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THINKING THE INTERIOR: SUPPLEMENTING GRAHAM HARMAN'S WEIRD FORMALISM WITH SPATIAL INTIMACYSanchez, Alex 18 April 2023 (has links)
No description available.
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Public Art: A Critical ApproachBaldini, Andrea January 2014 (has links)
In this dissertation, I provide a philosophical analysis of public art. I focus on its "publicness," and draw implications at the level of public art's ontology, appreciation, and value. I uphold the view that an artwork is public when received within a public sphere rather than within artworld institutions. I further argue that, as a consequence of the peculiar nature of its reception, public art possesses an essential value that is distinctively non-aesthetic: to promote political participation and to encourage tolerance. By examining how public art and its value(s) relate to the public domain in the context of pluralistic democracies, this dissertation also contributes to a fuller understanding of an important aspect of our social world. Chapter 1 introduces the scope and nature of the dissertation and emphasizes few important caveats. Chapter 2 develops a general characterization of public art's "publicness." It argues that what makes an artwork public is the context within which it is received: public artworks are received within a public sphere, that is, the public-art sphere, rather than within artworld institutions. Chapter 3 expands the account of the public-art sphere as developed in Chapter 2, and argues that public artworks address a multiplicity of publics and are received within a multiplicity of public-art spheres. Chapter 4 offers a sustained account of the pluralistic logic by means of which participants evaluate opinions expressed in discussions within public-art sphere. Chapter 5 explores the role that emotional reactions play in public-art spheres. It argues that warranted emotional reactions can function as premises of arguments proposed in public-art spheres. Chapter 6 discusses the ontology of public artworks. It suggests that some of the real properties that a public artwork has are a function of some features of the public-art sphere within which that artwork is received. Chapter 7 explains the value of public art. It holds that public art's value is a function of its capacity to promote political participation and to encourage tolerance. / Philosophy
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Hulle wil dit so hê : ontologiese anargie en die rewolusie van die verbeeldingFoster, John-Henry Edward 12 1900 (has links)
Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study comprises a philosophical investigation into the development of a non-representational
resistance against the State, with specific focus on the role of the imagination in both repression and
the struggle for freedom. Using Deleuze & Guattari’s non-representasional ontology, the researcher
argues that Deleuze and Guattari’s ontological system can be described as an ontological anarchy,
which supplies us with tactics of resistance that strongly deviates from traditional Representational or
Revolutionary models of resistance. Building on a discussion of Situationism and Hakim Bey’s T.A.Z,
the argument is made that these non-representasional resistive tactics could ‘open’ the category of art
up to a whole network of creative and life practices – a transformation that has the ability to free art as
well as the everyday. In stead of refecting back on a supposed ‘background’ Reality, this resistance
relies on the ontologically anarchic practice of reality production. The idea of the non-ordinary or
peak experience, assosiated with sorcery, plays a crucial role in this production process, and the
argument is made for the use the of these experiences to create a lasting peak experience, ultimately
constituting a shared level of peak intensity between people that the researcher calls ‘the revolution of
the imagination’.
Key words: ontology, anarchy, anarchism, the State, resistance, revolution, imagination, complexity,
ontology of art, poststructuralism, Representation, non-representationality, peak experience, sorcery,
the everyday, Situationism, psychogeography, geophilosopy, phenomenology. / AFRIKAANSE OPSOMMING: Hierdie studie is ʼn filosofiese ondersoek na die ontwikkeling van ʼn nie-representasionele weerstand
teen die Staat, met besondere klem op die rol van die verbeelding in die onderdrukking van, sowél as
die stryd om vryheid. Deur middel van Deleuze & Guattari se nie-representasionele ontologie word
daar tussen Representasie, wat met die Staat as komplekse en gesamentlik geproduseerde sosiale
konfigurasie verband hou, en nie-representasionaliteit, wat met anargisme saamhang, onderskei. Die
navorser voer aan dat Deleuze & Guattari se ontologiese sisteem as ʼn ontologiese anargie beskryf kan
word wat ons van weerstandstaktieke voorsien wat sterk van tradisionele Representasionele of
Rewolusionêre weerstandsmodelle afwyk. Na aanleiding van ʼn bespreking van Situasionisme en
Hakim Bey se T.A.Z word daar betoog dat hierdie nie-representasionele weerstandstaktieke, die
kategorie van kuns kan ‘oopmaak’ tot ʼn hele netwerk van ander kreatiewe en lewenspraktyke – ʼn
transformasie wat terselfdertyd kuns én die alledaagse kan bevry. In plaas daarvan om terug te kaats
op ʼn veronderstelde ‘agtergrond’- Werklikheid, gaan dié stryd om die ontologies anargiese praktyk
van werklikheidsproduksie. Die idee van nie-gewone ervaring, of die spitservaring, wat met towery
geassosieer word, speel ʼn sentrale rol in hierdie produksie, en daar word aangevoer dat dit gebruik kan
word om van álle ervarings ʼn verlengde spitservaring te maak – ʼn gedeelde vlak van intensiteit onder
mense wat die navorser ‘die rewolusie van die verbeelding’ noem.
Trefwoorde: ontologie, anargie, anargisme, die Staat, weerstand, rewolusie, verbeelding,
kompleksiteit, ontologie van kuns, poststrukturalisme, Representasie, nie-representasionaliteit,
spitservaring, towery, die alledaagse, Situasionisme, psigogeografie, geofilosofie, fenomenologie.
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