Journal articles on the topic 'Transcendental art'
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Frențiu, Rodica, and Florina Ilis. "‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy." Eikon / Imago 10 (February 8, 2021): 311–22. http://dx.doi.org/10.5209/eiko.74154.
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The premise of the approach in the present paper is the interpretation of Japanese calligraphy as an artistic act and the reception of the calligraphic work of art as the object of the aesthetic relation. By combining the theoretical analysis of the main artistic functions of calligraphy –as both a representative and an expressive art – with the practice of calligraphic art, the present endeavour aims to identify the factual and artistic poetics of this visual (pictorial) and verbal art. As such, our study focuses on the particularities of the calligraphic work of art, given by its means of existence: its object of immanence is concurrently a physical and an ideal object (through its linguistic scriptural contents). In our analysis, the Japanese calligraphic art becomes the object of a reading that exploits the Western and Eastern aesthetic poetic theories, in an attempt to explore this art’s means of existence, functioning, and reception, by revealing its calligraphicity, or its artistic-aesthetic quality. As a reflection on the relation between the image and the word, and on the coherence of the vision triggered by it, based on the characteristics of the visible, our study is an original approach that analyses and interprets the vocabulary and the formal style of a unique artistic field that begins with a linguistic expression, as a means of representation, and culminates with an abstract form of expression, as a means of presentation.
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Singh, Iona. "Vermeer, materialism, and the transcendental in art." Rethinking Marxism 16, no. 2 (April 2004): 155–71. http://dx.doi.org/10.1080/08935690410001676212.
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Filipović, Andrija. "From transcendental idealism to transcendental empiricism and beyond: Kant, Deleuze and flat ontology of the art." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 147–56. http://dx.doi.org/10.5937/saj1502147f.
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In this paper I will show that the movement from Kant's transcendental idealism to Gilles Deleuze's transcendental empiricism and then to new materialisms and speculative realisms is what enables us to talk about the direct and non-mediated access to the thing in itself (or its dissolution). In other words, it's the change from the conditions of possible experience to the conditions of real experience that made possible current philosophical and theoretical discourses of materialisms and realisms. What is of particular interest for the purposes of this paper is how the change from conditions of possible to real experience relates to the current conceptualizations of art practices. More precisely, I will show how the ontology of art changed, or at least that there perhaps appears paradigm-shifting possibility of different aesthetics and ontologies of art, flat ontology being one of them, with the appearance of new materialisms and speculative realisms that were made possible by the change to the conditions of real experience.
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Kormin, Nikolai Aleksandrovich. "Kant's Critique of Pure Reason: Aesthetics Inside and Outside of Transcendental Aesthetics." Философия и культура, no. 9 (September 2022): 28–86. http://dx.doi.org/10.7256/2454-0757.2022.9.38829.
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The subject of the research is the features of Kant's "Critique of Pure Reason", which contribute to the methodological acquisition of aesthetic identity, they are generated through the transition to harmony of higher cognitive abilities, set the prospect of revealing how art is possible, and declare themselves in a specific experience of color and ideality of perfection and other concepts significant for aesthetics. Transcendental aesthetics, within which the first semantic images of aesthetics as a science and cultural form are formed, as a singular a priori of the history of art, as well as the structure of the coloristic discourse of criticism, reduces any objectivity of color and reveals the essential structures of its subjective experience. Kant, with one purely transcendental rhythm of reflection in the first Critique, revealed the conditions for the possibility of the aesthetic, raised the question of what makes all art possible; the transcendental undertaking itself manifested both timelessness and temporality behind their work in art.In the Critique of Pure Reason, the concept of perfection is analyzed outside of transcendental aesthetics, where a more or less definite description of perfection is given, which is directly related to the aesthetic facet of the transcendental meaning of the world. Its exceptional importance for understanding Kantian aesthetics is due to the fact that the metaphysics of perfection in late Kant allows us to rethink the critical approach to identifying the structures of aesthetic judgment in the third "Critique".
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Sokolov, Evgenii Georgievich. "Alternatives to transcendental experience in art culture of Europe." Vestnik of Saint Petersburg State University of Culture 4 (December 2018): 82–91. http://dx.doi.org/10.30725/2619-0303-2018-4-82-91.
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C. R. Vanden Bossche. "Fictive Text and Transcendental Self: Carlyle's Art of Biography." Biography 10, no. 2 (1987): 116–28. http://dx.doi.org/10.1353/bio.2010.0470.
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Zepke, Stephen. "The Sublime Conditions of Contemporary Art." Deleuze Studies 5, no. 1 (March 2011): 73–83. http://dx.doi.org/10.3366/dls.2011.0008.
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Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, sensation in both its wider and more specifically artistic senses (senses that become increasingly entwined in Deleuze's work) will explode the clichés of human perception, and continually reinvent the history of art without recourse to representation. In tracing Deleuze's ‘aesthetics’ from Kant we are therefore returned to the viciously anti-human (and Nietzschean) trajectory of Deleuze's work, while simultaneously being forced to address the extent of its remaining Idealism. Both of these elements play an important part in relation to Deleuze's ‘modernism’, and to the discussion of his possible relevance to contemporary artistic practices.
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Bonacic, Vladimir. "A Transcendental Concept for Cybernetic Art in the 21st Century." Leonardo 22, no. 1 (1989): 109. http://dx.doi.org/10.2307/1575148.
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Protas, Maryna. "Interdisciplinary Critique of Cultural-Industrial Creativity as a Bio-Necropolitics of Contemporary art." Artistic Culture Topical Issues, no. 18(1) (May 31, 2022): 56–65. http://dx.doi.org/10.31500/1992-5514.18(1).2022.260421.
