Academic literature on the topic 'Contemporary metaphysical art'
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Journal articles on the topic "Contemporary metaphysical art"
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Cappi, Alberto. "The Cosmology of Edgar Allan Poe." Proceedings of the International Astronomical Union 5, S260 (January 2009): 315–20. http://dx.doi.org/10.1017/s1743921311002468.
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AbstractEureka is a “prose poem” published in 1848, where Edgar Allan Poe presents his original cosmology. While starting from metaphysical assumptions, Poe develops an evolving Newtonian model of the Universe which has many and non casual analogies with modern cosmology. Poe was well informed about astronomical and physical discoveries, and he was influenced by both contemporary science and ancient ideas. For these reasons, Eureka is a unique synthesis of metaphysics, art and science.
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Bharadwaj, S. "Dylan Thomas’s “In the White Giant’s Thigh”:A Wild Love of Art Song." Advances in Language and Literary Studies 12, no. 4 (August 31, 2021): 91. http://dx.doi.org/10.7575/aiac.alls.v.12n.4.p.91.
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In the poem “In the White Giant’s Thigh,” Dylan Thomas projects the contemporary poets’ wild passion for Eliotian amoral art song and their suffering and the contradistinction of his own occasional love of Yeatsian Grecian altruistic art song and his delight. The poem is at bottom optimistic as it offers the metaphysical and the metempirical wild lovers an alternative process of art song and also carries salvation to transcend their sorrowful failure. It is Thomas’s faith in the Yeatsian process of transfiguration and transformation, the possibility of deliverance from the bondage of experience and ignorance that assures him of success and appeal in his art songs, that Auden repudiates in his metaphysical process of transgression and transmigration and his immortal vision of aesthetic amoral art song. The poem implies that Auden, as a result of his continual ignorance of the human reality of life and death, his stoic love of metaphysical art and reality, loses his grandeur and literary reputation and stoops to the level of a common man susceptible to hatred and indignation, violence and vengeance like the victims of his art songs, the political, the war and the Movement poets who remain equally ignorant of the metaphysical process and the reality of breath and death.
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Ofilada Mena, Macario. "Creativity, art, mystagogy: Logos as and in the end of waiting from the origin, hoping toward the originary." Estudio Agustiniano 57, no. 3 (December 1, 2022): 613–49. http://dx.doi.org/10.53111/ea.v57i3.1095.
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This essay is an attempt to differentiate and correlate Aesthetics, Art, Artworks and Creativity. With metaphysical reflections against the backdrop of history, we underscore in view of the aforementioned key concepts the transition from waiting and hoping and use the same transition to differentiate existence from life, all within a metaphysical and spiritual framework that informs all the conceptual exposition. The open-ended result calls for more essays, in the name of Humanity, especially aided by works of art, specifically by some contemporary American poems, that seek to go beyond the wording of artworks by means of the creative response to the vocation of homing by means of art.
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Leddy, Thomas. "Clive Bell’s "Metaphysical Hypothesis" and Everyday Aesthetics." Washington University Review of Philosophy 1 (2021): 53–60. http://dx.doi.org/10.5840/wurop202117.
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Clive Bell’s Art, published in 1913, is widely seen as a founding document in contemporary aesthetics. Yet his formalism and his attendant definition of art as “significant form” is widely rejected in contemporary art discourse and in the philosophy of art. In this paper I argue for a reconsideration of his thought in connection with current discussions of “the aesthetics of everyday life.” Although some, notably Allen Carlson, have argued against application of Bell’s formalism to the aesthetics of everyday life, I claim that this is based on an interpretation of the concept that is overly narrow. First, Li Zehou offers an interpretation of “significant form” that allows in sedimented social meaning. Second, Bell himself offers a more complex theory of significant form by way of his “metaphysical hypothesis,” one that stresses perception of significant form outside the realm of art (for example in nature or in everyday life). Bell’s idea that the artist can perceive significant form in nature allows for significant form to not just be the surface-level formal properties of things. It stresses depth, although a different kind than the cognitive scientific depth Carlson wants. This is a depth that is consistent with the anti-dualism of Spinoza, Marx and Dewey. Reinterpreting Bell in this direction, we can say we are moved by certain relations of lines and colors because they direct our minds to the hidden aspect of things, the spiritual side of the material world referred to by Spinoza and developed by Dewey in his concept of experience. Bell hardly “reduces the everyday to a shadow of itself,” as Carlson puts it, since the everyday, as experienced by the artist or the aesthetically astute observer, has, or potentially has, deep meaning. If we reject Bell’s dualism and his downgrading of sensuous experience, we can rework his idea of pure form to refer to an aspect of things detached, yes, from practical use, but not from particularity or sedimented meaning, not purified of all associations.
