DOCSLIB.ORG

Investigations Into the Phenomenology and the Ontology of the Work of Art What Are Artworks and How Do We Experience Them? Contributions to Phenomenology

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Investigations Into the Phenomenology and the Ontology of the Work of Art What Are Artworks and How Do We Experience Them? Contributions to Phenomenology Contributions To Phenomenology 81 Peer F. Bundgaard Frederik Stjernfelt Editors Investigations Into the Phenomenology and the Ontology of the Work of Art What are Artworks and How Do We Experience Them? Contributions to Phenomenology In Cooperation with The Center for Advanced Research in Phenomenology Volume 81 Series Editors Nicolas de Warren, KU Leuven, Belgium Dermot Moran, University College Dublin, Ireland Editorial Board Lilian Alweiss, Trinity College Dublin, Ireland Michael Barber, St. Louis University, MO, USA Elizabeth Behnke, Ferndale, WA, USA Rudolf Bernet, Husserl Archive, KU Leuven, Belgium David Carr, Emory University, GA, USA Chan-Fai Cheung, Chinese University Hong Kong, China James Dodd, New School University, NY, USA Lester Embree, Florida Atlantic University, FL, USA Alfredo Ferrarin, Università di Pisa, Italy Burt Hopkins, Seattle University, WA, USA José Huertas-Jourda, Wilfrid Laurier University, Canada Kwok-Ying Lau, Chinese University Hong Kong, China Nam-In Lee, Seoul National University, Korea Rosemary R.P. Lerner, Pontificia Universidad Católica del Perú, Peru Dieter Lohmar, University of Cologne, Germany William R. McKenna, Miami University, OH, USA Algis Mickunas, Ohio University, OH, USA J.N. Mohanty, Temple University, PA, USA Junichi Murata, University of Tokyo, Japan Thomas Nenon, The University of Memphis, TN, USA Thomas M. Seebohm, Johannes Gutenberg-Universität, Germany Gail Soffer, Rome, Italy Anthony Steinbock, Southern Illinois University at Carbondale, IL, USA Shigeru Taguchi, Hokkaido University, Japan Dan Zahavi, University of Copenhagen, Denmark Richard M. Zaner, Vanderbilt University, TN, USA Scope The purpose of the series is to serve as a vehicle for the pursuit of phenomenological research across a broad spectrum, including cross-over developments with other fields of inquiry such as the social sciences and cognitive science. Since its establishment in 1987, Contributions to Phenomenology has published more than 80 titles on diverse themes of phenomenological philosophy. In addition to welcoming monographs and collections of papers in established areas of scholarship, the series encourages original work in phenomenology. The breadth and depth of the Series reflects the rich and varied significance of phenomenological thinking for seminal questions of human inquiry as well as the increasingly international reach of phenomenological research. The series is published in cooperation with The Center for Advanced Research in Phenomenology. More information about this series at http://www.springer.com/series/5811 Peer F. Bundgaard • Frederik Stjernfelt Editors Investigations Into the Phenomenology and the Ontology of the Work of Art What are Artworks and How Do We Experience Them? Editors Peer F. Bundgaard Frederik Stjernfelt Center for Semiotics Humanomics Centre Aarhus University Department of Arts and Culture Aarhus, Denmark University of Copenhagen Copenhagen, Denmark ISSN 0923-9545 ISSN 2215-1915 (electronic) Contributions to Phenomenology ISBN 978-3-319-14089-6 ISBN 978-3-319-14090-2 (eBook) DOI 10.1007/978-3-319-14090-2 Library of Congress Control Number: 2015941152 Springer Cham Heidelberg New York Dordrecht London © The Editor(s) (if applicable) and The Author(s) 2015. The book is published with open access at SpringerLink.com. Open Access This book is distributed under the terms of the Creative Commons Attribution Noncom- mercial License, which permits any noncommercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. All commercial rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Printed on acid-free paper Springer International Publishing AG Switzerland is part of Springer Science+Business Media (www. springer.com) Contents Introduction ...................................................................... 