name":"AnthonyCross","display_name":"Anthony Cross","profile_url":"https://txstate.academia.edu/AnthonyCross?f_ri=5290","photo":"https://0.academia-photos.com/3659577/1292027/5638523/s65_anthony.cross.jpg"}</script></span></span></li><li class="js-paper-rank-work_32379204 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32379204"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32379204, container: ".js-paper-rank-work_32379204", }); 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$(".js-view-count[data-work-id=32379204]").text(description); $(".js-view-count-work_32379204").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32379204").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="32379204"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="810660" rel="nofollow" href="https://www.academia.edu/Documents/in/Obligations">Obligations</a>, <script data-card-contents-for-ri="810660" type="text/json">{"id":810660,"name":"Obligations","url":"https://www.academia.edu/Documents/in/Obligations?f_ri=5290","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1373724" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetic_Normativity">Aesthetic Normativity</a><script data-card-contents-for-ri="1373724" type="text/json">{"id":1373724,"name":"Aesthetic Normativity","url":"https://www.academia.edu/Documents/in/Aesthetic_Normativity?f_ri=5290","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32379204]'), work: {"id":32379204,"title":"Obligations to Artworks as Duties of Love (Estetika)","created_at":"2017-04-11T07:50:21.989-07:00","url":"https://www.academia.edu/32379204/Obligations_to_Artworks_as_Duties_of_Love_Estetika_?f_ri=5290","dom_id":"work_32379204","summary":"It is uncontroversial that our engagement with artworks is constrained by obligations; most commonly, these consist in obligations to other persons, such as artists, audiences, and owners of artworks. A more controversial claim is that we have genuine obligations to artworks themselves. I defend a qualified version of this claim. However, I argue that such obligations do not derive from the supposed moral rights of artworks – for no such rights exist. Rather, I argue that these obligations are instances of duties of love: obligations that one incurs in virtue of loving some object, be it a person or, in this case, an artwork.","downloadable_attachments":[{"id":52581970,"asset_id":32379204,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3659577,"first_name":"Anthony","last_name":"Cross","domain_name":"txstate","page_name":"AnthonyCross","display_name":"Anthony Cross","profile_url":"https://txstate.academia.edu/AnthonyCross?f_ri=5290","photo":"https://0.academia-photos.com/3659577/1292027/5638523/s65_anthony.cross.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=5290","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290","nofollow":true},{"id":810660,"name":"Obligations","url":"https://www.academia.edu/Documents/in/Obligations?f_ri=5290","nofollow":true},{"id":1373724,"name":"Aesthetic Normativity","url":"https://www.academia.edu/Documents/in/Aesthetic_Normativity?f_ri=5290","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8413071" data-work_id="8413071" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/8413071/PDF_Version_Complete_How_Photography_Changed_Time_By_Rick_Doble">PDF Version: Complete: How Photography Changed Time By Rick Doble</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">My most read paper -- fully illustrated. Our modern sense of time was radically changed with the invention of photography. The past could now be visualized and frozen in fine detail. Moreover the photograph was an objective accurate... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8413071" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">My most read paper -- fully illustrated. Our modern sense of time was radically changed with the invention of photography. The past could now be visualized and frozen in fine detail. Moreover the photograph was an objective accurate record of the past, one that might yield important research information for centuries. We might call the time before photography pre-photographic just as we call the time before written records, pre-historic. In addition our personal sense of time was changed with family albums and our ability to now record our own past with precision.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8413071" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9adec5fd8425c43a0a9c446319b9d751" rel="nofollow" data-download="{"attachment_id":34806436,"asset_id":8413071,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34806436/download_file?st=MTc0MDcwMTY4OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4134558" href="https://unc.academia.edu/RickDoble">Rick Doble</a><script data-card-contents-for-user="4134558" type="text/json">{"id":4134558,"first_name":"Rick","last_name":"Doble","domain_name":"unc","page_name":"RickDoble","display_name":"Rick Doble","profile_url":"https://unc.academia.edu/RickDoble?f_ri=5290","photo":"https://0.academia-photos.com/4134558/1605082/1939252/s65_rick.doble.jpg"}</script></span></span></li><li class="js-paper-rank-work_8413071 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8413071"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8413071, container: ".js-paper-rank-work_8413071", }); 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Our modern sense of time was radically changed with the invention of photography. The past could now be visualized and frozen in fine detail. Moreover the photograph was an objective accurate record of the past, one that might yield important research information for centuries. We might call the time before photography pre-photographic just as we call the time before written records, pre-historic. 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Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=5290","nofollow":true},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=5290"},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=5290"},{"id":1736,"name":"Science Education","url":"https://www.academia.edu/Documents/in/Science_Education?f_ri=5290"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=5290"},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=5290"},{"id":3723,"name":"History of Science","url":"https://www.academia.edu/Documents/in/History_of_Science?f_ri=5290"},{"id":3987,"name":"History and Memory","url":"https://www.academia.edu/Documents/in/History_and_Memory?f_ri=5290"},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=5290"},{"id":5419,"name":"Metaphysics of Time","url":"https://www.academia.edu/Documents/in/Metaphysics_of_Time?f_ri=5290"},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=5290"},{"id":11483,"name":"Cultural Memory","url":"https://www.academia.edu/Documents/in/Cultural_Memory?f_ri=5290"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=5290"},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=5290"},{"id":14989,"name":"Philosophy of Time","url":"https://www.academia.edu/Documents/in/Philosophy_of_Time?f_ri=5290"},{"id":15296,"name":"Philosophy of Photography","url":"https://www.academia.edu/Documents/in/Philosophy_of_Photography?f_ri=5290"},{"id":19022,"name":"Documentary 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