This book explores how the practice of art, in particular of avant-garde art, keeps our relation to time, history and even our own humanity open. Examining key moments in the history of both technology and art from the beginnings of industrialisation to today, Charlie Gere explores both the making and purpose of art and how much further it can travel from the human body.

The purpose of this article is to explore the concept of rhythm as enabling relations and thus as an appropriate mode of analysis for digital sound art installation. In particular, the article argues for a rhythmanalysis of the sonic event as a ‘vibrating sensation’ (Deleuze and Guattari) that incorporates the virtual without necessarily actualizing it. Picking up on notions such as rhythm, time, affect, and event, particularly through their discussion in relation to Susanne Langer’s work, I argue for the (...) consideration of the sonic event as an instance of a different kind of temporality subsisting underneath clock-time and sense perception. Ultimately, and this is the position of this essay, an investigation into experimental projects that interweave digital, sound, and aesthetic dimensions enables the articulation of a rhythmic time that helps account for the unknown, indeterminate, and unintentional forces immanent to the sonic. (shrink)

This is a book about time--about one's own journey through it and, more important, about enlarging the pleasure one takes in that journey. It's about memory of the past, hope and fear for the future, and how they color, for better and for worse, one's experience of the present. Ultimately, it's a book about freedom--freedom from despair of the clock, of the aging body, of the seeming waste of one's daily routine, the freedom that comes with acceptance and appreciation (...) of the human dimensions of time and of the place of each passing moment on life's bounteous continuum. For Robert Grudin, living is an art, and cultivating a creative partnership with time is one of the keys to mastering it. In a series of wise, witty, and playful meditations, he suggests that happiness lies not in the effort to conquer time but rather in learning "to bend to its curve," in hearing its music and learning to dance to it. Grudin offers practical advice and mental exercises designed to help the reader use time more effectively, but this is no ordinary self-help book. It is instead a kind of wisdom literature, a guide to life, a feast for the mind and for the spirit. (shrink)

Life is short. This indisputable fact of existence has driven human ingenuity since antiquity, whether through efforts to lengthen our lives with medicine or shorten the amount of time we spend on work using technology. Alongside this struggle to manage the pressure of life’s ultimate deadline, human perception of the passage and effects of time has also changed. In On Borrowed Time, Harald Weinrich examines an extraordinary range of materials—from Hippocrates to Run Lola Run—to put forth a (...) new conception of time and its limits that, unlike older models, is firmly grounded in human experience. Weinrich’s analysis of the roots of the word time connects it to the temples of the skull, demonstrating that humans first experienced time in the beating of their pulses. Tracing this corporeal perception of time across literary, religious, and philosophical works, Weinrich concludes that time functions as a kind of sixth sense—the crucial sense that enables the other five. Written with Weinrich’s customary narrative elegance, On Borrowed Time is an absorbing—and, fittingly, succinct—meditation on life’s inexorable brevity. (shrink)

The time of the literary work of art is a schematized aspect of the represented objectivities of the literary work. Roman Ingarden’s analysis of the time of the literary work extends upon Husserl’s phenomenology of time consciousness but nevertheless remains consistent with it, insofar as within a literary work as well as actuality, an objective time or literary objective time is constituted from an experience of temporal objects. The time of the literary work of (...) art is experienced through its represented objectivities and depends on an already existent concept of objective time. The time of the literary work, however, gains an indeterminacy, as the author of the literary work is able to manipulate our experience of time within the literary work by predicting how the reader will concretize its events, characters, and objects with respect to time. I use Alain Robbe-Grillet’s representation of the centipede in La Jalousie as an example of the possible manipulations of time, explicable through Ingarden’s analysis of time in the literary work of art. (shrink)