1 Peer F. Bundgaard Temporal Aspects of Literary Reading ........................................ 15 David S. Miall Memory and Mental States in the Appreciation of Literature .............. 31 Marisa Bortolussi and Peter Dixon Temporal Conflict in the Reading Experience ................................ 51 Cathrine Kietz The Aesthetic Experience with Visual Art “At First Glance” ............... 75 Paul J. Locher What Is a Surface? In the Real World? And Pictures? ...................... 89 John M. Kennedy and Marta Wnuczko The Idiosyncrasy of Beauty: Aesthetic Universals and the Diversity of Taste ....................................................... 109 Patrick Colm Hogan Why We Are Not All Novelists .................................................. 129 Shaun Gallagher Aesthetic Relationship, Cognition, and the Pleasures of Art ................ 145 Jean-Marie Schaeffer More Seeing-in: Surface Seeing, Design Seeing, and Meaning Seeing in Pictures ................................................................ 167 Peer F. Bundgaard Depiction .......................................................................... 191 John Hyman v vi Contents Green War Banners in Central Copenhagen: A Recent Political Struggle Over Interpretation—And Some Implications for Art Interpretation as Such .................................. 209 Frederik Stjernfelt The Appropriation of the Work of Art as a Semiotic Act.................... 225 Francis Édeline and Jean-Marie Klinkenberg Sculpture, Diagram, and Language in the Artwork of Joseph Beuys ...... 243 Wolfgang Wildgen Index ............................................................................... 259 Introduction Peer F. Bundgaard The purpose of the present volume is to investigate the multifarious aspects of the relation between an artwork (visual, literary, or musical), its objective properties, the meaningful experience of it, and the cognitive skills and acts involved in the latter. Each of these aspects is a genuine and irreducible part of what I here will call the “aesthetic complex,” and each of them thus constitutes an autonomous domain of research or an object of scholarly interest: that certain visual or cognitive capacities are activated in the interaction with aesthetic objects; that the experience of aesthetic objects has a particular phenomenology, either because it is accompanied by an appreciative judgment (or a rewarding feeling) or because it is about a specific kind of object (artful objects); that artful objects have properties that plain objects— natural as well as cultural—do not have; and, finally, that aesthetic objects manifest or represent a meaning in that they give shape to or embody an artistic meaning intention. The psychology, the phenomenology, the ontology, and the semiotics of the artwork each aims to lay down the above characteristics in each their domain, with each their methods. The contributors to this volume are philosophers, psychologists, literary critics, and semioticians. As such, they address only one or just a couple of the above- mentioned aspects. Each chapter will show, however, that the inquiry into one of the essential aspects of the aesthetic complex naturally raises research questions related to one of the other essential aspects. It is thus difficult to consider meaning- making in art without considering those structures and properties in artworks that embody that meaning or produce that meaning effect. Similarly, it is difficult to lay bare the essential properties of artworks (or of artful representation) without analyzing them in light of those properties of the human cognitive system or of the P.F. Bundgaard () Center for Semiotics, Aarhus University, Aarhus, Denmark e-mail: [email protected] © The Author(s) 2015 1 P.F. Bundgaard, F. Stjernfelt (eds.), Investigations Into the Phenomenology and the Ontology of the Work of Art, Contributions To Phenomenology 81, DOI 10.1007/978-3-319-14090-2_1 2 P.F. Bundgaard visual brain that make man particularly responsive to such qualities. In short, even though scholars, for obvious reasons, distribute their efforts selectively and focus their attention on one of the aspects of the aesthetic complex, these domains of inquiry are complementary. With this volume we therefore hope not only to give the reader access to recent research within the ontology, the phenomenology, and the semiotics of the artwork, but also to manifest the complementarity of work done in each of these domains. In the remainder of this Introduction, I shall first go into some more details with regards to the different aspects of what I have called the “aesthetic complex” and next give a short introduction to each of