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Louria-Hayon, Adi. "A Post-Metaphysical Turn: Contingency and Givenness in the Early Work of Dan Flavin (1959–1964)." Religion and the Arts 17, no. 1-2 (2013): 20–56. http://dx.doi.org/10.1163/15685292-12341253.
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Abstract Dan Flavin’s fluorescent light installations have long served art historians by marking the turn from the late modernist illusionist space of painting to the new immanence of specific objects. In the narration of this genealogy, the crux of minimalism, as Hal Foster calls it, rests on a nominal approach that proclaims metaphysical relations as an obstacle and calls out to evade any notion of meaning. By contrast, this essay asserts the primacy of metaphysics in Flavin’s [en]lighted work. By tracing the artist’s scholastic education, his contemporary theo-political stance, and his rejection of objecthood, I argue that Flavin was continuously preoccupied with Catholic theology and that his work is imbued with Christian iconography. Thinking alongside the fourteenth-century philosopher William of Ockham and the twentieth-century post-Husserlian phenomenology of Jean-Luc Marion, the evolution of Flavin’s light constructions proves relevant to the quandary of metaphysics and the role of theology in radical immanence. To bracket his metaphysics is to ignore the full implications of his art.
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Montiel, Jorge. "Aztec Metaphysics—Two Interpretations of an Evanescent World." Genealogy 3, no. 4 (November 14, 2019): 59. http://dx.doi.org/10.3390/genealogy3040059.
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This paper contrasts two contemporary approaches to Nahua metaphysics by focusing on the stance of the Nahua tlamatinime (philosophers) regarding the nature of reality. Miguel León-Portilla and James Maffie offer the two most comprehensive interpretations of Nahua philosophy. Although León-Portilla and Maffie agree on their interpretation of teotl as the evanescent principle of Nahua metaphysics, their interpretations regarding the tlamatinime metaphysical stances diverge. Maffie argues that León-Portilla attributes to the tlamatinime a metaphysics of being according to which being means permanence and stability and thus, since earthly things are continuously changing, being cannot be predicated of them, hence earthly things are not real. I present textual support to show that León-Portilla does not read Nahua metaphysics through the lens of a metaphysics of being and thus that León-Portilla does not interpret the tlamatinime as denying the reality of earthly things. I then provide an exegetical analysis of León-Portilla’s texts to show that, in his interpretation, metaphysical concerns are intimately linked to existential questions regarding the meaning of human life. Ultimately, I argue that, in León-Portilla’s interpretation, the tlamatinime conception of art functions as poiesis, that is, as the process of aesthetic creation that gives meaning to human life.
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Tes, Agnieszka. "Wybrane dzieła współczesnego polskiego malarstwa abstrakcyjnego w świetle Ingardenowskiej koncepcji jakości metafizycznych." Argument: Biannual Philosophical Journal 9, no. 1 (June 30, 2019): 81–100. http://dx.doi.org/10.24917/20841043.9.1.5.
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Selected works of the contemporary Polish abstract painting in the light of Ingarden’s
conception of metaphysical qualities: The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that
represent some tendencies in abstract painting. I start by summarizing this concept, taking
into consideration the elements of its reconstructions that are present in the source literature,
especially those aspects that concern art. Although Ingarden’s idea can be used with many
examples, I employ it to analyze chosen artworks by the outstanding Polish abstract artists
Tamara Berdowska, Władysław Podrazik, Tadeusz G. Wiktor and Jan Pamuła. I do not intend
to refer to these paintings strictly in Ingarden’s terms, but I use these criteria in a way that
allows me to enrich the interpretation of these artworks by showing them in a new light. By
recognizing the role of contemplation of art, I try to fnd the genesis of the analyzed examples
and reveal how metaphysical qualities manifest in them and infuence the viewer. I underline
aspects that are distinctive of the presented artists and are related to the exceptional ability of
abstract language to correspond to Ingarden’s idea. Subsequently, when developing my point of
view I maintain the relationship between aesthetic and metaphysical sense that creates a kind
of interdependence. These artists intentionally go beyond purely aesthetic efects to relate to
transcendence. By adapting Ingarden’s concept to some contemporary abstractions, I try to link
philosophical and critical ways of approaching these artistic phenomena with special regards to
their metaphysical connotations that tend to be overlooked in contemporary discourses.
