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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Stuhr, John J. "Radical Empiricism: William James and Gilles Deleuze." Contemporary Pragmatism 18, no. 4 (November 29, 2021): 370–92. http://dx.doi.org/10.1163/18758185-bja10026.

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Abstract Both William James and Gilles Deleuze labeled their philosophies "radical empiricism." In this context, this essay explores the similarities and differences between James's radical empiricism (particularly as it is present early inches Principles of Psychology) and Deleuze's "transcendental empiricism" (particularly as set forth in The Logic of Sense). These accounts then inform a view of philosophy understood as a creative art. This art demands flexible habits--what James termed "genius"--in a changing world. Accordingly, radically empirical accounts of creativity and genius are sketched.

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2

Konstantinov, Mihael. "Juri Lotman, Gilles Deleuze and their approaches to cinema: Points of intersection." Sign Systems Studies 48, no. 2-4 (December 31, 2020): 392–414. http://dx.doi.org/10.12697/sss.2020.48.2-4.10.

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Engaging with the methods of studying contemporary digital audiovisual art is a dominant topic in contemporary theories of art. Against this background, the article offers a view onto some aspects of Juri Lotman’s and Gilles Deleuze’s studies on the cinema. As a rule, contemporary studies of digital audiovisual art take place in the context of interdisciplinary studies. One of the methodological principles of such studies consists in adopting a structural and semiotic approach. As of today, this methodological approach to studying audio-visual art is most developed in semiotics of the cinema, which is why in this article visual semiotics in general is viewed through semiotics of the cinema (proceeding from the approach of Juri Lotman). Also, the philosophical understanding of the nature of the cinema offered by Gilles Deleuze has proven fundamental for the study of contemporary audio-visual art. The two authors were contemporaries, but represented different scholarly paradigms: while Juri Lotman was an adherent of structuralism, Gilles Deleuze was a poststructuralist who criticized the structuralist approach. Yet despite this principal difference, both scholars still arrived at similar conclusions as concerns several questions regarding the understanding of the cinema and its very nature. In the present paper I focus on the features of these authors’ approach to spatial and temporal relations in the cinema, audiovisual relations in film as a heterogeneous form of the work of art, virtuality and mythologism in the viewer’s perception of cinema. The differences and similarities in academic approaches to cinema, developed by Lotman and Deleuze, indicate a common direction in the development of the cinema and visual arts theory, which seems relevant for the study of contemporary audio-visual arts.

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3

Duffy, Simon. "The Difference Between Science and Philosophy: the Spinoza-Boyle Controversy Revisited." Paragraph 29, no. 2 (July 2006): 115–38. http://dx.doi.org/10.3366/prg.2006.0012.

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This article examines the seventeenth-century debate between the Dutch philosopher Benedict de Spinoza and the British scientist Robert Boyle, with a view to explicating what the twentieth-century French philosopher Gilles Deleuze considers to be the difference between science and philosophy. The two main themes that are usually drawn from the correspondence of Boyle and Spinoza, and used to polarize the exchange, are the different views on scientific methodology and on the nature of matter that are attributed to each correspondent. Commentators have tended to focus on one or the other of these themes in order to champion either Boyle or Spinoza in their assessment of the exchange. This paper draws upon the resources made available by Gilles Deleuze and Felix Guattari in their major work What is Philosophy?, in order to offer a more balanced account of the exchange, which in its turn contributes to our understanding of Deleuze and Guattari's conception of the difference between science and philosophy.

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Vatovec, Matej T. "Nota Bene. Anti-representation enters the theatre." Maska 28, no. 157 (October 1, 2013): 128–40. http://dx.doi.org/10.1386/maska.28.157-158.128_1.

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This article deals with the problem of artistic representation in theatre. It explores the practice of the Italian actor and director Carmelo Bene, which virtually coincides with the theoretical (or philosophical) thought of Gilles Deleuze and his philosophy of difference. The author tries to show the move from classical theatre representation towards the critical staging that overturns the theatre practice, actualizing at once the 'philosophy of difference" in art. In the author's theoretical view, this shift represents the essence of artistic activity - the so-called "de-equalisation" or denunciation of common sense'.

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Yebra Pertusa, José María. "Retro-Victorianism and the simulacrum of art in Will Self's Dorian: An imitation." Revista Alicantina de Estudios Ingleses, no. 23 (December 15, 2010): 231. http://dx.doi.org/10.14198/raei.2010.23.13.

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This essay aims at exploring Will Self’s novel Dorian: An Imitation (2002) as a postmodernist revision of Oscar Wilde’s celebrated The Picture of Dorian Gray (1891). Exceptional for ones, immoral and shameful for others, Dorian: An Imitation fosters an intertextual relation with the late-Victorian hypotext whereby both texts are transformed out of a refractory process. Like its predecessor, Self’s novel is primarily interested in aesthetic issues. In this light, my main concern consists in analysing the artistic discourses that Dorian: An Imitation reflects and deflects in the era of simulation. Likewise, I examine how the novel delves into the problematic relationship between “reality” and “fiction”, original and simulacra. At the turn of the millennium, when virtual reality/ies are generated by computers, literature has a challenge which, in my view, Self’s novel deals with. Thus, from the theories of simulation proposed by Jean Baudrillard and, to a lesser extent, Gilles Deleuze, my essay confronts Dorian as a valuable text: it adapts the discourse of new technologies to literary language; it goes into the postmodernist ontological crisis; and, finally, it opens up the debate of aesthetic interaction between the canon and new literatures.