Load more

Recommended publications
  • Two Conceptions of Harmony in Ancient Western and Eastern Aesthetics: “Dialectic Harmony” and “Ambiguous Harmony”
    TWO CONCEPTIONS OF HARMONY IN ANCIENT WESTERN AND EASTERN AESTHETICS: “DIALECTIC HARMONY” AND “AMBIGUOUS HARMONY” Tak-lap Yeung∗ Abstract: In this paper, I argue that the different understandings of “harmony”, which are rooted in ancient Greek and Chinese thought, can be recapitulated in the name of “dialectic harmony” and “ambiguous harmony” regarding the representation of the beautiful. The different understandings of the concept of harmony lead to at least two kinds of aesthetic value as well as ideality – harmony in conciliation and harmony in diversity. Through an explication of the original meaning and relation between the concept of harmony and beauty, we can learn more about the cosmo-metaphysical origins in Western and Eastern aesthetics, with which we may gain insights for future aesthetics discourse. Introduction It is generally accepted that modern philosophy can trace itself back to two major origin points, ancient Greece in the West and China in the East. To understand the primary presuppositions of Western and Eastern philosophical aesthetics, we must go back to these origins and examine the core concepts which have had a great influence on later aesthetic representation. Inspecting the conception of “harmony”, a central concept of philosophical aesthetic thought for both the ancient Greek and Chinese world, may bring us valuable insight in aesthetic differences which persist today. In the following, I argue that the different understandings of “harmony”, which are rooted in ancient Greek and Chinese thought, can be recapitulated in the name of “dialectic harmony” and “ambiguous harmony” regarding the representation of the beautiful.1 The different understandings of the concept of harmony lead to, at least, two kinds of aesthetic value as well as ideality – harmony in conciliation and harmony in diversity.
    [Show full text]
  • HARMONY HAMMOND with Phillip Griffith
    Art June 3rd, 2016 INCONVERSATION HARMONY HAMMOND with Phillip Griffith Harmony Hammond made her start as an artist in the feminist milieu of 1970s New York, co-founding A.I.R. Gallery, the first women’s gallery, in 1972. Her early artwork developed a feminist, lesbian, and queer idiom for painting and sculpture, especially in such celebrated works as her woven and painted Floorpieces (1973) and wrapped sculptures, like Hunkertime (1979 – 80). Since 1984, she has lived and worked in New Mexico. Her current show at Alexander Gray Associates (May 19 – June 25, 2016) showcases what she calls her “near monochrome” paintings and monotype prints on grommeted paper that Lucy Lippard has termed “grommetypes.” On the occasion of the exhibition’s opening, Hammond spoke with Phillip Griffith about martial arts, the painting body, and violence in her work. Phillip Griffith (Rail): Your paintings from this new exhibition seem appreciably different than the wrapped paintings included in your 2013 show with Alexander Gray. Harmony Hammond: Well, Things Various (2015), the earliest painting in the current exhibition, segues from the 2013 work. The visual vocabulary of grommeted straps—sometimes tied together, sometimes not—attached to the thick paint surface with pigment-covered pushpins, is the same. Only in Things Various, most of the straps hang open, untied, suggesting only the potential of connection or restraint. The new paintings continue to emphasize the material engagement of paint, but differ from the earlier work through the use of the grommeted grid as a disruptive visual strategy and the shift to what is going on beneath/below/under what we perceive as the painting surface.
