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Aesthetics --- -Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Addresses, essays, lectures --- Psychology --- Aesthetics. --- -Addresses, essays, lectures --- Beautiful, The --- Radio broadcasting Aesthetics
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Aesthetics --- -Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Addresses, essays, lectures --- Psychology --- -Addresses, essays, lectures --- Beautiful, The --- Radio broadcasting Aesthetics
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The first English translation of a classic text in aesthetics based on the precepts of German Idealism. Schelling systematically treats various forms of art-including music, painting, sculpture, narrative, and poetry-to present a philosophical disclosure of the idea or essence of art itself, an essence that transcends the actual work in history.
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Stephen Zepke shows how the idea of sublime art waxes and wanes in the work of Jean-François Lyotard, Gilles Deleuze and Felix Guattari, Jacques Derrida, Jacques Rancière and the recent Speculative Realism movement.
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The essence of art is to conceal art. A dancer or musician does not only need to perform with ability. There should also be a lack of visible effort that gives an impression of naturalness. To disguise technique and feign ease is to heighten beauty. To express this notion, Italian has a word with no exact equivalent in other languages, sprezzatura: a kind of unaffectedness or nonchalance.In this book, the first to consider sprezzatura in its own right, philosopher of art Paolo D'Angelo reconstructs the history of concealing art, from ancient rhetoric to our own times. The word sprezzatura was coined in 1528 by Baldassarre Castiglione in The Book of the Courtier to mean a kind of grace with a special essence: the ability to conceal art. But the idea reaches back to Aristotle and Cicero and forward to avant-garde works such as Duchamp's ready-mades, all of which share the suspicion of the overt display of skill. The precept that art must be hidden turns up in a number of fields, from cosmetics to interior design, politics to poetry, the English garden to shabby chic. Through exploring different articulations of this idea, D'Angelo shows the paradox of aesthetics: art hides that it is art, but in doing so it reveals itself to be art and becomes an assertion about art. When art is concealed, it appears as spontaneous as nature-yet, paradoxically, also reveals its indebtedness to technique. An erudite and surprising tour through aesthetics, philosophy, and art history, Sprezzatura presents a strikingly original argument with deceptive ease.
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Maps out the practice of fictioning as a new field of study for art and philosophyFictioning in art is an open-ended, experimental practice that involves performing, diagramming or assembling to create or anticipate new modes of existence. In this extensively illustrated book containing over 80 diagrams and images of artworks, David Burrows and Simon O’Sullivan explore the technics of fictioning through three focal points: mythopoesis, myth-science and mythotechnesis. These relate to three specific modes of fictioning: performance fictioning, science fictioning and machine fictioning. In this way, Burrows and O’Sullivan explore how fictioning can offer us alternatives to the dominant fictions that construct our reality in an age of ‘post-truth’ and ‘perception management’. Through fictioning, they look forward to the new kinds of human, part-human and non-human bodies and societies to come.Key FeaturesExplores the different ways that art practices deploy myth and fiction realityDraws on a rich constellation of recent philosophical perspectives – including those associated with the speculative and ontological turns, non-philosophy, residual and emergent cultures, decolonisation and the posthumanMoves through counter-cultures, performance studies, continental philosophy, anthropology, afrofuturisms, feminisms, science fiction, cybernetics, neuroscience, artificial intelligence research, electronic music and other digital practicesUltimately argues that fictioning is at its most radical and experimental in the expanded field of contemporary art practice"
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As well as being the most distinguished painter of his generation, Sir Joshua Reynolds (1723-92) was also the author of several works of art criticism and guides for artists, some of which originated as lectures delivered to the students of the Royal Academy by him as their founding president. This work, first published in 1778, collects six of the addresses given to the Academy on 'Prize Day', between 1769 and 1776, prefaced with the first address by Reynolds to his fellow artists of the newly founded institution in 1769. Each discourse was later printed and distributed to those present at Reynolds' expense. They present his views of the purpose of art, and in particular the necessity of intellectual dignity in what he calls the 'great style' of the Florentine Renaissance masters. The discourses also demonstrate his wide reading among the aesthetic theorists of his own and earlier ages.
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When it was first released in 1962, The Shape of Time presented a radically new approach to the study of art history. Drawing upon new insights in fields such as anthropology and linguistics, George Kubler replaced the notion of style as the basis for histories of art with the concept of historical sequence and continuous change across time. Kubler's classic work is now made available in a freshly designed edition. "The Shape of Time is as relevant now as it was in 1962. This book, a sober, deeply introspective, and quietly thrilling meditation on the flow of time and space and the place of objects within a larger continuum, adumbrates so many of the critical and theoretical concerns of the late twentieth and early twenty-first century. It is both appropriate and necessary that it re-appear in our consciousness at this time."-Edward J. Sullivan, New York University This book will be of interest to all students of art history and to those concerned with the nature and theory of history in general. In a study of formal and symbolic durations the author presents a radically new approach to the problem of historical change. Using new ideas in anthropology and linguistics, he pursues such questions as the nature of time, the nature of change, and the meaning of invention. The result is a view of historical sequence aligned on continuous change more than upon the static notion of style-the usual basis for conventional histories of art. A carefully reasoned and brilliantly suggestive essay in defense of the view that the history of art can be the study of formal relationships, as against the view that it should concentrate on ideas of symbols or biography.-Harper's.It is a most important achievement, and I am sure that it will be studies for many years in many fields. I hope the book upsets people and makes them reformulate.-James Ackerman.In this brief and important essay, George Kubler questions the soundness of the stylistic basis of art historical studies. . . . The Shape of Time ably states a significant position on one of the most complex questions of modern art historical scholarship.-Virginia Quarterly Review.
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