Articles de revues : « Ontology in art »

1

Fedoryka, Kateryna. « An Ontology of Art ». Grazer Philosophische Studien 41 (1991) : 255–56. http://dx.doi.org/10.5840/gps19914154.

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Hamilton, Andy, et Gregory Currie. « An Ontology of Art. » Philosophical Quarterly 40, n^o 161 (octobre 1990) : 538. http://dx.doi.org/10.2307/2220123.

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Wolterstorff, Nicholas, et Gregory Currie. « An Ontology of Art ». Journal of Aesthetics and Art Criticism 49, n^o 1 (1991) : 79. http://dx.doi.org/10.2307/431653.

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Schtein, Sergey Yu. « ONTOLOGY OF “CONTEMPORARY ART” ». Articult, n^o 3 (2017) : 55–72. http://dx.doi.org/10.28995/2227-6165-2017-3-55-72.

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Levinson, Jerrold, et Gregory Currie. « An Ontology of Art. » Philosophy and Phenomenological Research 52, n^o 1 (mars 1992) : 215. http://dx.doi.org/10.2307/2107757.

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Jones, Andrew Meirion. « Rock Art and Ontology ». Annual Review of Anthropology 46, n^o 1 (23 octobre 2017) : 167–81. http://dx.doi.org/10.1146/annurev-anthro-102116-041354.

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SHARPE, R. A. « The Ontology of Art ». Philosophical Books 31, n^o 3 (12 février 2009) : 183–85. http://dx.doi.org/10.1111/j.1468-0149.1990.tb00332.x.

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Davis, Whitney. « Schopenhauer's Ontology of Art ». Qui Parle 15, n^o 1 (2004) : 63–80. http://dx.doi.org/10.1215/quiparle.15.1.63.

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Bertram, Georg W. « Was ist Kunst ? » Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 62, n^o 1 (2017) : 78–95. http://dx.doi.org/10.28937/1000107637.

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Die Ontologie der Kunst wird meist als Ontologie von Kunstwerken ausgeführt. Dies führt dazu, dass in der Antwort auf die Frage, was Kunst ist, nichts dazu gesagt wird, worin der Wert der Kunst liegt. Es ist aber, wie ich argumentiere, erforderlich, diesen Wert zu bestimmen, will man sagen, was Kunst ist. Um dies zu leisten, gehe ich von der These aus, dass Kunst eine transformatorische Praxis ist, und schlage entsprechend vor, die Ontologie der Kunst als die Ontologie einer solchen Praxis anzulegen. Diese Praxis hat vier Elemente: erstens Kunstwerke, zweitens interpretative Aktivitäten, mittels deren diejenigen, die sich mit Kunstwerken auseinandersetzen, die von diesen realisierten Konfigurationen nachvollziehen, drittens sonstige Praktiken, die durch diese Aktivitäten reflektiert werden, und schließlich viertens Praktiken der Kunstkritik. In diesen vier Elementen realisiert sich das, was Kunst ist. So begriffen ist Kunst eine konstitutiv unsichere Praxis, die Menschen in ihren Selbstverständnissen so herausfordert, dass sie sich in diesen Selbstverständnissen weiterentwickeln. Usually, the ontology of art is executed as an ontology of artworks. This has the consequence that the answer to the question what art is says nothing about why art is valuable. But it is, I argue, necessary to determine the value of art if one wants to say what art is. In order to account for the value of art, I start with the claim that art is a practice of transformation. Thus, I propose to develop the ontology of art as the ontology of a practice of transformation. The practice in question has four elements: first artworks, second interpretive activities through which recipients and producers follow the constellations realized in artworks, third ordinary practices which are reflected through interpretive activities, and fourth practices of art criticism. By way of these four elements art is realized. According to the proposed conception, art is a profoundly unstable practice which challenges human beings and their self-understandings in such a way that they and their self-understandings develop further.

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Bertinetto, Alessandro. « Improvisation and ontology of art ». Rivista di estetica, n^o 73 (1 avril 2020) : 10–29. http://dx.doi.org/10.4000/estetica.6686.