    [Show full text]
  • The Creation of Neuroscience
    The Creation of Neuroscience The Society for Neuroscience and the Quest for Disciplinary Unity 1969-1995 Introduction rom the molecular biology of a single neuron to the breathtakingly complex circuitry of the entire human nervous system, our understanding of the brain and how it works has undergone radical F changes over the past century. These advances have brought us tantalizingly closer to genu- inely mechanistic and scientifically rigorous explanations of how the brain’s roughly 100 billion neurons, interacting through trillions of synaptic connections, function both as single units and as larger ensem- bles. The professional field of neuroscience, in keeping pace with these important scientific develop- ments, has dramatically reshaped the organization of biological sciences across the globe over the last 50 years. Much like physics during its dominant era in the 1950s and 1960s, neuroscience has become the leading scientific discipline with regard to funding, numbers of scientists, and numbers of trainees. Furthermore, neuroscience as fact, explanation, and myth has just as dramatically redrawn our cultural landscape and redefined how Western popular culture understands who we are as individuals. In the 1950s, especially in the United States, Freud and his successors stood at the center of all cultural expla- nations for psychological suffering. In the new millennium, we perceive such suffering as erupting no longer from a repressed unconscious but, instead, from a pathophysiology rooted in and caused by brain abnormalities and dysfunctions. Indeed, the normal as well as the pathological have become thoroughly neurobiological in the last several decades. In the process, entirely new vistas have opened up in fields ranging from neuroeconomics and neurophilosophy to consumer products, as exemplified by an entire line of soft drinks advertised as offering “neuro” benefits.
    [Show full text]
  • On the Methodological Role of Marxism in Merleau-Ponty's
    On the Methodological Role of Marxism in Merleau-Ponty’s Phenomenology Abstract While contemporary scholarship on Merleau-Ponty virtually overlooks his postwar existential Marxism, this paper argues that the conception of history contained in the latter plays a signifi- cant methodological role in supporting the notion of truth that operates within Merleau-Ponty’s phenomenological analyses of embodiment and the perceived world. This is because this con- ception regards the world as an unfinished task, such that the sense and rationality attributed to its historical emergence conditions the phenomenological evidence used by Merleau-Ponty. The result is that the content of Phenomenology of Perception should be seen as implicated in the normative framework of Humanism and Terror. Keywords: Merleau-Ponty, Phenomenology, Methodology, Marxism, History On the Methodological Role of Marxism in Merleau-Ponty’s Phenomenology In her 2007 book Merleau-Ponty and Modern Politics after Anti-Humanism, Diana Coole made the claim (among others) that Merleau-Ponty’s phenomenology is “profoundly and intrinsically political,”1 and in particular that it would behoove readers of his work to return to the so-called ‘communist question’ as he posed it in the immediate postwar period.2 For reasons that basical- ly form the substance of this paper, I think that these claims are generally correct and well- taken. But this is in spite of the fact that they go very distinctly against the grain of virtually all contemporary scholarship on Merleau-Ponty. For it is the case that very few scholars today – and this is particularly true of philosophers – have any serious interest in the political dimen- sions of Merleau-Ponty’s work.
    [Show full text]
  • What Is the Cognitive Neuroscience of Art… and Why Should We Care? W
    What Is the Cognitive Neuroscience of Art… and Why Should We Care? W. P. Seeley Bates College There has been considerable interest in recent years in whether, and if so to what degree, research in neuroscience can contribute to philosophical studies of mind, epistemology, language, and art. This interest has manifested itself in a range of research in the philosophy of music, dance, and visual art that draws on results from studies in neuropsychology and cognitive neuroscience.1 There has been a concurrent movement within empirical aesthet- ics that has produced a growing body of research in the cognitive neuroscience of art.2 However, there has been very little collaboration between philosophy and the neuroscience of art. This is in part due, to be frank, to a culture of mutual distrust. Philosophers of art AMERICAN SOCIETY have been generally skeptical about the utility of empirical results to their research and vocally dismissive of the value of what has come to be called neuroaesthetics. Our counter- for AESThetics parts in the behavioral sciences have been, in turn, skeptical about the utility of stubborn philosophical skepticism. Of course attitudes change…and who has the time to hold a An Association for Aesthetics, grudge? So in what follows I would like to draw attention to two questions requisite for Criticism and Theory of the Arts a rapprochement between philosophy of art and neuroscience. First, what is the cognitive neuroscience of art? And second, why should any of us (in philosophy at least) care? Volume 31 Number 2 Summer 2011 1 What Is the Cognitive Neuroscience of There are obvious answers to each of these questions.
