PHL 317K Introduction to Philosophy of the Arts Fall 2013
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Heidegger, Being and Time
Heidegger's Being and Time 1 Karsten Harries Heidegger's Being and Time Seminar Notes Spring Semester 2014 Yale University Heidegger's Being and Time 2 Copyright Karsten Harries [email protected] Heidegger's Being and Time 3 Contents 1. Introduction 4 2. Ontology and Fundamental Ontology 16 3. Methodological Considerations 30 4. Being-in-the-World 43 5. The World 55 6. Who am I? 69 7. Understanding, Interpretation, Language 82 8. Care and Truth 96 9. The Entirety of Dasein 113 10. Conscience, Guilt, Resolve 128 11. Time and Subjectivity 145 12. History and the Hero 158 13. Conclusion 169 Heidegger's Being and Time 4 1. Introduction 1 In this seminar I shall be concerned with Heidegger's Being and Time. I shall refer to other works by Heidegger, but the discussion will center on Being and Time. In reading the book, some of you, especially those with a reading knowledge of German, may find the lectures of the twenties helpful, which have appeared now as volumes of the Gesamtausgabe. Many of these have by now been translated. I am thinking especially of GA 17 Einführung in die phänomenologische Forschung (1923/24); Introduction to Phenomenological Research, trans. Daniel O. Dahlstrom (Bloomington, Indiana University Press, 2005) GA 20 Prolegomena zur Geschichte des Zeitbegriffs (1925); History of the Concept of Time, trans. Theodore Kisiel (Bloomington, Indiana University Press, 1985) GA 21 Logik. Die Frage nach der Wahrheit (1925/26). Logic: The Question of Truth, trans. Thomas Sheehan GA 24 Die Grundprobleme der Phänomenologie (1927); The Basic Problems of Phenomenology, trans. -
From Point to Pixel: a Genealogy of Digital Aesthetics by Meredith Anne Hoy
From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, co-chair Professor Jeffrey Skoller, co-chair Professor Warren Sack Professor Abigail DeKosnik Professor Kristen Whissel Spring 2010 Copyright 2010 by Hoy, Meredith All rights reserved. Abstract From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Whitney Davis, Co-chair Professor Jeffrey Skoller, Co-chair When we say, in response to a still or moving picture, that it has a digital “look” about it, what exactly do we mean? How can the slick, color-saturated photographs of Jeff Wall and Andreas Gursky signal digitality, while the flattened, pixelated landscapes of video games such as Super Mario Brothers convey ostensibly the same characteristic of “being digital,” but in a completely different manner? In my dissertation, From Point to Pixel: A Genealogy of Digital Aesthetics, I argue for a definition of a "digital method" that can be articulated without reference to the technicalities of contemporary hardware and software. I allow, however, the possibility that this digital method can acquire new characteristics when it is performed by computational technology. I therefore treat the artworks covered in my dissertation as sensuous artifacts that are subject to change based on the constraints and affordances of the tools used in their making. -
A Rhetorical Model for Homiletics. Rodney Kennedy Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 The piE stemic Power of Metaphor: A Rhetorical Model for Homiletics. Rodney Kennedy Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kennedy, Rodney, "The pE istemic Power of Metaphor: A Rhetorical Model for Homiletics." (1990). LSU Historical Dissertations and Theses. 5063. https://digitalcommons.lsu.edu/gradschool_disstheses/5063 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
Attempting Art: an Essay on Intention-Dependence
Attempting Art: an essay on intention-dependence Michel-Antoine Xhignesse Department of Philosophy McGill University, Montréal December 2016 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Michel-Antoine Xhignesse 2016 Table of Contents Dissertation abstract ................................................................................................................ iii Résumé de thèse ....................................................................................................................... iv Acknowledgements ................................................................................................................... v Chapter 1 – Introductory Remarks............................................................................................. 1 Chapter 2 – Art, Intention, and Intention-Dependence ............................................................ 9 2.1 – Introduction ............................................................................................................................ 9 2.2 – Intentional action ................................................................................................................. 11 2.3 – Intention-dependence vs. concept-dependence .................................................................... 18 2.4 – Accidents and Incidents ....................................................................................................... 22 2.5 – Separating Concept- and Intention-Dependence -
Aesthetics—What? Why? and Wherefore?
