The Parallel Roads of Glen Roy

The Geologist ◽  
1863 ◽  
Vol 6 (4) ◽  
pp. 121-133
Keyword(s):  
Work Of Art ◽  
Short Account ◽  
Geological Society ◽  
The World ◽  
The Subject ◽  
The Spectator ◽  
Statistical Survey

On each side of a long, hollow, deep valley, bounded by dark and lofty mountains, at elevations respectively of 1266, 1188, and 980 feet, three strong lines are traced on the mountain-sides, parallel to each other and to the horizon, and at levels exactly corresponding on the opposite slopes,—so extraordinary in their appearance as to impress the most unphilosophical and incurious spectator.These singular and solitary phenomena, although long known and celebrated by the Highlanders of that wild region as the traditional opposite slopes,—so extraordinary in their appearance as to impress the most unphilosophical and incurious spectator.These singular and solitary phenomena, although long known and celebrated by the Highlanders of that wild region as the traditional works of their great ancestors, remained unnoticed by science and the world at large, until that indefatigable disturber of hidden mysteries, animals, and antiquities, the tourist Pennant, published in 1769 a short account of Glen Roy, in his ‘Tour through England, Wales, and Scotland.’A second description appeared in the ‘Statistical Survey of Scotland,’ in 1793.The subject was next taken up by Macculloch, who published an admirable paper, illustrated with views, maps, and sections, in the Transactions of the Geological Society for 1817. “So rarely,” he remarks, “does nature present us in her larger features with artificial forms or with the semblance of mathematical exactness, that no conviction of the contrary can divest the spectator of the feeling that he is contemplating a work of art,—a work, of which the gigantic dimensions and bold features appear to surpass the efforts of mortal powers.

scholarly journals The Absurd Man in camusiana philosophy and poetry drummondiana: language as a source of (trans)formation

2017 ◽  
Vol 27 (3) ◽  
pp. 361
Author(s):  
Sara De Castro Cândido ◽  
Nàvia Regina Ribeiro da Costa ◽  
Ruzileide Epifânio Nogueira
Keyword(s):  
Discourse Analysis ◽  
Interdisciplinary Approach ◽  
Albert Camus ◽  
Dialectical Materialism ◽  
Anglo Saxon ◽  
Work Of Art ◽  
Carlos Drummond De Andrade ◽  
The World ◽  
Poetic Text ◽  
The Subject

This article seeks to an approach between the poetry of Carlos Drummond de Andrade, in Feeling of the world (1940), and the philosophy of Albert Camus, in The Myth of Sisyphus - the work of art as adventure of a spiritual destiny (2012), for, to think through by the language praticed by Drummond in two poems – Poem of necessity and Holding hands –, the be in the world and the passing of the man's condition of the being ontic to the be ontological, using also Durand (2012) and another theorists. Making use, as methodology, by the bibliographical research, and theory express of poetic text, concepts and analysis based on the phenomenological critique. Still in an interdisciplinary approach, to reflect the subject and its constitution as speech, will use theories of French line of discourse analysis (DA) and the line Anglo-Saxon (ADC), whose leading exponents are respectively, Michel Pêcheux and Norman Fairclough, relying on the concept of dialectical materialism. O Homem Absurdo na filosofia camusiana e na poesia drummondiana: a linguagem como fonte da (trans)formação Este artigo busca aproximações entre a poesia de Carlos Drummond de Andrade, em Sentimento do Mundo (1940), e a filosofia de Albert Camus, em O mito de Sísifo – a obra de arte como aventura de um destino espiritual (2012), para, por meio da linguagem praticada por Drummond em dois poemas – Poema da necessidade e Mãos dadas –, pensar o estar no mundo e a passagem do homem da condição de ser ôntico para ser ontológico, valendo-se, também, de Durand (2012) e de outros teóricos. Utiliza, como metodologia, a pesquisa bibliográfica e expressa teorias do texto poético, conceitos e análises com base na crítica fenomenológica. Ainda, numa atitude interdisciplinar, para refletir sobre o sujeito e sua constituição como discurso, baseia-se nas teorias da Análise de Discurso de linha francesa (AD) e de linha anglo-saxã (ADC), cujos principais expoentes são, respectivamente, Michel Pêcheux e Norman Fairclough, apoiando-se na concepção do materialismo dialético.