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6

Rubin, Joshua D. "Assembling emergence: making art and selling gas in Bulawayo." Africa 89, no. 3 (July 16, 2019): 479–98. http://dx.doi.org/10.1017/s0001972019000482.

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AbstractThis article is an ethnographic investigation of the labours of making art and selling liquid petroleum gas (LPG) in Bulawayo, Zimbabwe. It locates these activities within a shared social world, centred on one of Bulawayo's major art galleries, and it demonstrates that artists and LPG dealers use similar strategies to respond to the political conditions of life in the city. This article frames these conditions as unpredictable, insofar as they change frequently and crystallize in unexpected forms, and it argues that both groups are attempting to act within these conditions and shape them into emergent assemblages. In adopting this term ‘assemblage’, which has been elaborated theoretically by Gilles Deleuze, Félix Guattari and their many interlocutors, this article emphasizes both the mutability and the unpredictability of these formations. The artists who work in the gallery, for their part, make their art by assembling their chosen media. The processes by which they choose their media constitute assemblages as well, in that artists have to adapt their artistic visions to the materials that Zimbabwe's market can provide. Street dealers in gas also produce emergent assemblages against the backdrop of unpredictability. If they want to make natural gas available to consumers, dealers must shepherd their medium through an always emergent process of distribution. They participate in transnational networks of trade, but they also theorize innovative strategies of procurement, develop circuits of trust and loyalty, and conjure up visions of a predatory state. Like artists, they use their work to construct dynamic representations of the world around them. Artists may produce images, and dealers circulate gas, but this article shows that conceptualizing these practices in terms of ‘assemblages’ calls their commonalities into view. In doing so, it also demonstrates that these practices complicate easy distinctions between aesthetics, economics and politics.

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7

Khamari, Zied. "Politicizing flight in Edward Albee’s seascape." Linguistics and Culture Review 5, no. 1 (February 24, 2021): 10–19. http://dx.doi.org/10.21744/lingcure.v5n1.150.

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In recent years, scholars and critics have become increasingly interested in the view that art is a means to escape from the existent reality and the difficulties of modern civilization. Many writers emphasized in their literary works the need to be emancipated from the restrictions of modern society and underlined the idea that flight is the ultimate way to avoid the complexities of contemporary life. Edward Albee, for example, addressed the issue of flight in his drama, particularly the sociopolitical and artistic scopes of escape. In his Seascape, Albee presents a multifaceted perception of flight juxtaposing the social with the literary and the political with the artistic. In the postmodern political thought too, there is a similar tendency that valorizes the struggle for the liberation of the individual from all forms of repression and domination exerted by sociopolitical forces. Gilles Deleuze & Félix Guattari (2005), for instance, criticize the constraints and rules that power authorities use to control the individual and call instead for freeing humans from all authoritarian policies. This paper, then, seeks to examine Albee’s staging of flight from the Deleuzo-Guattarian perspective in an attempt to elucidate his complex yet refined dramatization of escape in his play Seascape.

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Neupokoiev, Ruslan. "Existential Features of Variety Numbers With a Puppet." Culturology Ideas, no. 14 (2'2018) (2018): 205–15. http://dx.doi.org/10.37627/2311-9489-14-2018-2.205-215.

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The dramatic principles of the variety art puppet are fundamentally different from the principles of classical drama, the application of the principles leads to the creation of not concert numbers, but etudes, or small performances. At the empirical level, there is an understanding of the difference between the number and the etude, but the lack of a clear differentiation between them and the lack the principles by which the existence of the number becomes possible creates serious problems for practical work. Principles of classical drama, formulated in the era of the Enlightenment on the basis of the Aristotle’s unity of place, time and action, continue to dominate in the view of dramaturgy to this day. Search of the principles difference from classical ones leads us to turn to a non-classical picture of the world in general and to the philosophy of postmodernism in particular. So we apply the postmodern method of deconstruction to the subject of the research. Speaking about the binary opposition “etude and number”, let us pay attention to the broader opposition: “performance and concert”. It correlates directly with the concepts proposed by Gilles Deleuze and Felix Guattari, described in the work “Rhizome”: “tree” and “rhizome”. The linear narrative as a performance corresponds to the “tree” concept, the nonlinear narrative as a concert number corresponds to the rhizome. Linear narrative is created according to the classical principles of decalcomania, but nonlinear narrative is created according to the rhizomatic principles of cartography. “Tree” is centred on the root – ideas, “rhizome” is not centred. Rhizome is the sum of the relationship of its points. The idea in the rhizome is secondary and may arise as a result of the relationship between points of rhizome. Analysis and deconstruction demonstrate that the concert and the numbers from which it is composed, in contrast to the performance and the etude, are rhizomatic systems, and therefore require radically other principles of drama. Application to rysomatic systems of the cartography method proposed by Gilles Deleuze, when instead of proving meaning, meaning is born in the process of the research, may become the main method of non-classical drama. The subject of the study in the concert number is the behaviour of the function, which may be a metaphor of the phenomenon of life, embodied in a certain form in the non-inherent for this function of the proposed circumstances. The form-function and the proposed circumstances become points of the rhizome, and their interaction creates rise to the meaning of the concert number. Principles of rhizomatic drama, built on the cartography method, can be applied not only in the concert number with the puppet, but also throughout the art of the postmodern era.

