Art Inspiring Transmutations of Life

1. Auflage 2010
ISBN: 978-90-481-9160-4
Verlag: Springer-Verlag
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 430 Seiten

Although the creative impulse surges in revolt against everyday reality, breaking through its confines, it makes pacts with that reality’s essential laws and returns to it to modulate its sense. In fact, it is through praxis that imagination and artistic inventiveness transmute the vital concerns of life, giving them human measure. But at the same time art’s inspiration imbues life with aesthetic sense, which lifts human experience to the spiritual. Within these two perspectives art launches messages of specifically human inner propulsions, strivings, ideals, nostalgia, yearnings prosaic and poetic, profane and sacral, practical and ideal, while standing at the fragile borderline of everydayness and imaginative adventure. Art’s creative perduring constructs are intentional marks of the aesthetic significance attributed to the flux of human life and reflect the human quest for repose. They mediate communication and participation in spirit and sustain the relative continuity of culture and history.

Autoren/Hrsg.

Inhaltsverzeichnis

1;Table Of Contents;5
2;Acknowledgements;8
3;Inaugural Study;9
3.1;The Pas De Deux: Weaving Thought and Act;10
3.1.1; Invention ;12
3.1.2; Free Weaving ;13
3.1.3; Stick Work ;15
3.1.4; The Freedom of Enjoyment;18
3.1.5; Notes ;21
4;The Artist as Mediator Of Everydayness and Inspiration;23
4.1;The Limits of Creation: The Architect as the Mediator of the Beauty and the Beast;24
4.1.1; The Lived Space Of Human Desire ;24
4.1.2; The Architect As The Knowledgeable Master ;27
4.1.3; The Architect's Pure Gold Hands ;30
4.1.4; The Creator Through The Eyes Of The Beholder ;31
4.1.5; Notes ;32
4.2; The Artistic Life, The Art Alive ;33
4.2.1; Notes ;40
4.3; The Historical Logic of Non-Verbal Expression in Everyday Life and the Arts: The Perceptual Foundation of the Precept ;42
4.3.1; Further Epistemological Considerations Of The Movement From Percept To Precept As A Historical-Logical Movement In Husserlian Thought ;45
4.3.2; The Perceptual Logic Of The Aggregation And The Perceptual Logic Of The Quantum ;48
4.3.3; Discerning The Aggregative And The Quantum Diaereses In The Verbal Sentence ;53
4.3.4; Discerning The Aggregative And The Quantum Diaereses In The Figural Composition ;55
4.3.5; Characteristics That Equate The Verbal Historical Logic To Its Figural Foundational Characteristics ;56
4.3.6; Discerning The Quantum Diaeresis In Figural Composition ;58
4.3.7; Discerning The Aggregative Diaeresis In Figural Composition ;61
4.3.8; Adolescent Identical Twins With The Continuity Variant Of Aggregative Logic ;64
4.3.9; Adolescent Fraternal Twins With Quantum-Based Historical Logic: The Pure Quantum And The Dialectical ;65
4.3.10; Notes;67
4.4; The Relevance of Beautiful Infrastructure ;73
4.4.1; Notes ;81
4.4.2; References;82
4.5;John Steinbeck's Log from the ``Sea of Cortez'': One of Husserl's Infinite Tasks?;85
4.5.1; Introduction ;85
4.5.2; The Role And Perspective Of The Scientist ;86
4.5.3; The Absolute And Relative Nature Of Truth ;89
4.5.4; Concluding Remarks ;94
4.5.5; Notes ;95
4.6;Reconfiguring Oldenburg and van Bruggen's Free Stamp (1982--1991);99
4.6.1; Notes ;105
4.7; Aesthetic and Historical Contours of Russian Manor as a Genre ;110
4.7.1; Orthodox Monasterial Complex In Contemporary Sociocultural Environment ;116
4.7.2; Memory In Positive And Negative Motivation Of An Individual ;117
4.7.3; Phenomenology Of Non-Adaptivity Of Personality ;118
4.7.4; Legal Criterion Of Positive And Negative Activity Of An Individual ;119
5;The Message of Art in the Evolution of Culture;120
5.1; Between a Rock and a Soft Place: Finding Creativity in the Face of Oppression ;121
5.1.1; Tymieniecka and the Life of Creative Experience ;122
5.1.2; Themes of Identity ;124
5.1.3; Listening to Narratives of Creativity ;126