My Dad. Life and Art of Teacher and Artist Sergiy Solodovnyk

2021 ◽  
Vol 2021 (02) ◽  
pp. 329-344
Author(s):  
S. Solodovnyk ◽  
Keyword(s):  
Personality Traits ◽  
Subject Matter ◽  
Fine Arts ◽  
Work Of Art ◽  
Artistic Creation ◽  
Talented People ◽  
The World ◽  
The Subject ◽  
Life Path

This article dwells upon the life path and the art of an artist and teacher, professor of Kharkiv Art and Industrial Institute (now Kharkiv State Academy of Design and Fine Arts) – Sergiy Solodovnyk (1915–1991) – my Dad. It is described in what way important events or important meetings with talented people can influence the development of personality, the formation of the artist’s and teacher’s views upon the methods of teaching and drawing and imagery in Arts, also the choice of the subject matter and genre. In artistic creation, both innate personality traits and those acquired in the process of studying the world, through which the artist passes in the process of creating a work of art and his formation as a person, as a lecturer or Teacher, are of great importance. The influence of his personality upon the students of several generations. His great importance in my life as a wise, delicate and caring dad. It is underlined in this article that good, honest deeds, love to people, homeland and to his direction in Art, sensitive attitude to the youth will always find reflection in human souls.

Introduction

2020 ◽  
pp. 171-182
Author(s):  
Gillian Knoll
Keyword(s):  
Dynamic Process ◽  
Creative Process ◽  
Daily Life ◽  
Collaborative Work ◽  
Kenneth Burke ◽  
Work Of Art ◽  
Twelfth Night ◽  
The World ◽  
The Subject

Part III studies characters who conceive of desire as a dynamic process of mutual creation. These introductory pages explore the world-making capacities of the metaphor ‘Love is a Collaborative Work of Art,’ which conceptualises love as artfully creating a reality. This creative process often invites a third entity—a filter, a buffer, or an instrument—that mediates between the subject and object of desire. When Kenneth Burke writes about the role of instruments in daily life, he emphasises the instrument’s ontological connection, its potential fusion, with the subject who deploys it. This section explores this dynamic connection in the collaborative work of art that is Shakespeare’s Cesario. In Twelfth Night, Cesario is an ongoing process rather than a finished product. An erotic subject, object, and instrument, Cesario keeps becoming Cesario through his/their continued exchanges with Orsino and Olivia.

From Figures of Paradox to a Philosophy of Review

2020 ◽  
pp. 206-254
Author(s):  
Rebecca A. Sheehan
Keyword(s):  
Fractal Theory ◽  
Film Theory ◽  
Incompleteness Theorem ◽  
Stanley Cavell ◽  
Avant Garde ◽  
The World ◽  
The Subject ◽  
The Spectator ◽  
Zeno's Paradox

This chapter examines the role of paradox in the films and film theory of Ken Jacobs, Hollis Frampton, and Michael Snow. Paradoxes such as Zeno’s paradox, Gödel’s incompleteness theorem, and Benoît Mandelbrot’s fractal theory of geometry, which inform the work of these filmmakers, propose and repeat the unresolvable gap between subject and world that informs skepticism. This chapter argues that the skeptical encounters these films invite, which entice the spectator to work toward solving a riddle or problem of incompleteness, also provide a model for overcoming skepticism by prompting re-encounters with the images on screen and the world to which they refer. These re-encounters occur in the same way that Stanley Cavell imagined the images of mainstream cinema could overcome problems of philosophical skepticism by drawing the subject closer to the world. The author argues, however, that these avant-garde meditations on mises en abyme are possibly more effective than Hollywood filmmaking for overcoming skepticism because of their more immediate emphasis on cinema’s very ability to engage and stage re-encounters between the subject and the limits of the world, rather than their reference to the world through images.

scholarly journals Abstraction and art

2003 ◽  
Vol 358 (1435) ◽  
pp. 1241-1249 ◽  
Author(s):  
Bernard Gortais
Keyword(s):  
Visual Arts ◽  
Science And Technology ◽  
Work Of Art ◽  
Digital Platforms ◽  
The Arts ◽  
Successful Work ◽  
The World ◽  
The Spectator ◽  
Definition Of ◽  
Generic Representation

In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man–machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music.

scholarly journals Fenomenologi Imaji dalam Seni: Sebuah Pergeseran Peran Subjek menuju Saksi

