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Broken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text experiments, and personal confessions into a single textual flow, it examines the somatic foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophy’s production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and bespoke silo – not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of “roiling” within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings – writing shored up by the very mechanisms that threaten its disappearance.Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte.
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Happiness and Utility brings together experts on utilitarianism to explore the concept of happiness within the utilitarian tradition, situating it in earlier eighteenth-century thinkers and working through some of its developments at the end of the nineteenth and beginning of the twentieth centuries. Drawing on a range of philosophical and historical approaches to the study of the central idea of utilitarianism, the chapters provide a rich set of insights into a founding component of ethics and modern political and economic thought, as well as political and economic practice. In doing so, the chapters examine the multiple dimensions of utilitarianism and the contested interpretations of this standard for judgement in morality and public policy.
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Happiness and Utility brings together experts on utilitarianism to explore the concept of happiness within the utilitarian tradition, situating it in earlier eighteenth-century thinkers and working through some of its developments at the end of the nineteenth and beginning of the twentieth centuries. Drawing on a range of philosophical and historical approaches to the study of the central idea of utilitarianism, the chapters provide a rich set of insights into a founding component of ethics and modern political and economic thought, as well as political and economic practice. In doing so, the chapters examine the multiple dimensions of utilitarianism and the contested interpretations of this standard for judgement in morality and public policy.
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Broken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text experiments, and personal confessions into a single textual flow, it examines the somatic foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophy’s production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and bespoke silo – not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of “roiling” within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings – writing shored up by the very mechanisms that threaten its disappearance.Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte.
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"Introduces a new field of study adapted from STS that the author refers to as art, science, and technology studies"--
History of science --- History of art & design styles: c 1800 to c 1900 --- Philosophy: epistemology & theory of knowledge --- History of art --- Philosophy: epistemology and theory of knowledge --- Art and science. --- Science and the arts. --- Science --- Experiential learning. --- Methodology. --- SCIENCE / History --- ART / History / General --- PHILOSOPHY / Epistemology --- Experience-based learning --- Learning, Experiential --- Experience --- Learning --- Active learning --- Scientific method --- Logic, Symbolic and mathematical --- Arts and science --- Arts --- Science and art
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Der Begriff des Wahrnehmens wird als ein Moment praktisch-sinnlicher Tätigkeit entwickelt. Damit wird angezeigt, dass die Erforschung des Wahrnehmens nicht ausschließlich und vorrangig Thema von Naturwissenschaften ist, sondern eine originäre philosophische Aufgabe darstellt. Wahrnehmen, verstanden als praktisch-sinnliche Tätigkeit, macht darauf aufmerksam, dass wir im Wahrnehmen weder passiv etwas erleiden noch dass das Wahrgenommene außerhalb und unabhängig von unseren Wahrnehmungen vorhanden wäre. Vielmehr meint Wahrnehmen von etwas als etwas Bestimmtem, dass im Vollzug einer gemeinsamen Praxis die dort getätigten Bestimmungen als miteinander geteilte Bestimmungen verstanden werden.
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Archives are considered to be collections of administrative, legal, commercial and other records or the actual place where they are located. They have become ubiquitous in the modern world, but emerged not much later than the invention of writing. Following Foucault, who first used the word archive in a metaphorical sense as "the general system of the formation and transformation of statements" in his "Archaeology of Knowledge" (1969), postmodern theorists have tried to exploit the potential of this concept and initiated the "archival turn". In recent years, however, archives have attracted the attention of anthropologists and historians of different denominations regarding them as historical objects and "grounding" them again in real institutions. The papers in this volume explore the complex topic of the archive in a historical, systematic and comparative context and view it in the broader context of manuscript cultures by addressing questions like how, by whom and for which purpose were archival records produced, and if they differ from literary manuscripts regarding materials, formats, and producers (scribes).
Non-Western philosophy --- Philosophy: epistemology & theory of knowledge --- Philosophy: aesthetics --- manuscript studies --- manuscriptology --- SMC --- historical survey --- systematic survey --- manuscript cultures --- cultural studies
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The number of manuscripts produced in the Indian sub-continent is astounding and is the result of a massive enterprise that was carried out over a vast geographical area and over a vast stretch of time. Focusing mainly on areas of Northern India and Nepal between 800 to 1300 CE and on manuscripts containing Sanskrit texts, the present study investigates a fundamental and so far rarely studied aspect of manuscript production: visual organisation. Scribes adopted a variety of visual strategies to distinguish one text from another and to differentiate the various sections within a single text (chapters, sub-chapters, etc.). Their repertoire includes the use of space(s) on the folio, the adoption of different writing styles, the inclusion of symbols of various kind, the application of colours ('rubrication'), or a combination of all these. This study includes a description of these various strategies and an analysis of their different implementations across the selected geographical areas. It sheds light on how manuscripts were produced, as well as on some aspects of their employment in ritual contexts, in different areas of India and Nepal.
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This book offers the first extended comparison of the philosophies of Gilles Deleuze and David Hume.
Enlightenment --- Deleuze, Gilles, --- Hume, David, --- Deleuze, G. --- Delëz, Zhilʹ, --- Dūlūz, Jīl, --- دولوز، جيل --- Delezi, Jier, --- PHILOSOPHY / Epistemology. --- Scotland. --- Hume, David
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Shakespeare as a Way of Life shows how reading Shakespeare helps us to live with epistemological weakness and even to practice this weakness, to make it a way of life. In a series of close readings, Kuzner shows how Hamlet, Lucrece, Othello, The Winter’s Tale, The Tempest, and Timon of Athens, impel us to grapple with basic uncertainties: how we can be free, whether the world is abundant, whether we have met the demands of love and social life.To Kuzner, Shakespeare’s skepticism doesn’t have the enabling potential of Keats’s heroic “negativity capability,” but neither is that skepticism the corrosive disease that necessarily issues in tragedy. While sensitive to both possibilities, Kuzner offers a way to keep negative capability negative while making skepticism livable. Rather than light the way to empowered, liberal subjectivity, Shakespeare’s works demand lasting disorientation, demand that we practice the impractical so as to reshape the frames by which we view and negotiate the world. The act of reading Shakespeare cannot yield the practical value that cognitive scientists and literary critics attribute to it. His work neither clarifies our sense of ourselves, of others, or of the world; nor heartens us about the human capacity for insight and invention; nor sharpens our ability to appreciate and adjudicate complex problems of ethics and politics. Shakespeare’s plays, rather, yield cognitive discomforts, and it is just these discomforts that make them worthwhile.
PHILOSOPHY / Epistemology. --- POLITICAL SCIENCE / History & Theory. --- LITERARY CRITICISM / Shakespeare. --- Shakespeare, William, --- Criticism and interpretation. --- Cognitive Science. --- Freedom. --- Love. --- Political Theology. --- Shakespeare. --- Skepticism. --- aesthetics. --- ethics. --- politics.