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Since the turn of the 21st century there have been debates about the condition and future development of art theories and visual practices that acquired the status of global contemporary product in a post-Fordist society of quasi-consumption, when cultural-industrial ideology of transnational art market conquers the creative intentions of artists, transforming the artist, and his work on the product. An important aspect of this discussion is the problem of biopower, which determines the necropolitical paradigm of contemporary culture, depriving the absolute freedom of creativity by instilling servile commodified consciousness, manipulating the imagination in favor of art business, spreading across public globalized art space re-reified patterns. Dominant in the field of popularization of contemporary art, private capital denies adherents of transcendental aesthetics the right to freedom of expression outside the recognized brands legitimized by the World Biennale events. The anarchy of consumerism contributes to the eschatological predictions of the death of art and art criticism, the end of art history, the final annihilation of traditional art life through the socio-political turn of performative activism. Still, interdisciplinary critique, based on the theory of catastrophes, offers another way out of cultural entropy: transcendental aesthetics’ experience and judgment’srecycling as a way to overcome the hysteresis of art theories and practices.
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Hughes, Fiona. "The Temporality of Contemporaneity and Contemporary Art: Kant, Kentridge and Cave Art as Elective Contemporaries." Kantian Review 26, no. 4 (December 2021): 583–602. http://dx.doi.org/10.1017/s1369415421000467.
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AbstractThis article contributes to understanding of Contemporary Art and of the temporality of contemporaneity, along with the philosophy of time more generally. I propose a diachronic contemporaneity over time gaps – elective contemporaneity – through examination of Kant’s Transcendental Aesthetic, the Third Analogy and the concept of ‘following’ among artistic geniuses; diachronic recognition and disjunctive synchronicity discoverable in William Kentridge’s multimedia artworks; as well as non-chronological temporal implications of superimpositions in late Palaeolithic cave art suggesting ‘graphic respect’. Elective contemporaneity shows up complexity in relations to past and present, putting in question definitions of ‘Contemporary Art’ restricted to either chronology or supposedly definitive paradigms.
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Levina, Tat’yana V. "“OVERBOARD FROM ABSOLUTE”. THE CRITIQUE OF KANT IN AVANT-GARDE’S EPOCH." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 1 (2021): 36–53. http://dx.doi.org/10.28995/2073-6401-2021-1-36-53.
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In his treatise on Suprematism, Kazimir Malevich criticises transcendentalism and contrasts it with transcendence. Malevich is critical of the transcendental paradigm, as he essentially turns out to be a platonist. Pavel Florensky also criticizes transcendentalism – that precedes Malevich in time. Florensky views Kant as rooted in a “human” perspective and matches him with Plato. Florensky’s proposal, like Malevich’s later, is to return the transcendent. By comparing Florensky’s work on aesthetics and Malevich’s theory of new art, one sees that both authors criticize the illusionistic character of perspective and European painting. Florensky continued the concept of “reverse perspective” in iconography. Malevich argued that his fellows felt a close connection to the icon. It is also known that both Florensky and Malevich taught at art institutes (GINHUK and VKhUTEMAS) and worked to protect cultural heritage. In the theoretical works on metaphysics and art, the positions of Malevich and Florensky converge, as both were platonic. Thus, it is important to compare these figures in their different guises in order to identify the features of the revolutionary era
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Azmi, Unaiza, Neeta Iyer, and Tanzeem Azmi. "Study of impact of transcendental meditation on reaction time and cardiovascular parameters in young healthy volunteers." International Journal of Research in Medical Sciences 8, no. 4 (March 26, 2020): 1480. http://dx.doi.org/10.18203/2320-6012.ijrms20201346.
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Background: Transcendental meditation technique is purported to help treat high blood pressure, chronic pain, insomnia, and many other physical ailments. The present study was conducted to evaluate the impact of transcendental meditation on reaction time and cardiovascular parameters in young healthy volunteers.Methods: In this single centre, randomized, controlled study, 120 1st year M.B.B.S and OTPT students were recruited and put into two groups [control (60), experiment (60)]. Simple Auditory Reaction Time (ART) and Visual Reaction Time (VRT), along with Heart Rate (HR) and Blood Pressure (BP), of all subjects were recorded and compared. The experimental group participated in 16 weeks of TM programme and performed TM twice in a day, for 20 minutes, sitting comfortably with eyes closed and chanting OM. Control group were only made to sit with eyes closed during the same time. Keeping all the variables constant, all the parameters were measured again after 16 weeks.Results: There was significant reduction in all parameters (ART, VRT, HR, systolic BP and diastolic BP) in experimental group after 16 weeks of TM as compared to control group. ART was significantly shorter than VRT in both experimental and control groups and this difference was maintained after the intervention also.Conclusions: Transcendental meditation is an effective technique for reducing cardiovascular risk and can be prescribed to pre-hypertensive and hypertensive patients for stress reduction, along with medications for better results.
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Fergusson, Lee C. "Field Independence, Transcendental Meditation, and Achievement in College Art: A Reexamination." Perceptual and Motor Skills 77, no. 3_suppl (December 1993): 1104–6. http://dx.doi.org/10.2466/pms.1993.77.3f.1104.
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This study confirmed that scores on the Group Embedded Figures Test of 106 undergraduate art students from four universities were positively correlated .32 with grade point average, .27 with artistic ability, and .21 with how students perceived their own artistic competence in relation to peers. The 12 art students who practiced Transcendental Meditation tended to score higher on the test of field independence ( Ms = 13.7 vs 10.4, 10.5, and 12.8) than the nonmeditating students ( ns = 22, 38, and 34). Data suggest experiments may be useful.
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Lev, Michal. "Art as a mediator for intimacy: Reflections of an art-based research study." Journal of Applied Arts & Health 11, no. 3 (November 1, 2020): 299–313. http://dx.doi.org/10.1386/jaah_00041_7.
