PHIL 66 Sec 01 & 02, Leddy, Tomfall 2018
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Barbara Horiuchi
Barbara R. Horiuchi E-mail: [email protected] Born San Jose, California Areas of Specialization: Painting, Video, Installation Art, Writing Art Exhibitions (* solo exhibitions marked with an asterisk) 2017 Something from Nothing: Art and Handcrafted Objects from America’s Concentration Camps,Thacher Gallery, University of San Francisco, CA Crocker Art Museum, Annual Art Auction, Sacramento, CA Shifting Movements: Art Inspired by Yuri Kochiyama (1921-2014), SOMArts Cultural Center, San Francisco, CA Postcards From the Edge, Metro Pictures, New York City, NY 2016 Harrington Gallery, Firehouse Arts Center, Transformation: 25 Years of Asian American Women Artists, Pleasanton, CA Crocker Art Museum, Big Names, Small Art, Sacramento, CA Social Justice: It Happens to One, It Happens to All, Gutfreund Cornett Art at the St. Mary’s College Museum of Art, slideshow exhibition 2015 Crocker Art Museum, Annual Art Auction, Sacramento, CA 2014 Community Matters: SJSU Alumni in San Jose, San Jose City Hall, San Jose, CA (to March 2015) Postcards From the Edge, Luhring Augustine, New York City, NY 2013 Crocker Art Museum Annual Art Auction, Sacramento, CA Transport: Where We Go From Here..., Pro Arts, Oakland, CA Postcards From the Edge, Sikkema Jenkins & Co. , New York City, NY 2012 San Jose Institute of Contemporary Art, Fall Auction, 2012, San Jose, CA Summer National Juried Exhibition 2012, Marin Museum of Contemporary Art, Novato, CA Crocker Art Museum Annual Art Auction, Sacramento, CA Arts of Pacific Asia, Fort Mason Center, San Francisco, CA -
S a N F R a N C I S C O a R T S Q U a R T E R L Y I S S U E
SFAQ free Tom Marioni Betti-Sue Hertz, YBCA Jamie Alexander, Park Life Wattis Institute - Yerba Buena Center for the Arts - Berkeley Art Museum/Pacific Film Archive - Tom Marioni - Gallery 16 - Park Life - Collectors Corner: Dr. Robert H. Shimshak, Rimma Boshernitsan, Jessica Silverman, Charles Linder - Recology Artist in Residence Program - SF Sunset Report Part 1 - BOOOOOOOM.com - Flop Box Zine Reviews - February, March, April 2011 Event Calendar- Artist Resource Guide - Bay Area, Los Angeles, New York, Portand, Seattle, Vancouver Space Listings - West Coast Residency Listings SAN FRANCISCO ARTS QUARTERLY ISSUE.4 -PULHY[PUZ[HSSH[PVU +LSP]LY`WHJRPUNHUKJYH[PUN :LJ\YLJSPTH[LJVU[YVSSLKZ[VYHNL +VTLZ[PJHUKPU[LYUH[PVUHSZOPWWPUNZLY]PJLZ *VSSLJ[PVUZTHUHNLTLU[ connect art international (T) ^^^JVUULJ[HY[PU[SJVT *VU]LUPLU[:HU-YHUJPZJVSVJH[PVUZLY]PUN5VY[OLYU*HSPMVYUPH JVSSLJ[VYZNHSSLYPLZT\ZL\TZKLZPNULYZJVYWVYH[PVUZHUKHY[PZ[Z 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 1B copy.pdf 1 1/7/11 9:18 PM 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER C M Y CM MY CY CMY K JANUARY 21-FEBRUARY 28 AMY ELLINGSON, SHAUN O’DELL, INEZ STORER, STEFAN KIRKEBY. MARCH 4-APRIL 30 DEBORAH OROPALLO MAY 6-JUNE 30 TUCKER NICHOLS SoFF_SFAQ:Layout 1 12/21/10 7:03 PM Page 1 Anno Domini Gallery Art Ark Art Glass Center of San Jose Higher Fire Clayspace & Gallery KALEID Gallery MACLA/Movimiento de Arte y Cultura Latino Americana Phantom Galleries San Jose Jazz Society at Eulipia San Jose Museum of Quilts & Textiles SLG Art Boutiki & Gallery WORKS San José Caffé Trieste Dowtown Yoga Shala Good Karma Cafe METRO Photo Exhibit Psycho Donuts South First Billiards & Lounge 7pm - 11pm free & open to the public! Visit www.SouthFirstFridays.com for full schedule. -
The Modern System of the Arts: a Study in the History of Aesthetics
The Modern System of the Arts: A Study in the History of Aesthetics Part I Author(s): Paul Oskar Kristeller Reviewed work(s): Source: Journal of the History of Ideas, Vol. 12, No. 4 (Oct., 1951), pp. 496-527 Published by: University of Pennsylvania Press Stable URL: http://www.jstor.org/stable/2707484 . Accessed: 08/10/2012 03:10 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . 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]. University of Pennsylvania Press is collaborating with JSTOR to digitize, preserve and extend access to Journal of the History of Ideas. http://www.jstor.org THE MODERN SYSTEM OF THE ARTS: A STUDY IN THE HISTORY OF AESTHETICS * (I) BY PAUL OSKAR KRISTELLER Dedicated to Professor Hans Tietze on his 70th birthday I The fundamentalimportance of the eighteenth century in the his- tory of aesthetics and of art criticismis generally recognized. To be sure, there has been a great variety of theories and currents within the last two hundredyears that cannot be easily brought under one common denominator. Yet all the changes and controversiesof the more recent past presupposecertain fundamental notions which go back to that classicalcentury of modernaesthetics. It is known that the very term "Aesthetics " was coined at that time, and, at least in the opinion of some historians, the subject matter itself, the "phi- losophy of art," was invented in that comparativelyrecent period and can be applied to earlier phases of Western thought only with reser- vation.' It is also generallyagreed that such dominatingconcepts of *I am indebted for several suggestionsand referencesto ProfessorsJulius S. -