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Mushtaq, Waseem. "CONFLUENCE OF ART AND TECHNOLOGY WITH SPECIAL REFERENCE TO CONTEMPORARY ART PRACTICE IN INDIA." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (January 26, 2022): 27–40. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.50.
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For centuries, across the worlds, artists have struggled to invent new techniques to perfect their articulation, which in turn has changed art and its relation to the viewer. In the course of art history technology has served as a useful aid to develop innovative methods for making art. For long the utilitarian notion of technology did not clash with the metaphysical or intuitive notions of art. But in modern times the reproduction technology has raised questions concerning authenticity and originality of an artwork. In the present transitory times the digital technology is continuously redefining art and the manner in which the art/audience response circuit has undergone a paradigm shift. The present paper attempts to delineate a capsule account of the confluence between art and technology in general and discuss how Indian contemporary artists engage the art/technology interface in their art practice.
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Nakoneczny, Tomasz. "Rosja jako tekst w prozie Wiktora Pielewina." Studia Rossica Posnaniensia, no. 41 (June 20, 2018): 159–72. http://dx.doi.org/10.14746/strp.2016.41.13.
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The article presents the work of Victor Pelevin, one of the most famous contemporary Russian writers, in the context of changes in literary communication. The writer uses postmodern techniques and strategies (intertextuality, decanonization, heterogeneity) and traditional cultural motifs and themes (Russian and foreign) to compensate literature for the loss of its metaphysical attributes and authority of high art.
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Ustun, Berkay. "Antinomies of Metaphysical Experience between Theodor Adorno and Philippe Lacoue-Labarthe." Open Philosophy 2, no. 1 (October 2, 2019): 428–46. http://dx.doi.org/10.1515/opphil-2019-0030.
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AbstractThis article is an inquiry into the concept of metaphysical experience through a joint discussion of two authors and philosophers with different approaches that nevertheless converge in the reclamation of the concept and rely both on the experience of death as an example. In both cases, the authors are guided by the central problem of how not to relinquish metaphysical experience to unscrutinized immediacy or a powerful conversion which enjoins subjection, putting it in contact with aesthetics and ethics at once. Theodor Adorno situates metaphysical experience as a problem of philosophy of history and devotes attention to the contemporary possibility of experiences that evoke transcendence. The transformations he identifies in the concept also lead him to propose art as a domain where metaphysical experience is alive. The implicit personal investment Adorno makes is much more clear in Lacoue-Labarthe who, in a dialogue with Maurice Blanchot, shows the experience as deeply bound up with literature and its links to subjectivity. The article argues that the main difference between the two approaches is modal and temporal from the side of the object, aside from the different modes of interrogation recognized with the labels deconstruction and critical theory.
Dissertations / Theses on the topic "Contemporary metaphysical art"
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Opperman, J. A. "Imaging the metaphysical in contemporary art practice : a comparative study of intertextuality, poststructuralism and metaphysical symbolism." Thesis, Port Elizabeth Technikon, 2002. http://hdl.handle.net/10948/101.
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It was then that I decided to investigate how contemporary forms of metaphysical imaging have evolved formally and stylistically. I began to question how such approaches might be informed by current philosophical thought, given that many contemporary theorists have adopted a sceptical view towards metaphysical discourse. This point of contention presented me with the initial challenge of finding an artist whose exploration of metaphysical content is supported by topical philosophical thought. I intended this inquiry to serve as a basis from which to develop my own approach to imaging metaphysical content and to situate it within the context of contemporary thought.
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Kuchenbecker, Emily E. "Lifetime." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5838.
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Time is my bully. Time marks the start of something, as well as the end. We are all carrying out the inexorable passing of time as it relates to our impending mortalities.
I do not fear death.
The awareness of my body’s impermanence employs me to feel that much more connected to the vessel containing that of which I am.
But what am I? Am I my body- or is it much deeper?
Through the work executed during my graduate research, I have attempted to quantify my existence through the archiving my time and body. This document ushers you through my perception, my relationship to nature, and how it manifests through discovering answers to what I believe it means to be human.
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Ribeiro, Mariana Karina. "A viagem do Argonauta = as poeticas de Giorgio de Chirico no acervo do MAC-USP." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279112.