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This article presents an art-based research study that explored whether art and artmaking could be considered mediators for intimacy within personal expression. The primary participant of the study was the artist-researcher-therapist, and the imagery created served as co-participants who played the role of ‘others’ residing in the self. Certain qualities of intimacy were identified within art and artmaking: an urge to move closer, embracing small details, layering, safety, transformation, borders and empty spaces, restrictions by limiting media and tension. Art as a mediator was found to provide an intermediate space and a transcendental realm and to serve as a vehicle of expression that could bridge between the physical and the imagined, integrate inner qualities, support differentiation, encourage witnessing and reconcile ambiguity and conflict.
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Haverkamp, Anselm. "Art is Messianicity: Radical Illustration in the Face of God — Romeo Castellucci and Antonello da Messina." Oxford Literary Review 36, no. 1 (July 2014): 37–47. http://dx.doi.org/10.3366/olr.2014.0085.
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Messianicity is not. Art is. Derrida, however, was not into pictures; his relationship with art remained in the quasi-transcendental mode of frames. Romeo Castellucci's use of a painting by Antonello da Messina exposes the Derridean non-messianism through art's power to illustrate – a mode abandoned by Derrida in the Heidegger-Schapiro debate on Van Gogh. In Castellucci, on the contrary, art illustrates what ‘messianicity’ is unable to illustrate and thus is bound to deny even in the negative.
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KARPETS, MAXIM. "Creating Virtual Values: The Art Space from Hypertextual ‘Reality’ to Transcendental Virtuality." Временник Зубовского института, no. 3 (2021): 31–46. http://dx.doi.org/10.52527/22218130_2021_3_31.
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Shcherbak, N. F., and A. I. Gerus. "Transcendentalism, Network Concepts and American Poetry." Discourse 6, no. 1 (March 5, 2020): 106–20. http://dx.doi.org/10.32603/2412-8562-2020-6-1-106-120.
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Introduction. The paper aims at describing the philosophy of transcendentalism as viewed by 19th century American philosopher Ralph Emerson, one of its founders and, above all, the direct application of this framework to the contemporary view of network concepts introduced as a state-of the art paradigm of cultural and social development, often viewed as directly applicable to the study of social processes as well as literary texts.Methodology and sources. The chosen methodology includes the structural semantic study of Emerson’s texts and the analysis of the view of contemporary philosophers of the language and literary critics on the network concept as a basis for state of the art social schemes and internet-communication principles, as well as literary texts analysis.Results and discussion. The results of the research allow to hypothesize that the philosophy of transcendentalism which attempted to give a full-fledged representation of a harmonious and dynamic cosmic principle, seeing ways of moral purification and comprehension of the super-soul has similar principles with the works by outstanding poststructuralist or postmodern philosophers (like G. Deleuze) and is directly applicable to the study of contemporary literary texts if not social processes. These concepts allow to see the development of aesthetic paradigm (a vivid example being the development of the transcendental motive in poetry). One of the possible examples could be seen in the development of poetic paradigm with а) early romantic poetry concentrating on the poet’s emotions, thus rendering the transcendental, with b) modernist writing which used language as a medium, when a poem became a means of expressing the transcendental, with c) poetry combining political views and the transcendental experience, with d) post-colonial poetry, with the transcendental being transferred from the sphere of “eternal” to the sphere of “everyday”. Conclusion. American transcendentalism allows to see common patterns of development and innovation of cultural, literary, philosophical scene, characteristic of the contemporary aesthetic paradigm.
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Wang, Wen-Sheng. "Techné, Life-world, and Art." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 251–68. http://dx.doi.org/10.1515/yewph-2018-0018.
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AbstractThe notion of techné in Husserl’s phenomenology is related to his treatment of the three layers of the “teaching of craft” and the two layers of the science of “life-world.” The superior layer of both is of philosophical significance. Aristotle’s statement in ethics and metaphysics: techné is man-made, but can transit to spontaneity, and then to natural becoming, which manifests physis as the ultimate aim of his philosophical system, enlightens us to notice the following aspects in Husserl’s phenomenology. 1. Pure or formal ethics is of a high-level téchne in the philosophical sense. 2. The concept of life-world leads to transcendental phenomenology. 3. What Ideas II implies – as a technique the method of phenomenology tends to let the pure I and spiritual I as matters appear themselves by the natural attitude – could conduct us to understand the artistic aspect of Husserl’s philosophical theory.
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Weinberg, Jonathan, and Adam Gjesdal. "Aesthetic Debunking and the Transcendental Argument of the Novel." Aesthetic Investigations 4, no. 1 (December 31, 2020): 36–53. http://dx.doi.org/10.58519/aesthinv.v4i1.11924.
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Gilbert Plumer has recently argued in his (2017) that psychologically rich novels offer the reader an opportunity to draw a transcendental inference: what seems to us believable about the psychology of the characters, can be inferred to be actually true about real human psychology. We propose, first, to disambiguate a key term of art in Plumer’s argument, “believable”. Given that disambiguation, the empirically contingent nature of one of Plumer’s premises comes into view. We raise two main lines of empirically-motivated debunking arguments against that premise, drawing particularly upon the psychological literatures about processing fluency, and the illusion of explanatory depth. We then conclude with some further implications for naturalistic approaches to aesthetics, and the relevance of such debunking arguments.
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Kormin, Nikolai Aleksandrovich. "Thinking in colors." Культура и искусство, no. 2 (February 2021): 12–38. http://dx.doi.org/10.7256/2454-0625.2021.2.34996.