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Koutsourakis, Angelos. "Militant Ethics." Cultural Politics 16, no. 3 (November 1, 2020): 281–302. http://dx.doi.org/10.1215/17432197-8593494.

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The publication of Rainer Werner Fassbinder’s play Der Müll, die Stadt und der Tod (Garbage, the City, and Death; 1976) constitutes one of the major scandals in German cultural history. The play was accused of being anti-Semitic, because one of its key characters, a real estate speculator, was merely called the Rich Jew. Furthermore, some (negative) dramatis personae in the play openly express anti-Semitic views. When asked to respond, Fassbinder retorted that philo-Semites (in the West Germany of the time) are in fact anti-Semites, because they refuse to see how the victims of oppression can at times assume the roles and positions assigned to them by pernicious social structures. Fassbinder’s vilification on the part of the right-wing press prevented the play’s staging; subsequently, in 1984 and 1985–86 two Frankfurt productions were banned due to the reaction on the part of the local Jewish community. A similar controversy sparked off by the film adaptation of the play Shadow of Angels by Daniel Schmid. During the film’s screening at the Cannes Film Festival the Israeli delegation walked out, while there was also rumor of censorship in France. Gilles Deleuze wrote an article for Le Monde titled “The Rich Jew” defending the film and the director. Deleuze’s article triggered a furious reaction from Shoah (1985) director, Claude Lanzmann, who responded in Le Monde and attacked the cultural snobbery and “endemic terrorism” of the left-wing cinephile community. Lanzmann saw the film as wholly anti-Semitic and suggested that it identifies the Jew—all Jews—with money. While the author acknowledges the complexity of the subject, he revisits the debate and the film to unpack its ethical/aesthetic intricacy and propose a pathway that can potentially enable us to think of ways that political incorrectness can function as a means of exposing the persistence of historical and ethical questions that are ostentatiously resolved. He does this by drawing on Alain Badiou’s idea of militant ethics and Jacques Rancière’s redefinition of critical art as one that produces dissensus.

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10

Lepikult, Mirjam. "Michel Foucault' filosoofiline nägemine kujutava kunsti näite põhjal." Baltic Journal of Art History 11 (November 30, 2016): 89. http://dx.doi.org/10.12697/bjah.2016.11.05.

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In examining Michel Foucault’s philosophical vision I have used Gilles Deleuze’s definition: “A seer is someone who sees something not seen.” Being situated on the border between the discursive and the non-discursive, images offer an opportunity to get out of the discursivity; this rupture enables one to see and say something new. The images carry in themselves “an uncertainty essential for creativity”. This property relates images to Foucault’s philosophical vision, aimed at destroying the evidence characteristic of a historical formation in the sphere of what is seen and what is said.In addition, one can notice three different directions in Foucault’s understanding of art, which correspond to different periods in his thinking. In his first work Folie et déraison. Histoire de la folie à l’âge classique (1961) there is a vertical view. Influenced by Martin Heidegger’s ontological conception of art, Foucalt sees images as “growing out of the Earth”, as a specific truth which he valued highly during this period.”Archéologie du savoir (1969) reveals a different vision of art. In this work, Foucault stressed that, at least in one of its dimensions, art is a discursive practice “at the most superficial (discursive) level”. In this “superficial” phase, his account of art may be compared to George Dickie’s institutional theory of art. I call the gaze moving along the surface the horizontal.However, as early as the 1970s, Foucault’s understanding of art becomes spherical: art lacks an ontological dimension; instead, images emerge in a historical fabric, within a network of power, as a result of complex interaction between various forces. Foucault participates in this “fight” mainly at the discursive level, but he does not suffocate images with text; instead, he revitalizes them, making them visible again in a novel way.Eventually the question arises whether the direction of the view has an effect on the interpretation of art.Firstly, there is the problem of value. In a broader wider perspective, the vertical is inherently tied to this. It touches on hierarchy, on looking up from below and the awe this invokes. A connotation is assigned to divine structures and the symbolic significance of such things. Growing from the artist’s hand via forces unknown, self-made artworks thus evoke a different kind of reverence than those produced merely on a flat surface. Foucault’s earlier works in his vertical period reference visual art notably more than his later works. Pictures made in the vertical seem to offer him more inspiration. It is only during this period that pictures speak to him, later it would be reversed – he would speak of the image.Admittedly he never finished his horizontal interpretation, producing only a barebones sketch. Such an approach does not demand viewing or listening to the art itself, but rather offers a possible way to hold a discussion on it. Maybe Foucault just did not have the time to write on the horizontal or maybe it simply did not engage him enough.The horizontal approach, specifically the version put forth by Dickie is a consumer-centric vision. Art would mean a market that is based purely on supply and demand. With this approach, artworks tend to contract the one time use and disposability of commodities.Secondly, there is the issue of visual art’s material or virtual nature. Words like verticality and Earth remind us that art has been material (until now) and thus literally originates from the ground. One can easily argue that works come from the Earth and emerge with the help of the artist, as Heidegger claimed. If we say that artworks have been material until now, we draw attention to the evolution of art as a configuration of shining pixels on a computer screen. The screen may be material but how and in what way is the light emitted from the tiny points of light material? However one approaches it, the virtual image is material in a different way than traditional works of art. Might it be that Foucault’s spherical view is a good fit for analyzing such virtual art?

