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"Architectures of Existence proposes that philosophical thinking (ecosophical thinking) can inform the way we engage with our world and its inhabitants, as architects, designers and planners, but also as individuals, as people, and as a society. In Art et existence, Maldiney states: "For us, to inhabit is to exist". This book aims to unfold, extend, articulate and thicken this postulate by interweaving architecture, city, landscape, literature and philosophy. It takes up the synergistic lines of long-term research carried out from an ecosophical perspective. Such an attitude explores an art of existing in multiplicity, singularity and openness, manifesting the critical dimension through a reinterpretation of the knotting of the trajectories of time, humanity and its becoming. Insisting on what is between things and beings as well as on what is happening, regenerating, recycling, reviving, saving, diversifying, sparing, recreating, meditating: and so caring. These are all eco-rhythms of a different type between human and non-human, to consider ourselves in the world. In an era of uncertainty and climate threats, this book develops the margins of possibility offered by the subject of architecture. This book will be of interest to researchers and students of architecture, urban planning and philosophy"--
In: Forerunners: Ideas First Series
In: Voprosy Filosofii, Heft 1, S. 150-159
Эстетика немецкого мыслителя Йозефа Гёрреса, в молодости примыкавшего к романтизму, выражается яркими поэтическими образами – вспышками («сполохами») эстетического сознания. Особенно ярко они проявляются при его субъективной герменевтике художественных произведений любимых авторов – Жана Поля в литературе и Филиппа Отто Рунге в изобразительном искусстве. Гёррес убежден, что в произведениях искусства содержится нечто большее в духовном плане, чем представлялось самим художникам. Для него искусство иероглифично и символично. Художественно-эстетическое пространство представляется Гёрресу системой оппозиций идей и феноменов внешнего мира, которые снимаются на более высоком уровне художественным идеалом, синтезирующим противоположные начала. Искусства, основывающиеся на идее, – «продуктивные», производящие нечто новое, а на природных явлениях – «эдуктивные», выводящие свои произведения из уже существующих объектов. Продуктивный художник творит на основе фантазии, эдуктивный – на преображении природных образов. На игре продуктивных и эдуктивных принципов возникает более высокий «идеальный» принцип творчества. В другой плоскости рассмотрения Гёррес делит искусства на риторические и пластические, которые, в свою очередь, тяготеют к продуктивным и эдуктивным типам, объединяясь в стремлении к художественному идеалу. Художественный идеал устремлен к «высшей гуманности» и тождествен с красотой. Еще в одной плоскости рассмотрения искусства предстают у Гёрреса как «представляющие» внешний мир и как «формирующие» внутренний мир человека. Эстетика осмысливается немецким мыслителем как наука, выраженная художественными средствами.
In: Verge: studies in global Asias, Band 10, Heft 1, S. 25-51
ISSN: 2373-5066
In: Verge: studies in global Asias, Band 10, Heft 1, S. 1-24
ISSN: 2373-5066
In: Mass violence in modern history 11
"The study of genocide has been appropriate in emphasizing the centrality of the Holocaust yet other preceding episodes of mass violence are of great significance. Taking a transnational and transhistorical approach, this volume redresses and replaces the silencing of the Armenian Genocide. The interdisciplinary approach makes Critical Approaches to Genocide a useful resource for all students and scholars interested in the Armenian Genocide and memory studies"--
In: RaumFragen: Stadt – Region – Landschaft
Introduction -- Landscape theoretical approaches - the theory of three landscapes and neopragmatic landscape research -- Aesthetics and Aisthesis of Landscape -- Neopragmatic Synthesis -- Crude oil and natural gas - formation, extraction, distribution and processing -- Oilscapes - first conceptual approaches -- Methodological approaches to Oilscapes -- Louisiana's Oilscapes.-Media representations of Oilscapes. -- Experiencing Oilscapes in Mode a and b. -- 11 Contingent Oilscapes - from Aesthetic Redescriptions to Inverse Landscapes -- Oilscapes - a second and more differentiated conceptual version -- Conclusion -- Bibliography.