Life is short. This indisputable fact of existence has driven human ingenuity since antiquity, whether through efforts to lengthen our lives with medicine or shorten the amount of time we spend on work using technology. Alongside this struggle to manage the pressure of life’s ultimate deadline, human perception of the passage and effects of time has also changed. In _On Borrowed Time_, Harald Weinrich examines an extraordinary range of materials—from Hippocrates to _Run Lola Run_—to put forth a new (...) conception of time and its limits that, unlike older models, is firmly grounded in human experience. Weinrich’s analysis of the roots of the word _time_ connects it to the temples of the skull, demonstrating that humans first experienced time in the beating of their pulses. Tracing this corporeal perception of time across literary, religious, and philosophical works, Weinrich concludes that time functions as a kind of sixth sense—the crucial sense that enables the other five. Written with Weinrich’s customary narrative elegance, _On Borrowed Time_ is an absorbing—and, fittingly, succinct—meditation on life’s inexorable brevity. (shrink)

The article is dedicated to analyzing the nature of genius in the context of the development of fiction about artists. From the biographies of the famous Renaissance artists by G. Vasari, who made one of the first attempts at chronicling the lives of geniuses of his time, to modern fictionalized biographies of genius artists – we can trace the desire of writers to comprehend the nature of the artists and sculptors’ genius. The foundation of the concept of genius can (...) be found in Immanuel Kant’s works, which synthesized theories developed previously and influenced the understanding of genius by future generations. The paper analyses the consonance of Kant’s aesthetics with the concept of genius in fictionalized biographies of F. Goya, M. Bashkirtseva, V. van Gogh, P. Gauguin, O. Novakivskyi, K. Bilokur, P. Picasso, V. Tsymbal, S. Karaffa-Korbut and other artists, while focusing on the Ukrainian texts of the 20th–early 21st centuries. The research attempts to single out and analyze elements of conceptualizing the notion of genius in novels, including the concepts of the beautiful and the sublime in art, recognition of genius in society, the gender aspect of genius, the issues of heredity, and others. The representation of the image of genius in visual arts, iconography, and the cult of genius are discussed within an intermedial framework. The research relies on literary and art criticism methodology and comparative and intermedial studies. (shrink)

Summary Colour and space are pervasive topics in both perception and art. This article investigates the role of colour and pattern in relation to space and time in the art works by two artists: Frank Stella, a well-known Post-War American abstract painter, and Pieter Vermeersch, an emerging Belgian abstract painter, representing a contemporary trend to break the barriers between artistic disciplines. While Stella adheres to the Modernist logic of non-illusionistic, non-spatial, non-referential art as object, perceived instantaneously, Vermeersch explores ways (...) to enhance the viewers’ spatial and temporal experiences through complex art installations with multiple objects and architectural elements interacting with each other and with the spaces in which they are embedded. We discuss these major themes in some representative art works, and in the way they are perceived and appreciated by contemporary viewers, investigated in four empirical studies: two laboratory experiments using well-controlled stimuli derived from at works, and two museum studies employing a variety of methods, including mobile eye-tracking and questionnaires. (shrink)

Lindroos constructs an alternative interpretation on history, time, politics and art, approached through the moment of the Now (Jetztzeit). In the first section, she elaborates the critique of chronologic-linear way of understanding history. Through a close reading of Benjamin's "Work of Art" essay, the second section examines the problems of origins, authenticity and traditions of art through the ideas of artistic avant-garde and politicization of aesthetics. The end of the book discusses the concept of image and the new images (...) as an Image-Space (Bildraum) of action. (shrink)

This ground-breaking book addresses transformations in the understanding of time and the generation and degeneration of value at the cutting edge of modernity and postmodernity. The book is a multi-disciplinary contribution to current work in the social sciences, in cultural theory and in more pragmatic areas such as advertising and global communication. It brings together the work of distinguished international scholars and new young thinkers. Time and Value contains an exploration of such themes as the timescapes of nature (...) and the impact of disease, ecological catastrophe, and many other issues. In theoretical terms, the collection draws in particular upon writers such as Jacques Derrida, Michel Serres, Paul Virilio and Martin Heidegger, whose work is particularly relevant in considering how technology has had a powerful impact upon the construal of time and the explanation of how time constructs human lives in late modernity. The compression of time and its fragmentation correspond with a collapse in and reconstruction of value systems. This deconstruction of time is juxtaposed with a range of possibilities that emerge when the specific times of the media, literature, art, virtuality, nature, performance, fashion, semiotic codings, spirituality, the self and the body are understood as creative opportunity. (shrink)

