scholarly journals From transcendental idealism to transcendental empiricism and beyond: Kant, Deleuze and flat ontology of the art

2015 ◽  
Vol 7 (2) ◽  
pp. 147-156
Author(s):  
Andrija Filipović
Keyword(s):  
Transcendental Idealism ◽  
Transcendental Empiricism ◽  
Art Practices ◽  
New Materialisms ◽  
Thing In Itself ◽  
Paradigm Shifting ◽  
Ontology Of Art

In this paper I will show that the movement from Kant's transcendental idealism to Gilles Deleuze's transcendental empiricism and then to new materialisms and speculative realisms is what enables us to talk about the direct and non-mediated access to the thing in itself (or its dissolution). In other words, it's the change from the conditions of possible experience to the conditions of real experience that made possible current philosophical and theoretical discourses of materialisms and realisms. What is of particular interest for the purposes of this paper is how the change from conditions of possible to real experience relates to the current conceptualizations of art practices. More precisely, I will show how the ontology of art changed, or at least that there perhaps appears paradigm-shifting possibility of different aesthetics and ontologies of art, flat ontology being one of them, with the appearance of new materialisms and speculative realisms that were made possible by the change to the conditions of real experience.

scholarly journals Understanding with Water: Hydro-art in Osieki (1973)

2021 ◽  
pp. 356-374
Author(s):  
Karolina Majewska-Güde
Keyword(s):  
Art History ◽  
Land Art ◽  
Environmental Humanities ◽  
Active Participant ◽  
Avant Garde ◽  
Art Practices ◽  
New Materialisms ◽  
Water Surfaces ◽  
History Of ◽  
Feminist New Materialisms

The paper is located at the intersection of the art history of the Polish neo-avant-garde and the environmental humanities informed by feminist new materialisms. It proposes an interpretation of performative works in which artists used aqueous matter as an object of interaction, a source of artistic transcription, and as an active participant in artistic scenarios. It concentrates on works that were realized during the open-air art meetings in socialist Poland and in particular at the Osieki meeting in 1973 with the title The Art of Water Surfaces [Plastyka obszarów wodnych]. Based on the analyzed works, it offers a speculative reflection on Hydroart, which is defined as region-specific development parallel to land art practices.

Die Raum- und Zeitlehre Alois Riehls im Kontext realistischer Interpretationen von Kants transzendentalem Idealismus

Kant-Studien ◽  
2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Rudolf Meer
Keyword(s):  
Comparative Studies ◽  
Transcendental Idealism ◽  
Current Debate ◽  
Realistic Interpretation ◽  
Research Results ◽  
Space And Time ◽  
Philosophical Criticism ◽  
Thing In Itself

Abstract In The Philosophical Criticism, Alois Riehl developed a realistic interpretation of Kant’s transcendental idealism based on his theory of space and time. In doing so, more than 100 years ago, he formulated an interpretation of the relation between the thing in itself and appearances that is discussed in current research as the metaphysical „dual aspect“ interpretation, although it is rarely attributed to Riehl. To reconstruct Riehl’s position, the research results of comparative studies on Moritz Schlick are systematically extended and applied to the current debate on Kant’s transcendental idealism.

The Enduring Kantian Presence in Schopenhauer’s Philosophy

2020 ◽  
pp. 109-126
Author(s):  
Sandra Shapshay
Keyword(s):  
Transcendental Idealism ◽  
Alternative View ◽  
Work Of Art ◽  
The World ◽  
Thing In Itself ◽  
Recent Interpretation

Most commentators hold that Schopenhauer breaks with Kant’s transcendental idealism insofar as he identifies the thing-in-itself with “Will.” By contrast, in this chapter, the author argues that Schopenhauer’s system bears a complicated yet faithful relationship to Kant’s transcendental idealism. After examining an interesting, recent interpretation by Alistair Welchman that reads him in this transcendent way, the author argues for an alternative view: Schopenhauer’s identification of the thing-in-itself with “Will” should be understood as metonymic, and the metaphysics he offers should be understood as hermeneutic. In sum, he is not giving a transcendent metaphysical doctrine so much as an immanent “interpretation” of the inner meaning of the world—along the lines of an interpretation of the meaning of a work of art—and one that, by the lights of Schopenhauer’s own methodology, should stand or fall on the basis of how well it makes sense of the phenomena.

