PhD / This thesis is an interdisciplinary explanation of correspondences between painting and philosophy. It does not offer, as could be assumed, a critique of philosophical concepts or an instrumental description of painting. Instead, it shows how concepts from philosophy can be used to see painting in new ways, particularly abstract painting. The philosophy discussed here is limited to continental or speculative philosophy, mainly, but not exclusively, the philosophy of Gilles Deleuze and Félix Guattari. The work of philosopher Richard Rorty also plays a part because he presents a clear description of the relationship between vision and philosophy. From a philosopher’s point of view, painting is highly relevant to an image of thought and is in general, used to explain conceptual assemblies. Rarely, however, do philosophers talk of painting’s own philosophy. This thesis argues for an account of painting as philosophy of sensation.
| Identifer | oai:union.ndltd.org:ADTP/283240 |
| Date | January 2006 |
| Creators | Loveday, Thomas |
| Publisher | Sydney Collage of the Arts |
| Source Sets | Australiasian Digital Theses Program |
| Language | en_AU |
| Detected Language | English |
| Rights | The author retains copyright of this thesis., http://www.library.usyd.edu.au/copyright.html |
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