The Aesthetic Horizon in Theology
PRESIDENTIAL ADDRESS CREATIVE IMAGINATION: THE AESTHETIC HORIZON IN THEOLOGY I When we walk into a basilica of the fifth or sixth centuries (or into a church patterned after the basilica), or when we walk into a Gothic cathedral (whether it be Bourges or St. Patrick's in New York), we have a specific, intense experience of a church building and of a church community. It is possible to look into the being of the church precisely through the architecture of a specific period. Aisle and apse define an era culturally and historically. Our aesthe- tic vision—at the service of theology—grasps poignantly the his- tory of the church in its forms, because ecclesial institutions as well as theological expression show forth parallels to the history of art. Robert Nisbet has argued that sociology is an art form; like the arts, sociology has styles, landscapes, portraits.1 Ecclesiology, too, can be treated aesthetically, for a style of enclosed space (and its accompanying architectural theory, always akin to some metaphysics) explains which forms the church assumed in a par- ticular era and why. A building's control of space orders and conducts human movement through the lines made by stone, wood, glass and light. This affects liturgy, and ministry, for ar- chitecture unfolds and limits the space where human beings live: in the case of ecclesiology, the space where Christians meet, pray and worship; the space out of which they minister. Architectural space can be ministerial or sacral as it circumscribes and describes church A basilica such as Santa Sabina arranges a place for community. -
Review Essay: Umberto Eco, Art and Beauty in the Middle Ages
Quidditas Volume 9 Article 24 1988 Review Essay: Umberto Eco, Art and Beauty in the Middle Ages Martine P. Rey Northern Arizona University Follow this and additional works at: https://scholarsarchive.byu.edu/rmmra Part of the Comparative Literature Commons, History Commons, Philosophy Commons, and the Renaissance Studies Commons Recommended Citation Rey, Martine P. (1988) "Review Essay: Umberto Eco, Art and Beauty in the Middle Ages," Quidditas: Vol. 9 , Article 24. Available at: https://scholarsarchive.byu.edu/rmmra/vol9/iss1/24 This Review is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Quidditas by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. 172 Book Reviews Berman takes up the importance of pastoralism and transhumance in chapter five. The author finds that pastoralism made a major contribution to the success of early Cistercian houses in southern France primarily because it was a source of cash. The last chapter contains her conclusions and discusses the impact of the Cistercians on regional economic growth. Berman concludes that the Cistercians benefited the region's growth by offering peasants new opportunities, using time more efficiently than the Cluniacs who devoted more time to liturgy, reinvesting wealth in agriculture rather than treasure hordes, and founding new towns as a result of a more urban outlook than the order is usually credited as having. While evidence is lacking to prove conclusively these contributions, the author does draw logical conclusions from the evidence that she has. -
Toward a Technology That Allows the Beautiful to Occur
Animus 8 (2003) www.swgc.mun.ca/animus Toward A Technology That Allows The Beautiful To Occur Sean McGrath [email protected] The ecological problem is an aesthetic crisis. The world is becoming increasingly less beautiful because of technology. Leavening Heidegger with a measure of largely forgotten medieval aesthetics, I maintain that we have forgotten the ontological relevance of the beautiful, and the aesthetic relevance of the ontological. We have allowed our technology to develop without consideration for aesthetic effect. I offer three criteria for a technology that allows the beautiful to occur: fittingness, transparency, and self- containment. 1 1. Heidegger’s Critique Of Technology Let me begin with Heidegger’s thesis: by coercing beings into perpetual presence, technology “sets” [ gestellt ] up the world as a “a standing reserve” [ Bestand ] of resources always available for human use. 2 Every technological device is a cause that is efficacious to the degree that it brings some natural phenomena into limited and strictly controlled actuality. Technology coerces beings, which are governed by a hidden law of emergence and withdrawal, into perpetual presence. Physis , nature, is the pre-Socratic figure for being, the emergence and withdrawal of things from a hidden source. “For [the Greeks] being [ physis ] is what flourishes on its own, in no way compelled, what rises and comes forward, and what goes back into itself and passes away. It is the rule that rises and resides in itself.” 3 To coerce beings into perpetual presence is to abstract them from physis , to appropriate their coming to be for our own purposes. -
