Art and Philosophy

https://revistas.ucm.es/index.php/ESIM/article/view/73022/4564456555122
In this article we analyze the relationship between philosophy, literature, and art in the work of Iris Murdoch, paying special attention to the role that philosophy plays in her narrative work, the differences and similarities between literature and philosophy according to her own theoretical approaches, as well as her aesthetic reflections on the essence of literature and art in connection with the idea of Good, central to her Platonic vision of ethics and reality. Her double status as a novelist and philosopher constitutes a privileged point of view for this type of reflection in which both philosophy and literature, as well as ethics and aesthetics, go hand in hand.

AAM version attached. For the published article please use the DOI link.

This article describes a piece of practice-led drawing research titled: Nine Drawings (2016). Treated as a first-person investigation combining serial drawing, Bergsonian philosophy and a postphenomenological methodology drawn from the work of Don Ihde (2012), the purpose of this piece is to test the idea of research through drawing by seeking to represent the enigmatic Bergsonian notion that time acts as a force (Guerlac 2006).

In this commentary, I raise one question and one critical comment about Rietveld's normative claim that 'artistic practices afford embedding technologies better in society' (2019, p. 5). In what exact sense is this the case? It seems that Rietveld offers two interconnected but conceptually distinct answers to this question. The first focuses on art's habit-breaking possibilities. The second concerns art's ability to make the lived experiences of the stakeholders potentially affected by a given technology experientially concrete. I will discuss both points, and why I think more needs to be said about them.

Being-in-the-Gallery is an immersive experience which explores the embodied nature of virtual reality and the implications this has on contemporary sculptural practice, and our encounters with both. This interactive artwork is experienced through the HTC Vive headset, with movement and touch key elements to the aesthetic of this work. It combines both a physical and a digital sculpture and in doing so creates a mixed reality that plays on a disconnect between what we can see and what we can feel.

Abstract:

Juan Luís Martínez, poeta que a fines de los 70' y principios de los 80' irrumpió en la escena lírica chilena con una poesía rupturista, escéptica e iconoclasta, incomprendida por buena parte de la crítica y rechazada por más de un editor. Los versos de Martínez han circulado por más de 20 años en fotocopias, aunque ahora la situación empieza a cambiar. La Nueva Novela obra paradigmática de la vanguardia poética chilena se ha convertido en un objeto de un nuevo culto, el de la tacha de la autoría y la disolución del autor.

El poeta Juan Luis Martínez se ha transformado en icono de nuestra vanguardia literaria, aun cuando, según su propio designio, irradia una identidad velada, fantasmal, “más literaria que real”, en algún momento se creyó que el era una invención de Enrique Lihn, que escribió una de las más lúcidas reseñas de este poeta legendario: “Señales de Ruta de Juan Luis Martínez” . Una suerte de icono bizarro dentro de nuestro panorama literario. Tanto por la complejidad de su obra como por el desconocimiento puntual de lo que ésta significa. No han sido pocas las aproximaciones que se han realizado en torno a la producción literaria del poeta −la cual comprende sólo tres obras: La Nueva Novela (1977), La Poesía Chilena (1978) y Poemas del Otro (2003)− a lo largo de los años, llamando la atención la multiplicidad de enfoques con que se le ha abordado.

(Post_print allowed by Publisher uploaded OR ask for a copy) In his ‘Way to Language’ essay, as well as in his other later work, Heidegger argues for a self-referential and non-subjective understanding of language. I argue that Heidegger sketches a different way to understanding language in one of his earlier works, which is his ‘Work of Art’ essay. In a reversal of sorts, I argue that language, and not the work of art, constitutes the underlying subject matter throughout the essay, and from its very beginning. The essay may be construed as the exposition of a theory of language, in which Heidegger employs various interpretations of works of art as analogies that exemplify his thoughts on language. In my rhetorical analysis of Heidegger’s references to the Van Gogh ‘shoes’ painting, I show that Heidegger is engaging with literature and a literary kind of writing, which have a direct bearing on his understanding of both language and the philosophical truth. Heidegger’s writing on the truth may then be thought to reflect an intricate interplay between literature, the philosophy of language and the interpretation of visual artworks.