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Carroll, Noel. « The Ontology of Mass Art ». Journal of Aesthetics and Art Criticism 55, n^o 2 (1997) : 187. http://dx.doi.org/10.2307/431263.

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Kolychev, Petr M., Andrei B. Patkul et Anna A. Khakhalova. « Ontology and Art : Current Tendencies ». RUDN Journal of Philosophy 25, n^o 4 (15 décembre 2021) : 720–28. http://dx.doi.org/10.22363/2313-2302-2021-25-4-720-728.

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CRAY, WESLEY D. « Conceptual Art, Ideas, and Ontology ». Journal of Aesthetics and Art Criticism 72, n^o 3 (juin 2014) : 235–45. http://dx.doi.org/10.1111/jaac.12090.

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De Clercq, Rafael. « The Historical Ontology of Art ». Philosophical Quarterly 70, n^o 279 (8 août 2019) : 268–81. http://dx.doi.org/10.1093/pq/pqz046.

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Abstract In this article, I argue that our ontology of art has undergone a major change in the course of modern history. While we currently think of artworks as parts arranged in a certain way, there was a time when artworks were thought of as metaphysically more akin to ordinary artefacts such as tables and chairs; that is, as wholes having replaceable parts. This change in our ontology of art is reflected in our approach to art restoration. But what explains the change? I will suggest that the change took place because of a change in our conception of the function of art. More specifically, I will suggest that we have started to think of artworks as parts arranged in a certain way, because we have started to think of artworks as having, primarily, an aesthetic function.

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CARROLL, NOEL. « The Ontology of Mass Art ». Journal of Aesthetics and Art Criticism 55, n^o 2 (1 mars 1997) : 187–200. http://dx.doi.org/10.1111/1540_6245.jaac55.2.0187.

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Preston, Dominic. « Some Ontology of Interactive Art ». Philosophy & ; Technology 27, n^o 2 (8 octobre 2013) : 267–78. http://dx.doi.org/10.1007/s13347-013-0134-7.

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Lopes, Dominic M. McIver. « The Ontology of Interactive Art ». Journal of Aesthetic Education 35, n^o 4 (2001) : 65. http://dx.doi.org/10.2307/3333787.

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Wang, Aishi. « Ontology of New Art and Survival of Art ». SHS Web of Conferences 162 (2023) : 01040. http://dx.doi.org/10.1051/shsconf/202316201040.

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Art is not an image work, but an image that people can see and an apparent result of the transcendent image presented by art; art is the ideological and spiritual product that’s processed from the high-end level of consciousness and thinking and generated by the entanglement movement of human body and cosmic materials. Also, it is an original form behind the physical image works, intended to reconcile the relationship between spiritual illusion and the material world; acting on all human life activities in accordance with the law of increasing progression under the cosmic stipulation, its ultimate task is to optimize the survival of human life while safeguarding the conservation of life; its practical task is to serve to help human beings achieve a perfect spiritual world of and construct a cultural spiritual system more in line with human society.

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Lazarre, Warda, Kaladzavi Guidedi, Samdalle Amaria et Kolyang. « Modular Ontology Design : A State-of-Art of Diseases Ontology Modeling and Possible Issue ». Revue d'Intelligence Artificielle 36, n^o 3 (30 juin 2022) : 497–501. http://dx.doi.org/10.18280/ria.360319.

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The evolution of ontological engineering leaded authors to use some techniques of software engineering to design ontologies. Are obtained from these techniques the monolithic or modularized Ontologies. When is difficult to reuse some concepts of monolithic ontologies, modularized Ontologies facilitate ontology management, understandability and reuse. This paper aims to survey on ontology modularization techniques and their contribution in biomedical ontologies design. Modularization reposed on appropriated techniques and some challenges related to ontology reused, scalable querying, collaborative authoring, and distributed reasoning. For most of disease ontologies, more especially ontologies which reused IDO, these challenges are not considered, and most of them are implemented with OWL language and the novel mode to construct ontology’s purpose is to facilitate reuse and interoperability of ontologies ensured by modularization.