Plotinus' Aesthetics: in Defence of the Lifelike Panayiota Vassilopoulou
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Liverpool Repository Plotinus’ Aesthetics: In Defence of the Lifelike Panayiota Vassilopoulou [S. Slaveva-Griffin & P. Remes (eds), The Routledge Handbook of Neoplatonism (Routledge, IJK), LK-IJ.] Plotinus’ Aesthetics Does Plotinus have an aesthetics and/or a philosophy of art? If we start from a naïve conception of aesthetics as a philosophical discourse on beauty – its nature, our experience of it, our interest in it, our judgements concerning it – the Enneads pro- vide ample evidence for an affirmative answer. Plotinus discusses beauty in many contexts, including two treatises explicitly dedicateD to it, On Beauty, I.[], and On Intelligible Beauty, V.[], and he does so because he considers beauty an essential characteristic of reality and our experience.1 The importance Plotinus attaches to beauty is indicateD by the wide extension he attributes to the term: every object of human experience, including natural things, animals and human beings, technological products, works of art, moral and cognitive practices and their results, can be appreci- . Plotinus’ text useD is that of Henry & Schwyzer (]WK–), and translations follow, with minor re- visions, Armstrong (–). ated from the point of view of beauty.2 This usage reflects common ancient Greek lin- guistic habits, but even the proper philosophical objects of Plotinus’ thought (the One, the Intellect, the Soul, or the universe as a whole), which obviously transcend ordinary experience, are approacheD systematically through their relation to beauty and deployeD to provide a metaphysical account of the presence of beauty in the sen- sible world.3 With regard to philosophy of art, the evidence is ambiguous. -
Buddhism and Japanese Aesthetics Bradley Park Department of Philosophy and Religious Studies St
Buddhism and Japanese Aesthetics Bradley Park Department of Philosophy and Religious Studies St. Mary’s College of Maryland [email protected] Table of Contents 1. Introduction 2. Audience and Uses 3. Section I: Mono No Aware A. Classic Example: Cherry Blossoms B. Readings C. Discussion Questions D. Aesthetic Characteristics E. Philosophical Significance 4. Section II: Wabi-Sabi A. Classic Example: Tea Hut B. Readings C. Discussion Questions D. Aesthetic Characteristics E. Philosophical Significance 5. Section III: Yūgen A. Principle Example: Mountains and Clouds B. Readings C. Discussion Questions D. Aesthetic Characteristics E. Philosophical Significance 6. Further Reading and Web Resources Introduction This unit provides a general introduction to three aesthetic concepts—mono no aware, wabi-sabi, and yūgen — that are basic to the Japanese arts and “ways” (dō).1 Secondly, it traces some of the Buddhist (and Shintō)2 influences on the development of the Japanese aesthetic sensibility. In addition to introducing students to the concepts of mono no aware, wabi-sabi, and yūgen, the unit provides students with an opportunity to study the appearance of these concepts in Japanese art and life through an examination of images and texts. Furthermore, students are introduced to the relationship between these concepts and Buddhism, and hence the larger significance of these ideas. Each aesthetic idea is introduced with a paradigmatic example in order to offer a tangible image to connect with the general features defining each aesthetic category. The “Aesthetic 1 The notion of “way” (Japanese: dō; Chinese: dao) describes an edifying practice, namely, a path of cultivation in the fine and martial arts. -
The Sensuous Music Aesthetics of the Middle Ages
The sensuous music aesthetics of the Middle Ages Discussing Augustine, Jacques de Liège and Guido of Arezzo Frank Hentschel The title of this article might be provocative for two reasons. First, how can one possibly talk about ‘aesthetics’ in the Middle Ages, since there was no such thing (as has often been remarked). Surely, the answer depends on the definition of the term ‘aesthetics’. In the Middle Ages aesthetics did not exist as a discipline. Also, most discussions of beauty (pulchritudo) were placed in metaphysical contexts that cannot be interpreted with regard to art – neither in the modern sense nor in the medieval sense of ars.1 In order to give this non-aesthetical discipline a name, some people use the word ‘kallistics’, a term already mentioned by Georg Wilhelm Friedrich Hegel.2 This, however, does not mean that medieval authors did not ask questions such as ‘Which consonance sounds well?’ or ‘Does a certain device contribute to the beauty of a piece of music?’. In this text, questions that concern the sensual quality of sound and the experience of listening shall be called aesthetical. These questions are rarely dealt with in the foreground of the texts, but the pieces of evidence that are found reveal a far- reaching consciousness of aesthetical questions. Second, on what grounds may it be asserted that medieval music aesthetics was sensuous? This question will be the central concern throughout this article. The opinion or prejudice is still encountered that the music theory of the Middle Ages was opposed to sensual perception, that it was blending aesthetical aspects with mathematical and theological ideas and did not match musical practice. -