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This article reveals the philosophical grounds of the aesthetics of color, analyzes the correlation between the structures of philosophical and artistic comprehension of coloristics. Interaction of philosophy and art as the forms of cultural identity manifests in the sphere of intellectual understanding of the perception of color and its semantics in painting. In the hidden logic of contemplation of color, can be traced the outlines of the problematic of transcendental and intelligible in art conditions for the aesthetic approach towards chromatic space. Color creates the visual beauty, thus it is apparent why the aesthetic knowledge seeks to clarify to which extent we can assess the experience of color – the result of coloration of light. The art itself creates the so-called color ontology of the world. First the first time, the beauty of color and its perception are analyzed in the context of correlation between art and transcendental traditions of philosophizing (Descartes, Kant, early Husserl – his work “The Philosophy of Arithmetic”) that allows matching the key to a new interpretation of the tradition of color. Determination of its meaning requires comparing history and structure of the philosophical and artistic metaphor of color. It is demonstrated that the phenomenon of color is of crucial significance for the aesthetics, as it implies not only comprehension of the problem of correlation between nature and art, but also cognition of the beauty of color, its universal value for all forms of art, profound structures of perception of coloristic phenomena, picturesque unveiling of the color harmony of the painting.
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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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Trygar, Barbara. "Pamięć Włoch Wojciecha Karpińskiego w perspektywie teorii neuroestetycznej Semira Zekiego." Poznańskie Studia Polonistyczne. Seria Literacka, no. 34 (January 11, 2019): 107–20. http://dx.doi.org/10.14746/pspsl.2018.34.5.
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The aim of this article is to analyse Memory of Italy by Wojchech Karpinski in the in the prospect of the neuroaesthetic Semira Zeki theory. A works of art is an appropriately fabricated stimulus which is aimed at reprimanding the recipient. Evoking emotions at the spectator defined is included in nature of the works of art. The travel to Italy lets the hero experience the beauty, to find out the truth about world and about oneself, as well as to commune with the transcendental dimension.
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Knudsen, Erik. "Zen and the art of film narrative: towards a transcendental realism in film." Journal of Screenwriting 1, no. 2 (May 1, 2010): 343–55. http://dx.doi.org/10.1386/josc.1.2.343/1.
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Kirom, Syahrul, and Alif Lukmanul Hakim. "Kaligrafi Islam Dalam Perspektif Filsafat Seni." Refleksi: Jurnal Filsafat dan Pemikiran Islam 20, no. 1 (September 6, 2020): 55. http://dx.doi.org/10.14421/ref.2020.2001-04.
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This article discusses Islamic calligraphy from the perspective of art philosophy. Islamic calligraphy (the art of letter painting) turns out to have values of beauty, uniqueness and spiritual value and has symbolic meaning for Islamic culture. Calligraphy art has religious spiritual meaning and value that causes a person to experience eschatology. Therefore, in this article the author is interested in analyzing Islamic calligraphy with an art philosophy approach. The method used is descriptiveanalytical. This Arabic calligraphy art writer studies by analyzing through its formal object is the philosophy of art. While the material object is to study the meaning of religious-spiritualism which is more philosophical in understanding Islamic calligraphy. The results of this study found that the fact that the art of Islamic calligraphy has beautiful aesthetic values is full of faith and devotion. The existence of Islamic calligraphy art provides meaning and understanding of the process of achieving a very transcendental idea to God.
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Skurikhin, Denis S. "THE HISTORICITY OF HUMAN TRANSCENDENCE IN THE TRANSCENDENTAL THOMISM OF RICHARD SCHEFFLER." Studia Religiosa Rossica: Russian Journal of Religion, no. 4 (2021): 43–54. http://dx.doi.org/10.28995/2658-4158-2021-4-43-54.
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In the 20th century European culture found itself in a situation of mutual alienation of many areas of culture – science, religion, ethics, art, etc., what, in turn, raised a theme of the relationship between cognition and history in the transcendental theory of knowledge with new acuity. A significant role in that process belongs to philosophers: members of the Vienna Circle and, later, analytical philosophers, neo-Kantians of the Marburg and Baden schools, representatives of transcendental Thomism. Among the projects aimed at overcoming the crisis there is the project of Richard Scheffler, a German philosopher and theologian. Following after Kant, Schaeffler turns to the most different areas of philosophy: phenomenology, hermeneutics, neo-Kantianism of Cohen and Cassirer, analytical philosophy of language. In addition, the influence of the theology of Karl Rahner, Hans Urs von Balthasar, and Wilhelm Lotz can be traced in the writings of Schaeffler. The article considers the concept of religious experience by Richard Schaeffler, the underlying Schaeffler’s visions of the need of interpretation the regulating idea of God as a postulate of theoretical reason in the perspective of religious experience. It considers Schaeffler’s idea of the transcendental nature of the prayer speech and its performativity.
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LOMBA, Joaquín. "La naturaleza y el espacio en la estética medieval." Revista Española de Filosofía Medieval 6 (October 1, 1999): 11. http://dx.doi.org/10.21071/refime.v6i.9658.
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The subject of this article is to ex pond how the medieval art (christian-european and muslim) express a nature and space that depends on the own concept of the nature and space. On the other hand, his concept is different in the christian world and in the muslim one. Both of them mantain that nature and space, in contrast to Greece, are created, and depend on a Transcendental God. However, the nature and space in the muslim art is more dependent on Creator than in the christian one, and that become evident in the artistic forms.
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Kormin, Nikolai Aleksandrovich. "I. Kant: How is aesthetic possible?" Философия и культура, no. 4 (April 2022): 60–112. http://dx.doi.org/10.7256/2454-0757.2022.4.37815.
