L'image édifiante.Le rôle des images de référence en architecture. L'iconographie est la seconde nature de l'architecture, elle est à la fois son double et son ombre car sans cesse l'architecture se manifeste conjointement dans sa matérialité construite et dans des ensembles d'images, qu'ils soient inventaires, documentaires, prospectifs ou publicitaires.Outil de connaissance, de transmission, de diagnostic, d'investigation ou de projet, l'image agit sur l'architecture comme source d'inspiration noétique et poétique. Consciemment ou inconsciemment, la mémoire des images, de toutes les images, architecturales ou non, participe à l'édification des bâtiments.Le principe de la référence visuelle, énoncé d'abord comme le moyen d'échafauder, de démontrer et de partager des règles et des méthodes, s'avère déterminant pour la construction de l'édifice comme pour celle de l'architecte. En effet, dès Vitruve, les architectes furent encouragés à enrichir leurs œuvres de références piochées dans tous les domaines de la connaissance ; chaque corpus visant à mettre en évidence non seulement un savoir disciplinaire mais aussi le stock symbolique sans lequel un architecte ne saurait se situer ni s'affirmer comme tel. Quelles sont les conditions d'apparition de ces images ? Quel rôle jouent-t-elles dans le régime global d’un projet d’architecture ou d’urbanisme ? Comment et quand une image ou un ensemble d’images peuvent-ils inspirer ou déclencher un projet, le contextualiser, en révéler le hors champ, le stimuler ou le sublimer ? Comment ces iconographies agissent-elles sur la formalisation et la transmission des œuvres de ces architectes qui vagabondent entre l’espace et le temps grâce aux images ? Il s'agit aujourd'hui d'approfondir ces questions intuitives, en inscrivant le principe de la référence visuelle dans une perspective historique et théorique qui l'éclaire : les procédures contemplatives et divinatoires, les arts de la mémoire et la pratique contemporaine de l'atlas sont mis à contribution pour vérifier l'hypothèse que ces images pensantes sont pour l'architecte des outils de projet puissamment opérants. / The Edifying Image. The role of reference images within architecture. Iconography is architecture’s second nature; it is both its double and its shadow in that architecture reveals itself jointly in its constructed materiality and within numerous bodies of images, whether they are documentary, archival, prospective or commercial in nature.The image as an instrument of knowledge, transmission, diagnostics, investigation and projection, casts its influence over architecture in the guise of both noetic and poetic inspiration. Consciously or unconsciously memories of images, of all images, architectural or not, play a role in the construction of buildings.The tenet of visual reference, at first formulated as the means to devise, demonstrate and share rules and methods, was soon recognised to be as vital to the construction of an edifice as to the development of the architect himself. Indeed, since the days of Vitruvius, architects have been encouraged to enrich their oeuvres with references gleaned from every field of knowledge; each corpus sought not only to highlight the knowledge within the discipline but also the symbolic stock, without which an architect would not know how to position himself or even affirm himself as such. Under what conditions did these images appear? What role do they play in the overall scheme of an architectural or urban design project? How and when can an image or a series of images inspire or initiate a project, put it in context, reveal its hidden environment, stimulate or even sublime it? How does this iconography affect the formalization and transmission of the works of those architects, who drift between space and time by means of these images?Today it is important to deal with these intuitive questions in greater depth, by placing the principle of visual reference within an historical and theoretical perspective that sheds greater light on the subject: the contemplative and divinatory procedures, the art of recollection and the contemporary practice of atlas making are all called upon to test the hypothesis that these thinking images are to the architect, highly effective tools for his projects.