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Pavlova-Draganova, Lilia, Desislava Paneva-Marinova et Radoslav Pavlov. « Ontological Presentation of East-Christian Iconographical Art Domain ». Serdica Journal of Computing 5, n^o 2 (19 juillet 2011) : 169–82. http://dx.doi.org/10.55630/sjc.2011.5.169-182.

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In the recent years the East-Christian iconographical art works have been digitized providing a large volume of data. The need for effective classification, indexing and retrieval of iconography repositories was the motivation of the design and development of a systemized ontological structure for description of iconographical art objects. This paper presents the ontology of the East-Christian iconographical art, developed to provide content annotation in the Virtual encyclopedia of Bulgarian iconography multimedia digital library. The ontology’s main classes, relations, facts, rules, and problems appearing during the design and development are described. The paper also presents an application of the ontology for learning analysis on an iconography domain implemented during the SINUS project “Semantic Technologies for Web Services and Technology Enhanced Learning”.

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Bosley, Richard. « Ontology and the Art of Tragedy ». Ancient Philosophy 26, n^o 2 (2006) : 427–30. http://dx.doi.org/10.5840/ancientphil200626220.

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Roberts, Mark S. « Ontology of the Work of Art ». International Studies in Philosophy 24, n^o 1 (1992) : 109–11. http://dx.doi.org/10.5840/intstudphil199224133.

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CROWTHER, PAUL. « Ontology and Aesthetics of Digital Art ». Journal of Aesthetics and Art Criticism 66, n^o 2 (mars 2008) : 161–70. http://dx.doi.org/10.1111/j.1540-6245.2008.00296.x.

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CROWTHER, PAUL. « Ontology and Aesthetics of Digital Art ». Journal of Aesthetics and Art Criticism 66, n^o 2 (mars 2008) : 161–70. http://dx.doi.org/10.1111/j.1540-594x.2008.00296.x.

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KALFOGLOU, YANNIS, et MARCO SCHORLEMMER. « Ontology mapping : the state of the art ». Knowledge Engineering Review 18, n^o 1 (janvier 2003) : 1–31. http://dx.doi.org/10.1017/s0269888903000651.

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Ontology mapping is seen as a solution provider in today's landscape of ontology research. As the number of ontologies that are made publicly available and accessible on the Web increases steadily, so does the need for applications to use them. A single ontology is no longer enough to support the tasks envisaged by a distributed environment like the Semantic Web. Multiple ontologies need to be accessed from several applications. Mapping could provide a common layer from which several ontologies could be accessed and hence could exchange information in semantically sound manners. Developing such mappings has been the focus of a variety of works originating from diverse communities over a number of years. In this article we comprehensively review and present these works. We also provide insights on the pragmatics of ontology mapping and elaborate on a theoretical approach for defining ontology mapping.

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Vargas-Vera, Maria, et Miklos Nagy. « State of the Art on Ontology Alignment ». International Journal of Knowledge Society Research 6, n^o 1 (janvier 2015) : 17–42. http://dx.doi.org/10.4018/ijksr.2015010102.

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Ontology mapping as a semantic data integration approach has evolved from traditional data integration solutions. The core problems and open issues related to early data integration approaches are also applicable to ontology mapping on the Semantic Web community. Therefore, in this review the authors present the related literature, starting from the traditional data integration approaches, in order to highlight the evolution of data integration from the early approaches. Once the roots of semantic data integration have been presented, the authors proceed to introduce the state-of-the-art of the ontology mappings systems including the early approaches and the systems that can be compared through the Ontology Alignment Initiative (OAEI).

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Al Sheikh, Hanan Muneer. « The ontology of resistance between power and knowledge ». Global Journal of Sociology : Current Issues 11, n^o 1 (15 avril 2021) : 28–39. http://dx.doi.org/10.18844/gjs.v11i1.5455.