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Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-13T05:48:38Z (GMT). No. of bitstreams: 1 Ribeiro_MarianaKarina_M.pdf: 23924088 bytes, checksum: 9629f9aba2a553075761262ced92b28f (MD5) Previous issue date: 2009
Resumo: Apresenta-se neste trabalho uma abordagem da obra do artista Giorgio de Chirico a partir de cinco quadros seus pertencentes ao MAC-USP, pintados entre 1914 e 1940 circa e alguns de seus escritos. Pretende-se fornecer mais elementos para o conhecimento e a interpretação desse significativo conjunto de obras do patrimônio artístico-cultural paulista, ampliando as perspectivas de debate do tema no Brasil. Ainda com este escopo são oferecidas ao final do trabalho traduções com notas, de textos selecionados, escritos pelo artista entre 1911 e 1938.
Abstract: It is presented in this text an approach to the work of the artist Giorgio de Chirico from its five paintings belonging to the MAC-USP, executed between 1914 and 1940 circa and some of his writings. It is intended to provide more elements for the knowledge and interpretation of this significant collection of artworks of paulista cultural artistic heritage, extending the perspective of debate on this subject in Brazil. Still with this scope, translations with notes of selected texts, written by the artist between 1911 and 1938, are presented by the end of this material.
Mestrado
Historia da Arte
Mestre em História
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Benson, Martin L. "Beginner's Mind." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2365.
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My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, without the need for immediate intellectualization. I wish to offer people an opportunity to focus their attention on the phenomenological sensations that emanate from the art, to take a step back from the conceptual part of the mind, and step into a part that’s more fundamental to our moment to moment reality.
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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.
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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.
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Allan, Michele Margaret. "‘LIQUID SPACE’: a visual investigation of the sea as an empirical, experiential and metaphoric space." Phd thesis, 2013. http://hdl.handle.net/1885/13491.
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Artworks produced in this studio-based research (option D) involve exploration
of the ‘liquid space’ of the sea, not just in its physical and sensual nature and the
way the sea looks, but also with what the sea inspires. They explore the spatial
dynamics of underwater terrains, convergences of inner and outer ‘space’, and
question if and how the numinous and immaterial might be made manifest in the
material. References to the traditional story of Jonah and the Whale operate as a
contemporary metaphor for the sea as a site of death and renewal. Through the
creation of series of paintings, works on paper and engraved glass overlays, the sea
is examined as a synthesis of the complex and diverse on many fluidly interacting
levels, including the empirical, experiential and metaphoric. As a poetic space with
many levels of resonance, it becomes ground for exploring the creative process,
the nature of being and processes of transformation and change within each.
Research questions include: What might a contemporary expression of
the interaction of the physical and metaphysical self be like? How might a
synthesis of abstraction and representation be created in the visual language of
painting? How might concepts of unity be reconciled with rhythms of death and
renewal, transformation and change? Does unity necessarily mean uniform?
A significant aspect of this research has been the generation of artworks on or through
field trips to locations by the sea - Cape Leveque in North-east Australia, Heron Island
Research Station on the Great Barrier Reef and South Bruny Island in Tasmania. In
exploring the interface between abstraction and representation, unity and diversity,
and the inner and outer worlds, I have discovered the sea rich ground for reenvisioning
these seeming opposites as co-creative, relational and finally inseparable.
The ‘Wave’ structure of the Exegesis is more than usually organic in form. Conventional
chapters are replaced by multiple and varied sections, each called a WAVE and written
in changing ‘voice’. Echoing the shifting rhythms of the sea, and in order to correspond
more directly to the way practice-driven research creates meaning, the wave structure
reflects the wider concerns of the research to synthesise the unexpected and diverse.
Books on the topic "Contemporary metaphysical art"
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Favaro, Alice. Después de la caída del ‘ángel’. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-416-5.
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Ángel Bonomini was born in Buenos Aires in 1929 where he lived until his death at the age of sixty-four in 1994. He worked for various newspapers and magazines as an art critic and translator, but always maintaining his literary activity. He inherited the tradition of the Argentine fantastic and was a prolific writer: his production includes essays, poems and fantastic tales.Although he lived in a period of great cultural splendor and his literary talent was recognised by authors such as Borges and Bioy Casares, he fell into an unexplained oblivion, disappearing quite early from the contemporary intellectual environment. His first poems, which date back to the 1950s, were published in Sur magazine and some of his tales were included in well-known anthologies of fantastic literature.Among his collections of poems there are: Primera enunciación (1947), Argumento del enamorado. Baladas con Ángel (1952) written with María Elena Walsh, Torres para el silencio (1982) and Poética (1994). In 1972 he achieved great success with the publication of his first collection of fantastic tales, Los novicios de Lerna, followed by the publication of other books: Libro de los casos (1975), Los lentos elefantes de Milán (1978), Cuentos de amor (1982), Historias secretas (1985) and Más allá del puente (1996), posthumously published.A particular use of the fantastic characterises his work and distinguishes him from his contemporary authors. In his tales there is a continuous contrast between metaphysics and existentialism; in this way, he makes a deep investigation of the reality and, at the same time, he tries to go beyond it.This volume aims to analyse some emblematic tales by Bonomini in which it is possible to find the main topoi of Argentine fantastic and to understand why the author’s literary work is worth studying.