MELINTAS ◽  
2018 ◽  
Vol 33 (2) ◽  
pp. 130-156
Author(s):  
Hadrianus Tedjoworo
Keyword(s):  
Works Of Art ◽  
The World ◽  
The Subject ◽  
The Spectator

Art seems to always deal with subjects, both the artist and the spectator. The awareness that an image is not a concept may provoke those doing and experiencing art to reposition themselves as appreciators of the image. This article shifts the focus from concept to image. Art event is a sort of lectio imaginem, an experience of reading and not merely interpreting the image. Each artwork is transcendent, since every time it will speak differently when reencountered. Yet it might even frightfully reinterpret the audience differently, recreating the identity as a different figure in its eyes. Phenomenologically, the spectators are looked upon by the image through the works of art. The subject is assessed and transformed from I into me, that it becomes a witness in the presence of an image revealing itself. This article is an invitation to maintain the equilibrium between critical and appreciative atitudes, between theory and image, within the world of art. All individuals, without exception, are assessed by art. Perhaps they only need to forbear, to let themselves deluged in the surface, to become the witnesses fascinated before and moved by the saturation of the image.

scholarly journals O objecto estético como mundo, na phénoménologie de l’expérience esthétique i, de mikel dufrenne

Phainomenon ◽  
2001 ◽  
Vol 3 (1) ◽  
pp. 57-66
Author(s):  
Carlos Nogueira da Silva
Keyword(s):  
Human Perception ◽  
Human Beings ◽  
Proper Place ◽  
Work Of Art ◽  
Meeting Point ◽  
The World ◽  
The Subject ◽  
Definition Of

Abstract With this article we intend to explore the concept of «esthetical object» proposed in Dufrenne’s text entitled La Phénoménologie de l’experience estéthique I. The potentiality/activity binomial appears as the ground for Dufrenne’s definition of esthetical object as perceived work of art. According to this, the happening of any artwork truly finds its proper place in esthetical experience, which arises as the meeting point of art’s expressive potentiality and the spectator’s perception act. Establishing an accurate distinction between esthetical perception and other kinds of human perception, Dufrenne sees the former as the pure presence of the sensitive. Advocating the inseparability of significant and signification for the esthetical object, the author declares the meaning of esthetical experience as immanent to its own sensitive presentation. Dufrenne presents authentic esthetical perception as something, which has the power to, engage subjectivity in a radical experience. Under the light projected by the work of art, human beings are enabled to actualise other modes of being-in-the-world. With expression as its proper signifying mode, the esthetical object reveals itself as a world beginning, proposing an affective atmosphere, which opens the subject of esthetical experience to new existential possibilities.

Imagistic Projection as Relational Becoming

2020 ◽  
pp. 263-282
Author(s):  
Felix Rebolledo Palazuelos ◽  
Andréia Machado Oliveira
Keyword(s):  
Object Relation ◽  
Common Point ◽  
Point Of View ◽  
Projected Image ◽  
Moving Images ◽  
The World ◽  
The Subject ◽  
The Common ◽  
The Spectator ◽  
Relational Proposition

The geometry of projected images onto screens is rather simple and can be quite readily understood through basic optics and Euclidian geometry. As a result of the imagistic immersion of the spectacle of cinema, one shares in the experience of spectatorship through the common subjectivity of the moving pictures and a common point of view. All spectators are served the same relational proposition that enfolds them within the encompassing reach of the projection before them. Still, the shared subjectivity of the content on the screen is different from the becoming-one with the projected screen image that we like to think as inhabiting us: the milieu of imagistic encounter associates what we refer to as the inside and the outside of experience to simultaneously emerge as a singular becoming. In the interest of undoing the dualistic spectator/screen relationship that perpetuates the divide of the subject/object relation, this chapter looks at the nature of the relation between the spectator and the screen and the formation of the projected image as a compositional assemblage where the moving images that ‘live within us as consciousness’ encompass the world we live in. This chapter seeks to answer the question of how we become one with the screen through an articulation of Deleuze’s concept of the fold by way of the optical perspective models of Alberti and Viator, Kepler’s explorations of continuity through the generalized understanding of conics and perspective, as well as the implications of Desargues’s projective geometry and a final resolution through topology.