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The subject of the research is the ways of substantiating the fundamental concept of aesthetic science -- the category of aesthetic in Kant's philosophy. The author examines such aspects of the topic as the content of transcendental philosophy, in which the mind indulges in a purely aesthetic occupation, draws for himself the structure of the whole, the congruence of the conditions of the work of art of a priori fulfillment of feelings, understanding the category of beauty under the sign of aesthetic intention cogito, analysis of how the artist combines the aesthetic aspects of the thing in itself with the incommensurable worlds in the work art. The aesthetic exists in a kind of universal space, which is defined by the transcendental as the "last foundation". The main conclusions of the study is the statement that, by analogy with transcendental aesthetics, Kant admits an aesthetic of pure practical reason that is not identical to it, expressing the hope that in the future it will be possible to comprehend both as elements of the unity of the entire faculty of pure reason. The author's special contribution to the study of the topic is the search in the context of the philosophical interpretation of the concept of aesthetic pleasure, as it is carried out within the framework of Kant's moral philosophy. The novelty of the research lies in identifying the dramaturgy of the foundations of the aesthetic, which does not presuppose any of its scenario as a basis for building aesthetic thinking, in revealing how the system of aesthetic interactions and syntheses correlates with structures ideally initial in relation to the world and man, with absolute foundations, without which there is no aesthetics.
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León del Río, María Belén. "La alquimia del color en el arte." Sincronía XXVI, no. 82 (June 1, 2022): 858–85. http://dx.doi.org/10.32870/sincronia.axxvi.n82.41b22.
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Numerosos artistas de principios del siglo XX llevaron a cabo una amplia investigación a través de su obra sobre el poder subjetivo del color y su repercusión emocional sobre el espectador, gran parte de ellos basaron sus planteamientos en la ciencia y en las corrientes filosóficas de la época, abriendo así una importante reflexión que ha calado en la ciencia y psicología de la actualidad. En este artículo veremos cómo estos creadores encauzaron muchos de sus esfuerzos mediante la sinestesia, el contraste de colores y su analogía con la música, en una búsqueda de un nuevo lenguaje artístico que concretara la alquimia del color y de la luz en sus creaciones. El fin de estas investigaciones estéticas tendría que ver con una armonización de nuestra luz interior por medio de la intuición, a través de la cual tendríamos una aprehensión de nuestros colores interiores produciéndose así un proceso de percepción inconsciente que nos conduciría a una iluminación de carácter transcendental.
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Alliez, Éric. "Ontology of the Diagram and Biopolitics of Philosophy. A Research Programme on Transdisciplinarity." Deleuze Studies 7, no. 2 (May 2013): 217–30. http://dx.doi.org/10.3366/dls.2013.0103.
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In this article, the diagram is used to chart the movement from Deleuze's transcendental empiricism and engagement with structuralism in the 1960s to Deleuze and Guattari's ethico-aesthetic constructivism of the 1970s and 1980s. This is shown to culminate in a biopolitical critique and decoding of philosophy, which is part of the unfolding of a transdisciplinary research programme where art is seen to come ontologically ahead of philosophy.
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Ziegler, Robert Hugo. "Rationalität und Subversion in der Zentralperspektive." Phänomenologische Forschungen 2008 2008, no. 1 (2008): 113–26. http://dx.doi.org/10.28937/1000107950.
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This article engages in a mutual elucidation of works of art constructed in central perspective (both painting and film) and Cartesian philosophy in order to point out a methodological problem in the latter. This problem and its repercussions are found also in the conflict between transcendental and hermeneutic method in phenomenology. This conflict is reflected in the movement of the article itself which alternates between descriptive and interpretative approaches.
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Rezaeinabard, Amir, and Hasan Bolkhari ghehi. "Adapting and analyzing Attitude of Seyyed Hossein Nasr on art with the Mahmoud Farshchian works: The theory of “Transcendental Art." Rahpooye Honar 5, no. 2 (February 1, 2020): 37–48. http://dx.doi.org/10.29252/rahpooyesoore.5.2.37.
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Kontossi, Sofia. "Transition of Greek art song from the national school to modernism." Muzikologija, no. 8 (2008): 27–44. http://dx.doi.org/10.2298/muz0808027k.
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This study presents the different ways in which two Greek composers, Leonidas Zoras and Jani Christou, viewed modernism. The songs of Zoras are typical example of the gradual withdrawal from the aesthetic framework of the National School which dominated during the first decades of the twentieth century. In contrast, Jani Christou, who spent his childhood in Alexandria and received an exclusively Western-type education, remained untouched by Greek traditional music or the Greek National School. His work was moulded by the ancient Greek philosophical belief in the elation of the listener through the transcendental power of Art. By his Six T. S. Eliot Songs Christou offered some of the best examples of twentieth-century expressionistic vocal music.
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Gozali, Amir. "DIMENSI SPIRITUAL DALAM SENI LUKIS ABSTRAK KONTEMPORER INDONESIA: SEJARAH DAN WACANA." Acintya Jurnal Penelitian Seni Budaya 11, no. 1 (November 11, 2019): 1–15. http://dx.doi.org/10.33153/acy.v11i1.2609.
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AbstractAbstract art through its abstraction mode is an attempt to explore the essence and existence of humanityin the dimension of spirituality. Abstraction is able to present a deeper meaningful space because of theopen dialogue between artists - works - spiritual observers. This research was conducted to explore andexplore the transcendental and spirituality dimensions especially in contemporary Indonesian abstractpainting as part of the expression and reflection of the search for the essence of the artist. In addition,historical aspects and discourse dynamics will also be analyzed in order to obtain a comprehensiveunderstanding in understanding the development of abstract art in Indonesia. This study uses qualitativemethods by optimizing studies on written sources and literature relating to the study of contemporaryIndonesian abstract painting by further analyzing the historical aspects and dynamics of discourse. Datawere analyzed using content analysis method. This study is expected to be a reference material for learningabstract art, artists, and art lovers.Keywords: spiritual, abstract painting, contemporary art, Indonesia
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Cohen, Matt. "Making the View from Lookout Mountain: Sectionalism and National Visual Culture." Prospects 25 (October 2000): 269–80. http://dx.doi.org/10.1017/s0361233300000661.
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Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations of patronage, intellectual history, and reception, these new histories help us understand the cultural work of landscape in the 19th-century United States.