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11

Sauvagnargues, Anne. "Art mineur - Art majeur : Gilles Deleuze." Espaces Temps 78, no. 1 (2002): 120–32. http://dx.doi.org/10.3406/espat.2002.4188.

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Terentieva, Ekaterina. "Constructing the Nobility: the Noble Estate in the Works of French Erudites." ISTORIYA 13, no. 6 (116) (2022): 0. http://dx.doi.org/10.18254/s207987840021781-8.

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The article outlines the specific of views of French erudites on the noble estate in early modern France, focusing on the image of nobility in erudite writings. The erudite intellectual current inextricably intertwined with major political, social and cultural processes in France of the Ancien Régime, till the end of the seventeenth century staying in the area of highly topical subjects, though seen through the prism of specific erudite themes and with the use of erudite methods. In the epoch when the humanities were little segmented a knowledge area such approach was quite natural and turned out to be fruitful. The position of the second estate in the French society and even the definition of the sense of nobility itself were the questions that France faced in the early modern epoch and especially after the Wars of Religion. The late sixteenth and the seventeenth centuries brought many novelties both into the social composition of nobility and its mode of existence. Both changes were reflected in and at the same time constructed by the intellectuals we can pleno jure rate among early modern erudites. A large amount of literature of various genres and consecrated to different aspects of nobility emerged in that period. Two of such works may be concerned significant, having almost similar titles and being published with a centennial interval, the first in 1577, and the second in 1678. These are the treatises of the nobility by François de l’Alouette and Gilles André de la Rocque de la Lontière, briefly analyzed and contextualized in the present paper. The phenomenon of the researches of nobility, the genre of genealogy and genealogic history, the professions of genealogists, feodists and historiographers, the European tradition of memoria etc. are also involved into the analysis.

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Ellis, Joyce, John Walton, and Peter Borsay. "Ralph Hyde, Gilded Scenes and Shining Prospects: Panoramic Views of British Towns 1575–1900. New Haven, Connecticut: Yale Center for British Art, 1985. 207 pp. 105 plates. No price given." Urban History 14 (May 1987): 221–22. http://dx.doi.org/10.1017/s0963926800009020.

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14

Pakzad, Zahra. "Gilles Deleuze’s Point of View for Biographical Trends of Frances Bacon’s Ideas." Asian Social Science 12, no. 3 (February 23, 2016): 50. http://dx.doi.org/10.5539/ass.v12n3p50.

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<p>Francis Bacon as a precursor of modern painting, in addition to reputation in the fields of visual arts, has attracted the attention of many philosophers and scholars of the twentieth century due to its creative and controversial works. One of these philosophers is Gilles Deleuze. Gilles Deleuze is written numerous works in various fields ranging from photography and cinema to the history of philosophy. In a book entitled “Francis Bacon: The Logic of Sense”, Deleuze presented a new understanding of the concepts contained and hidden in Bacon’s paintings of Bacon. Seeking to explore Bacon’s position in painting and also Deleuze’s position in the philosophy, the current study intends to analyze Deleuze philosophical interpretation of the works of Bacon.</p>

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Cunha, Cláudia Madruga, and Leomar Peruzzo. "FILOSOFIA DIFERENÇA E PERFORMANCE ART RESSONÂNCIAS E RIZOMAS DO PERFORMER PROFESSOR." Revista Contrapontos 20, no. 2 (March 7, 2021): 412–27. http://dx.doi.org/10.14210/contrapontos.v20n2.p412-427.

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Neste artigo, aproximamos a filosofia de Gilles Deleuze e a deleuziana-guattariana, com o objetivo de buscar as ressonâncias filosofia diferença e arte da performance (GOLDBERG; GLUSBERG, COHEN) para fins de alcançar a análise de um processo de educação de professores no qual se fez sensibilização artística voltada aos professores de arte da cidade de Blumenau. Dividimos o texto em quatro abordagens: na primeira, tratamos das vizinhanças entre a filosofia de Gilles Deleuze e da performance arte; no segundo, desdobramos a relação estabelecida no primeiro percurso; no terceiro, apresentamos o “Rizoma” como prática metodológica performática; no último percurso, olhamos para as possibilidades de uma experiência em arte educação que quis desfazer de um corpo educado nos performers professores.