In: Journal of intervention and statebuilding, S. 1-19
ISSN: 1750-2985
In: International review of social history, S. 1-19
ISSN: 1469-512X
Abstract
The Soviet campaign in support of the Democratic Republic of Vietnam in the Vietnam War saturated Soviet public culture in the late 1960s and early 1970s. It was the longest solidarity action in Soviet history and the first to reach mass television audiences. This article examines the production and reception of a televised documentary film about the Vietnam War made by Konstantin Simonov – a celebrity writer who played a crucial role in Soviet culture during World War II, and then, in the post-war period, in the struggle to come to terms with terrible truths about Stalinism and the chaos and trauma that war had rendered. Simonov's film presented the Vietnam War in lyrical rather than analytical terms, calling upon viewers to draw connections between the suffering of the Vietnamese and the Soviet wartime experience and to enact their solidarity with the Vietnamese in terms of feeling. The film proposes a solidarity of pain and an understanding of war and wartime suffering as elemental and overwhelming. In dozens of letters to Simonov, we find an understanding and appreciation of this vision, which decentres Vietnam and instead sends viewers on a journey back to Soviet history and trauma.
In: History of European ideas, S. 1-2
ISSN: 0191-6599
In: International feminist journal of politics, S. 1-3
ISSN: 1468-4470
In: Sensing Media: Aesthetics, Philosophy, and Cultures of Media
We live in a world that is saturated with color, but how should we make sense of color's force and capacities? This book develops a theory of color as fundamental medium of the social. Constructed as a montage of scenes from the past two hundred years, Organizing Color demonstrates how the interests of capital, management, governance, science, and the arts have wrestled with colour's allure and flux. Beyes takes readers from Goethe's chocolate experiments in search of chromatic transformation to nineteenth-century Scottish cotton mills designed to modulate workers' moods and productivity, from the colonial production of Indigo in India to globalized categories of skin colorism and their disavowal. Tracing the consumption, control and excess of industrial and digital color, other chapters stage encounters with the literary chromatics of Pynchon's Gravity's Rainbow processing the machinery of the chemical industries, the red of political revolt in Godard's films, and the blur of education and critique in Steyerl's Adorno's Grey.Contributing to a more general reconsideration of aesthetic capitalism and the role of sensory media, this book seeks to pioneer a theory of social organization-a "chromatics of organizing"-that is attuned to the protean and world-making capacity of color
In: Sensing Media: Aesthetics, Philosophy, and Cultures of Media
We live in a world that is saturated with color, but how should we make sense of color's force and capacities? This book develops a theory of color as fundamental medium of the social. Constructed as a montage of scenes from the past two hundred years, Organizing Color demonstrates how the interests of capital, management, governance, science, and the arts have wrestled with colour's allure and flux. Beyes takes readers from Goethe's chocolate experiments in search of chromatic transformation to nineteenth-century Scottish cotton mills designed to modulate workers' moods and productivity, from the colonial production of Indigo in India to globalized categories of skin colorism and their disavowal. Tracing the consumption, control and excess of industrial and digital color, other chapters stage encounters with the literary chromatics of Pynchon's Gravity's Rainbow processing the machinery of the chemical industries, the red of political revolt in Godard's films, and the blur of education and critique in Steyerl's Adorno's Grey.Contributing to a more general reconsideration of aesthetic capitalism and the role of sensory media, this book seeks to pioneer a theory of social organization-a "chromatics of organizing"-that is attuned to the protean and world-making capacity of color
Part I Theoretical Advances in the Pulsatile Imaginary and Disimagination -- Chapter 1 Introduction -- Chapter 2 States Of Image: Elan, Pulsion, Rapt, Rupture, Caesura and Syncopation -- Part II Emergences – Resurgences. Pulsatile Flow -- Chapter 3 Emergences and Resurgences: Notes on the Unformed in Conversation with Henri Michaux -- Chapter 4 Pulsatile Choreography: Rhythm, (Dis)Enchantment, and Disimagination in Premodern Dance -- Chapter 5 Passing and Flowing: Rhythmical Entanglements of Writing, Painting and Knitting in Virginia Woolf and Berthe Morisot -- Chapter 6 Confusion at Sea: The Return to Water -- Part III Tearing Mimesis – Ways Of Disimagination And Re-Incarnation Of Image -- Chapter 7 Incarnation and Déchirure; Annunciation and Crucifixion -- Chapter 8 Painting Matter and Trace. Reflections on Horia Bernea's art -- Chapter 9 Rite of Spring – Rite of Disimagination: An Inquiry into the Pulsatile Imaginary of Stravinsky's Le Sacre -- Chapter 10 Kneading dreams: Material imagination and agency in performative clay works -- Part IV Vibrant Mimesis, New Materialism, And Otherness -- Chapter 11 Vibrant Mimesis: New Materialism to Mimetic Studies -- Chapter 12 Motor of Darkness: On the Cartographic Visual Drive of Anthropocene Culture -- Chapter 13 A Venture into the realm of the nonhuman - or how artistic performative methods can propose a practice of exchanging knowledge with matter.