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Williams, Neil E. The Powers Metaphysic. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833574.001.0001.
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Systematic metaphysics is defined by its task of solving metaphysical problems through the repeated application of a single, fundamental ontology. The dominant contemporary metaphysic is that of neo-Humeanism, built on a static ontology typified by its rejection of basic causal and modal features. This book offers and develops a radically distinct metaphysic, one that turns the status quo on its head. Starting with a foundational ontology of inherently causal properties known as ‘powers’, a metaphysic is developed that appeals to powers in explanations of causation, persistence, laws, and modality. Powers are properties that have their causal natures internal to them: they are responsible for the effects in the world. A unique account of powers is developed that understands this internal nature in terms of a blueprint of potential interaction types. After the presentation of the powers ontology, it is put to work in offering solutions to broad metaphysical puzzles, some of which take on different forms in light of the new tools that are available. The defence of the ontology comes from the virtues of metaphysic it can be used to develop. Particular attention is paid to the problems of causation and persistence, simultaneously solving them as it casts them in a new light. The resultant powers metaphysic is offered as a systematic alternative to neo-Humeanism.
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Healey, Richard. Metaphysics in Science. Edited by Paul Humphreys. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199368815.013.21.
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Science has transformed, if not solved, some metaphysical problems while posing new ones. Metaphysical ideas such as those of the ancient atomists have sometimes proved helpful in developing new scientific theories. But the widespread agreement on the empirically grounded progress achieved in science has often been contrasted with what seem to be abstruse and interminable disputes over metaphysical theses. Karl Popper sought to demarcate scientific from metaphysical and other claims by appealing to their empirical falsifiability, while Rudolf Carnap and other logical positivists dismissed metaphysical claims as cognitively meaningless since they are neither empirically verifiable nor true by virtue of meaning. This article considers some contemporary views on how science relates to metaphysics only after examining the impact of science on more specific metaphysical issues—composition, identity and individuality, time and change, determinism, causation, laws, probability, and the primacy of fundamental physics.
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Corkum, Phil. Ontological Dependence and Grounding in Aristotle. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935314.013.31.
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The relation of ontological dependence or grounding, expressed by the terminology of separation and priority in substance, plays a central role in Aristotle’sCategories, Metaphysics, De Animaand elsewhere. The article discusses three current interpretations of this terminology. These are drawn along the lines of, respectively, modal-existential ontological dependence, essential ontological dependence, and grounding or metaphysical explanation. I provide an opinionated introduction to the topic, raising the main interpretative questions, laying out a few of the exegetical and philosophical options that influence one’s reading, and locating questions of Aristotle scholarship within the discussion of ontological dependence and grounding in contemporary metaphysics.
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Boisvert, Raymond D. Dewey’s Metaphysics. Fordham University Press, 1988. http://dx.doi.org/10.5422/fordham/9780823211968.001.0001.
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This book presents an interpetation of John Dewey’s metahysics. Dewey spent seventy years of his life in philosophical activity. The book covers the three periods of Dewey’s career. The first is the idealistic phase, then the experimental phase, and finally the naturalistic phase. The book begins by discussing responses to two major problems in Deweyan scholarship and to a third issue of a more purely theoretical character. There are scholars who dismiss the Deweyan attempt at formulating a metaphysics as superficial, irrelevant, and contradictory. There are others who provide a caricature of Deweyan metaphysics as describing a natural world given over solely to flux, process, and change. There there is also a general need for contemporary philosophers to deal with the issues encapsulated in the term form. The book concludes that Dewey’s metahysics presented in this book has a direct bearing on a much-discussed topic in contemporary philosophical literature: the dispute between foundationalists and anti-foundationalists.
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Cykowski, Elizabeth. Heidegger's Metaphysical Abyss. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198865407.001.0001.
