Texte remanié de: Th. doct.--Baltimore (Md.)--Johns Hopkins univ. / Index.

Texte remanié de: Thesis Ph. D.--Faculty of English, Cambridge university, GB. / Bibliogr. p. 243-256.

Texte remanié de: Diss.--Philosophische Fakultät--Freiburg--Albert-Ludwigs-Universität, 2002-2003. / Bibliogr. p. 337-352.

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Thesis advisor: Susan Meld Shell / Thesis advisor: Nasser Behnegar / Kant’s conception of life is indispensable for understanding Kant’s aesthetics and could illustrate the underlying thread as well as the overall theme of the third Critique. Kant characterizes the principle of life with a power for self-action and self-determination, and this principle could be regarded as a special kind of causality or the third mode of determination. First, in Kant’s theory of the judgment of taste, his conception of life furnishes the judging subject’s transcendental aesthetic operation with a special internal causality, the causality, as Kant depicts, of lingering. Second, for Kant’s thoughts on beautiful art the notion of life, and its cognates as well, also bears those rich and concrete implications that would show how the principle of life, by which the mind is swinging, would manifest a basis for the unity of the self with the nature in the subjective condition of a creative artistic genius. Third, the judgment of the sublime as Kant develops runs into a moment of abruption of life, and by tracing the occurrence of this moment the light could thus be shed on the true condition of the unity, and the boundary as well, that is proper to the peculiar human way of living. By interpreting Kant’s conception and principle of life in such a way, I shall venture to show how the meaning of life, or indeed the meaning behind the peculiar condition of human life, is set out to show itself through the elaboration of the final completion of Kant’s critical enterprise. / Thesis (MA) — Boston College, 2020. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Political Science.

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Esse trabalho pretende investigar as diferentes percepções de significado da palavra paisagem e seus desdobramentos na atividade do arquiteto urbanista. Para tanto, percorre um primeiro desenvolvimento que associa paisagem às diferentes concepções que se têm dela, procurando distinguir a qualidade que nos parece fundamental: a de ser um grande articulador de temas, lugar de múltiplas valências estéticas que dão significado à relação entre homem e natureza. A confusão entre paisagem e o que venha a ser natureza, associado ao fenômeno de supremacia de uma suposta ciência e conseqüente crescimento da figura do planejamento corroboram a redução do complexo significado da paisagem. A questão da possível sobrevivência em tempos modernos de chaves estéticas ligadas ao século XVIII constitui o cenário para a distinção da figura de Frederick Law Olmsted como pioneiro da atividade da arquitetura da paisagem com dimensões para toda a cultura de uma época. A paisagem como a construção de um olhar comparece nessa elaboração, tecendo a partir de exemplos históricos uma multiplicidade de significados que recusam os estreitamentos, apontando algumas fontes de possíveis enganos. A tese afirma a dimensão cultural e estética da arte como pivô nas criações de uma arquitetura da paisagem. / This research intends to explore the several meaning perceptions of the word landscape and their connection to the activity of the architect. Therefore, it runs at first the different concepts of the term landscape, trying to sort out of them the quality that seems fundamental to us: to be the great link to different themes, the place of multiple aesthetic values that makes meaningful the human-nature relationship. The confusion between concepts of landscape and nature, due to the supremacy of so-called science, and the subsequent outgrowth of planning corroborate the reduction of the complex meaning of the landscape concept. The question of a possible survival in modern times of aesthetic keys from the 18th century constitutes the background to the distinction of Frederick Law Olmsted as a pioneer in the activity of landscape architecture, of great significance of a whole era. Landscape as a construction of the eye appears in this elaboration, interlacing from historical examples a multiplicity of meanings that rejects to be straitened, and points to sources of possible misunderstandings. This work reaffirms the cultural and aesthetic dimension of art as motor for the inventions of landscape architecture.

I wish I could believe in something. Having grown up in a religious household, I have continually teetered between faith and doubt. Landscapes seen and unseen are my last source of awe; here my doubt is suspended – for a moment. Using unfired clay, I create alternate landscapes inspired by sublime philosophy. The sublime experience is born in a sense of amazement linked to fear of something beyond our understanding or control. The amazing intricacy of microbiology, a whole universe existing alongside and inside us, fascinates me. The abundance of unfamiliar life in my work triggers a cautious curiosity. My imagined worlds push beyond the boundaries provided for them invading our tense reality. These unfamiliar landscapes offer a window of escape, where viewers explore their relationship to an alternate world which bears similarities to our own.

The Intention to Notice: the collection, the tour and ordinary landscapes is concerned with how ordinary landscapes and places are enabled and conserved through making itineraries that are framed around the ephemera encountered by chance, and the practices that make possible the endurance of these material traces. Through observing and then examining the material and temporal aspects of a variety of sites/places, the museum and the expanded garden are identified as spaces where the expression of contemporary political, ecological and social attitudes to cultural landscapes can be realised through a curatorial approach to design, to effect minimal intervention. Three notions are proposed to encourage investigation into contemporary cultural landscapes: To traverse slowly to allow space for speculations framed by the topographies and artefacts encountered; to [re]make/[re]write cultural landscapes as discursive landscapes that provoke the intention to notice; and to reveal and conserve the fabric of everyday places. A series of walking, recording and making projects undertaken across a variety of cultural landscapes in remote South Australia, Melbourne, Sydney, London, Los Angeles, Chandigarh, Padova and Istanbul, investigate how communities of practice are facilitated through the invitation to notice and intervene in ordinary landscapes, informed by the theory and practice of postproduction and the reticent auteur. This community of practice approach draws upon chance encounters and it seeks to encourage creative investigation into places. The Intention to Notice is a practice of facilitating that also leads to recording traces and events; large and small, material and immaterial, that encourages both conjecture and archive. Most importantly, there is an open-ended invitation to commit and exchange through design interaction.