5.1.3.1; Identity of Historical Oppression (1.A) ;126
5.1.3.2; Pre-colonial Identity: the Search for Identities "Restored" (1.B) ;127
5.1.3.3; Post-Colonial Identity: The Search for a New Shared Social Identity (1.C) ;128
5.1.3.4; The Artist as Individual Creator (2.A) ;128
5.1.3.5; The Artist as Manifesting Multiple Identities or Strands (2.B) ;129
5.1.3.6; The Artist as Co-creating the New South Africa: Identities in Flux (2.C) ;130
5.1.4;References;132
5.2; Mirror, Mirror on the Wall ;134
5.2.1; I;134
5.2.2; II;135
5.2.3; III;136
5.2.4; IV;138
5.2.5; V;140
5.2.6; VI;142
5.2.7; VII;145
5.2.8; VIII;148
5.2.9; IX;150
5.2.10; X;153
5.2.11;References;154
5.3; The Pain of the Seer in the Civilization of the Blind: Faulkner and Salinger ;156
5.3.1; Notes ;165
5.3.2; References;167
5.4;Opus Cordis: Reflections of a Contemporary Artist Embracing the Drama of Religious Imagery;169
5.4.1; Note;178
5.5;Ecce Homo: On the Phenomenological Problematicity of the Religious Image;179
5.5.1; I;180
5.5.2; II;184
5.5.3; Colophon ;191
5.5.4; Notes ;192
6;Art and Techne;195
6.1; Creation vs. Techne: The Inner Conflict of Art ;196
6.1.1; Techne;197
6.1.2; Creation ;197
6.1.3; Techne---Creation ;198
6.1.3.1; I;200
6.1.3.2; II;200
6.1.3.3; III;201
6.1.3.4; IV;202
6.1.3.5; V;202
6.1.3.6; VI;203
6.1.4; Conclusion ;203
6.1.5; Notes ;204
6.2;Vincent Van Gogh's Irises: Venturing Upon Dizzy Heights;210
6.2.1; Notes ;219
6.3; On the Poetics of Cinema in the Light of the Present Culture ;222
6.3.1; I ;223
6.3.2; II ;226
6.3.3; III ;228
6.3.4; IV ;231
6.3.5; V ;235
6.3.6; VI ;236
6.3.7; VII ;239
6.3.8; Notes ;243
6.4;Art as Informational Readymade;245
6.4.1; Notes ;250
6.5; Oh, Behave Nothing in Excess or Everything in Good Order: The "Portraits" of Solon and Khilon on a Late Archaic Attic Red-figure Cup by Oltos ;253
6.5.1; Notes ;262
7;Artistic and Philosophical Itineraries;268
7.1; Visualizing Tymieniecka's Approach to Originality ;269
7.1.1; Creativity As The Primary Distinction Of The Human Being: Jackson Pollock ;270
7.1.2; The Creative Act As Rupture: Robert Rauschenberg ;274
7.1.3; The Pictures Generation ;275
7.1.4; Tymieniecka And The Creative Experience ;279
7.1.5; The Cipher/New Creation Builds The Future Life-World ;283
7.1.6; Conclusion;284
7.1.7; Notes;285
7.2; Artistic and Philosophical Itineraries ;289
7.2.1; Notes;297
7.3;The Only Star in a Nihilist Heaven: A Reflection on the Problematic Identity of History, Art and Cinema;298
7.3.1; The Problem Of The Common Genesis ;298
7.3.2; The Artistic Originality And Cinema ;305
7.3.3; Notes;313
7.4;``Bodher Pratyushe Buddhir Pradip'': The Lamp of Intelligence at the Dawn of Artistic Feeling;316
7.4.1; Notes ;320
7.5; The Philosopher's Pupil, Iris Murdoch's Post-Modern Allegory of the Creative Process ;321
7.5.1; Notes ;331
7.5.2; References;331
7.6; Ra'anan Levy's Metaphysical Space ;332
7.6.1; Notes;338
8;Mediating Inspiration;339
8.1; Art, Intention, and Communication ;340
8.1.1; Creation And Spontaneous Complexity ;343
8.1.2; Creativity: Product And Process ;344
8.1.3; Notes;348
8.2; Harold Pinter's Mindscape: His Food--Clothing Paradoxes ;350
8.2.1; Notes;358
8.2.2;References;358
8.3;Mediated: the Image as a Performative Interfacein the Photographic Relationship;359
8.3.1;References;369
8.4; The Phenomenology of Color [As a Working Methodology for Design Practice] ;371
8.4.1; Phenomenology Of Color: An Overview ;371
8.4.2; The Design Process ;373
8.4.3; The Studio Work ;373
8.4.4; The Void Series ;376
8.4.5; The Color Sequences Project ;377
8.4.6; Conclusion ;378
8.4.7; Notes;378
8.5; The Metaperformative and Gendered Space ;380
8.5.1; Performative And Meta-Performative ;380
8.5.2; LucIA Y El Sexo ;383
8.5.3; Nan Goldin ;385
8.5.4; The Spirit Horse ;386
8.5.5; Marnie Weber ;387
8.5.6; Notes;389
8.5.7;References;390
8.6;A Revised Taiji Diagram to Convey the Unityof World Phenomena;391
8.6.1; (1) ;392
8.6.2; (2) ;393
8.6.3; (3) ;395
8.6.4; (4) ;396
8.6.5; References;396
8.7;Index of Names;397