Object Oriented Ontology, Art and Art-Writing
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From Prometheus to Pistorius: a Genaelogy of Physical Ability
FROM PROMETHEUS TO PISTORIUS: A GENAELOGY OF PHYSICAL ABILITY by Stephanie J. Cork A thesis submitted to the Department of Sociology In conformity with the requirements for the degree of Masters of Arts Queen’s University Kingston, Ontario, Canada (September, 2011) Copyright ©Stephanie J. Cork, 2011 Abstract (Fragile Frames + Monstrosities)ModernWar + (Flagged Bodies + Cyborgs)PostmodernWar = dis-AbilityCyborged ii Acknowledgements A huge thank you goes out to: my friends, colleagues, office neighbours, mentors, family, defence committee, readers, editors and Steve. Thank you, also, to the Canadian and American troops as well as Paralympic athletes, Oscar Pistorius and Aimee Mullins for their inspiration, sorry, I have borrowed your stories to perpetuate my own academic success. Thanks also to Louise Bark for her endless patience and kindness, as well as a pint (or three!) at Ben’s Pub. Anne and Wendy and especially Michelle: you are lifesavers! Finally, my eternal gratitude to the: “greatest man alive,” Dr. Rob Beamish (Scott Mason 2011). iii Table of Contents Abstract............................................................................................................................................. i Acknowledgements......................................................................................................................... iii Table of Contents............................................................................................................................ iv Chapter 1: Introduction.....................................................................................................................1 -
Philosophy in the Epoch of Alternative Facts: an Invitation from East Asia
Volume 9 Number 1 Spring 2020 pISSN 1848-4298 oISSN 2623-8381 THESIS - Vol. 9, No. 1, Spring 2020 International Research Journal ISSN: 1848-4298 (Print) ISSN: 2623-8381(Online) Philosophy in the Epoch of Alternative Facts: An Invitation from East Asia Naruhiko Mikado How to cite this article: Mikado, N. (2020). Philosophy in the Epoch of Alternative Facts: An Invitation from East Asia. Thesis. Vol. 9, No. 1. (35-57). Published online: June 30, 2020 Article received on the 8th of March, 2020. Article accepted on the 4th of May, 2020. Conict of Interest: The author declares no conict of interests. Review Article Philosophy in the Epoch of Alternative Facts: An Invitation from East Asia Naruhiko Mikado Osaka University, Osaka, Japan Email: [email protected] Abstract The primary aim of this essay was to elucidate the unique philosophical concept of “the non-interpretive”, which Masaya Chiba, one of the most prominent philosophers in East Asia, formulated mainly by bridging the theories of Quentin Meillassoux and Graham Harman, who have generally been reckoned as two of the most pivotal proponents in the contemporary philosophical movement dubbed Speculative Realism. In order to achieve the aim, the first part clarified the chief arguments and doctrines of Meillassoux’s Speculative Materialism and Harman’s Object-Oriented Philosophy. Thereupon, the second and main part investigated how Chiba invented the concept, what it precisely meant, and what insights it could offer for us. The concluding section summarized the chief arguments of this paper and sketched a worldview which we could adopt in order to survive the turbulent epoch of alternative facts and post-truth. -
Print Prince of Darkness
section M pages 3,5 | SUNDAY, MARCH 7, 2004 ARTS THE PRINCE OF DARKNESS Enrique Martínez Celaya illuminates absence and loss in his moody, murky paintings BOB EIGHMIE/HERALD STAFF BLACK HOLES: Above, the artist paints a mural mixed with his blood at the Museum of Art. Enrique Martínez Celaya favors stark and simple statements that evoke loss, like the empty boat in The Helper (Abruptness), top left, or the faint white outlines of father and son in Distance, top right. ART REVIEW BY ELISA TURNER [email protected] His paintings come from places where most of the lights have flickered and died. Looking at them, you feel as if you've stum- bled in from a leafy outdoors noisy with sunlight bouncing off cars and kids, having just pushed the door open onto a house boarded up for years. Other paintings can make you feel as if you've left a familiar kitchen, bright and busy with pots simmering and knives chopping, and then stepped into a living room just as the power fails, when arm chairs and family photos vanish into a chilly black hole. The heavy darkness in the paintings of Enrique Martínez Celaya can make you blink and squint. You want to peer into their light-devouring voids, trying to make out the telltale surroundings for his chalky white outlines of men, women, and children, trying to figure out where these hollowed-out families, MISERY IN MADRID who are really more phantom than flesh, belong. The tantalizing pleasures and secrets gingerly offered by this The absence of another subject dramatically shadowed his talk. -