Throughout the twentieth and twenty-first centuries, artists and scholars have pursued connections between modern art movements and scientific exploration and expertise. Particularly in discussions of Cubism and Futurism, artists and historians have employed the terms ‘fourth dimension’, ‘simultaneity’, and ‘space-time’ in their artistic theories. Select scholars have connected the use of these terms with Albert Einstein’s theories of relativity. This paper presents brief notes on this perceived intersection between Western science and art during the early to mid-twentieth century. It (...) focuses on the Bauhaus master Laszlo Moholy-Nagy, for whom ideas of “space-time” offered new and dynamic possibilities for art and perception. Rather than solely trying to interpret or represent Einstein’s theories in art, Moholy-Nagy considered the artistic implications of a theory that challenged the notion of absolute time and space. His writing on technology and the use of projected light to produce spatial modulation greatly impacted subsequent generations of artists. Moholy-Nagy also viewed greater collaboration within the disciplines of science and art as necessary. He argued that in order to best respond to the twentieth century a new generation of artists must be equipped with both technical and scientific expertise. (shrink)

The ArgumentThis article compares the corresponding effects in science and art of a change in the intuition of time at the beginning of this century. McTaggart's distinction between linear time and tense time is applied to the question of whether linear perspective requires a notion of time as succession. It is argued that the problem of self-representation is a basic problem for this kind of uniform space-time because of the contradiction between this model's need for (...) a privileged point of view and its simultaneous denial of such a possibility. (shrink)

In this work, the author presents an updated state-of-the-art study about the fundamental concept of time, integrating approaches coming from all branches of human cognitive disciplines. The author points out that there is a rational relation for the nature of time coming from human disciplines and scientific ones, thus proposing an overall vision of it for the first time. Implications of this proposal are shown providing an existentialist approach to the meaning of “time” concept.

ABSTRACT The welcome expansion of kairos beyond its traditional locus in public debate to a broad range of discourse forms and persuasive actions has not been matched by a reevaluation of the temporal logic of kairos, which is still seen as located in teleologic time. This article suggests that Walter Benjamin’s understanding of time could refigure kairos as a nonteleological relationship among past, present, and future. Benjamin provides a theoretical rationale for kairotic action that is distributed in (...) class='Hi'>time and space and accounts for kairos of objects, places, technologies, and works of art. These temporal affordances, usually developed separately in contemporary theory, are deeply connected in Benjamin’s writing; his understanding of time therefore integrates currently unconnected lines of research and supports a fluid but coherent understanding of kairotic agency. (shrink)

While philosophy and psychoanalysis privilege language and conceptual distinctions and mistrust the image, the philosopher and psychoanalyst Julia Kristeva recognizes the power of art and the imagination to unblock important sources of meaning. She also appreciates the process through which creative acts counteract and transform feelings of violence and depression. Reviewing Kristeva's corpus, Elaine P. Miller considers the intellectual's "aesthetic idea" and "thought specular" in their capacity to reshape depressive thought on both the individual and cultural level. She revisits Kristeva's (...) reading of Walter Benjamin with reference to melancholic art and the imagination's allegorical structure; her analysis of Byzantine iconoclasm in relation to Freud's psychoanalytic theory of negation and Hegel's dialectical negativity; her understanding of Proust as an exemplary practitioner of sublimation; her rereading of Kant and Arendt in terms of art as an intentional lingering with foreignness; and her argument that forgiveness is both a philosophical and psychoanalytic method of transcending a "stuck" existence. Focusing on specific artworks that illustrate Kristeva's ideas, from ancient Greek tragedy to early photography, contemporary installation art, and film, Miller positions creative acts as a form of "spiritual inoculation" against the violence of our society and its discouragement of thought and reflection. (shrink)