Une vue d'abord, puis un toucher ensuite, voilà la contemplation. Chez Aristote, le regard contemplatif est un regard désintéressé; un regard qui laisse être la chose. Platon, pour sa part, indique deux chemins qui peuvent conduire à la contemplation: celui de la dialectique et celui de l'amour. Ces deux voies présupposent l'éveil de l'Éros. L'une comme l'autre conduisent à la conversion dont parle Platon lui-même, et à sa suite, les néoplatoniciens dont Plotin et saint Augustin. Mais la contemplation de Dieu est-elle possible? L'expérience augustinienne montre bien le chemin suivi par Augustin, et comment la connaissance de soi et la connaissance de Dieu sont liées. Enfin, la vie contemplative, qui est connaissance, permet de voir plus et de voir mieux. Mais en quoi la contemplation transforme-t-elle celui qui a contemplé?

[pt] O tema desta pesquisa é o estudo da theoria, isto é, da vida contemplativa como o verdadeiro caminho para a eudaimonía, segundo a filosofia aristotélica. Em sua Ética a Nicômaco, Aristóteles aponta que toda a arte e toda escolha têm, em comum, um fim qualquer, no entanto, há um fim que é objeto único e supremo do homem, este fim é a eudaimonía. Entretanto, o Estagirita mostra que para obter a eudaimonía de forma derradeira, o homem tem que exercer aquilo que há de mais divino em seu ser, ou seja, exercer a atividade da alma que unicamente a ele compete, isto é, a atividade da razão, pois, é através desta que ele consegue, mesmo que seja por um breve momento, alcançar a realidade divina e, assim, contemplar a verdadeira eudaimonía. / [en] The theme of this research is the study of theoria, that is, the contemplative life as the true path to eudaimonia, in Aristotelian philosophy. In his Nicomachean Ethics, Aristotle points out that all art and every choice they have in common, an end, however, there is a view that is unique and supreme object of man, this end is eudaimonia. However, Stagirite shows that to get the ultimate form of eudaimonia, man has to exercise what is most divine in his being, exercise the activity of the soul that it belongs only to him, the activity of reason , it is through this that he can, even for a brief moment, reach the divine reality and thus contemplate the true eudaimonia.

Chan Pui Fun Doris. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 105-111). / Abstracts in English and Chinese. / Acknowledgement --- p.i-iii / Abstract --- p.iv-vi / Table of Contents --- p.vii / Chapter Chapter 1 --- Introduction --- p.1-10 / Chapter Chapter 2 --- An Examination of William H. Shannon's view on Merton / Chapter Section I --- The Significance of Shannon --- p.11-17 / Chapter Section II --- Shannon's Interpretation on Merton --- p.18-28 / Chapter Section III --- A Proposal --- p.29-37 / Chapter Chapter 3 --- Merton's Theology ´ؤ From a Potential Christ to a Kenotic Christ / Chapter Section I --- Contemplation and Action as Identity-Searching --- p.38-41 / Chapter Section II --- A Child of God: The Original Identity when a Human Being was Created --- p.42-58 / Chapter Section III --- A Potential Christ: The Present Identity when a Human Being is Born --- p.59-67 / Chapter Section IV --- A Kenotic Christ: The Present Identity when a Human Being Wills to Choose to Be --- p.68-91 / Chapter Chapter 4 --- A Re-interpretation of Merton's life --- p.92-102 / Chapter Chapter 5 --- Conclusion --- p.103-104 / Bibliography --- p.105-111

The thesis is composed of two major parts: part one includes a statement, images and a reflection on a body of work entitled "The Ocean Is What I Meant By." These works are constructed of layers of cut tulle mounted in painted wooden frames, in which words cut out of the fabric interact to create abstract pictorial spaces. The second part of the thesis examines of the historical role of theory in the conceptualization and production of art. I argue that theory has historically occupied itself with art in categories properly connected to action, considering the end, virtues and vices associated with works of art. I consider the end of contemplation as it is advanced by Paulinus of Nola and evidenced in a sixth-century Roman mosaic, the vice of seduction as identified by Bernard of Clairvaux (against Abbot Suger of St.-Dénis), the virtue of reserve as present in Michelangelo Merisis da Caravaggio's canvases containing self-portraits. With these concepts in view, I proceed to consider the paintings of John Sloan in ethical categories--the categories most appropriate to considerations of action. I conclude by examining a disagreement between Robert Storr and Benjamin Buchloh over the interpretation of Gerhard Richter's "October 18, 1977," suggesting that the role of theory in art is returning to the more time-worn categories I associate with early Western writing about art.