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Ketchum, Jim. "World Views: Maps & Art." Cartographic Perspectives, no. 45 (June 1, 2003): 68–70. http://dx.doi.org/10.14714/cp45.499.

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17

Xu, Li. "A Deleuzian Interrogation on the Interference of Art and Science." Research in Arts and Education 2022, no. 2 (December 22, 2022): 4–11. http://dx.doi.org/10.54916/rae.122975.

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Interdisciplinary research has become more mainstream in the academia as of late. Gilles Deleuze’s theories, especially his critical insight into the relationship between science and art may open new avenues for this kind of research. Deleuze’s ideas are significant, not only because he provides a framework for thinking about nomadic science, but he also clarifies possible criteria for assessing the nature of interdisciplinary experiments. Art “organizes” this chaos in a frame to form a composed chaos that becomes sensory/affective/intensive, but science “organizes” the same chaos into a system of coordinates and forms of measure that produce the appearance of “Nature.” Art and science, in this model, can intersect and intertwine, but Gilles Deleuze and Félix Guattari never suggest there can be a perfect synthesis between the two. Instead, we can associate the two kinds of creative activities in terms of neighboring planes: planes of composition for art and planes of reference for science. The goal of this paper is to argue that Deleuze and Guattari characterize the interaction between these two planes as one of interference rather than synthesis and shed new light on arts-based research in terms of the three interferences.

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Barrus, Edson. "SOCORRO ! O QUE FOI QUE EU FIZ ?" Arteriais - Revista do Programa de Pós-Gradução em Artes 5, no. 9 (February 16, 2021): 152. http://dx.doi.org/10.18542/arteriais.v5i9.9823.

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ResumoA partir do enunciado do carneiro carnívoro de Gilles Deleuze, o autor transita pelas experiências vivenciais no Espaço Experimental Rés do Chão, cujas atividades na Rua do Lavradio no Rio de Janeiro e suas desterritorializações, foram fundamentais para a cena artistica emergente nos início dos anos 2000.AbstractBased on Gilles Deleuze’s declaration of the carnivorous ram, the author explores Rés do Chão Experimental Space’s life experiences, whose activities in Rio de Janeiro, Lavradio St. and its deterritorializations, were fundamental for the emerging art scene of the early 2000s.

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Lepiksaar, Toomas, Leo Tönisson, and Kalju Leht. "Children and Art: Views from Tallinn." Gifted International 5, no. 2 (September 1988): 19–26. http://dx.doi.org/10.1080/07387849.1988.11674836.

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20

Moreira Soares, Maria João, and Clara Germana Gonçalves. "Gilles Deleuze and Bernini’s Bel Composto: From Theatricality to a Living-montage." Athens Journal of Architecture 8, no. 4 (October 5, 2022): 315–36. http://dx.doi.org/10.30958/aja.8-4-1.

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In The Fold (1988), Gilles Deleuze argues that if the Baroque period establishes the concept of total art or the unity of the arts, then it does so in extension. Each art form extends to another art form. To this “extensive unity” – this “universal theatre” – he adds the Elements; we can say the epigene. The philosopher writes: “[t]his extensive unity of the arts forms a universal theatre that includes air and earth, and even fire and water.” According to Giovanni Careri, writing in Bernini: Flights of Love, the Art of Devotion (1995), the interiors of Gian Lorenzo Bernini's are the most complete realisation of the bel composto. In these chapels, the interiors function as complete autonomous organisms in and of themselves. A theatrical dimension is associated with this autonomous operation. Careri adds another insight. He argues that the proliferations of composition components inherent in Bernini's chapels result in a cinematographic montage. Proceeding from Bernini’s bel composto and Deleuze’s thought, this paper proposes a new reading of the Baroque that is relevant to the present-day for architecture, taking the idea of theatrical scene as an organism supported by architecture and advancing to an idea of montage (beyond Careri’s) in which the spectator, the one who observes the small world, and the small world itself turning into an autonomous organism, makes the assemblage of the whole. A living-montage – an idea of architecture that is constantly interpreted, reinterpreted and recreated by the beholder.

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21

Jones, Louisa. "Gilles Clément revisited: biology, art and ecology. A reply to Danielle Dagenais." Studies in the History of Gardens & Designed Landscapes 26, no. 3 (July 2006): 249–52. http://dx.doi.org/10.1080/14601176.2006.10435469.

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22

Schmidgen, Henning. "Cerebral Drawings between Art and Science: On Gilles Deleuze’s Philosophy of Concepts." Theory, Culture & Society 32, no. 7-8 (November 12, 2015): 123–49. http://dx.doi.org/10.1177/0263276415616681.

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23

Tyutyunnik, Yulian G. "ART LANDSCAPE SCIENCE IN GEOGRAPHICAL DESCRIPTION." Географический вестник = Geographical bulletin, no. 3(58) (2021): 6–20. http://dx.doi.org/10.17072/2079-7877-2021-3-6-20.