    [Show full text]
  • Ingarden 1 NH
    Below you find pre-print versions of a paper published Online 2013-04-06 by Semiotica. DOI 10.1515/sem-2013-0025 Semiotica 2013; 194: 137–157. THE BASIC DISTINCTIONS IN DER STREIT by Ingvar Johansson The paper presents Ingarden’s views on what he calls ‘modes of being’ (‘ways of existence’) and ‘existential moments’; the latter being constitutive parts of the former. Mainstream analytic philosophy has been dominated by the view that ‘existence’ can mean only existence simpliciter. Ingarden, on the other hand, discerns four possible modes of being, one of which is of special interest to semiotics: purely intentional being. It is of relevance for the ontological understanding not only of texts, but also of pictures and other sign-related entities. At the end, an extrapolated Ingardenian semiotic triangle is presented. 1. Ontological and metaphysical investigations – first part Volume I of Roman Ingarden’s Der Streit um die Existenz der Welt has the subtitle “Existentialontologie,” volume II the subtitle “Formalontologie,” and volume III “Über die kausale Struktur der realen Welt.” This paper will present the basic distinctions of the first volume.1 Ingarden distinguishes between four different kinds of philosophical investigations: existential-ontological, formal-ontological, material-ontological, and metaphysical. Existential-ontological investigations examine what modes of being or ways of existence that are in principle possible, i.e., what modes are not self-contradictory or internally absurd in some other way. In formal-ontological investigations the more precise nature of various kinds of entities such as those labeled ‘autonomous individual object’, ‘heteronomous individual object’, ‘idea’, ‘state of affairs’, and ‘relation’ are investigated.
    [Show full text]
  • Teaching Visual Art with the Brain in Mind
    1 Teaching Visual Art with the Brain in Mind A thesis presented by Karen G. Pearson to the Graduate School of Education In partial fulfillment of the requirements for the degree of Doctor of Education In the field of Education College of Professional Studies Northeastern University Boston, Massachusetts August 20, 2019 2 ABSTRACT Critical periods of perceptual development occur during the elementary and middle school years. Vision plays a major role in this development. The use of child development knowledge of Bruner, Skinner, Piaget and Inhelder coupled with the artistic thinking theories of Goldschmidt, Marshall, and Williams through and the lens of James J. Gibson and his ex-wife Eleanor J. framed the study. Sixteen 8-10-year-olds over eight one-hour weekly meetings focused on how they see and learn how to draw. The study demonstrated that the perception of the participants followed the development of the visual pathway as described in empirical neural studies. Salient features presented themselves first and then, over time, details such as space, texture, and finally depth can be learned over many years of development. The eye muscles need to build stamina through guided lessons that provide practice as well as a finished product. It was more important to focus on the variety of qualities of line, shape, and space and strategy building through solution finding and goal setting. Perceptual development indicators of how 8-10-year-old elementary students see and understand images will be heard from their voices. The results indicated that practice exercises helped participants build stamina that directly related to their ability to persist in drawing.
    [Show full text]
  • The Temporal Structure of Patience MICHAEL R
    PhænEx 13, no. 2 (Winter 2020): 86-102 © 2020 Michael R. Kelly The Temporal Structure of Patience MICHAEL R. KELLY Phenomenology’s technical terminology can often seem to invalidate the natural attitude phenomenology aims to elucidate. One notable exception to this worry is Moral Emotions: Reclaiming the Evidence of the Heart, in which Anthony Steinbock remains faithful to, and profoundly elucidates, the lived-experience of moral emotions, describing the how and the what of emotive acts such as pride, shame, repentance, hope, etc. (Kelly). Steinbock’s work in general reveals a practicing phenomenologist who “liberates the ‘matters’ that we experience so that what they are … and their very appearing are not taken for granted in the experience” (Moral Emotions 17-18). Precise and meticulous concrete analyses of the intentional structure of everyday life (the natural attitude) pervade his writings. In his introduction to Moral Emotions, Steinbock specifically notes the importance of dwelling on the everyday: [S]ometimes … mundane examples … may be elucidating … [I]n the phenomenological method, the very simplicity and commonness of the example is no longer taken for granted in using it as an example, and to this extent, its immediacy is transcended in the direction of that which enables the situation to arise as such, toward the originality of the very banality. By bringing such common examples into focus … we go beyond the commonness of the example, and this opens a new world of meaning … that was taken for granted. The point is to see the fundamental … mystery in the ordinary but now as it is taken for granted.