Juxtaposing recent site-responsive art installations by artists Mame-Diarra Niang (b.1982, France) and Dineo Seshee Bopape (b.1981, South Africa), this article explores the various geographic, virtual and cultural spaces that the artists simultaneously inhabit in their respective practices. Through interviews with the artists and contextual analysis of their recent projects, one can begin to understand the complex strategies each artist brings to bear to communicate compellingly beyond standard conceptions of past, present and future. Particular attention will be paid to Niang’s Dak’Art (...) 2014 performance Éthéré, which offered a subtle yet trenchant critique of homophobia and related hate crimes in Senegal. Bopape’s aesthetic, meanwhile, exemplified in installations such as but that is not the important part of the story draws on references including slave rebellion and Shembe religious rites. This article will argue that their individual approaches in fact share a number of affinities that can prove revelatory in our understanding of black hauntology, mining the ways in which contemporary African artists alternately negotiate spaces – whether physical, virtual or recorded – and memory. (shrink)

This chapter contains sections titled: Temporal and Non‐Temporal Arts Literary Time and Real Time Novel Discontinuity The Goal of the Gaps Musical Time and Real Time A Puzzling Problem A Bizarre Suggestion Historical Narrative Fictional Time and Music‐Fictional Time Formal Structure The Other Proposal.

The way that Metaphysics as a Guide to Morals begins may seem perplexing since it does not state in a clear way what the aims and purposes of the book are, nor does it say anything about methodology. This chapter aims to show how this peculiar opening, rightly understood, functions as an entrance to an understanding of the book as a whole, and to make clear why the opening chapter’s focus on the concept of art is the right place to (...) start. Murdoch’s view of metaphysics is that we are always guided by a worldview, i.e. by unified images that are historical and changing. Art functions as a mirror of its time that help to bring the background of our lives and thoughts into view. (shrink)

The relationship between art and time is one of pre-figuration–transfiguration, a continuous exchange between the art of the present and that of the past and it is in this sense that we can understand how the works of art are have almost their entire life before them. It is in this sense also that the real meaning of metamorphosis should be understood: The works of art are not permanent acquisitions. They offer themselves the ways through which they appear in (...) another light, gathering up at the same time a series of antecedent expressions in an eternity ever to be recreated. Hence, art’s time is neither a-historical nor exclusively history embedded (in history’s empirical sense). Art’s time is trans-historical: artworks, initiating themselves the process of their metamorphosis, ‘transcend’ time being into time and, thus, they ‘traverse’ history. (shrink)

An examination of the specifically graphic-novelistic strategies employed in Art Spiegelman's graphic memoir, Maus, in leading the reader into a punctuated experience of time and memory, and in forcing complicity with the novel's problematic animal-as-ethnicity metaphor, in a wider attempt at putting together the critical vocabulary for discussing comic books as simultaneously textual and pictorial ‘texts’.

Notoriously, beauty is subject to time’s “tooth”; but—somehow—we sense also the imperviousness of achieved value to mere duration. This paradox is illustrated using a recent art event, and three principles analyzed from the case in point: (1) the exclusive intrinsic importance of subjective immediacy, (2) the necessity of intersubjective connections, and (3) the crucial place of instrumental value. Moving from art to metaphysics to nature, I conclude with discussions of habitat and of evolution. Only if a habitat’s instrumental value (...) (for many centers of subjective immediacy besides human ones) is adequately respected can anthropocentric values be prevented from always “trumping” all others. I reconsider evolution in terms of many interconnected value-realizing subjects, presenting the proffered “kalogenic” perspective as a manifestation of the most fundamental process of the universe—one in which the pursuit, actualization, and defense of concrete beauty actually generates what we abstractly call “time.”. (shrink)