KENDALL WALTON Aesthetics—What? Why? and Wherefore? It is a very great honor to address my friends and philosophy of quantum physics are younger. But colleagues as president of the American Society these are clearly subcategories of traditional, well- for Aesthetics, an organization that plays a unique established areas of philosophy—ethics and phi- role in a field that is, at once, a major traditional losophy of science—and they inherit much of their branch of philosophy and also central to disci- identity and sense of purpose from their parents. plines often regarded as remote from philosophy, Aesthetics is not so fortunate. It is related in vari- as well as depending crucially on their contribu- ous important ways to epistemology, metaphysics, tions. philosophy of mind, philosophy of language— I will follow the lead of one of my distinguished indeed it overlaps all of them—but these older predecessors in this office, Peter Kivy, who used relatives are at best aunts and uncles to aesthetics, the occasion of his own presidential address twelve not parents. Aesthetics must figure out for itself years ago to step back and reflect on the state of what exactly it is. the discipline and the nature of aesthetics.1 Two kinds of issues about the field need to be addressed: What is distinctive about this branch i. what is aesthetics? of philosophy, in contrast to others? And what is philosophy? Under the first heading, we will ask Aesthetics is a strange field, in some ways a con- what aesthetics is the philosophy of , what domain fused one. -
Broken Technologies
Broken Technologies 2 The Angel of Machines: from Buch der Erfindungen Gewerbe und Industrien,or Book of Inven- tions,Vol.6,1887, F.Reuleaux, Editor. From Moon, Francis C. The Machines of Leonardo da Vinci and Franz Reuleaux. Kinematics of Machines from the Renaissance to the 20th Century. Springer, 2007. FrontPage: © Maria Flores Crossa 3 Broken Technologies The Humanist as Engineer Fernando Flores Morador Lund University 2011- revised 2015 4 Department of History of Ideas and Science University of Lund Broken Technologies. The Humanist as Engineer. Ver 3.0 Biskopsgatan 7, 223 62 Lund © Fernando Flores Morador, 2009, Third Edition Cover: Maria Flores Crossa Tryck: Media – Tryck, Lunds Universitet, 2011-revised 2015 ISBN: 978-91-633-9692-2 5 Contents Contents ....................................................................................................................................... 5 List of figures .................................................................................................................................. 7 List of Tables.................................................................................................................................. 9 Foreword .................................................................................................................................. 11 First Edition (Ver. 1.0) ................................................................................................................ 11 Second edition (Ver. 1.1) ........................................................................................................... -
19Chronology of Works in Aesthetics and Philosophy Of
Chronology of 19 Works in Aesthetics and Philosophy of Art Darren Hudson Hick Notes on Selection This chronology, as with this Companion as a whole, focuses on those works that contribute to the Western tradition of aesthetics, and, beginning in the twentieth century, in the analytic current of thought within that tradition (as opposed to the Continental one). As with the history of Western philosophy in general, the study of philosophical problems in art and beauty dates back to the ancient period, and is infl uenced by the major philosophical and cultural move- ments through the centuries. Much of what survives from the ancient to the post-Hellenistic period does so in fragments or references. In cases where only fragments or references exist, and where dating these is especially problematic, the author or attributed author and (where available) his dates of birth and death are listed. Where works have not survived even as fragments, these are not listed. As well, much of what sur- vives up to the medieval period is diffi cult to date, and is at times of disputable attribution. In these cases, whatever information is available is listed. Aesthetics in the period between the ancients and the medievals tends to be dominated by adherence to Platonic, Aristotelian, and other theories rooted in the ancient period, and as such tends to be generally lacking in substantive the- oretical advancements. And while still heavily infl uenced by ancient thinking, works from the medieval period tend also to be heavily infl uenced by religious thinking, and so many issues pertaining to art and aesthetics are intertwined with issues of religion as “theological aesthetics.” Movements in art theory and aes- thetics in the Renaissance, meanwhile, were largely advanced by working artists, and so tend to be couched in observational or pedagogical approaches, rather than strictly theoretical ones. -