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The paper deals with the history, current state and prospects of using the descriptive method in geographical science. We identify the goals, classify the methods, analyze the conditions of the application of literary techniques in geographical description; the transformations of these techniques, both occurring today and possible in the future, are also analyzed. The subject of geographical description is characterized, its distinctive features are specified. Based on the ideas of Gilles Deleuze, we offer a classification of the methods of obtaining geographical images using the techniques of fiction (image-picture, image-movement, image-crystal). Specific examples show the philosophical and theoretical potential of geographical description. The paper argues that geographical description, using literary techniques, not only has not outlived its usefulness but also has the prerequisites for further development as one of the methods of geographical science.

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Rayment, Trevor. "Art Teachers' Views of National Curriculum Art: A repertory grid analysis." Educational Studies 26, no. 2 (June 2000): 165–76. http://dx.doi.org/10.1080/713664267.

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25

Miedema, Hessel. "Gilles I Coignet: De Waarheid verheven?" Oud Holland - Quarterly for Dutch Art History 118, no. 3-4 (2005): 113–20. http://dx.doi.org/10.1163/187501705x00312.

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AbstractA painting by Gillis Coignet of I596 (fig. I) which recently appeared on the art market shows an allegory whose explicit meaning is unclear, there being no text in the cartellino in the lower left-hand corner. The representation is based on a type derived from Democritus of Time releasing Truth from oblivion, vainly obstructed by negative forces such as envy and falsehood. The type, which was illustrated previously by Coignet (fig. 4) is based on the vignette of the Venetian publisher Francesco Marcolini ("Veritas filia temporis") (fig. 3). In Coignets painting there can however be no question of Time, for the depicted figure, a winged grey-haired man, in goat-footed legs, which identifies him as Pan, who stands for the revealed universe but in Platos Kratylos 408 BC is interpreted as the language which indicates everything ("TO IIâν") both for good and evil, so that he is pictured from above as a human being and at the bottom as a goat. Although the two figures cannot be identified precisely, Coignet has evidently transformed an existing theme with the aid of mythographical interpretations into an allegory which may be understood in this sense: the naked female figure symbolises a pure principle (truth, righteous judgement, vita contemplativa), Pan, his head glowing golden from the sky above, indicates human understanding, i.e. human endeavour. Small scenes in the background indicate a religious context, which may be connected with the fact that Coignet had just moved house for the second time, probably for religious reasons.

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Anglin, Jacqueline M. "Three Views of Middle School Art Curriculum." Studies in Art Education 35, no. 1 (1993): 55. http://dx.doi.org/10.2307/1320838.

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Yahnke, R. E. "DOCUMENTARY VIEWS OF THE ART OF AGING." Gerontologist 44, no. 2 (April 1, 2004): 285–89. http://dx.doi.org/10.1093/geront/44.2.285.

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Nogueira, Isabel. "Views on art criticism and its function." Revista Estudos do Século XX, no. 8 (2007): 337–47. http://dx.doi.org/10.14195/1647-8622_7_19.

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Lemos, João. "Kant and Recent Philosophies of Art." Kantian Review 26, no. 4 (December 2021): 567–82. http://dx.doi.org/10.1017/s136941542100039x.

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Abstract This article is to be a bridge between Kant’s aesthetics and contemporary art – not by being a paper on Kant and contemporary art, but rather by being on Kant and contemporary philosophy of art. I claim that Kant’s views on the appreciation of art can accommodate contextualism as well as ethicism. I argue that not only does contextualism fit Kant’s views on the appreciation of art; in §§51–3 of the third Critique, Kant’s appreciation of art is in accordance with contextualism. I go on to argue that not only does ethicism fit Kant’s views on the appreciation of art; in §§51–3, Kant’s appreciation of art is in accordance with ethicism.

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Daunais, Isabelle. "L’essayiste discret." Études françaises 53, no. 1 (April 19, 2017): 11–22. http://dx.doi.org/10.7202/1039559ar.

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Si l’oeuvre de Gilles Marcotte est reconnue comme celle d’un critique majeur de la littérature québécoise, elle est beaucoup moins souvent lue comme celle d’un essayiste. Il est vrai que cette oeuvre ne correspond pas tout à fait aux critères par lesquels l’essai est généralement identifié, et qui tiennent à la position de distinction ou de distance de l’essayiste face au monde. Gilles Marcotte écrit au contraire depuis la conscience forte d’une communauté – une communauté qui inclut les vivants et les morts, les lecteurs ordinaires –, sans laquelle il ne saurait y avoir pour lui ni art ni littérature. Par cette position au sein du monde, il pratique une forme plus discrète d’essai, mais aussi, à bien des égards, plus singulière.

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Biron, Michel. "Au-delà de la rupture : « Bestiaire » de Gilles Hénault." Dossier 24, no. 2 (August 28, 2006): 310–23. http://dx.doi.org/10.7202/201430ar.