This paper seeks to reinsert Boccioni’s philosophical ambitions into the discourse surrounding the genesis of Futurist art in Italy, and to better position 'The City Rises' within the landscape of early modernist thought. I argue, somewhat against the received wisdom concerning this painter, that Boccioni’s 'The City Rises' not only stems from the theoretical exchanges that were so important to the formation of Futurist art in and around 1910; it also engages the writings of Friedrich Nietzsche, one of the most important critics of the modern condition. Boccioni’s stylistic decisions respond—deeply but not altogether systematically—to Nietzsche’s theory of will to power, to his violent interrogations of established ideals, as well as to the philosopher’s own aphoristic style of writing. My analysis, then, throws into sharper relief the intellectual forces motivating one of the early twentieth century’s most accomplished painters by investigating one of the more sophisticated, if neglected, intersections of modernist art and philosophy.

(Readers, please see my note at the end of the text.)

This project aims to produce new material and understandings about audio/visual installation art and immanence. Immanence describes a subjective state that emphasises an embodied sense in time and space. It is explored in the project artworks by using materials and techniques that heighten one’s sense of being a receptor – of seeing and hearing, rather than being an identity formed in language. The research works through the derivation of my notion of immanence from my environmental listening experiences. I have used artistic and philosophical material to aid and extend these concepts in relation to their investigation through the practical works.
The research is conducted using non-linear audio/visual technologies to create installation art works that elude narrative sequencing through generative techniques. Typically this involves a computer generated image and sound, projected into space in ways that seek to heighten the audience’s sense of embodiment. These works are non-repetitive, and close attention to the materials reveals a structure of non-hierarchical variation, and of continual change. Philosophically, this emphasises immanent notions of the self as being in a state of becoming – of being simultaneously complete in the present moment yet continually in change.
The research explores and reveals a number of outcomes and shifts of position. At a technical level, a number of ways of combining generative sound and image are explored, and methods for creating variation within a continuum are implemented. A number of presentations of the works are made in installation spaces, and these document the tension between the framed format of video and the immersive and surrounding embodiment which is activated in installation practice.

Raising the persistence question about architectural entities consists in asking what is necessary and sufficient for a past or future architectural entity, like a building, to exist now. In this paper I investigate how the persistence question about buildings is affected by their spatial relocation. Why do we normally doubt that Notre Dame can survive its meticulous stone-by-stone transfer to Las Vegas? I argue that, since architectural plans are not capable of specifying all the constitutive properties of a building, the source of differentiation among constitutive and non-constitutive properties for buildings lies in a property’s being eligible or not eligible to be aesthetically relevant in the aesthetic judgements about them. As a matter of fact, our aesthetic judgements about buildings often concern, and are grounded on, extrinsic contextual properties. This explains why buildings can usually not survive relocation: because normally there is no basis for ruling out any extrinsic contextual feature of the building as inessential. I also try to explain why the change from thirteenth century Paris to contemporary Paris proved not to be lethal to Notre Dame’s persistence, in spite of its being more significant than other imaginary context changes that we would easily count as fatal.

This paper uses Walter Benjamin’s concept of translation between people and things as a focal point for analysis of the work of contemporary new-media artists Paula Gaetano Adi and Lindsey French, who utilize robotics and interactive technology to explore interspecies communication.

"Mostly rejection of Adorno’s aesthetics takes his questionable statements on performance art as its starting point. To face it, a reconstruction of the locus of these statements is vital. This requires a detour through some of Adorno’s fundamental ideas. Ensuing from the concept of aesthetic semblance, firstly the most crucial step will be to get a clear picture of the differences between his accounts of the performance of art, the performing arts, performance art and performativisation in art. Secondly, by investigating the complex conceptual relationships between these different definitions, we will arrive at a better understanding of his critical assessment of performance art. Finally, we may then be able to activate the dormant potential in Adorno’s ideas, which in turn will enable us to reposition his criticism.
"

Ao que nos referimos quando falamos em território da arte ou quando questionamos quais os limites da mesma? Termo caro à Geografia, o conceito de território abrange uma série de questões relacionadas à fronteira e ao poder, assim como pode ter seus horizontes ampliados, propiciando uma leitura mais subjetiva e abrangente. Este artigo, mais do que tentar designar um lugar próprio da arte, sugerindo que esta esteja fechada dentro de fronteiras, procura discutir os seus diversos atravessamentos. Tendo em vista a multidisciplinaridade do termo, parte-se da obra de Haesbaert para trazer possíveis definições de "território" na Geografia, para em seguida criar um diálogo com o pensamento de Deleuze e Guattari. Pretende-se, ao longo do texto, mostrar como o processo de criação, os pactos e as constantes negociações induzem o território da arte a se manter em movimento, propiciando uma constante expansão. Aberto para o universo, esse espaço se mistura com outras áreas de conhecimento em direção ao novo, rompendo limites e abrindo fronteiras.