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The ontology of human resistance accentuates its existence through several expressive means with the most important being Art; as art transforms the question of resistance into a self-practice that starts with the artists and transfers between the inside and the outside in a continuous, creative and effective mutual relationship in order to emphasise the battle of existence conflict, ideology and Epistemology within the general framework of power. This philosophic analysis is based on the hypotheses of having a multilateral factor that continues with the past legacy on the one hand and interprets the present while overpassing it on the other, in order to create a state of creativity that represents the intellectual, emotional, cognitive and historical inventory, while posing a situation of continuous wondering among individuals and groups. This artistic state unifies the indicators of symbolisations and makes resistance represented in a contemporary visual discourse that rejects dominance, accentuates the identity and transforms the theoretical intellectual question into a practiced anthological act that is featured of permanent activity as a perpetual act towards liberation and reproducing self-existence. Keywords: Art philosophy, resistance ontology, political caricature, photography.

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Avramov, Nikifor. « Introduction to a Depth Ontology of Art] ». Filosofiya-Philosophy 32, n^o 2 (25 juin 2023) : 214–25. http://dx.doi.org/10.53656/phil2023-02-07.

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I present the concept of creative art as a junction of the fundamental situations that make of art – art. I shed light on the concept through connecting creation, as an impulse corresponding to the concept of φύσις, to art, as a frame corresponding to νόμος and the human form. I demonstrate that the concept, as much as it presupposes a depth ontology (possible as a metaphysically reflected ontology) speaks of categorical dyads, such as those of inner and outer, and immaterial and material. The later I consider as already grasped by the metaphysics of antiquity, according to which I therefore clarify the historical situation of my attempt: the reflection of the continuation of the metaphysical tradition through the topic of art, considering how this tradition always pushed itself against the consideration of art in its metaphysical light.

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Waki, Fábio. « Ontology for New Media Hybridity ». Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 5, n^o 1 (27 décembre 2017) : 97–101. http://dx.doi.org/10.14195/2182-8830_5-1_21.

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Review of Jihoon Kim, Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age, New York: Bloomsbury, 2016, 404 pp., ISBN 978-1-6289-2293-6. In Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age, Jihoon Kim tries to describe the ontology of contemporary artworks produced within the universe of New Media Art, particularly the ontology of those works he understands as hybrid moving images, images whose typical materialities are denatured, deconstructed, and resignified when remediated through digital platforms, technical supports or artistic practices initially strange to them. Revising theories by important art critics of the last decades, such as Clement Greenberg and Rosalind Krauss, and combining them with theories by contemporary art critics, such as Lev Manovich and Peter Weibel, Kim provides us new tools for understanding why this New Media hybridity is feasible as visual fruition, as well as why it is progressively capable of grasping new, historically-oriented, image possibilities.

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Davies, D. « ARTISTIC INTENTIONS AND THE ONTOLOGY OF ART ». British Journal of Aesthetics 39, n^o 2 (1 février 1999) : 148–62. http://dx.doi.org/10.1093/bjaesthetics/39.2.148.

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Matheson, Carl, et Ben Caplan. « Modality, Individuation, and the Ontology of Art ». Canadian Journal of Philosophy 38, n^o 4 (décembre 2008) : 491–517. http://dx.doi.org/10.1353/cjp.0.0030.

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In 1988, Michael Nyman composed the score for Peter Greenaway's film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman's compositional activity as a ‘generative performance’ and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix). According to one view, Nyman's score for Drowning by Numbers — the musical work — is the product generated by Nyman's compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let's call this view The Product Theory. By contrast, according to another view, Nyman's score for Drowning by Numbers is the generative performance itself (namely, Nyman's compositional activity) and, more generally, artworks are identified with generative performances themselves.

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Weh, Michael. « Production Determines Category : An Ontology of Art ». Journal of Aesthetic Education 44, n^o 1 (2010) : 84–99. http://dx.doi.org/10.1353/jae.0.0075.

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MAG UIDHIR, CHRISTY. « Photographic Art : An Ontology Fit to Print ». Journal of Aesthetics and Art Criticism 70, n^o 1 (janvier 2012) : 31–42. http://dx.doi.org/10.1111/j.1540-6245.2011.01496.x.