Marking a ground-breaking moment in the debate surrounding bodies and "body politics," Elizabeth Grosz's Space, Time and Perversion contends that only by resituating and rethinking the body will feminism and cultural analysis effect and unsettle the knowledges, disciplines and institutions which have controlled, regulated and managed the body both ideologically and materially. Exploring the fields of architecture, philosophy, and--in a controversial way--queer theory, Grosz shows how these fields have conceptually stripped bodies of their specificity, their corporeality, and the vestigal (...) traces of their production as bodies. Her tour de corpe investigates the work of Michel Foucault, Teresa de Lauretis, Gilles Deleuze, Judith Butler and Alphonso Lingis. Grosz considers their work by examining the ways in which the functioning of bodies transforms understandings of space and time, knowledge and desire. Begining with an exposition of the epistemological implications of bodily and sexual difference, Grosz examines the effects such knowledge have on the reception of meaning. She looks at the relationship between the knowledge of difference and the way that knowledge validates, affirms, avows and valorizes subjects. Grosz then extends this analysis to an investigation of the relationship between space, time, bodies and the spatial "arts" such as architecuture, urban planning and geography. In the last section, Grosz moves toward a radical consideration of bodies and their relationship to transgression and perversity. Controversially showing the ways in which "queer" theory fails to offer a truly transformative conception of bodies and their politics, Grosz finds "queer" a reactive category "which sees itself in opposition to a straight norm and thus defines itself in terms of this norm." Consequentially, "queer" theory inherits the acceptance of an entire range of sexual practices, without "asking what they share and without taking into account the profound tension that may exist among these practices." Grosz's Space, Time and Perversity is a diverse and incisive collection of essays from a renowned feminist philosopher. (shrink)

We offer a formal account of the English past tenses. We see the perfect as having reference time at speech time and the preterite as having reference time at event time. We formalize four constraints on reference time, which we bundle together under the term ‘perspective’. Once these constraints are satisfied at the different reference times of the perfect and preterite, the contrasting functions of these tenses are explained. Thus we can account formally for the (...) ‘definiteness effect’ and the ‘lifetime effect’ of the perfect, for the fact that the perfect seems to ‘explain’ something about the present, and that the perfect cannot presuppose a past time point. We explain why perfect and preterite can sometimes be interchangeable, and we offer a solution to the ’present perfect puzzle’. We explain the unacceptability of notorious examples of the perfect such as * Gutenberg has discovered the art of printing . We give greater definition to the familiar notions of ‘current relevance’ and ‘extended now’. (shrink)

"One might say that where Religion becomes artificial, it is reserved for Art to save the spirit of religion." With these words Richard Wagner began "Religion and Art" (1880), one of his most passionate essays. That passion made Wagner himself a central icon in the growing cult of art. Wagner felt that he lived in an age of spiritual crisis. "It can but rouse our apprehension, to see the progress of the art-of-war departing from the springs of moral force, and (...) turning more and more to the mechanical," he wrote. In response to the frightening progress of dynamite and steel, Wagner adopted the role of the Tone Poet Seer, who reveals the inexpressible in concert halls and cleanses souls in waves of symhonic revelation. "Religion and Art" is the pivot of the works collected here. Also included are his defining essays "Public and Popularity" and "The Public in Time and Space"; his papers relating to the creation of the Bayreuth School; his complaint against publishers, "On Poetry and Composition" (1879); his article on the first production of Parsifal (1882); and other works that speak his mind about strengthening the spirit through music. These works participated in the duel between Wagner and Nietzsche that ensued after the breakup of their friendship in 1878. Nietzsche publicly called Wagner an incurable romantic, emphasizing how sick he thought both Wagner and his art were. Here Wagner counterattacks with arch innuendo and sarcasm. This edition includes the complete volume 6 of the 1897 translation of Wagner's works commissioned by the London Wagner Society. William Ashton Ellis is one of the most important translators of nineteenth-century musicology. In addition to his monumental translation of Wagner's prose works, he translated Wagner's correspondence with Franz Lizst, Mathilde Wesendonck, and Wagner's own family. Ellis died in 1919. (shrink)