Visualizing Research
Visualizing Research A Guide to the Research Process in Art and Design Carole Gray and Julian Malins ASHGATE These methods are particularly useful if your own practice forms part of the research Vehicles for research: inventing new 'wheels' for artists and methodology. designers! Other methods described come from Social Science research, for example In the absence of an established and validated set of research methods in Art and www.sosig.ac.uk (accessed 15 August 2003); Denzin and Lincoln (1994); and some Design, we have had to be similarly adaptive and inventive; for example, a participatory specifically from educational research, for example Cohen and MaOion (1994), 3D 'game' as a means of externalizing teaching styles (Gray, 1988); experimental object McKernan (1998) . These are particularly relevant for human inqUIry related to Art and making in exploring issues of 'chance' and 'choice' in sculpture (Watson, 1992); site Design, for example the study of an individual's practice, and user feedback for deSIgned specific commissioned artworks for investigating the feasibility of architectural ceram roducts. In some circumstances, particular areas of deSIgn, for example Industnal ics (Wheeler, 1996); curation of a major exhibition on interactive art, and the ~eSign, a more scientific approach may be appropriate, in which case 'design methods' production of an interactive artwork in order to allow the audience/user direct experi may be useful. Documented examples of projects using design methods can be found In ence of the research concepts (Graham, 1997). Although these methods have been the journal Design Studies - www.elsevier.nl/locate/destud (accessed 16 June 2003). -
Full Article
VOL. CLVIII . No. 54,503 Arts &LEISURE SUNDAY, NOVEMBER 23, 2008 Courtesy of LA Louver, Venice, Calif. “The Young” (2008), for which the artist, Enrique Martínez Celaya, mixed oil and wax on canvas — a technique he uses for many works. Layers of Devotion (and the Scars to Prove It) By JORI FINKEL SANTA MONICA, Calif. severed the tips of two fingers and the L.A. Louver gallery in Venice, MAGINE you’re an artist nearly cut your thumb to the bone. Calif., which opened on Thursday finishing work for a big gallery You’ve hit an artery. Blood is and runs through January 3. show. You’re standing on a spurting everywhere. To make matters worse, he had ladder trying to reach the top of a This is the scene that played out attached the chain-saw blade to a Iwooden sculpture with a chain saw; in June for the artist Enrique grinder for speed. the next thing you know, you’ve Martínez Celaya, when he was He credits his studio manager, sliced open your left hand. You’ve preparing for his first exhibition at Catherine Wallack, with thinking VOL. CLVIII . No. 54,503 THE NEW YORK TIMES, Arts& LEISURE SUNDAY, NOVEMBER 23, 2008 as a physicist at the Brookhaven The other works in his Santa National Laboratory on Long Island. Monica studio that day, another Mr. Martínez Celaya is one of the sculpture and a dozen good-size rare contemporary artists who paintings now at L.A. Louver, are trained as a physicist. He studied also lessons in isolation — quantum electronics as a graduate sparse landscapes and astringent student at the University of snowscapes, boyish figures that California, Berkeley, until he found seem lost against the wide horizon, himself more and more often and animals holding their own, sneaking away to paint, something sometimes with no humans in sight. -
Against 'Flat Ontologies'
64 Ray Brassier Deleveling: Against ‘Flat Ontologies’ Ray Brassier is associate professor of philosophy at the American University of Beirut. What I am going to present today is a critical discussion of the 65 tenets of so-called ‘flat ontology’. The expression ‘flat onto- logy’ has a complicated genealogy. It was originally coined as a pejorative term for empiricist philosophies of science by Roy Bhaskar in his 1975 book, A Realist Theory of Science. By the late 1990s, it had begun to acquire a positive sense in discus- sions of the work of Deleuze and Guattari. But it only achieved widespread currency in the wake of Manual De Landa’s 2002 book about Deleuze, Intensive Science and Virtual Philosophy. More recently, it has been championed by proponents of ‘ob- ject-oriented ontology’ and ‘new materialism’. It is its use by these theorists that I will be discussing today. I will begin by explaining the ‘four theses’ of flat onto- logy, as formulated by Levi Bryant. Bryant is a proponent of ‘object-oriented ontology’, a school of thought founded by Graham Harman. In his 2010 work The Democracy of Objects, Bryant encapsulates flat ontology in the following four theses: Thesis 1: “First, due to the split characteristic of all ob- jects, flat ontology rejects any ontology of transcendence or presence that privileges one sort of entity as the origin of all others and as fully present to itself.” Thesis 2: “Second, […] the world or the universe does not exist. […] [T]here is no super-object that gathers all other ob- jects together in a single, harmonious -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