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Guenther, Lisa. "Six Senses of Critique for Critical Phenomenology." Puncta 4, no. 2 (December 2021): 5–23. http://dx.doi.org/10.5399/pjcp.v4i2.2.
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What is the meaning of critique for critical phenomenology? Building on Gayle Salamon’s engagement with this question in the inaugural issue of Puncta: A Journal for Critical Phenomenology (2018), I will propose a six-fold account of critique as: 1) the art of asking questions, moved by crisis; 2) a transcendental inquiry into the conditions of possibility for meaningful experience; 3) a quasi-transcendental, historically-grounded study of particular lifeworlds; 4) a (situated and interested) analysis of power; 5) the problematization of basic concepts and methods; and 6) a praxis of freedom that seeks not only to interpret the meaning of lived experience, but also to change the conditions under which horizons of possibility for meaning, action, and relationship are wrongfully limited or foreclosed. While the first two dimensions of critique are alive and well in classical phenomenology, the others help to articulate what is distinctive about critical phenomenology.
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Schönher, Mathias. "The Creation of the Concept through the Interaction of Philosophy with Science and Art." Deleuze Studies 7, no. 1 (February 2013): 26–52. http://dx.doi.org/10.3366/dls.2013.0093.
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In What Is Philosophy? we find philosophy devised as that power of thinking and creating which, in a division of labour with science and art, creates the concept. This division of labour points to the free interplay of Reason, Understanding and Imagination in Kant's Critique of Judgement and enables us to affirm, without obliterating the differences in kind, the non-hierarchical relationship between the three forms of thought that is asserted by Deleuze and Guattari. However, as powers of thinking and creating, philosophy, science and art do not inscribe themselves in a transcendental subject. Rather, Deleuze and Guattari conceive of them, following Spinoza's ‘creating nature’, as powers that express themselves in an attribute in which every thinking subject participates.
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Josifovic, Sasa. "Die systematische und inhaltliche Bestimmung der „vollkommenen Selbstanschauung“ in Schellings Genieästhetik von 1800." Philosophisches Jahrbuch 119, no. 1 (2012): 47–68. http://dx.doi.org/10.5771/0031-8183-2012-1-47.
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Abstract. In this text the author argues that the major achievement of Schelling’s aesthetics in his System of Transcendental Idealism consists in its contribution to the theory of self-consciousness. He emphasizes that a detailed interpretation of the underlying concepts of intellectual and ideal (vollkommen) intuition provides an adequate approach to the understanding of the systematic function of the philosophy of art within the system of knowledge including the unconscious sphere of self knowledge and self realization.
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Benedicta Maier, Mary. "Does Artwork Have to be Beautiful?" Aristos: A biannual journal featuring excellent student works 1, no. 2 (September 2015): 1–7. http://dx.doi.org/10.32613/aristos/2015.1.2.6.
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Beauty’s relation to art work is a contentious problem for the philosophy of art. The problem is not new to the history of philosophy. Hume and Kant attempted to tackle the question in the modern era. Contemporary philosophers have broadened the definition of art to include works that stretch modern philosophers’ conceptions. With philosophers shifting their definition from the object to the subject, they have effectively marginalized beauty in place of another good or valued concept. Considering the status quo, this paper argues that beauty is a necessary condition for art work. It argues that philosophers have a problem when their broad definition of art disregards the beautiful to incorporate art work that is intentionally ugly or is only considered art work because of its being on display. Comparing the focus of other philosophical disciplines with philosophy of art’s focus on beauty, it argues that philosophy of art blurs its vision when it directs its gaze to that other than to its proper transcendental. Examining the intelligent and elevating characteristics of the art form of sculpture, the paper compares two famous works: Michelangelo’s Pietà and Warhol’s Brillo Boxes. Because the sculptor is able to communicate the beauty of creation through his art work, a philosophy of art that changes its questions to incorporate existing objects that are deemed “art” has not fully addressed the problem of beauty’s place in art work.
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Keiling, Tobias. "Kunst, und doch Methode?" Phänomenologische Forschungen 2010, no. 1 (2010): 75–100. http://dx.doi.org/10.28937/1000107832.
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To honor the 50th anniversary of the publication of Truth and Method, this paper discusses the phenomenological foundations of the hermeneutical claim to an eminent epistemological relevance of art. While Gadamer, following the early Heidegger, tends to conceive such relevance as the contribution of art to historical self-understanding, the attempt is made to integrate art into philosophy through a reeximanation of phenomenological method. An interpretation of the London Lectures not only shows the close resemblance of Husserl’s later account of phenomenological method as ‚the method of zig-zag‘ to Heidegger’s and Gadamer’s accounts of understanding. Furthermore, the idea of method being closely tied to the evident experience of things as ‚exemplary objects‘ used as ‚transcendental guiding threads’ for phenomenology prefigures Heidegger’s account of the truth of artworks in ‘The Origin of the Work of Art’. In conclusion, I argue that the truth of art can be integrated into phenomenological method by conceiving artworks not as transitory sedimentations of self-understanding, but as phenomenological models, which as objects of interpretation allow one to access and explicate the phenomenological givenness of earth and world.
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Gómez, Hannia. "The Dwellers: The Integration of Art and the Architecture in the Ciudad Universitaria de Caracas." Art and Architecture, no. 42 (2010): 46–52. http://dx.doi.org/10.52200/42.a.sbsuof7n.
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When Villanueva worked in the Integration of the Arts project for the Ciudad Universitaria de Caracas, he moved from the idea of ‘synthesis of the arts’ (where arts “preserved their traditional features in order to qualify something whose existence was prior to them and of which architecture was the previous framework”) to the idea of ‘integration of the arts’, which “created a new architectural–sculptural–pictorial organism which did not express hierarchy but the formal combination of the functional and the spatial as equal categories,” he took a transcendental step to open his architecture to experimentation in the field of modern art.