Early in his career, Martin Luther twice published (1516 and 1518) prefaces for the anonymous German work, Eyn deutsch Theologia. In these prefaces, as well as in a number of letters, he repeatedly praised the work. His positive appraisal stemmed from his belief that the work replicated not only the foundational teachings of St. Paul, but was consonant with the Pauline interpretations of St. Augustine and Johannes Tauler. Young Luther found in these authors a consistent metaphor for Christian existence: dying and rising with Christ. This narrative enabled Christians to experience death and resurrection as a future hope, as well as a present existential reality within their lives. Young Luther believed that the varied narratives inherent in late medieval spirituality had placed Christ at the periphery of Christian spirituality rather than at its core. Consequently, he repeatedly sought to correct this misplacement and return Christ to the center of Christian life and piety. This dissertation examines this Pauline metaphor, the contemplative spirituality the young Luther built upon it, and the sixteenth-century reception of this spirituality. Chapter one introduces the project and offers a short survey of the literature on Luther's spirituality. Chapter two reviews contemplation in Scripture, then considers St. Paul's presentation of his metaphor. It also discusses how the contemplative writings of St. Augustine, Tauler, and the Frankfurter (the anonymous author of Eyn deutsch Theologia), made use of this Pauline metaphor. Chapters three and four consider Luther's creative employment of the Pauline narrative in five of his devotional works from 1519: Ein Sermon von der Betrachtung des heiligen Leidens Christi, Ein Sermon von der Bereitung zum Sterben, Ein Sermon von dem heiligen hochwürdigen Sakrament der Taufe, Ein Sermon vom Sakrament des Leichnams Christi und von den Brüderschaften, and Tessaradecas Consolatoria pro laborantibus et oneratis. In each case, Luther built upon existing devotional genres, yet altered their contents and/or form by importing the Pauline metaphor. Chapter five inquires into the sixteenth-century reception of these five devotional works. Paying particular attention to interpretative clues left in correspondence, commentaries, marginal notes and illustrations by a number of publishers and translators, it demonstrates that these persons not only perceived of these writings as contemplative devotional exercises, but chose to market them explicitly as such. It would seem that Luther's "theology of the cross" expressed itself in a corresponding spirituality of "death and resurrection." Although this spirituality entailed a specific contemplative progression, it was adaptable to the life circumstances of any Christian. This universality contributed to the popularity of Luther's early spiritual writings. Young Luther's narrative imagery along with the publishers' additional illustrations helped to revise spiritual practices and reshape Christian piety throughout the sixteenth century.

Boundaries and Matter - The intangible and the corporeal A space dedicated to contemplation in a public realm With a philosophical approach to the topics I aim to absorb the dynamics in the meeting between the intangible and the physical. In the urban contemporary environment that we live in I see a need for a physical context that contrasts the flow of information and inputs that we are exposed to.From this point of view I have created a concept of a space for contemplation, as a reply for both visual as well as mental boundaries that connects both the abstraction of the mind to the corporeal. The perception of our surroundings is an acknowledgment and a consciousness of our senses. In our everyday life we are constantly surrounded by a flow of impressions. To contrast this I have created a space where you can calmly travel inward & outwards without being disturbed by the constant flow of information. This project departs as a statement towards the intense frequency of information inputs in our contemporary surrounding, the stressful act to manage our mental boundaries for what we let in and what we leave out. Through this project I wanted to define the abstract spectra of inspirations in the design-process of how I relate to form and the surroundings. Mapping it, formulate and gestalt it. Defining the boundaries to what I see as the scenery of the project. Taking the broad turns of the process leading me to collect bits and pieces from various sources and apply these thoughts in a secondary phase to the actually form-giving. Turning the abstract ideas to a space and an object, interpret in two different manners to a pavilion for contemplation and an idea of seating furniture. Throughout the process I balance the two poles through reflection from a philosophical angle that I follow up with the sensibility for the tactile sensors in how one perceive a physical object. Leading through historical values and ideas tied towards the spatial dimensions and the various scales in handling space and object. Using the materiality to create a connection to the body and wrapping up to embrace as a protective shield around the body. With the gestalt of a boundless space within given dimensions that are not obvious or sharply defined, to instead become an extension of your mind and body. As you become the centre of the space, your thoughts are the boundaries and the spatial dimensions are framing the action.