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This book provides a critical study of Heidegger’s reflections on animality, which are presented most extensively in his 1929–30 lecture course The Fundamental Concepts of Metaphysics. In these lectures Heidegger poses two provocative metaphysical theses: the human, he claims, is ‘world-forming’, whereas the animal is ‘poor in world’. Contemporary secondary literature has emphatically criticised these theses on account of the objection that they forge an ‘abyss of essence’ between human and non-human organisms. The theses undermine scientific developments by breaking apart the biological continuum in order to secure the human within in its own unique category, all the while leaving the world-poor animal on the other side of the abyss. Heidegger thus reinstates an outmoded dualism that he ought, on his own terms, to renounce: human versus animal. Via a close examination of The Fundamental Concepts of Metaphysics, one that also draws on other places within Heidegger’s corpus where the theme of animality features, the book aims to clarify the true meaning, scope, and significance of Heidegger’s theses. It seeks to show that Heidegger’s examination of animality points beyond the vestiges of received dualisms back to a more essential way of philosophising about life and the human’s relationship to it. The book concludes that Heidegger’s intention is to examine and illuminate, rather than simply to repeat the orthodox metaphysical hierarchies that we have inherited, and his exploration of animality raises deep questions about the status of the human within nature that remain vitally important to this day.
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Duvernoy, Russell J. Affect and Attention After Deleuze and Whitehead. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474466912.001.0001.
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The book develops a process metaphysical conception of subjectivity from the work of Gilles Deleuze and Alfred North Whitehead. This alters existential orientations towards affect and attention in ways described as ecological attunement. The study is guided by two methodological commitments: (i) demonstrating the importance and relevance of responsible speculative thinking and (ii) translating metaphysical ideas into their existential implications. Both commitments are motivated by a contemporary context of ecological crisis and paradigm transformation. In the course of its argument, the book relates the work of Deleuze and Whitehead to other speculative trends in recent philosophy, particularly posthumanisms and speculative realisms. Deleuze and Whitehead are read in a shared lineage of radical empiricism that emphasizes processes and events as metaphysically primary. A key theme is understanding subjectivity through dynamic processes of individuation at variable scales where feeling/affect and attention acquire metaphysical rather than psychological scope and status. Whitehead’s analysis of “feeling” as metaphysical operation is explored in relation to Deleuze and Guattari's Spinozist-inspired deployment of affect. Attending participates as a crucial bridge between the metaphysical and the existential in processes of consolidation of present real actual occasions. The book develops existential implications of these claims in the context of an expanded philosophical conception of ecology. These implications challenge dominant modes of subjectification under what Guattari calls “Integrated World Capitalism” (IWC). The book concludes with discussion of how speculative philosophy may contribute to alternative futures.
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Jansson, Lina. When are Structural Equation Models Apt? Causation versus Grounding. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198777946.003.0013.
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While much about the notion of ground in contemporary metaphysics is contested, there is large agreement that ground is closely connected to a certain kind of explanation. Recently, Jonathan Schaffer and Alastair Wilson have argued that ground is a relation that is very closely related to causation and that grounding explanations should be given an account in broadly interventionist terms through the use of structural equations and directed graphs. Such an approach offers the potential benefit of a largely unified framework for explanations with different relations, or different species of the same relation, backing different types of explanation. However, this chapter argues that this benefit cannot be realized since there are crucial differences between causal explanations and grounding explanations in how we can evaluate the aptness of the models in question.
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Simons, Peter. Lowe, the Primacy of Metaphysics, and the Basis of Categorial Distinctions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198796299.003.0003.
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This chapter continues and amplifies themes from my paper in the volume Contemporary Aristotelian Metaphysics entitled ‘Four Categories – and More’, a paper which begins with the words ‘Jonathan Lowe’ and ends with the words ‘I salute him’. It continues my appreciation of and predominant agreement with the methods, tone, and philosophical attitude of Jonathan Lowe, while continuing to demur from several of his key metaphysical theses. I emphasize here our independent convergence on what seems an odd, even an inconsistent view, but is I think deep, important, and under-recognized, namely that the most basic attributes characterizing and linking the fundamental categories of being are not themselves beings.
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Dumitru, Mircea, ed. Metaphysics, Meaning, and Modality. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199652624.001.0001.