    [Show full text]
  • Paths from the Philosophy of Art to Everyday Aesthetics
    Paths from the Philosophy of Art to Everyday Aesthetics Edited by Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Paths from the Philosophy of Art to Everyday Aesthetics © 2019 Authors Cover and graphic design Kimmo Nurminen ISBN 978-952-94-1878-7 PATHS FROM THE PHILOSOPHY OF ART TO EVERYDAY AESTHETICS Eds. Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Published in Helsinki, Finland by the Finnish Society for Aesthetics, 2019 6 Contents 9 Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Introduction: From Baumgarten to Contemporary Aesthetics 19 Morten Kyndrup Were We Ever Modern? Art, Aesthetics, and the Everyday: Distinctions and Interdependences 41 Lars-Olof Åhlberg Everyday and Otherworldly Objects: Dantoesque Transfiguration 63 Markus Lammenranta How Art Teaches: A Lesson from Goodman 78 María José Alcaraz León Aesthetic Intimacy 101 Knut Ove Eliassen Quality Issues 112 Martta Heikkilä Work and Play – The Built Environments in Terry Gilliam’s Brazil 132 Kalle Puolakka Does Valery Gergiev Have an Everyday? 148 Francisca Pérez-Carreño The Aesthetic Value of the Unnoticed 167 Mateusz Salwa Everyday Green Aesthetics 180 Ossi Naukkarinen Feeling (With) Machines 201 Richard Shusterman Pleasure, Pain, and the Somaesthetics of Illness: A Question for Everyday Aesthetics 215 Epiloque: Jos de Mul These Boots Are Made for Talkin’. Some Reflections on Finnish Mobile Immobility 224 Index of Names 229 List of Contributors 7 OIVA KUISMA, SANNA LEHTINEN & HARRI MÄCKLIN INTRODUCTION: FROM BAUMGARTEN TO CONTEMPORARY AESTHETICS ontemporary philosopher-aestheticians
    [Show full text]
  • A Philosophical Discussion of Representation
    International Visual Literacy Association, Cheyenne, 1996 A PHILOSOPHICAL DISCUSSION OF REPRESENTATION One of the most basic theoretical areas in the study of visual communication and visual literacy is the nature of representation. Much of the discussion of this topic comes from either philosophy or aesthetics. This paper reviews some of the more important writings in this area in an attempt to develop a model of representation. The primary works reviewed include: E. H. Gombrich, "The Visual Image;" "Representation and Misrepresentation" Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols, "Representation Re- presented" Paul Messaris, Visual Literacy: Image, Mind & Reality David Novitz, "Picturing" Marx Wartofsky, "Pictures, Representation, and Understanding;" "Visual Scenarios: The role of Representation in Visual Perception" Richard Wollheim, "Representation: The Philosophical Contribution to Psychology;" Pictures and Language;" and "Art, Interpretation, and Perception" In describing the requirements for a general theory of representation, Wollheim says it must answer two questions: What is it to represent? (what is the relationship between the representation and the something that it is of?) What, in the narrow sense of the term, is a representation? Using his two questions to guide our analysis, we find that the major theoretical issues that need to be investigated include: Is pictorial representation based on natural resemblance or convention? What is the relationship between pictures and reality? Finally, as part of this review, we are investigating if it is possible to develop an overriding theory of representation that accommodates the various issues and viewpoints. What is the relationship between pictures and reality? In beginning this discussion, let's first look at Wollheim's second question about what is a representation.