1. Hans Urs Von Balthasar, the Glory of the Lord: a Theological Aesthetics, 7 Vols, Various Translators; Vol
Notes PREFACE 1. Hans Urs von Balthasar, The Glory of the Lord: A Theological Aesthetics, 7 vols, various translators; vol. 1 (San Francisco: Ignatius; and New York: Crossroad, 1982); vols 2-3 (San Francisco: Ignatius, 1984-86); vols 4-7, trans. in progress. The range and depth of von Balthasar's treatment of various theological issues and figures relevant to matters of theological aesthetics makes his work a major resource for study in the field, and especially for historical understanding of a kind impossible to pursue here. His treatment of issues normally dealt with in aesthetics is nonetheless spotty and erratic; many of the theological and philosophical topics central to the present study are ones on which he barely touches. That is to say, von Balthasar's work is sui generis, standing outside the main arenas of both contemporary aesthetics and modem theology. For the most part I have had to be content to let him speak for himself. 2. Nicholas Wolterstorff, Art in Action: Toward a Christian Aesthetic (Grand Rapids, Mich.: Eerdmans, 1980). 3. Gerardus van der Leeuw, Sacred and Profane Beauty: The Holy in Art, trans. David E. Green (New York: Holt, Rinehart and Winston, 1963). 4. John Dillenberger, A Theology of Artistic Sensibilities: The Visual Arts and the Church (New York: Crossroad, 1986). 5. Thomas R. Martland, Religion as Art (Albany: State University of New York Press, 1981). 6. F. David Martin, Art and the Religious Experience: The 'Language' of the Sacred (Lewisburg, Penn.: Bucknell University Press, 1972). 7. Frank Burch Brown, Transfiguration: Poetic Metaphor and the Languages of Religious Belief (Chapel Hill and London: University of North Carolina Press, 1983). -
Mental Imagery and the Computer Image Space
theoretical perspective From Imaginal to Digital: Mental Imagery and the Computer Image Space Nick Lambert a b s t r a c t The author suggests that the intangible characteristics of computer graphics bear some resemblance to the brain’s ability to construct mental images, as outlined by veteran s a historian of computer art, I am fascinated Kosslyn and his team at Harvard researcher Stephen M. Kosslyn. A An analogy might also be drawn by the nature of digital images and the way in which people have been looking at the visual with the “Imaginal World” of the apprehend them. Images that are rendered on a screen ap- psychology and neurophysiology Sufis, as described by Henri parently exist in a plane separate to the rest of our world, of mental imagery for several de- Corbin, which exists in a space analogous to the pictorial space developed by artists but with cades. Using PET and fMRI scan- of its own. As computer graph- an animate and interactive aspect wholly its own. Their basis is ners, Kosslyn and his collaborators ics have emerged as an artistic not visual but mathematical and process-driven, although the have discovered that particular medium, one may consider how this internalized ability influences computer has evolved into a device for generating imagery. As brain areas related to color and the artist’s response to the com- we become ever more adept at creating and navigating a range shape perception activate during puter, especially as new display of virtual worlds (whether the mundane desktop or the exotic the imaginary phase. -
Artists' Perception of the Use of Digital Media in Painting