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Barwell, Ismay. « An Ontology of Art (review) ». Philosophy and Literature 15, n^o 1 (1991) : 161–62. http://dx.doi.org/10.1353/phl.1991.0061.

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MICHAEL WEH. « Production Determines Category : An Ontology of Art ». Journal of Aesthetic Education 44, n^o 1 (2010) : 84. http://dx.doi.org/10.5406/jaesteduc.44.1.0084.

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Alekseeva, Galina V. « Towards the Ontology of Orthodox Christian Art ». Problemy Muzykal'noj Nauki / Music Scholarship, n^o 3 (2022) : 59–69. http://dx.doi.org/10.56620/2782-3598.2022.3.059-069.

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The art of the Orthodox Christian Church conveys the special thinking intrinsic to believers, which does not fit into standard ideas. This type of thinking is characterized by a deep penetration into all aspects of artistry: icon painting, church singing and church action. Researchers have been paying attention to this for a long time. At the same time, only in the present day with the careful study of the works of St. John of Damascus and the Church Fathers, the veil of secrecy has been lifted. The integrality of this thinking becomes clear, and it is achieved solely in the synthesis of the constituent parts of the rite and its artistic means. The ontology of Orthodox Christian art is revealed in the article by means of approaches to the analysis of the works of St. John of Damascus and examples of the implementation of the synthesis of arts in icon painting and church chants which are close to the content of the icon. The works of Father Pavel Florensky, Yuri Lotman, Alexei Lidov, Sergei Averintsev and Nikolai Mikhaltsov have become the impetus for careful reading of St. John of Damascus’ guidelines on such a concept as perichorisis, which, as it becomes clear, is important for the interpretation not only in the Christological key, but also as the most important ontological basis of the entire artistic heritage that accompanies worship in church. The synthesis of the color scheme of the icon image, the color model of the text of the accompanying chant, the construction of melodic formulas in accordance with the metatext points of the chant – altogether this creates a unique complex of artistic means of Orthodox Christian art.

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Kim, Sonyoung. « Bruno Latour’s Amodern Ontology and Art Critic ». Journal of The Society of philosophical studies 143 (31 décembre 2023) : 23–50. http://dx.doi.org/10.23908/jsps.2023.12.143.23.

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Ashraf, Jamshaid, Elizabeth Chang, Omar Khadeer Hussain et Farookh Khadeer Hussain. « Ontology usage analysis in the ontology lifecycle : A state-of-the-art review ». Knowledge-Based Systems 80 (mai 2015) : 34–47. http://dx.doi.org/10.1016/j.knosys.2015.02.026.

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Filipovic, Andrija, et Bojana Matejic. « Art=life ? Deleuze, badiou and ontology of the human ». Filozofija i drustvo 26, n^o 2 (2015) : 392–413. http://dx.doi.org/10.2298/fid1502392f.

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The idea of the relation between art and life as becoming-life of art is a consequence of specific modern developments ranging from the Enlightenment to capitalism. This assemblage of thought and practice is present in one of the most dominant art forms today, and the task of this paper is to reassess the current state of affairs in art considering that the current state of affairs in art is a symptom of the global society of control. In order to be emancipatory art, on the one hand, Art presupposes de-substantialization and deessentialization of the biopolitically formed life and the category of Man, while on the other hand it also presupposes a new ?generic in-humanum? (in Badiou), that is, a people to come (in Deleuze) as the basis of politicity. Hence, emancipatory art needs to break away with the human in order to reach that which is beyond the current democratic materialism.

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Saldanha, Arun. « Michaux : Xenopathic Ontology ». Deleuze Studies 6, n^o 3 (août 2012) : 411–37. http://dx.doi.org/10.3366/dls.2012.0072.