Ecological Reconstruction: Pragmatism and the More-Than-Human Community
A Thesis entitled Ecological Reconstruction: Pragmatism and the More-Than-Human Community by Matthew S. Bower Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Master of Arts Degree in Philosophy ________________________________________ Dr. James Campbell, Committee Chair ________________________________________ Dr. Ashley Pryor, Committee Member ________________________________________ Dr. Ammon Allred, Committee Member ________________________________________ Dr. Patricia Komuniecki, Dean College of Graduate Studies The University of Toledo May 2010 An Abstract of Ecological Reconstruction: Pragmatism and the More-Than-Human Community by Matthew S. Bower As partial fulfillment of the requirements for the Master of Arts Degree in Philosophy The University of Toledo May 2010 Ecological reconstruction challenges the historical chasm between culture and nature by using the normative implications of ecology to assert a primacy of relations in experience. Drawing upon the framework of John Dewey and classical American Pragmatism, I sketch out an experimental method for thinking about environmental philosophy that follows this reconstruction, moving beyond both applied ethics and dogmatic values. Central to this move is the possibility of opening up ecotonal spaces, literal and theoretical cites of intensified interaction between cultural and natural systems. These spaces furnish reconstruction with the experiences necessary to generate new concepts that set human communities on the course towards greater ecological attentiveness. iii Acknowledgements I would like to thank my committee for their wisdom and guidance, my family for all of their support, and everyone who has ever joined me for a walk in the woods. I am grateful to have been introduced at such a young age to the necessity of the wild. -
ENRIQUE MARTINEZ CELAYA, B. 1964 ACADEMIC APPOINTMENTS
ENRIQUE MARTINEZ CELAYA, b. 1964 ACADEMIC APPOINTMENTS AND EDUCATION Provost Professor of Humanities and Arts, University of Southern California, 2017-present Roth Distinguished Visiting Scholar, Dartmouth College, 2016-2017 Montgomery Fellow, Dartmouth College, 2014-present Visiting Presidential Professor, University of Nebraska, 2007–2010 Associate Professor, Pomona College and Claremont Graduate University, 1994-2003 MFA, University of California, Santa Barbara, 1994 Skowhegan School of Painting and Sculpture, 1994 MS, University of California, Berkeley, 1988 BS, Cornell University, 1986 SELECTED SOLO EXHIBITIONS 2022 Hood Museum of Art, Dartmouth College, The Grief of Almost, Hanover, New Hampshire Fisher Museum of Art, University of Southern California, SEA SKY LAND: towards a map of everything, Los Angeles, California Monterey Museum of Art, Enrique Martínez Celaya and Robinson Jeffers, Monterey, California Doheny Memorial Library, University of Southern California, Enrique Martínez Celaya and Robinson Jeffers, Los Angeles, California 2021 The Huntington Library, Art Museum, and Botanical Gardens, There-bound, San Marino, California Galerie Judin, Enrique Martínez Celaya and Käthe Kollwitz: Von den ersten und den letzten Dingen (Of First and Last Things), Berlin, Germany Baldwin Gallery, A Third of the Night, Aspen, Colorado Galería Casado Santapau, Un poema a Madrid, Madrid, Spain 2019 Blain|Southern, The Mariner’s Meadow, London, United Kingdom 13th Havana Biennial, Detrás del Muro, Havana, Cuba Kohn Gallery, The Tears of Things, Los Angeles, California 2018 Galleri Andersson/Sandström, The Other Life, Stockholm, Sweden 2017 Jack Shainman Gallery, The Gypsy Camp, New York, New York Galerie Judin, The Mirroring Land, Berlin, Germany Fredric Snitzer Gallery, Nothing That Is Ours, Miami, Florida 2016 The Phillips Collection, One-on-One: Enrique Martínez Celaya/ Albert Pinkham Ryder, Washington, D.C. -
Pdf • Cynthia Breazeal