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Résumé Cet article étudie la place du poème « Bestiaire » (1959) de Gilles Hénault dans l'histoire littéraire. Bien qu'il ait été l'un des premiers écrivains au Québec à se réclamer du surréalisme (celui d'Éluard en particulier), Hénault ne fait pas de « Bestiaire » un texte provocateur à la manière des textes de Gauvreau ou du premier Paul-Marie Lapointe. Luparia critique comme un art poétique, ce poème se soucie moins défaire sa « révolution du langage poétique » que d'intégrer plusieurs répertoires et d'accorder la négativité de la poésie moderne avec un désir de communication propre au contexte local. Trois éléments de lecture sont privilégiés dans cette perspective : la question du lecteur, la fonction sociale de la poésie et la conception du temps et de l'Histoire.

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Batti, Lara. "Distinguishing Nursing Art: Patient, Researcher, and Student Views: Nursing Is an Art." Journal of Holistic Nursing 26, no. 1 (March 2008): 68–69. http://dx.doi.org/10.1177/0898010108314857.

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Eydenberg, Kaitlyn. "Distinguishing Nursing Art: Patient, Researcher, and Student Views: The Art of Nursing." Journal of Holistic Nursing 26, no. 1 (March 2008): 77–78. http://dx.doi.org/10.1177/0898010108314859.

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Kennedy, Edward Donald. "Malory’s Political Views: My Final Retraction." Arthuriana 29, no. 1 (2019): 50–57. http://dx.doi.org/10.1353/art.2019.0004.

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Hubert, Jean-Paul. "Jean Gottmann's theoretical writings: The art of reinventing geography." Ekistics and The New Habitat 70, no. 418/419 (April 1, 2003): 101–10. http://dx.doi.org/10.53910/26531313-e200370418/419320.

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The author is a researcher at the University of Namur in Belgium. He works on the regional aspects of transport and mobility, especially in the Walloon region. He devoted his Ph. D thesis to the epistemological issue of the discontinuities in geographical space (1992). That led him to examine and comment on Jean Gottmann's conception of geographical space and Gilles Ritchoťs structural theory on the forms of human settlement. Epistemology of geography remains one of his interests in parallel with empirical studies on mobility and on the dynamics of human settlements. Since 1996, he has collaborated with François Moriconi-Ebrard on the "Terrae Statisticae" project, which archives and analyzes historical demographic data at the lowest territorial level, all around the world.

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Schönher, Mathias. "Gilles Deleuze’s Philosophy of Nature: System and Method in What is Philosophy?" Theory, Culture & Society 36, no. 7-8 (February 14, 2019): 89–107. http://dx.doi.org/10.1177/0263276418820954.

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For its elliptical style, What is Philosophy? appears to be fragmentary and inscrutable, and its reception has been correspondingly contentious. Following an intimation by Gilles Deleuze himself, this article proposes that his final book, written in collaboration with Félix Guattari, contains a philosophy of nature. To address this proposition, the article begins by outlining the comprehensive system of nature set out in What is Philosophy?, defining it as an open system in motion that conjoins philosophy with the historical preconditions and intersects it with science and art. The article then addresses the precise method whereby the philosopher as an individual subject, emerging from nature, can succeed in becoming creative – that is, in creating concepts to bring forth new events. Finally, the brain turns out to be the pivot between the system and this method. What is Philosophy? thus presents an account of the brain based on a theory of the three specific planes of philosophy, science and art, and uses it to expand upon the idea of assemblage for a philosophy of nature.

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Lewis, Celia M. "Text and Territory: Geographical Imaginations in the European Middle Ages by Sylvia Tomasch and Sealy Gilles." Arthuriana 11, no. 1 (2001): 130–31. http://dx.doi.org/10.1353/art.2001.0036.

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Alagha, Joseph. "G. Banna’s and A. Fadlallah’s Views on Dancing." Sociology of Islam 2, no. 1-2 (November 21, 2014): 60–86. http://dx.doi.org/10.1163/22131418-00201005.

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This article discusses the concept of purposeful art (al-fann al-hadif), which is ideologically motivated art that caters to Muslim religious sensibilities, in opposition to lowbrow art (al-fann al-habit) that does not. It compares Gamal al-Banna’s attempt in Egypt to include dance into the concept with the views of the Lebanese Ayatullah Fadlallah, the late ideologue and early mentor of the Shi‘ite resistance movement Hizbullah. The main question is how purposeful art – particularly dancing as an illustration of the sensitivity of body in public space – is legitimized by the jurisprudential notion of hasanat (good deeds) in the Sunni tradition by al-Banna and maslaha (interest, advantage) in the Shi‘ite tradition by Fadlallah and Hizbullah. By promoting resistance art (al-fann al-muqawim), Hizbullah reveals its new face. It contests public space through artistic cultural productions, including dancing, which leave room for the female body to perform on a stage characterized by gender mixing, for a mixed audience. Hizbullah believes that art is humanity and it promotes democracy. al-Banna, Fadlallah, and Hizbullah concur that “Islam”, as it is lived out by its followers, finds a necessary expression in social practices; it is the art form of dancing that is more controversial.

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Choi, Seon Nam. "Supervisors' Views on the Supervision of Art Therapy." Korean Journal of Art Therapy 16, no. 3 (June 2009): 297–318. http://dx.doi.org/10.35594/kata.2009.16.3.002.