South FIRST FRIDAYS Brochure
an eclectic evening of arts and entertainment in downtown San Jose’s SoFA District South FIRST FRIDAYS Art Walk San Jose’s SoFA District has all the earmarks of an area full of potential. It has a history of independent retailers, cafés, restaurants, nightclubs and creative offices. And now, seven galleries in the three blocks from San Carlos to Reed streets. Each venue has a unique personality and place of importance in San Jose's art and cultural scene; together we hope to expand the art going public's experience by providing a casual, easy access flow between all the venues. The South FIRST FRIDAYS Art Walk is the perfect opportunity to come out, meet old friends and new, and be inspired by the wide variety of art exhibits and special events. 8pm ’til late - free & open to the public for full listings of current exhibits and events visit: www.SouthFirstFridays.com or call: 408-271-5155 ANNO DOMIN I// the second coming of Art & Design 366 South First St. Anno Domini has been representing and promoting urban contemporary art and culture e since we opened our doors in July 2000. What began as a monthly get-together in a r u t warehouse space where new, emerging and often ignored art forms could flourish and l be celebrated, A.D. has come to be recognized nationally and abroad for its vision in u c this genre. Each First Friday of the month we unveil a new exhibit with an artist reception. & t The exhibitions range from regional to international street artists, tattoo art, lowrider r bikes, skater/surfer culture, indie publishing, DIY fashion and sound art. -
Aesthetics Professor Erica L
Philosophy 250: Aesthetics Professor Erica L. Neely Fall 2010 Place and Time: Burgett 134, MWRF 1:00-1:50 p.m. Email address: [email protected] Office Hours: WR 12:30-1 p.m., MWRF 2-3 p.m. and by appointment Required Texts: Aesthetics: Classic Readings from the Western Tradition, 2nd edition, ed. Dabney Townsend Arguing About Art: Contemporary Philosophical Debates, 3rd edition, ed. Alex Neill and Aaron Ridley Recommended: But is it art?, Cynthia Freeland Web page: http://webct-new.onu.edu Note: I am disability and ESL friendly. If you need accommodation or are having trouble keeping up in class due to language issues, please drop me an email or come to see me. I’m happy to help. Aims and Objectives There are two threads running through this course. First, we will examine general philosophical conceptions of aesthetics. What is the nature of art? What are the qualities that make something art? Given that we often praise art as being beautiful, this raises further questions about the nature of beauty. What makes something beautiful? Are there independent standards of beauty or are they relative to particular cultures? We will examine historical conceptions of art and beauty starting with Plato and running through to modern thinkers. Second, we will consider current debates in aesthetics. For instance, we tend to make a distinction between a “real” piece of art and a forgery - what is the difference in value? Why do we take one to be more important than the other? If we prize authenticity in art, what does that mean? What is the relation between art and nature? What sorts of things count as art? We’re used to going to museums and seeing paintings and sculptures, but what about other media? Could food be art? Photography? What are the bounds of art - can pornography be art? If not, why not? Lastly, we will consider the relationship between art and society; we will look at controversies regarding art in public places and ask whether there are societies which lack all kinds of art whatsoever. -
Nietzsche's Influence on Bakhtin's Aesthetics of Grotesque Realism
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 11 (2009) Issue 2 Article 7 Nietzsche's Influence on Bakhtin's Aesthetics of Grotesque Realism Yelena Mazour-Matusevich University of Alaska Fairbanks Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Mazour-Matusevich, Yelena. "Nietzsche's Influence on Bakhtin's Aesthetics of Grotesque Realism." CLCWeb: Comparative Literature and Culture 11.2 (2009): <https://doi.org/10.7771/1481-4374.1472> This text has been double-blind peer reviewed by 2+1 experts in the field.