From Deleuze and Guattari's Words to a Deleuzian Theory of Reading

2015 ◽  
Vol 9 (4) ◽  
pp. 529-557
Author(s):  
Daniel Haines
Keyword(s):  
Literary Criticism ◽  
Deleuze And Guattari ◽  
Transcendental Empiricism ◽  
Theory Of Reading ◽  
Open Question

While Deleuze and Guattari's passion for certain literature is well known, the nature of a ‘Deleuzian’ literary criticism remains an open question. However, most critics appear to agree that Deleuze and Guattari's comments on meaning and interpretation offer an ontological alternative to the textual focus of deconstruction. Through an interrogation of the difficult style of their books in relation to Plato, Nietzsche and Derrida, this paper offers a different reading of Deleuze and Guattari in relation to literary criticism. Despite appearances, transcendental empiricism and the project of ‘overturning Platonism’ provide a Deleuzian theory of reading that attends to textuality.

Screening Statues

2017 ◽  
Author(s):  
Steven Jacobs ◽  
Susan Felleman ◽  
Vito Adriaensens ◽  
Lisa Colpaert
Keyword(s):  
Contemporary Art ◽  
Three Dimensional ◽  
Interdisciplinary Approach ◽  
Film History ◽  
Two Dimensional ◽  
Artistic Practice ◽  
Experimental Art ◽  
Broad Scope ◽  
Art Practices ◽  
Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

Re-imagining Reproduction: Unsettling Metaphors in the History of Imperial Science and Commercial Surrogacy in India

Somatechnics ◽  
2015 ◽  
Vol 5 (1) ◽  
pp. 88-103 ◽  
Author(s):  
Kalindi Vora
Keyword(s):  
Assisted Reproductive Technologies ◽  
Reproductive Technologies ◽  
The Body ◽  
Body Parts ◽  
Colonial History ◽  
Women's Bodies ◽  
Commercial Surrogacy ◽  
Art Practices ◽  
History Of ◽  
Travel Industry

This paper provides an analysis of how cultural notions of the body and kinship conveyed through Western medical technologies and practices in Assisted Reproductive Technologies (ART) bring together India's colonial history and its economic development through outsourcing, globalisation and instrumentalised notions of the reproductive body in transnational commercial surrogacy. Essential to this industry is the concept of the disembodied uterus that has arisen in scientific and medical practice, which allows for the logic of the ‘gestational carrier’ as a functional role in ART practices, and therefore in transnational medical fertility travel to India. Highlighting the instrumentalisation of the uterus as an alienable component of a body and subject – and therefore of women's bodies in surrogacy – helps elucidate some of the material and political stakes that accompany the growth of the fertility travel industry in India, where histories of privilege and difference converge. I conclude that the metaphors we use to structure our understanding of bodies and body parts impact how we imagine appropriate roles for people and their bodies in ways that are still deeply entangled with imperial histories of science, and these histories shape the contemporary disparities found in access to medical and legal protections among participants in transnational surrogacy arrangements.

Active Coeliac: Disassembling Gluten and Coeliac Disease

Somatechnics ◽  
2019 ◽  
Vol 9 (2-3) ◽  
pp. 188-205
Author(s):  
Sofia Varino
Keyword(s):  
Coeliac Disease ◽  
Knowledge Production ◽  
Food Additive ◽  
Gluten Free ◽  
Biomedical Knowledge ◽  
Dietary Practices ◽  
Object A ◽  
Scientific Knowledge Production ◽  
New Materialisms

This article follows the trajectories of gluten in the context of Coeliac disease as a gastrointestinal condition managed by lifelong adherence to a gluten-free diet. Oriented by the concept of gluten as an actant (Latour), I engage in an analysis of gluten as a participant in volatile relations of consumption, contact, and contamination across coeliac eating. I ask questions about biomedical knowledge production in the context of everyday dietary practices alongside two current scientific research projects developing gluten-degrading enzymes and gluten-free wheat crops. Following the new materialisms of theorists like Elizabeth A. Wilson, Jane Bennett, Donna Haraway and Bruno Latour, I approach gluten as an alloy, an impure object, a hybrid assemblage with self-organizing and disorganizing capacity, not entirely peptide chain nor food additive, not only allergen but also the chewy, sticky substance that gives pizza dough its elastic, malleable consistency. Tracing the trajectories of gluten, this article is a case study of the tricky, slippery capacity of matter to participate in processes of scientific knowledge production.

ARTISTIC EXPERIMENT OF POSTMODERN ART PRACTICES

2020 ◽  
Vol 155 (5) ◽  
pp. 1169-1174
Author(s):  
Anna CHYRVA
Keyword(s):  
Art Practices ◽  
Postmodern Art
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