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Choi, Seon Nam. "Supervisee' Views on the Supervision of Art Therapy." Korean Journal of Art Therapy 16, no. 4 (August 2009): 637–53. http://dx.doi.org/10.35594/kata.2009.16.4.006.

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Barbato Gaydos, H. Lea. "Distinguishing Nursing Art: Patient, Researcher, and Student Views." Journal of Holistic Nursing 26, no. 1 (March 2008): 63. http://dx.doi.org/10.1177/0898010107314072.

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Spencer, D., H. Rand, K. Huffman, P. Pearlstein, B. Riley, Will Stapp, and Vivian Rainer. "Computer art - an oxymoron? Views from the mainstream." ACM SIGGRAPH Computer Graphics 23, no. 5 (December 1989): 211–21. http://dx.doi.org/10.1145/77277.77288.

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Hamblen, Karen A. "An Art Education Future in Two World Views." Design For Arts in Education 91, no. 3 (February 1990): 27–33. http://dx.doi.org/10.1080/07320973.1990.9940426.

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Hughes, Ted. "Three Views of Contemporary Native North American Art." Great Plains Quarterly 34, no. 2 (2014): 177–83. http://dx.doi.org/10.1353/gpq.2014.0040.

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Teal, Randall. "Disciplining sensation: the architectural thinking of Reima Pietilä." Architectural Research Quarterly 23, no. 2 (June 2019): 127–36. http://dx.doi.org/10.1017/s1359135519000162.

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When pious critics criticized Millet for painting peasants who were carrying an offertory like a sack of potatoes, Millet responded by saying that the weight common to the two objects was more profound than their figurative distinction. As a painter, he was striving to paint the force or that weight, and not the offertory or the sack of potatoes.(Gilles Deleuze and Félix Guattari)Gilles Deleuze sought an ontology that did not, according to Todd May, ‘reduce being to the knowable’. Instead he sought a widening of thought that would allow one ‘to palpate the unknowable’. Key to this expanded field of thought is an ability to think the ‘material synthetic unity’ of ‘sensation’. Deleuze drew upon art in general, and painting in particular, to describe both the nuances of sensation and how to think sensation.

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Gramling, Kathryn Louise. "Distinguishing Nursing Art: Patient, Researcher, and Student Views: Frances's Story of Nursing Art." Journal of Holistic Nursing 26, no. 1 (March 2008): 65–66. http://dx.doi.org/10.1177/0898010107313244.

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Gramling, Kathryn Louise. "Distinguishing Nursing Art: Patient, Researcher, and Student Views: Justine's Story of Nursing Art." Journal of Holistic Nursing 26, no. 1 (March 2008): 70–72. http://dx.doi.org/10.1177/0898010107313245.

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Gramling, Kathryn Louise. "Distinguishing Nursing Art: Patient, Researcher, and Student Views: Frank's Story of Nursing Art." Journal of Holistic Nursing 26, no. 1 (March 2008): 75–76. http://dx.doi.org/10.1177/0898010107313246.

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Vallury, Raji. "On difference and repetition in cinematic adaptation: Bertolucci's Before the Revolution and Stendhal's The Charterhouse of Parma." Journal of Italian Cinema & Media Studies 8, no. 2 (March 1, 2020): 173–87. http://dx.doi.org/10.1386/jicms_00015_1.

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Abstract Critical reflections on the cinematic adaptation of literary texts are usually structured by the dialectics of fidelity and betrayal, identification and estrangement. Through a theoretical framework constructed by the concepts of Gilles Deleuze, Gérard Genette and André Bazin, my article interrogates the Oedipal model of imitation and rebellion used to understand an act of cinematic adaptation. Analysing the links between Bernardo Bertolucci's Before the Revolution (1964) and Stendhal's The Charterhouse of Parma (1838), I propose that cinematic adaptation may be understood as an engagement with a differential singularity; as the assemblage of a point of view in relation with another point of view. Adaptation is the creation and production of difference in concert with another difference, rather than the repetition of the same. Bertolucci's encounter with Stendhal expresses a type of historical consciousness; an expression that takes place on the planes of aesthetics and politics.

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Raza, Syed Sami. "Art, Philosophy and Cinematography: A Note on the Aesthetics Beyond Representation and Figuration." Global Digital & Print Media Review V, no. II (June 30, 2022): 53–63. http://dx.doi.org/10.31703/gdpmr.2022(v-ii).06.

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In his book Francis Bacon: The Logic of Sensation, Gilles Deleuze explores certain art techniques in the paintings of Francis Bacon to illuminate the politics of aesthetics. He demonstrates how some of those paintings allow us to move from the problematic field of (political)representation to the conditions of representations and from the field of reason to that of the logic of sensation. He demonstrates this by way of bridging the gap between modern art and philosophy. In my paper, I follow Delueze’s method and try to search for some more artistic techniques in Francis Bacon. Then I draw some parallels between these art techniques with the politics of aesthetics in the film genre by focusing on Tom Tykwer’s 1998 film Lola Rennt.

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