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Kospolova, N. E. "Inversion of image of Raphael's sublime women." Voprosy kul'turologii (Issues of Cultural Studies), no. 7 (July 1, 2020): 33–41. http://dx.doi.org/10.33920/nik-01-2007-05.
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The main idea of research is proof of productivity applications for interdisciplinary research on fine art material. Synthesis of comparative analysis, evolutionary analysis, psychological analysis, theological and anthropological reconstruction personification helps predict nonstandard conclusions concerning allegations of territorial integrity also referred to as omnisexuality image Madonnas by Raphael. Work belies the established views and controversial version ofthe art of the past on the canonicity of iconographic images of Raphael and nominated as exemplars of transcendental creativity at the transition to the Renaissance and during his heyday names Da Messina and Botticelli. Examines the reception of anthropological analogy as a phenomenon. The hypothesis is proved the simultaneous evolution of technology of a portrait of Raphael and inversion of the iconography of women's images in his works.
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Protas, Maryna. "On the crisis of criticism and public art." Contemporary Art, no. 17 (November 30, 2021): 195–208. http://dx.doi.org/10.31500/2309-8813.17.2021.248451.
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At the turn of the millennia, the politically unbiased analytical thought of the world describes the total humanitarian entropy, which has unsafely plunged the theory and practice of art into a deep crisis. Accordingly, academic scientists, and primarily philosophers and culturologists, as well as art historians who have not lost their independent critical thinking ability, are consolidating into an ever-increasing front of those analysts who resist the current situation, because they tend to see behind the superficial statistics of a sharply increasing number of glossy magazines, exhibition reviews and other printed materials, including circulations of ordinary booklets that massively accompany any art projects of all kinds of galleries or public art actions, which go to significant investment funds from private foundations and centers — the premature death of art criticism, which, in the figurative expression of James Elkins, has become “like a trackless thicket, tangled with with unanswered questions”. Artistic practitioners, accustomed to servile survival in the conditions of the global art market, which imposes the rules for the production of a creative product solely in their own interests, are in a state of crisis no less severe than criticism. Manipulative interpretations of the concept of publicity, as well as the orientation of public art towards the function of socio-political and socio-educational regulatory action, like a mediator between society and power, legitimizes and strongly supports the phenomenology of things. Without a transcendental goal, the reification of the community’sthinking leads to a slide of creative consciousness and formal vocabulary of art expression to the level of kitsch, which was sharply criticized back in 1939 by Clement Greenberg. The fetishization of an art object as a commodity contributes to the steady cultivation of an instrumentalized consciousness by artists. Public visual practices, formally inheriting the idea of dissolving in the stream of everyday life, first proclaimed by the historical avant-garde, actually dissolve in consumerism, turning art objects into objectified political and sociocultural invectives, or, according to D. Lukacs’ terminology, such invectives that have undergone the process of reification. Meanwhile, visual public projects also actively use conceptualized clichés in the form of neutral abstract design objects, where the dominant criterion of conformity to the spirit of the times as quasi-modernity is the uncommonness of an innovative solution to lexical expression. The phenomenology of a thing legitimizes any experimentation, but it is not able to overcome the deepening crisis of theory and practice, drawing the cultural and artistic existence of society into a prolonged state of hysteresis. Analysts see the only way out of this situation in the return to the culture of the theory and practice of the traditions of Kantian-Hegelian philosophy, and in particular the postulates of transcendental aesthetics.
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Pędrak, Anna Justyna. "A Theological Perspective on the Phenomenon of Creation in Transgenic Art." Collectanea Theologica 92, no. 4 (December 23, 2022): 93–120. http://dx.doi.org/10.21697/ct.2022.92.4.03.
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Bioart or transgenic art is a new and rapidly developing form of artistic activity that uses genetic engineering techniques to create a new and unique form of life. The article explores the creation and manipulation of life through the examples of three types of transgenic art projects: works by Eduardo Kac, performance, and the creation of semi-living organisms. The main aim of the article is to present the phenomenon of bioart against the background of fundamental dogmatic truths concerning creation and man, and then to draw theological conclusions. The addressed issues concern interspecies boundaries, bioartists’ interference with life, and man’s place in the world. An analysis and reflection of this kind reveals the transcendental nature of life in terms of its creatureliness in relation to God, places fundamental truths at the forefront, refers to theological and biblical terminology, and shows theological anthropology as the most appropriate place to understand the essence of life.
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Kühn, Rolf. "Mouvement sensible et corps originaire." Phainomenon 13, no. 1 (October 1, 2007): 119–40. http://dx.doi.org/10.2478/phainomenon-2007-0006.
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Abstract By describing body as original power identical to transcendentallife of ego, in accordance with radical or material phenomenology, we can establish that the phenomenological truth of a bodily subjectivity is the immanence of pure self-affection. From the perspective of Michel Henry’s view, the Maine Biran and Kandinsky’s analyses show clearly that body potentiality unveils pathos linked with the entire universe and turn it into a living cosmos. This cosmic life, visible in art in general and abstract art in particular, makes us aware that this subjective reality is similar to our own inner strength, as we can clearly demonstrate it by the movement of our hand. Thus, the body itself has access to the world without being reduced to a mere instrument or transcendental mean extraneous to our innermost life.
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Botnari, Larisa. "Le premier moment de l’art dans À la recherche du temps perdu de Marcel Proust – une « leçon d’idéalisme » ?" Revista Cercurilor studenţeşti ale Departamentului de Limba şi Literatura Franceză, no. 9 (November 2020): 25–40. http://dx.doi.org/10.31178/rcsdllf.9.3.