Temporal aspects dwell both in the world around us and at the core of our experience of it. Reality, thought, and language all seem to be imbibed in temporality at some level or another. It is thus not surprising that philosophers who have to face the problems of understanding time have resorted to tools from different spheres of investigation, and often at the points of overlap of these areas. Metaphysics, philosophy of physics and science in general, philosophy of language, (...) phenomenology, philosophy of mind, the study of perception and cognition, but also anthropology, sociology, and history of culture, art, and ideas all contain theories and reflections that are crucial to our understanding and experience of time. Many recent debates in analytic philosophy have tackled in different ways the question of whether the sensation of the passage of time that seems to characterise our ordinary experience should be understood as reflecting some obje .. (shrink)

Time is more than a line drawn from the past to the future. It is a form of life, marked by the ancient hierarchy between those who have time and those who do not. This hierarchy still governs a present which clings to the fable of historical necessity and its experts. In opposition to this, Jacques Rancière shows how the break with the hierarchical conception of time implies a completely different idea of the modern. He sees the (...) fulfilment of this in two arts of movement, cinema and dance, which at the beginning of the twentieth century abolished the opposition between free and mechanical people, and exposed the rift between the revolution of artists and that of strategists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns representing (...) specific temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (shrink)

The present volume contains primarily the invited papers of the 28th Inter-national Wittgenstein Symposium that was held in Kirchberg am Wech-sel (Lower Austria) in August 2005. It was dedicated to the topic Time and History (Zeit und Geschichte) in an interdisciplinary perspective, ranging from the philosophy of time, in the narrower sense, the approaches of the single scientific disciplines, in so far as they are informed by foundational and philosophical issues, to culture and art. As usual, the contributed (...) papers (Beitr age) were already published prior to the symposium. While the latter volume contains, in a special section, papers dedicated to all aspects of Wittgenstein's work, the present volume focuses on his views about time. The editors are well aware that both time and history are prominently discussed within the phenomenological and hermeneutic traditions in philosophy. This was well reflected in the contributed papers, as can be seen in the Beitr age volume, and in some papers dealing with time and history from a cultural perspective. For reasons of thematic coherence and as a consequence of the general orientation of this book series, however, the editors have given priority to philosophers belonging to the analytic tradition in the broad sense. The editors nonetheless hope to have succeeded in presenting an equally focused and comprehensive picture of the contemporary debate. (shrink)

Acclaimed cultural critic Curtis White examines current fissures in Western Buddhism and argues against the growth of scientific and corporate dharma, particularly in Stephen Batchelor's Secular Buddhist movement. In Transcendent, celebrated cultural critic Curtis White, asks what Buddhism will look like in the future. Do we want a secular Buddhism that looks like corporations and neuroscience? Or do we want a Buddhism that still provides refuge from the debased world of money and things? Transcendence is not about magic realms where (...) spirits fly about; the world is, as Shunryu Suzuki put it, its own magic. We only need to reclaim it and reclaim our humanity while we’re at it. The problem White suggests is a culture that recognizes only "things," capitalist things and science things, and aggressively denies the idea that the world of things has a beyond. We're told by science ideologues like the New Atheists that we live in a secular age and that philosophy is dead, and art is only an amusement, and transcendence is not wanted because science can provide all the wonder and beauty we need. Transcendent is a call for the re-enchantment not only of Buddhism but also of our Western art traditions. White recalls the risks and the raptures of the English Romantics, Beat poets, and the children of the counterculture, all in the name of a living world, and in defiance of our current world of climate catastrophe, contagious disease, and social collapse. (shrink)

Art interprets the visible world, physics charts its unseen workings--making the two realms seem completely opposed. But in Art & Physics, Leonard Shlain tracks their breakthroughs side by side throughout history to reveal an astonishing correlation of visions. From teh classical Greek sculptors to Andy Warhol and Jasper Johns, and from Aristotle to Einstein, aritsts have foreshadowed the discoveries of scientists, such as when Money and Cezanne intuited the coming upheaval in physics that Einstein would initiate. In this lively and (...) colorful narrative, Leonard Shlain explores how artistic breakthroughs could have prefigured the visionary insights of physicists on so many occasions throughtout history. Provacative and original, Art & Physics is a seamless integration of the romance of art and the drama of science...and exhilarating history of ideas. (shrink)

Explores proper timing and the arts of rulership in the work that inspired China's first emperor.