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The hallucinogenic art of Michaux and other surrealists should never be regarded as advocating unbridled sensuous experimentation. The affects they generate may index absurdity, incongruity and comedy – they may ‘ridiculise’ our systematic thinking – but these affects thereby serve a more serious production of concepts. Through an abstemious aesthetics of existence Michaux becomes an ontologist of the prephilosophical sort. Carefully but ambiguously he explores the truths of matter, movement, body and modernity. As Deleuze saw clearly, the resulting ontology has strong affinities with that of Leibniz, though we have to insist on Simondon's transindividual dimension to obtain the full ontological purchase of hallucinogenic surrealisation.

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Kim, HeeJeong. « The Ontology of Digital Art and Its possibility : Focusing on Interactive Art ». Mihak - The Korean Journal of Aesthetics 84, n^o 1 (30 mars 2018) : 93–119. http://dx.doi.org/10.52720/mihak.84.1.3.

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Al Sheikh, Hanan Muneer. « The ontology of resistance between power and knowledge : A philosophical approach ». New Trends and Issues Proceedings on Humanities and Social Sciences 8, n^o 1 (4 juin 2021) : 43–51. http://dx.doi.org/10.18844/prosoc.v8i1.5790.

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The ontology of human resistance accentuates its existence through several expressive means with the most important being art, as art transforms the question of resistance into a self-practice that starts with the artists and transfers between the inside and the outside in a continuous, creative, effective mutual relationship, in order to emphasise the battle of existence conflict, ideology and epistemology within the general framework of power. This philosophic analysis is based on the hypotheses of having a multilateral factor that continues with the past legacy on one hand and interprets the present while overpassing it on the other. This is to create a state of creativity that represents the intellectual, emotional, cognitive and historical inventory while posing a situation of continuous wondering among individuals and groups. This artistic state unifies the indicators of symbolisations and makes resistance represented in a contemporary visual discourse that rejects dominance. It also accentuates the identity and transforms the theoretical intellectual question into a practised anthological act that is featured of permanent activity as a perpetual act towards liberation and reproducing self-existence. Keywords: Art philosophy, resistance ontology, political caricature, photography.

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43

Smyth. « Ontology and Atrocity : Teaching Heidegger's Philosophy of Art ». Journal of Aesthetic Education 55, n^o 2 (2021) : 15. http://dx.doi.org/10.5406/jaesteduc.55.2.0015.

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Vara Sánchez, Carlos. « Rhythm ’n’ Dewey : an adverbialist ontology of art ». Rivista di estetica, n^o 73 (1 avril 2020) : 79–95. http://dx.doi.org/10.4000/estetica.6755.

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Margolis, Joseph. « Ontology down and out in Art and Science ». Journal of Aesthetics and Art Criticism 46, n^o 4 (1988) : 451. http://dx.doi.org/10.2307/431282.

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Thomasson, Amie L. « The Ontology of Art and Knowledge in Aesthetics ». Journal of Aesthetics and Art Criticism 63, n^o 3 (juin 2005) : 221–29. http://dx.doi.org/10.1111/j.0021-8529.2005.00202.x.

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MARGOLIS, JOSEPH. « Ontology Down and Out in Art and Science ». Journal of Aesthetics and Art Criticism 46, n^o 4 (1 juin 1988) : 451–60. http://dx.doi.org/10.1111/1540_6245.jaac46.4.0451.

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WOLTERSTORFF, NICHOLAS. « Book Reviews : Gregory Currie. An Ontology of Art ». Journal of Aesthetics and Art Criticism 49, n^o 1 (1 décembre 1991) : 79–80. http://dx.doi.org/10.1111/1540_6245.jaac49.1.0079.

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McNeill, David. « Art Without Authors : Networks, Assemblages and ‘Flat’ Ontology ». Third Text 24, n^o 4 (juillet 2010) : 397–408. http://dx.doi.org/10.1080/09528822.2010.491370.

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Alberti, Benjamin. « Art, craft, and the ontology of archaeological things ». Interdisciplinary Science Reviews 43, n^o 3-4 (2 octobre 2018) : 280–94. http://dx.doi.org/10.1080/03080188.2018.1533299.

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Articles de revues sur le sujet « Ontology in art »

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