BRIDGING THE ABYSS: VICTOR BASCH'S POLITICAL AND AESTHETIC MINDSET

2013 ◽  
Vol 10 (1) ◽  
pp. 87-107
Author(s):  
RAJESH HEYNICKX
Keyword(s):  
Psychological Theory ◽  
The Other ◽  
The Gaze ◽  
Political Reason ◽  
Political Position ◽  
Political Ideas ◽  
Jewish Art ◽  
Art Philosophy ◽  
Changing World

This essay cross-examines both the correlation and the disjunction between art philosophy and political reason in the thinking of the French Jewish art philosopher, Kant specialist and socialist politician Victor Basch (1863–1944). Two interwoven lines of questioning will be in play. One considers the extent to which Basch's theory of beauty, which was primarily grounded in a psychological theory of Einfühlung, was a corollary to his political ideas and practices. The other line of inquiry raises questions about how Basch's political position, namely his anti-facist defending of republican values, became influenced by his work on aesthetics. By answering both questions, this article challenges the traditional historiography of interwar aesthetics. The esaay shows how conceptual debates of aesthetics were not just sterile theoretical products, but to a large extent offered an apparatus to diagnose and orientate a rapidly changing world. Therefore this essay develops a reflection about the gaze needed to take in the complex historical situations from which aesthetic reflections grew, and which in turn they addressed.

The Interpretation of Stereo-Disparity Information: The Computation of Surface Orientation and Depth

Perception ◽  
1982 ◽  
Vol 11 (4) ◽  
pp. 387-407 ◽  
Author(s):  
John Mayhew
Keyword(s):  
Surface Orientation ◽  
The Other ◽  
Surface Patch ◽  
Viewing Distance ◽  
Horizontal Disparity ◽  
Planar Surface ◽  
Local Surface ◽  
Stereo Disparity ◽  
The Gaze ◽  
Perceptual Phenomenon

Two methods for interpreting disparity information are described. Neither requires extraretinal information to scale for distance: one method uses horizontal disparities to solve for the viewing distance, the other uses the vertical disparities. Method 1 requires the assumption that the disparities derive from a locally planar surface. Then from the horizontal disparities measured at four retinal locations the viewing distance and the equation of local surface ‘patch’ can be obtained. Method 2 does not need this assumption. The vertical disparities are first used to obtain the values of the gaze and viewing distance. These are then used to interpret the horizontal disparity information. An algorithm implementing the methods has been tested and is found to be subject to a perceptual phenomenon known as the ‘induced effect’.

Nina Simone as Poet and Orchestrator

2021 ◽  
Vol 33 (2) ◽  
pp. 130-147
Author(s):  
Marcus R. Pyle
Keyword(s):  
Semantic Content ◽  
Black Body ◽  
Black Female ◽  
The Self ◽  
The Other ◽  
Female Subjectivity ◽  
The Gaze ◽  
Nina Simone

How do you fashion an identity in a society that, at every turn, tries to snuff you out? In this article, I address Nina Simone's praxis of renaming and reinvention to demonstrate strategies of resistance. To this point, I analyze the musico-poetic setting of Nina Simone’s songs “Images” (1964) and “Four Women” (1965) to argue that her artistic musical choices sonically orchestrate varying issues of Black female subjectivity, identity, and self-making. In Simone’s songs, she refuses to discount the materiality of the Black body; instead, she envelops the Black body with signifiance and significance. The sonic bearers of semantic content become extensions of the Self—transmutable and heterodox. The compositional and poetic subtleties in these songs claim that the gaze of the Other can potentiate exteriority and freedom—what I term the “exo(p)tic.”

The confrontation between essence and existence in Plato and Aristotle’s ideas in art

2015 ◽  
Vol 16 (SE) ◽  
pp. 161-170
Author(s):  
Ramin Keshavarz ◽  
Moheb Ali Absalan
Keyword(s):  
Point Of View ◽  
The Other ◽  
Human Being ◽  
Art World ◽  
Art And Science ◽  
Other Hand ◽  
Art Philosophy ◽  
Theory Of Forms

Plato by proposing the "theory of forms" changed the essence of truth and he converted it from sensorial case to extrasensory. As a result, he disparaged art and beauty that they were depended with world of phenomena and senses. He considered idea’s position in the sphere of institute and episteme and placed sensorial case, "Doxa" and "Eikon" as base of art that from his point of view is not world of "to be" and "not to be", but its world of representation and as a result he interpreted art world and it’s product as a false phenomena. He claimed that art relates with revealed component of ego that causes irreparable ruin for human being and has relationship with "Episteme". In the other hand, Aristotle unlike Plato believed in art and existence originality and considered art as a result of human’s episteme and rationality. He introduced adequacy, cognition natural talent as three principle of art. He claimed art and science deal with episteme and knowledge and they are common at the end. But what is Plato and Aristotle disagreement in sphere of art and from where it originates? And which cases are not similar in the sphere of art? The following essay will explain Plato and Aristotle’s art philosophy and comparing and explaining their ideas with relating existence originality and essence originality.  