A gourd is a sort of pumpkin whose shell is frequently used to keep food and water. Gourds are also used as kitchen utensils, musical instruments or decoration. This paper draws attention to the time framework in gourd image representations, which symbolize universality and immortality as well as the positive notions of regeneration and emptiness. By analyzing the artistic expressions in the form of gourd representations reflected in literature and art, this paper reveals the complex notion of time (...) in Chinese civilization. (shrink)

The debates now in progress about the interactions of science and art compel one involuntarily to recall that such discussions have been held more than once and were, a long time ago, perhaps no less heated. It suffices to cite virtually at random certain statements of Pisarev, for example , for us to see, as in a cloudy mirror, both today's advocates of scientism and the romantics of art. Does this mean that all we need is to bear in (...) mind the wise words of the past in order to advance, as is believed by Iu. I. Kagarlitskii ? Obviously, that is not the case. The problem of the interactions of science and art is a philosophical one, not one of natural science; and the results achieved in debates of the past do not eliminate the questions of world view that constantly arise anew. Philosophy has no axioms such as exist in mathematics. It is therefore difficult to imagine that subsequent history has added nothing whatever to the understanding of past debates. Yet reference to these debates would appear to be essential today to clarify at least one of the factors of the problem we have posed. It might appear that this factor has been pointed to, but it has constantly been beclouded by the explanations of how science influences artists, and how art influences scientists who are at the same time artists, by references to the unity of the creative character of science and art, and so forth. In my opinion, it is essential, however, to emphasize that the very problematics of the interactions between science and art depend on the social and cultural environment within which they exist and are discussed. Turning to the past, we can see that science and art are not realms of activity handed down to humankind "since the creation of the world." They develop in the "body," if one may put it thus, of a specific socium, a specific culture. It would, of course, be absurd to conceive of any direct contact between science and art without the mediation of human beings, of society, of culture. Moreover, the debates themselves are determined by the level at which science and art are found within a given sociocultural space, by virtue of which analysis of these debates may provide data to the researcher for an understanding of the direction of social development. The RST influences all spheres of human activity, including the esthetic. Today, however, particularly in the West, there is a tendency to elevate the significance of the RST to an absolute, to explain many processes by its direct influence on social consciousness independently of the social conditions in which it occurs. Therefore, it would seem to be methodologically important for today's debates to demonstrate, on the basis of some concrete historical material, the connection between those shifts in social consciousness that sometimes explain the direct influence of progress in science and technology, on the one hand, and certain sociocultural conditions, on the other. (shrink)

The concept of simultaneity and contemporaneity is fundamental to and the core of my artistic practice but it also fits perfectly with the theme of my research. Creating multimedia art and installations with the help of new media is one way to best express the concept of non-separation, as evidenced by language itself. In Italian the word confusione, from the Latin term cunfusionem (mixing, blending), and in English confusion, is often used as a synonym for noise. In English, commotion is (...) a synonym for blare, and it has been derived from the Latin word cum movere, which means moving together. Contemporary art and installation are both staticity and change intermingled in a single place and time. The study of crowd, and the emotion that emerges from the deep immersive experiencing of art, is also strongly linked to another concept developed by Bergson: intuition. By ‘intuition’, Bergson meant an elementary, indivisible experience of sympathy, through which a person is moved into the inner being of an object and can comprehend what is unique and indefinable in it. I hypothesize the presence and expression of emotion in the collective experience of installation art, and both my creative efforts and theoretical research are aimed at facilitating the audience’s understanding or intuition of this emotion in an immersive multisensory environment. Using a range of both technological and classical tools and means of expression in my work, but more generally, artists create a product that can mediate and unfold the complexity of the phenomenological event by rendering it in a new form accessible to all. (shrink)