Apresentação/Paper: “As expressões musicais urbanas da ‘cidade invisível’”: Ciclo de seminários: A experiência da cidade entre arte e filosofia | Seminário – Artes Sonoras. Projecto Fragmentação e Reconfiguração: A experiência da cidade entre arte e filosofia (FCT) - PTDC/FER-FIL/32042/2017 IFILNOVA - NOVA FCSH  –  3 de Maio 2021 [Mai 3nd 2021].
https://www.youtube.com/watch?v=7qxdyIJKdqM&t=23s

In A Thousand Plateaus, Deleuze and Guattari carve out an image of thought and a path for philosophy that is connected to the figure of the cosmic artisan. This article situates the artisan in relation to both past and future, comparing this figure to that of the artist in the work of another great philosopher who desired to bring forth a new beginning for philosophy, Martin Heidegger. After discussing multiple ways that Deleuze and Guattari’s thought is world-destroying in terms of past ontological and epistemological commitments, the article considers the cosmic artisan/philosopher’s diagrammatic role in light of the technological-scientific advancements within the field of quantum physics. Through these elaborations, it becomes clear that Deleuze and Guattari are articulating the need for a new sensibility – to the imperceptible, the virtual, the compossible and the molecular. Deleuze and Guattari’s noological nomadism opens a way forward, where world-destroying becomes linked to creation, and the figure of modernity becomes the possibility of a new relation to the earth–a cosmic earth.

A lo largo y ancho de su vasta producción literaria, es muy significativo el papel que el pensador del exilio republicano J.D. García Bacca concede al arte. La presente tesis doctoral ha querido sentar las bases de esta inexplorada –a día de hoy– reflexión estética, partiendo del estadio germinal de la misma (1939-1945) en el que fundamentalmente se ha detenido, pero proyectando los supuestos que aquí se asientan hacia los trabajos clave de la producción posterior de nuestro filósofo (ca. 1955 ss.); y no sólo eso sino que, además, ha tratado de establecer un diálogo entre las sugerencias plásticas que a lo largo de los mismos se encuentran y el debate artístico contemporáneo. A partir del giro operado por el propio García Bacca, a finales de los años treinta del pasado siglo, donde se prioriza la belleza sobre la verdad, la necesidad –exigida por la propia noción de «tipo» de vida, como manera simbólica, indirecta, alusiva, original, propia de vivir el universo– de una teoría de la metáfora que articule el lenguaje plástico con el conceptual se constituye en el eje central desde el que García Bacca articulará una novedosa antropología –con base en unas no menos novedosas ontología y epistemología– en el que el rasgo decisivo y determinante del hombre sea el de constituirse en sujeto creador.

«Ser (una isla)» es una práctica de investigación artístico-pedagógica que transita por el arte de acción, la danza, la filosofía, la enseñanza y las artes visuales. Muestra la experiencia del proyecto Ser o no ser (un cuerpo) de Amalia Fernández y Santiago Alba Rico, que tuvo lugar en el Museo Nacional Centro de Arte Reina Sofía y en el colegio Jorge Guillén de Móstoles (Madrid, España), formando parte del programa Teatralidades Expandidas del grupo de investigación ARTEA. Se narran trabajos y ejercicios sobre el cuerpo, la identidad y los procesos colectivos, realizados con un grupo de niñas y niños, artistas, creadores e investigadores procedentes de diferentes disciplinas. Este libros es un punto de encuentro de cuerpos inducidos al movimiento y al pensamiento a través de la investigación activa. Es también un espacio que permanece vivo, ya que continúa tejiéndose en el tiempo a través de su lectura.