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Although very famous, some key moments of the novel In Search of Lost Time, such as those of the madeleine or the uneven pavement, often remain enigmatic for the reader. Our article attempts to formulate a possible philosophical interpretation of the narrator's experiences during these scenes, through a confrontation of the Proustian text with the ideas found in the System of Transcendental Idealism (1800) of the German philosopher F. W. J. Schelling. We thus try to highlight the essential role of the self in Marcel Proust's aesthetic thinking, by showing that the mysterious happiness felt by the narrator, and from which the project of creating a work of art is ultimately born, is similar to the experiences of pure self-consciousness evoked and analyzed by Schellingian philosophy of art.
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Giménez-Berger, Alejandra. "Ethics and Economies of Art in Renaissance Spain: Felipe de Guevara’s Comentario de la pintura y pintores antiguos*." Renaissance Quarterly 67, no. 1 (2014): 79–112. http://dx.doi.org/10.1086/676153.
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AbstractThe Comentario de la pintura y pintores antiguos (Commentary on Painting and Antique Painters) by the humanist Felipe de Guevara stands as the first art treatise of its type produced in Renaissance Spain. Critical studies underscore the reliance on ancient texts in spite of significant divergences from the sources. Philological studies of near-contemporary texts and a close reading of the author’s extant writings provide an alternative framework for understanding these transformations. Through the appropriation of ancient texts, Guevara calls for the practical overhauling of the Spanish artistic system. The text addresses the art of painting as having both transcendental and intrinsic values, focusing on its formative capabilities and virtue ethics as the most important for the former, and its role in the larger Spanish economy for the latter.
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Pellin, Daniela Regina, and Fábio Da Silva Veiga. "EU, TU, AS NANOTECNOLOGIAS E O OUTRO: QUAL A CONTRIBUIÇÃO DO DIÁLOGO ENTRE BUBER E OST PARA O HOMEM?" Conpedi Law Review 3, no. 2 (December 1, 2017): 480. http://dx.doi.org/10.26668/2448-3931_conpedilawreview/2017.v3i2.3712.
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Eu se divorciou de Tu e relacionou-se promíscua e intensamente com Isso. Um descompasso entre o desenvolvimento humano e o econômico é promovido pelo excesso de técnica. As nanotecnologias são ferramentas mágicas de acumulação. As sociedades padecem dos riscos. O homem encontra-se escravizado pela técnica. A retomada da relação transcendental entre Eu-Tu; o abandono de Isso e o (re) visitar do imaginário social podem servir de parâmetros para o sistema dialógico entre a práxis e o logos, e, com isso, a gestão eficiente dos riscos nanotecnológicos com boas prospecções sociais futuras e, o cumprimento do escopo Constitucional do art. 170.
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Solovieva, Greta G., and Zhazira A. Rakhmetova. "The Beautiful As a “Rescue Hopeless”. Hegel and Adorno." Voprosy Filosofii, no. 5 (2021): 148–58. http://dx.doi.org/10.21146/0042-8744-2021-5-148-158.
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Does modern philosophy of art reject the principles and methods of mastering the reality of classical aesthetics, in particular, the category of the beautiful, emphasizing, on the contrary, the ugly, ugly, terrible, disgusting? The authors strive to find answers in the dialogue of great philosophical masters – “Zeus the Olympian of the German classics” by Hegel and the preacher of “progressive negation” on the border of modernity and postmodernism Theodor Adorno. Hegel insists on the transcendental origin of the beautiful as the coincidence of idea and reality, the sensory phenomenon of the absolute, the resolution of contradictions between the subjective and the objective, the universal and the individual, the finite and the infinite. Adorno opposes, claiming the rights of “beautiful negativity”. He abandons the transcendental character of beauty and shifts the emphasis to the social sphere. The ugly, the ugly, the ugly should not be hidden. But to portray him in such a way as to arouse disgust towards him, the desire to create a project of “righteous life” But the development of the dialogue reveals that both thinkers ultimately agree on the main thing: the beautiful is inescapable and remains the defining category of both aesthetics and life.
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Jannah, Binti Shofiatul, Iwan Triyuwono, Aji Dedi Mulawarman, and Bambang Hariadi. "The Meaning of "Accounting" In a Religious-Based Organization." GATR Journal of Accounting and Finance Review (GATR-AFR) Vol. 6 (2) JULY - SEPTEMBER 2021 6, no. 2 (September 29, 2021): 78–83. http://dx.doi.org/10.35609/afr.2021.6.2(1).
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Objective - Accounting has been defined as the art of recording since it is trapped at a technical level. However, accounting as a symbol have different meanings for different people depending on one's interests, goals, knowledge, and perspectives. The aim of this study was to better understand the meaning of accounting in religious organizations, especially in pesantren (Indonesian Islamic boarding schools). Methodology/Technique - In the interpretive paradigm, this study uses Husserl's transcendental phenomenological theory. Data analysis begins with identifying noema (texture analysis), then obtaining noesis through bracketing (structural analysis). Furthermore, understanding the noema-noesis relationship results in deliberate analysis. Finally, the whole process of generating pure consciousness is called eidetic reduction. Findings - Each informant has a different meaning to accounting depending on individual experience. Beyond materialism, the meaning of accounting is fascinating. According to the findings of the study, accounting has two meanings: first, accounting is ikhlas (sincere), and second, accounting is a discipline. Novelty - Accounting will not be separated from theology and spirituality, especially accounting applied in religious organizations. Based on the experience of "I", accounting has a different meaning from conventional accounting. Type of Paper - Empirical. Keywords: Accounting; Interpretive; Pesantren; Transcendental Phenomenology. JEL Classification: M41, M49.
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Tøllefsen, Inga B. "Aspects of Schism and Controversy in the History of Transcendental Meditation and the Art of Living Foundation." Alternative Spirituality and Religion Review 4, no. 2 (2013): 267–83. http://dx.doi.org/10.5840/asrr2013426.
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