Šiame darbe nagrinėjamos Gilles‘io Deleuze‘o ir Arvydo Šliogerio mąstymo koncepcijos. Prancūziškojo postmodernizmo atstovai Deleuze‘as/Guattari savo revoliuciniame filosofijos manifeste Kas yra filosofija? ieško filosofijos atsinaujinimo galimybių. Jame teigiama, kad filosofija nėra kontempliacija, refleksija ar komunikacija. Pagrindinė filosofijos užduotis yra sąvokų ir konceptualių personažų kūrybą. Veikale Kas yra filosofija? Deleuze‘as/Guattari iš esmės tesia jau anksčiau savo filosofijoje pradėta „platonizmo nuvertimo“ programą. Platonizmu yra įvardijama visa klasikinė bei modernioji filosofija, nuo Platono iki Hegelio, kuri remiasi mąstymo ir tikrovės tapatumo prielaida. Deleuze‘as nagrinėdamas tapatybės mąstymą parodo, kad tapatybės slypi skirties ir kartotės žaismas. Oponuodamas klasikiniam mąstymui, Deleuze‘as pasiūlo nomadinio mąstymo koncepciją. Nomadinio mąstymo įkvėpimo šaltiniu Deleuze‘o filosofijoje tampa Nietzsche‘s bei Prousto kūryba. Nietzshce interpretuojamas kaip genialus sąvokų kūrėjas. Veikale Proustas ir ženklai, Deleuze‘as pristato Proustą kaip ženklų kūrimo mašinos išradėją. Deleuze‘as/ Guattari meną, mokslą ir filosofiją laiko trim savarankiškom minties formom, kurios priešinasi chaosui. Jos yra lyg trys savarankiškos melodijų linijos, kurios nors ir susikerta tarpusavyje, tačiau išlaiko savo unikalų turinį. Šliogeris teigia, kad filosofija tai bekalbės tikrovės įkalbinimas. Pagrindinė problema, kuri gvildenama fundamentaliame veikale Niekis ir... [toliau žr. visą tekstą] / The thesis analyzes conceptions of Gilles Deleuze and Arvydas Šliogeris’s thinking. In the revolutionary philosophical work What is Philosophy?, representatives of the French postmodernism Deleuze and Guattari quest for possibilities for renewal of philosophy. They state that philosophy is not contemplation, reflection or communication. The main task of philosophy is creation of concepts and conceptual roles. In general, in What is Philosophy? Deleuze/Guattari continue implementing their program of “subversion of Platonism”. Platonism is considered to be all classical and modern philosophy starting from Plato and ending with Hegel which is based on presumption of identicalness of thinking and reality. Deleuze shows that play of difference and repeating stands behind the identity. Opposing the classical thinking, Deleuze presents the concept of nomadic thinking. Works of Nietzsche and Proust inspired the nomadic thinking in Deleuze‘s philosophy. Nietzsche is interpreted as a genial inventor of concepts. In his study Proust and Signs Deleuze presents Proust as an inventor of sign creation machine. Deleuze/Guattari consider the art, science and philosophy as three independent forms of thought opposing the chaos. They are like three independent melody lines crossing each other and maintaining their own unique contents at the same time. A. Šliogeris states that philosophy is providing the reality that has no language with language. The main problem that is tackled in... [to full text]

Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1997. / Abstract and vita. Includes bibliographical references (leaves 76-77).

Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1997. / Abstract and vita. Includes bibliographical references (leaves 76-77).