Friendship, politics, and literature in Catullus: poems 1, 65 and 66, 116

1997 ◽  
Vol 47 (2) ◽  
pp. 482-500 ◽  
Author(s):  
W. Jeffrey Tatum
Keyword(s):  
Political Engagement ◽  
The Other ◽  
Literary Texts ◽  
The Political ◽  
Latin Literature ◽  
Politics And Literature ◽  
Political Position ◽  
Public Figures ◽  
Political Stance ◽  
Principal Lines

To the extent that one subscribes to the proposition, by now a virtual principle of criticism (at least in some circles), that literary texts constitute sites for the negotiation, often vigorous, of power relations within a society, the reader of Catullus can hardly avoid some consideration of the poet's attitude toward contemporary political matters. It is a subject on which two principal lines of thought can be traced. Mommsen argued that Catullus responded to the enormities that followed the reinvigoration of the First Triumvirate at the conference of Luca in 56 by occupying a thoroughly optimate position. Wilamowitz, on the other hand, insisted that Catullus' lyrics reflect only moments of the author's individual experience, amongst which expressions of personal distaste for certain public figures naturally appear but nothing which can appropriately be taken as indications of a political stance. The approach of Wilamowitz has proved more influential, followed in spirit if not in specifics by numerous commentators. To the degree that Catullus has been assimilated to the Augustan elegists, whose poems have been deemed by a scholar of the stature of Veyne to be anti-political in nature, it has been all the easier to reject the idea that Catullus adopts a political position, an assessment strongly maintained in a recent study by Paul Allen Miller, for whom the rejection of all political engagement is the sine qua non of true lyric poetry. Mommsen's optimate Catullus has lately found his champion, however, in a careful article by H. P. Syndikus. Although Miller and Syndikus, like Wilamowitz and Mommsen, draw diametrically opposed conclusions concerning politics in Catullus' poetry, they are agreed nevertheless that politics can be regarded as a relatively straightforward term: it refers to statecraft, matters of government, and party strife. Other readers, however, have been more self-conscious in their theoretical concerns, a salutary consequence of which has been a shift by some to a less narrow conception of the field of reference appropriate to discussions of ‘the political’ in Latin literature.

scholarly journals (Im)possible Escape? H. G. Wells, Utopia and the World State

2021 ◽  
Vol 6 ◽  
pp. 235-241
Author(s):  
Barbara Klonowska
Keyword(s):  
New York ◽  
The Other ◽  
The Political ◽  
Nation State ◽  
World State ◽  
Political Ideas ◽  
Utopian Studies ◽  
The World ◽  
The One ◽  
Recent Monograph

This article reviews the recent monograph by Maxim Shadurski, The Nationality of Utopia. H. G. Wells, England, and the World State (New York: Routledge, 2020) in the context of utopian studies on the one hand, and the political ideas of the nation state vs. world state on the other.

scholarly journals The Eye, the Brain, the Screen – What Neuroscience Can Teach Film Theory

2019 ◽  
Vol 1 (1) ◽  
pp. 1-16
Author(s):  
Paul Elliott
Keyword(s):  
Molecular Biology ◽  
Cultural Theory ◽  
Film Theory ◽  
Mirror Neuron ◽  
The Other ◽  
Perceptual Processing ◽  
Literary Texts ◽  
Cross Model ◽  
The Gaze ◽  
The Brain

“I don’t believe that linguistics and psychoanalysis offer a great deal to the cinema. On the contrary, the biology of the brain – molecular biology – does.” Gilles DeleuzeModels of the brain are inextricably linked to the surrounding cultural episteme: whether it is viewed as a complex clockwork device, a computer, a self-regulating network or even a cinema screen, our understanding of neurophysiology has always relied on discourses and images taken from other fields. In turn, however, our knowledge of cerebral processes (such as sight for instance) has always, inevitably, affected the way that we approach artworks, literary texts and cultural artefacts.Based on this, this paper looks at how recent neuroscientific research on vision and cognition can help us better understand the processes inherent in film theory. Focussing mainly on the recently discovered concept of the mirror neuron but also citing synaesthesia and limbic perceptual processing, I suggest that neuroscience can provide us with a fertile new ground for thinking about areas such as spectatorship and the facilitation of emotional affect, it can also offer us alternatives to monolithic ideas like the Gaze and the patriarchal nature of visual pleasure.Prompted perhaps by a shift in scopic thinking, some recent neuroscientific research has even mirrored film and cultural theory by foregrounding notions such embodiment, cross-model perception and mimesis, adding to the dialogic relationship that exists between these two disciplines. This paper then is not only concerned with how different fields communicate but with how each can provide models, metaphors and frameworks for the other.

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