P ercorrendo «gli erbosi sentieri di Cetinale» 1 , da sempre i visitatori sono rimasti affascinati per la varietà di luoghi, percorsi e opere d'arte all'interno di quel complesso, il quale tra il XVII e il XVIII secolo era frequentemente animato da intrattenimenti mondani e feste, ma pure adibito ad attività caritatevoli o a momenti di ritiro contemplativo, in un in treccio continuo tra sacro e profano. Pensiamo infatti che tutta la villa fosse arricchita da pro fondi si gnificati che lo scultore Giuseppe Mazzuoli poté condividere col suo fidato commit tente ed amico Flavio Chigi durante il concepimento dell'opera. Non a caso le statue del complesso si distinguono per la loro colloca zione lungo dei percorsi precisi, col compito di accompagnare ed istruire l'osservatore verso il termine del cammino intrapreso; il tema di fondo riguardava la varietà di animi, di intenzioni e di vocazioni che caratterizzavano l'umanità, ma che dovevano tutti tendere alla devozione cri stiana per il rag giungimento della meta finale, ovvero l'unione col Dio padre, sia che si fosse mondani o consacrati, ognuno con le proprie virtù e con le grazie elargite da Dio 2 .

This paper proposes a comparative analysis between the different theses of deported artists (some of whom survived) who managed to produce drawings during their detention in the Nazi’s camps. Some of them said they drew for an artistic, rather than a testimonial need. The comparison between two of these arguments will lead us to question aesthetics categories and status of these graphic testimonies of one of the best
known events in human history.

In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be explained primarily by the content of his work, and in particular not by his sporadic observation on aesthetics, but rather by stylistic features of his work formal aspects of his writing. Edoardo Paolozzi's testimony shows that artists often had a feeling of acquaintance or familiarity with the philosopher, which I think is due to stylistic features of his work, such as the colloquial tone in which Wittgenstein shares his observation with the reader, but also the lack of long-winded arguments or explanations. In the concluding part I suggest that we can read Wittgenstein's artworks of a specific kind: as philosophical works of art.

RESUMEN
Las raíces de la instalación en occidente descansa en los Happenings y en las acciones de Arte; la instalación es producto de lo que queda de algunos eventos congelados en el tiempo, como sucede en las instalaciones de Beuys, Kounellis y Merz. El origen de las instalaciones de Europa oriental reside en la pintura. La instalación occidental se orienta hacia el objeto, hacia la apariencia de los diferentes objetos después de la acción. La instalación en Europa oriental se dirige hacia el espacio, hacia la atmósfera de una situación particular. Tal es el caso del maestro ucraniano Ilya Kabakov que aquí presentamos.


ABSTRACT
Roots of Installation in occident rest in Happenings and in the Art actions; Installation is product of what is of some frozen events in the time, like it happens in the Installations of Beuys, Kounellis and Merz. The origin of Oriental Europe Installation resides in the painting. The western Installation is guided toward the object, toward the appearance of the different objects after the action. The Installation in oriental Europe goes toward the space, toward the atmosphere of a particular situation. Such it is the case of the Ukrainian teacher Ilya Kabakov that here present

EIKASIA
Eikasia: revista de filosofía

    La imagen de portada del ejemplar no está disponible
    Año 2011, Número 41

        Antipsiquiatría; deconstrucción del concepto de enfermedad mental y crítica de la "razón psiquiátrica"

        Adolfo Vásquez Rocca
            ResumenTexto completo

        7-20
        Artículo

        Inconsistencia y pluralismo desde el racionalismo crítico

        Esteban Céspedes
            ResumenTexto completo

        21-28
        Artículo

        Naturaleza e historia en Rousseau: los ecos del origen

        Jose Antonio Antón Amiano
            ResumenTexto completo

        29-52
        Artículo

        Sloterdijk; secretos bizarros de Freud, discretas obsesiones telecomunicativas y primeras formaciones de psicología profunda europea

        Adolfo Vásquez Rocca
            ResumenTexto completo

        53-78
        Artículo

        Epicuro y el fenómeno de la indiferencia del mundo

        Raúl Garrobo Robles
            ResumenTexto completo

        79-92
        Artículo

        De Bergson a Deleuze: la ontología de la imagen cinematográfica

        Enrique Alvarez Asiáin
            ResumenTexto completo

        93-112
        Artículo

        El mito de lo mental: el proyecto de investigación de la inteligencia artificial y la transformación hermenéutica de la fenomenología (Primera parte)