Artists' Perception of the Use of Digital Media in Painting A dissertation presented to the faculty of The Patton College of Education of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Cynthia A. Agyeman December 2015 © 2015 Cynthia A. Agyeman. All Rights Reserved. 2 This dissertation titled Artists' Perception of the Use of Digital Media in Painting by CYNTHIA A. AGYEMAN has been approved for the Department of Educational Studies and The Patton College of Education by Teresa Franklin Professor of Educational Studies Renée A. Middleton Dean, The Patton College of Education 3 Abstract AGYEMAN, CYNTHIA A., Ph.D., December 2015, Curriculum and Instruction, Instructional Technology Artists' Perception of the Use of Digital Media in Painting (pp. 310) Director of Dissertation: Teresa Franklin Painting is believed to predate recorded history and has been in existence for over 35,000 (Ayres, 1985; Bolton, 2013) years. Over the years, painting has evolved; new styles have been developed and digital media have been explored. Each period of change goes through a period of rejection before it is accepted. In the 1960s, digital media was introduced to the art form. Like all the painting mediums, it was rejected. It has been over 50 years since it was introduced and yet, it has not been fully accepted as an art form (King, 2002; Miller, 2007; Noll, 1994). This exploratory study seeks to understand the artist’s perception on the use of digital media as an art tool and its benefit to the artists and art education. Grounded theory was used as a methodological guide for the study. -
Lord, Lewis, and the Institutional Theory of Art Author(S): Peggy Zeglin Brand Source: the Journal of Aesthetics and Art Criticism, Vol
Lord, Lewis, and the Institutional Theory of Art Author(s): Peggy Zeglin Brand Source: The Journal of Aesthetics and Art Criticism, Vol. 40, No. 3 (Spring, 1982), pp. 309- 314 Published by: Wiley on behalf of The American Society for Aesthetics Stable URL: http://www.jstor.org/stable/429688 Accessed: 09-08-2017 22:42 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/429688?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms The American Society for Aesthetics, Wiley are collaborating with JSTOR to digitize, preserve and extend access to The Journal of Aesthetics and Art Criticism This content downloaded from 150.135.239.97 on Wed, 09 Aug 2017 22:42:09 UTC All use subject to http://about.jstor.org/terms PEGGY ZEGLIN BRAND Lord, Lewis, and the Institutional Theory of Art IN "Convention and Dickie's Institutional lack of spontaneity in artworks, i.e., the Theory," Catherine Lord maintains loss the of flexibility espoused by Dickie's defi- following thesis: nition, is established by Lord via two routes: a) arguing that being a work of (L) If a work of art is defined as institutional and conventional, then the definition artpre- is incompatible with institutionality cludes the freedom and creativity associated (Incompatibility Argument), and b) argu- with art.' ing that the creation, presentation, and ap- Lord also maintains that the antecedent of preciation of a work of art is not governed this conditional is false. -
Running out of Space? Architecture and the Need for a Post-Copernican Geocentrism" February 23, 2017, Yale University
Geocentrism 1 "Running out of Space? Architecture and The Need for a Post-Copernican Geocentrism" February 23, 2017, Yale University 1 For many years I taught a course called The Philosophy of Architecture. That I taught this course at all was the result of conversations with Kent Bloomer, who suggested, many years ago, that the undergraduate major could use such a course. Before then I had been teaching a course called The Philosophy of Modern Art. The Meaning of Modern Art, published in 1968, was the result of that course. That book was quite successful. After all these years it is still in print. But with its appearance I lost some of my interest in that course, and so I was quite ready to respond to Kent Bloomer’s invitation, especially so since my interest in architecture goes back to my childhood. That course, too, finally resulted in a Book, The Ethical Function of Architecture. It, too, has been successful. It was just honored with a second Festschrift. But, again, with the appearance of the book I lost some of my interest in the course, although I did teach it for one last time in the fall. But I have kept thinking and lecturing about architecture. Not that I have changed my position in any fundamental way. But circumstances have changed; the world has changed. More especially, the way we relate to space has changed and continues to change. Our understanding of space has changed; and since architecture may be understood as the art of bounding space that suggests that our understanding of architecture, too, will have changed.