De la cognition incarnée au corps cognitivisé

2021 ◽  
Vol 66 (2 supplement) ◽  
pp. 15-24
Author(s):  
Patricia Apostol
Keyword(s):  
Embodied Cognition ◽  
Cognitive Activity ◽  
The Body ◽  
Work Of Art ◽  
Starting Point ◽  
The World ◽  
Construction Of Meaning ◽  
Meaning Creation ◽  
Sensitive Line ◽  
The Subject

"From Embodied Cognition to the Cognitivised Body. The construction of meaning, before being a linguistic or neuronal phenomenon, is a sensitive phenomenon, indebted to the bodily experience of the world, the lived body. Varela’s neurophenomenological approach, which is inspired by the intertwining of the subject and the world as proposed by Merleau-Ponty, can only take in charge an ordinary production of meaning. What about when one produces a concept or a work of art? In other words, how does the body-mind relationship function in the act of creation? If the construction of meaning starts from the subject, in the sense that it is the subject who by his embodied cognitive activity produces meaning, the construction of a concept or a work of art solicits a super-personal force that engenders the subject himself: a heccéité, in the sense of Deleuze. What does this engendering of the subject mean and how does it intervene in the act of creation? In other words, why must the subject be somehow “recreated” in order to create? It is only when thought is destabilized by a point of crisis that it becomes a creative device that plays out between the chaotic intensities from which it tears itself away and the composition of a consistency. The starting point of the creative thought is the stopping of the thought and its continuation on another plane: a thought that leaves the field of cognition and recognition and derails, carried away by a sensitive line of flight, produced in the body, towards the inorganic and impersonal plane of a super-personal power. With the act of creation, the embodied cognition swings towards a de-subjectivation: the cognition becomes then a “chaognition”, an impersonal faculty mobilizing the power of passivity. Keywords: cognition, embodiment, subject, meaning, creation, heccéité, de-subjectivation. "

scholarly journals “CONSTRUCTIVE EXPRESSIONISM” BY EVGENIA TOLMASHOVA

2020 ◽  
pp. 203-213
Author(s):  
Tatiana Yu. Serikova ◽  
Keyword(s):  
World Order ◽  
Fine Art ◽  
Scientific Development ◽  
Work Of Art ◽  
Objective Reality ◽  
Subjective Reality ◽  
Interdisciplinary Approaches ◽  
The World ◽  
The Subject ◽  
Art Research

The relevance of the research topic is conditioned by the need to search for new interdisciplinary approaches to the problem of cognition of the world. The degree of scientific development of the subject covers the period from antiquity to modern times. Vasilyeva E.V., Khazieva E.V., Petrenko Yu.A., Shatilov S.F., Stoletov A.I. actively works on the problem of subjective reality. It should also be noted that the works devoted directly and directly to the study of subjective re-ality within the framework of the existence of a work of art exist relatively few in comparison with studies of other aspects of art. The object of research is the current issues of cognition of the world order. As the subject of re-search, the subjective reality that the author creates in the space of a work of art is chosen. The study is based on the material of the paintings of the Krasnoyarsk painter Tolmashov (1966–2014). The aim of the research is to reveal the essence, specificity and ways of forming subjective reali-ty in a work of art. In accordance with the purpose of the study, the following tasks are set: to deter-mine the motivation and principles of constructing a sub-reality in a work of fine art. The basis of the methodological base was laid as general scientific principles, as well as special art research methods, including: formal-stylistic, iconographic and structural. When working on the study, the determining method was a method of scientific cognition as an interpretation that allows us to reveal the principles of the construction and existence of subjective reality. Structural-functional and dialectical methods are also used. The empirical basis of the study is the experience of studying the paintings of the Krasnoyarsk artist E.N. Tolmashova. The scientific novelty of the research consists in the following statement: the subjective of reality in pictorial works is conditioned by the desire of the author of the work through the experimental con-struction of new, not previously existed realities, to understand the structure of objective reality exist-ing in addition to his consciousness. The obtained conclusions and generalizations of the basic principles of subjective of objective reality in a work of fine art can be used in the analysis of artistic creativity as a way of constructing an analog model of the world order. Also it should be said that the work of E.N. Tolmashova is not well studied in art history. The scientific material has been introduced not previously studied material, allowing expanding the under-standing of the art of painting in Siberia, as well as the trends and forms of its development at the turn of the XX and XXI century. The materials of the research were used in lecturing and conducting seminars on the discipline “Art culture of Siberia”, which is basic for the preparation of bachelors on specialty 54.03.01. The training was conducted on the basis of the Siberian Federal University.

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