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This book is the first edited volume on the philosophy of one of the most seminal and profound contemporary philosophers. The volume is intended for philosophers, linguists, and cognitive scientists interested in metaphysics, language, and philosophical logic. The readers will benefit from the debates over Kit Fine’s novel theories on meaning and representation, arbitrary objects, essence, ontological realism, metaphysics of modality, and constitution of things. The work contains original essays which evaluate both the philosophical and some of the formal seminal contributions of Kit Fine to contemporary metaphysics, ontology, philosophy of language, and philosophical logic. The chapters in the work also advance new ideas and arguments which help in developing the debates on concepts of interests not only for philosophers but also for linguists and cognitive scientists who are interested in the foundations of their own fields. The work gives Kit Fine’s current views on the topics that he has helped to renew in today’s metaphysics, philosophy of language, and philosophical logic. The work contributes to the furthering of the debates in metaphysics, philosophical logic, and philosophy of language, focusing on brand new theories in the forefront of analytic philosophy. More generally, the hope is that a thorough discussion of the work of a very innovative and profound author such as Kit Fine can contribute to a better understanding of what is at stake within contemporary analytic philosophy.
Book chapters on the topic "Contemporary metaphysical art"
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Man, Eva Kit Wah. "Metaphysics, Corporeality and Visuality: A Developmental and Comparative Review of the Discourses on Chinese Ink Painting." In Chinese Contemporary Art Series, 37–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_6.
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Williams, Neil E. "The Neo-Humean Status Quo." In The Powers Metaphysic, 21–45. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833574.003.0002.
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Chapter 2 presents the status quo of contemporary systematic metaphysics, detailing the core elements of the dominant neo-Humean metaphysic. The neo-Humean metaphysic is the foil against which the powers metaphysic is developed. Working through the more familiar framework helps readers appreciate metaphysical commitments they might have whilst demonstrating how a metaphysic is developed from a fundamental ontology. Popular neo-Humean accounts of possibility, properties, laws of nature, and causation are presented. The penultimate section of the chapter runs through some of the common objections to those aspects of the neo-Humean metaphysic presented in the previous sections.
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"Metaphysics In Chinese Art." In Subversive Strategies in Contemporary Chinese Art, 189–212. BRILL, 2011. http://dx.doi.org/10.1163/ej.9789004187955.i-446.59.
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Deng, Natalja. "What Quine (and Carnap) Might Say about Contemporary Metaphysics of Time." In Quine, Structure, and Ontology, 280–96. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864288.003.0013.
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This chapter explores the relations between Quine’s and Carnap’s metaontological stances on the one hand, and contemporary work in the metaphysics of time on the other. Contemporary metaphysics of time, like analytic metaphysics in general, grew out of the revival of the discipline that Quine’s critique of the logical empiricists made possible. At the same time, the metaphysics of time has in some respects strayed far from its Quinean roots. This chapter examines some likely Quinean and Carnapian reactions to elements of the contemporary scene. The main claim is that contemporary temporal metaphysics is characterized by a degree of metaphysical seriousness that goes beyond anything found in either Carnap or Quine. The chapter also suggests that there are affinities between Carnapian approaches to temporal ontology and deflationary attitudes towards the question of whether time passes.
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Robertson, Simon. "Error Theory and Naturalism." In Nietzsche and Contemporary Ethics, 39–66. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198722212.003.0003.
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This is the first of two chapters examining Nietzsche’s attacks on morality’s foundational presuppositions. Presenting him as an error theorist about morality and its categoricity, the chapter distinguish two approaches to arguing for it: ‘metaphysical’ and ‘conceptual’. The rest of the present chapter considers his metaphysical arguments. These comprise naturalistically motivated arguments from queerness and best explanation against the existence of metaphysically robust, categoricity-conferring, moral properties. Such arguments are standard antirealist fare; but they face significant problems. This motivates the need for an alternative approach, pursued in Ch.4. Nonetheless, the chapter shows that we can redeploy some of the same resources used in the earlier arguments to generate a series of challenges that together make it incumbent on the moralist to show there actually are categorical requirements.
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Kerr, Gaven. "Introduction." In Aquinas and the Metaphysics of Creation, 1–14. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190941307.003.0001.
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In this introduction, the context of Aquinas’s metaphysical thought is considered and how his metaphysics of creation is drawn from that. In particular it is observed that Aquinas’s metaphysics is wholly a result of natural reasoning and so cannot be inconsistent with other disciplines which also depend on natural reason such as natural science. Furthermore, Aquinas’s metaphysics is characterized as existentialist such that the central unifying theme of his thinking in this regard is the act of existence without which there would be nothing. This notion of an existentialist metaphysics carves out a space for Thomism independent of contemporary analytic approaches to metaphysics which are somewhat distanced from the actual existence of things, and the more continental approach of Sartre for whom existence is a given to be determined in the life choices that one makes.