© copyright by Christoph Bartneck, Tony Belpaeime, Friederike Eyssel, Takayuki Kanda, Merel Keijsers, and Selma Sabanovic 2019. https://www.human-robot-interaction.org Human{Robot Interaction An Introduction Christoph Bartneck, Tony Belpaeme, Friederike Eyssel, Takayuki Kanda, Merel Keijsers, Selma Sabanovi´cˇ This material has been published by Cambridge University Press as Human Robot Interaction by Christoph Bartneck, Tony Belpaeime, Friederike Eyssel, Takayuki Kanda, Merel Keijsers, and Selma Sabanovic. ISBN: 9781108735407 (http://www.cambridge.org/9781108735407). This pre-publication version is free to view and download for personal use only. Not for re-distribution, re-sale or use in derivative works. © copyright by Christoph Bartneck, Tony Belpaeime, Friederike Eyssel, Takayuki Kanda, Merel Keijsers, and Selma Sabanovic 2019. https://www.human-robot-interaction.org This material has been published by Cambridge University Press as Human Robot Interaction by Christoph Bartneck, Tony Belpaeime, Friederike Eyssel, Takayuki Kanda, Merel Keijsers, and Selma Sabanovic. ISBN: 9781108735407 (http://www.cambridge.org/9781108735407). This pre-publication version is free to view and download for personal use only. Not for re-distribution, re-sale or use in derivative works. © copyright by Christoph Bartneck, Tony Belpaeime, Friederike Eyssel, Takayuki Kanda, Merel Keijsers, and Selma Sabanovic 2019. https://www.human-robot-interaction.org Contents List of illustrations viii List of tables xi 1 Introduction 1 1.1 About this book 1 1.2 Christoph -
Examining the Use of Robots As Teacher Assistants in UAE
Volume 20, 2021 EXAMINING THE USE OF ROBOTS AS TEACHER ASSISTANTS IN UAE CLASSROOMS: TEACHER AND STUDENT PERSPECTIVES Mariam Alhashmi* College of Education, Zayed University, [email protected] Abu Dhabi, UAE Omar Mubin Senior Lecturer in Human Computer [email protected] Interaction, Sydney, Australia Rama Baroud Part-Time Research Assistant [email protected] * Corresponding author ABSTRACT Aim/Purpose This study sought to understand the views of both teachers and students on the usage of humanoid robots as teaching assistants in a specifically Arab context. Background Social robots have in recent times penetrated the educational space. Although prevalent in Asia and some Western regions, the uptake, perception and ac- ceptance of educational robots in the Arab or Emirati region is not known. Methodology A total of 20 children and 5 teachers were randomly selected to comprise the sample for this study, which was a qualitative exploration executed using fo- cus groups after an NAO robot (pronounced now) was deployed in their school for a day of revision sessions. Contribution Where other papers on this topic have largely been based in other countries, this paper, to our knowledge, is the first to examine the potential for the inte- gration of educational robots in the Arab context. Findings The students were generally appreciative of the incorporation of humanoid robots as co-teachers, whereas the teachers were more circumspect, express- ing some concerns and noting a desire to better streamline the process of bringing robots to the classroom. Recommendations We found that the malleability of the robot’s voice played a pivotal role in the for Practitioners acceptability of the robot, and that generally students did well in smaller Accepting Editor Minh Q. -
Certificate for Approving the Dissertation
MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Kevin J. Rutherford Candidate for the Degree: Doctor of Philosophy Director (Jason Palmeri) Reader (Michele Simmons) Reader (Heidi McKee) Reader (Kate Ronald) Graduate School Representative (Bo Brinkman) ABSTRACT PACK YOUR THINGS AND GO: BRINGING OBJECTS TO THE FORE IN RHETORIC AND COMPOSITION by Kevin J. Rutherford This dissertation project focuses on object-oriented rhetoric (OOR), a perspective that questions the traditional notions of rhetorical action as solely a human province. The project makes three major, interrelated claims: that OOR provides a unique and productive methodology to examine the inclusion of the non-human in rhetorical study; that to some extent, rhetoric has always been interested in the way nonhuman objects interact with humans; and that these claims have profound implications for our activities as teachers and scholars. Chapter one situates OOR within current scholarship in composition and rhetoric, arguing that it can serve as a useful methodology for the field despite rhetoric’s traditional focus on epistemology and human symbolic action. Chapter two examines rhetorical history to demonstrate that a view of rhetoric that includes nonhuman actors is not new, but has often been marginalized. Chapter three examines two videogames as sites of theory and practice for object-oriented rhetoric, specifically focusing on a sense of metaphor to understand the experience of nonhuman rhetors. Chapter four interrogates the network surrounding a review aggregation website to argue that, while some nonhumans may be unhelpful rhetorical collaborators, OOR can assist us in improving relationships with them.