        Jethro Masís
            ResumenTexto completo

        113-132
        Artículo

        Ser y tiempo: una obra interrumpida

        Alejandro Escudero Pérez
            ResumenTexto completo

        133-150
        Artículo

        Un estudio neuropsicológico del pensamiento humano

        Rafael Blanco Menéndez
            ResumenTexto completo

        151-184
        Artículo

        Los Simpson y la filosofía

        Antonio José López Cruces
            Texto completo

        185-196
        Artículo

        L'humanisme a la Corona d'Aragó (en el context hispànic i europeu)

        Julia Butiñá Jiménez (ed. lit.), Antonio Cortijo Ocaña (ed. lit.)
            Texto completo

        197-208
        Artículo

        Ford y el "Sargento negro" como mito (tras las huellas de Obama)

        Miguel Ángel Navarro Crego
            Texto completo

        209-212
        Artículo

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The art world is undergirded by a plasticity that allows it to shift focus and envelope disparate art movements under one umbrella. In fact, the notion of an " art world " is problematic because it implies a shape and boundary where there are none. For the purpose of this essay, the art world and the aesthetic theories that inform it will be presented as a dichotomy: 1. It is a theoretical paraphrasing of an esoteric phenomenon constantly in flux. 2. It is a space constituted by a range of practices and theories that fit within a conventional way of doing things that produces the kind of art works that work within the art world (Becker, 1982). It is within this tension of art world against art world or aesthetics against aesthetics that I argue that Dialogical Aesthetics—a socially and politically committed participatory art practice— is able to separate itself from the art world while remaining a driving force of the art world.

Prendendo spunto da alcuni passi platonici di non facile interpretazione, si può comprendere come il sistema musicale e i rapporti planetari fossero guidati da un'unica visione organica, gravida di conseguenze nelle arti e nella poetica. Quadri pittorici quasi incomprensibili a una visione meramente formale, possono avere una loro spiegazione avvalendosi delle conoscenze musicali e filosofiche dei loro autori.

Autor charakteryzuje nowe, nieprzebadane do tej pory w świecie sztuki współczesnej
zjawisko „Nowej Fali” w kinie greckim. Twierdzi, że przyczyna międzynarodowego
sukcesu greckich filmów nie leży jedynie w surowej, oszczędnej estetyce, wykorzystywanej przez większość tamtejszych reżyserów, lecz spowodowana jest także nietypowym użyciem języka. Skupia się na kinie Yorgosa Lanthimosa, głównego przedstawiciela tego nowatorskiego nurtu, interpretując go za pomocą narzędzi oraz pojęć
psychoanalizy lacanowskiej.

Continental philosophers Gilles Deleuze and Felix Guattari wrote about a cosmic kind of creativity that exists in all things, the recognition of which demands of us a special kind of responsibility and action. Deleuze describes a pure existence founded in this truth as the plane or plan of immanence, and he thinks that immanence can be distorted in different, but related ways, by both religion and by science. He was influenced in part by Henri Bergson who proposed the term Élan Vital, which is often translated as " vital force. " Bergson thought that this force was behind biological and inorganic evolution. However, this line of thinking is criticised by some philosophers and scientific positivists as naive " panvitalism " or " hylozoism. " The meaning of these terms is: in the case of the former, that all things are part of a living universe; and, in the case of the latter, that material things may possess life, and life is inseparable from matter. In the face of the quandary caused by the discoveries of quantum physics, Alfred North Whitehead, an English metaphysician from early C20th is gaining renewed interest with his process theory that places emphasis on events, modes of becoming, and types of occurrences. Interestingly he is also claimed to have coined the term " creativity " with respect to cosmology, and, not necessarily attributed to human endeavour. Presented by an artist who is also a research academic specialising in creative practice, this is a reflective account of the thinking behind an art-science collaborative digital media artwork about coral spawning on the Great Barrier Reef. Referring to the aforementioned authors, it is speculated how axiology in art can counter the positivism of science and address the relativism of postmodern attitudes, without didacticism. Rather, through allusion, pathos and sublimity.

In Finnish, Master's thesis published online in the E-thesis service of the University of Helsinki in 2009.
Subject: the application of Post-Jungian theory and/of aesthetics to the interpretation of contemporary art, especially visual art, an installation by artist Maaria Wirkkala as an application example, in closer view the Amplification method.