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Demyanchuk, Andriy. "AUTHOR’S TECHNOLOGY OF THE MAKING A MODERN ICON BASED ON THE EUROPEAN PAINTING TECHNIQUES." In Integration of traditional and innovative scientific researches: global trends and regional aspect. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-3-1.
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The purpose of the study pertains to the technology and techniques of ancient and modern icon painting. In particular, their principal processes that are presented on the basis of the author's experience and practical application tested by the well-known scientists-fine art experts. Methodology. The study was conducted using a complex of methods, such as historical, comparative, typological, analysis and generalizations, descriptive, visual, technological (chemical properties and physico-chemical processes); documentary (official and unofficial recorded information, books, manuscripts, etc.); artistic and stylistic (analysis of the manner of individual masters, their schools, separate fine arts periods); philosophical (metaphysical method: essence and phenomenon; substance and form); theological (church canons; divinity of the icon); method of artistic analysis. Research results. A unique author's technology of producing icons was developed and described on the basis of the study of the best methods of ancient and modern technological processes. This technology has been tested by the well-known students of the sacred art. Scientific novelty of the obtained results is that valuable materials dealing with the use of the ancient techniques and technological processes in modern sacred art have been contributed to the Ukrainian fine arts science, particularly, icon painting using the ancient egg-tempera techniques (taking into account the author's experience). Recommendations. The study of the ancient techniques and technological processes and their application in contemporary painting still require further theoretical research.
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McKitrick, Jennifer. "Powers in Contemporary Philosophy." In Powers, 271–94. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190925512.003.0016.
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Four metaphysicians, Charlie Martin, David Lewis, David Armstrong, and George Molnar, offer distinctive approaches to understanding powers. Martin challenges the widely held view that disposition statements can be eliminated in favor of conditional statements. The apparent failure of the conditional analysis clears the path for Martin’s idea that all properties have some degree of irreducible dispositionality. Lewis takes on Martin’s challenge and offers his reformed conditional analysis. This analysis does not purport to eliminate talk of dispositions, but instead metaphysically reduces dispositions to their causal bases. Armstrong also reduces dispositions, but he reduces them to categorical universals governed by natural laws. Molnar argues that each of the aforementioned views falters when confronted with the powers of fundamental particles, which are said to be ungrounded pure powers. Molnar holds that both fundamental and derivative powers exist alongside non-power spatial and temporal properties. Debates among these four philosophers in the latter half of the 20th century constitute a substantial part of the reemergence of discussion of powers in contemporary metaphysics.
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Doostdar, Alireza. "Metaphysical Pleasures." In The Iranian Metaphysicals. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691163772.003.0009.
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This chapter examines occult practices in terms of the metaphysical pleasures they provide by focusing on the domain of leisure and play. It first considers metaphysical pleasure arising from wonder and astonishment, with particular emphasis on how these emotions, typically known through the concepts of ʻajab and taʻajjub, have been understood in the premodern Islamic tradition. It then discusses the pleasures of contemporary aesthetic and literary consumption and how these pleasures are enabled by a trend toward subordinating the metaphysical to a set of secular sensibilities governing the appreciation of cinema, graphic arts, literature, and fashion. It shows that that each of these metaphysical pleasures provides rationalized pathways for approaching the metaphysical that do not require one to answer questions of truth or falsity.
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Posteraro, Tano S. "The Actual: Mechanism, Finalism, Modality." In Bergson's Philosophy of Biology, 22–70. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474488808.003.0002.
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The first chapter begins with Bergson’s criticisms of the scientific conceptions of life and explanations for evolutionary convergence of his time. The chapter reconstructs them on metaphysical grounds, showing how they take for granted assumptions that negate the reality of time and the novelty of evolution. The chapter presents Bergson’s criticisms as arguments against the metaphysics of the ‘actual’ and the ‘possible’ in mechanist and finalist biology. The chapter concludes by tracing the arguments against mechanism and finalism through some of their contemporary iterations in gene-based understandings of development and evolution. This chapter will appeal to philosophers of biology concerned with reductionism in the sciences of evolution and development, as well as those who are curious about the metaphysical assumptions that those sciences take for granted.
Conference papers on the topic "Contemporary metaphysical art"
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Bobrowska, Ewa. "THE COMPLEXITIES OF SENSE AND SPIRIT IN THE CONTEMPORARY PHILOSOPHY OF JEAN-FRANCOIS LYOTARD, JEAN-LUC NANCY AND THE 17-TH CENTURY METAPHYSICAL POETRY." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/21/s06.044.
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