    [Show full text]
  • Arte Povera, Press Release with Image Copy
    SPROVIERI GIOVANNI ANSELMO, JANNIS KOUNELLIS, GIUSEPPE PENONE, EMILIO PRINI recent works preview 4 dec, 6 - 8 pm exhibition 5 dec - 16 feb 23 heddon street london w1b 4bq Sprovieri is delighted to present an exhibition of recent works by Giovanni Anselmo, Jannis Kounellis, Giuseppe Penone and Emilio Prini. The selection of works brings together some of the most influential living artists of the Arte Povera, the Italian artistic movement that in the late 1960s explored art not only using ‘poor materials’ but also conceiving the image as a conscious action rather than a representation of ideas and concepts. Ofering a contemporary transposition of their early subjects and practices, the exhibition reveals how these artists have continuously developed the energy and innovation of their poetics. The work ‘Ultramarine Blue While It Appears Towards Overseas’ by Giovanni Anselmo - especially conceived for this exhibition - reflects the artist’s commitment to create a work which must be ‘the physification of the force behind an action, of the energy of a situation or event’. A deep and bright blue square made with acrylic painting will be outlined by the artist against the white wall of the gallery. Jannis Kounellis contributes to the exhibition with a powerful triptych work: three large sculptures comprising of steel panels, iron beams and tar imprints of an ordinary man coat. The triptych translates the tension and alienation of our contemporary society where modernisation and industrial development are inevitably put in dialogue with our individual and traditional values. Giuseppe Penone’s sculpture ‘Acero (Maple)’ 2005 is inspired by the search for an equal relationship between man and material.
    [Show full text]
  • Handbook of Phenomenological Aesthetics Contributions to Phenomenology
    HANDBOOK OF PHENOMENOLOGICAL AESTHETICS CONTRIBUTIONS TO PHENOMENOLOGY IN COOPERATION WITH THE CENTER FOR ADVANCED RESEARCH IN PHENOMENOLOGY Volume 59 Series Editors: Nicolas de Warren, Wellesley College, MA, USA Dermot Moran, University College Dublin, Ireland. Editorial Board: Lilian Alweiss, Trinity College Dublin, Ireland Elizabeth Behnke, Ferndale, WA, USA Rudolf Bernet, Husserl-Archief, Katholieke Universiteit Leuven, Belgium David Carr, Emory University, GA, USA Chan-Fai Cheung, Chinese University Hong Kong, China James Dodd, New School University, NY, USA Lester Embree, Florida Atlantic University, FL, USA Alfredo Ferrarin, Università di Pisa, Italy Burt Hopkins, Seattle University, WA, USA Kwok-Ying Lau, Chinese University Hong Kong, China Nam-In Lee, Seoul National University, Korea Dieter Lohmar, Universität zu Köln, Germany William R. McKenna, Miami University, OH, USA Algis Mickunas, Ohio University, OH, USA J.N. Mohanty, Temple University, PA, USA Junichi Murata, University of Tokyo, Japan Thomas Nenon, The University of Memphis, TN, USA Thomas M. Seebohm, Johannes Gutenberg-Universität, Germany Gail Soffer, Rome, Italy Anthony Steinbock, Southern Illinois University at Carbondale, IL, USA Shigeru Taguchi, Yamagata University, Japan Dan Zahavi, University of Copenhagen, Denmark Richard M. Zaner, Vanderbilt University, TN, USA Scope The purpose of the series is to serve as a vehicle for the pursuit of phenomenological research across a broad spectrum, including cross-over developments with other fields of inquiry such as the social sciences and cognitive science. Since its establishment in 1987, Contributions to Phenomenology has published nearly 60 titles on diverse themes of phenomenological philosophy. In addition to welcoming monographs and collections of papers in established areas of scholarship, the series encourages original work in phenomenology.
    [Show full text]