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Bergson and the Art of Immanence by John O Maoilearca Pdf
This collection of 16 essays brings 20th-century French philosopher Henri Bergson's work on immanence together with the latest ideas in art theory and the practice of immanent art as found in painting, photography and film. It places Bergson's work and influence in a wide historical context and applies a rigorous conceptual framework to contemporary art theory and practice.
Bergson and the Art of Immanence by John Ó Maoilearca,Charlotte De Mille Pdf
This collection of 16 essays brings 20th-century French philosopher Henri Bergson's work on immanence together with the latest ideas in art theory and the practice of immanent art as found in painting, photography, film and performance.
This introductory study looks at Bergson's use of philosophical form itself and aims to dispel the view that Bergson ever stuck to one type of philosophy at all, be it vitalism or phenomenology.
Henri Bergson and Visual Culture by Paul Atkinson Pdf
What does it mean to see time in the visual arts and how does art reveal the nature of time? Paul Atkinson investigates these questions through the work of the French philosopher Henri Bergson, whose theory of time as duration made him one of the most prominent thinkers of the fin de siècle. Although Bergson never enunciated an aesthetic theory and did not explicitly write on the visual arts, his philosophy gestures towards a play of sensual differences that is central to aesthetics. This book rethinks Bergson's philosophy in terms of aesthetics and provides a fascinating and original account of how Bergsonian ideas aid in understanding time and dynamism in the visual arts. From an examination of Bergson's influence on the visual arts to a reconsideration of the relationship between aesthetics and metaphysics, Henri Bergson and Visual Culture explores what it means to reconceptualise the visual arts in terms of duration. Atkinson revisits four key themes in Bergson's work – duration; time and the continuous gesture; the ramification of life and durational difference – and reveals Bergsonian aesthetics of duration through the application of these themes to a number of 19th and 20th-century artworks. This book introduces readers and art lovers to the work of Bergson and contributes to Bergsonian scholarship, as well as presenting a new of understanding the relationship between art and time.
From Space in Modern Art to a Spatial Art History by Jutta Vinzent Pdf
This book traces artists’ theories of constructive space in the first half of the twentieth century. Drawing on these concepts and recent theories on space, it develops a methodology termed ‘Spatial Art History’ that conceives of artworks as physical spatio-temporal things, which produce the social, to overcome the reductive understanding of art as a mere mirror or facilitator of society.
This book reveals how, when, where, and why vitalism and its relationship to new scientific theories, philosophies and concepts of energy became seminal from the fin de siècle until the Second World War for such Modernists as Sophie Taeuber-Arp, Hugo Ball, Juliette Bisson, Eva Carrière, Salvador Dalì, Robert Delaunay, Marcel Duchamp, Edvard Munch, Picasso, Yves Tanguy, Gino Severini and John Cage. For them, Vitalism entailed the conception of life as a constant process of metamorphosis impelled by the free flow of energies, imaginings, intuition and memories, unconstrained by mechanistic materialism and chronometric imperatives, to generate what the philosopher Henri Bergson aptly called Creative Evolution. Following the three main dimensions of Vitalist Modernism, the first part of this book reveals how biovitalism at the fin de siècle entailed the pursuit of corporeal regeneration through absorption in raw nature, wholesome environments, aquatic therapies, electromagnetism, heliotherapy, modern sports, particularly rugby, water sports, the Olympic Games and physical culture to energize the human body and vitalize its life force. This is illuminated by artists as geoculturally diverse as Gustave Caillebotte, Thomas Eakins, Munch and Albert Gleizes. The second part illuminates how simultaneously Vitalism became aligned with anthroposophy, esotericism, magnetism, occultism, parapsychology, spiritism, theosophy and what Bergson called "psychic states", alongside such new sciences as electromagnetism, radiology and the Fourth Dimension, as captured by such artists as Juliette Bisson, Giacomo Balla, Albert Besnard, Umberto Boccioni, Eva Carrière, John Gerrard Keulemans, László Moholy-Nagy, James Tissot, Albert von Schrenck Notzing and Picasso. During and after the devastation of the First World War, the third part explores how Vitalism, particularly Bergson’s theory of becoming, became associated with Dadaist, Neo-Dadaist and Surrealist notions of amorality, atemporality, dysfunctionality, entropy, irrationality, inversion, negation and the nonsensical captured by Hans Arp, Charlie Chaplin, Theo Van Doesburg, Kazimir Malevich, Kurt Schwitters and Vladimir Tatlin alongside Cage’s concept of Nothing. After investigating the widespread engagement with Bergson’s philosophies and Vitalism and art by Anarchists, Marxists and Communists during and after the First World War, it concludes with the official rejection of Bergson and any form of Vitalism in the Soviet Union under Stalin. This book will be of vital interest to gallery, exhibition and museum curators and visitors, plus readers and scholars working in art history, art theory, cultural studies, modernist studies, occult studies, European art and literature, health, histories of science, philosophy, psychology, sociology, sport studies, heritage studies, museum studies and curatorship.
Theatres of Immanence by Laura Cull Ó Maoilearca Pdf
Theatres of Immanence: Deleuze and the Ethics of Performance is the first monograph to provide an in-depth study of the implications of Deleuze's philosophy for theatre and performance. Drawing from Goat Island, Butoh, Artaud and Kaprow, as well from Deleuze, Bergson and Laruelle, the book conceives performance as a way of thinking immanence.
Anarchism and the Avant-Garde: Radical Arts and Politics in Perspective offers a fresh approach to the encounter of the classical anarchisms (1860s−1940s) and the artistic and literary avant-gardes of the same period, probing its dimensions and limits.
Essays by Gilles Deleuze on the search for a new empiricism.The essays in this book present a complex theme at the heart of the philosophy of Gilles Deleuze, what in his last writing he called simply "a life." They capture a problem that runs throughout his work--his long search for a new and superior empiricism. Announced in his first book, on David Hume, then taking off with his early studies of Nietzsche and Bergson, the problem of an "empiricist conversion" became central to Deleuze's work, in particular to his aesthetics and his conception of the art of cinema. In the new regime of communication and information-machines with which he thought we are confronted today, he came to believe that such a conversion, such an empiricism, such a new art and will-to-art, was what we need most. The last, seemingly minor question of "a life" is thus inseparable from Deleuze's striking image of philosophy not as a wisdom we already possess, but as a pure immanence of what is yet to come. Perhaps the full exploitation of that image, from one of the most original trajectories in contemporary philosophy, is also yet to come.
Theory for Art History provides a concise and clear introduction to key contemporary theorists, including their lives, major works, and transformative ideas. Written to reveal the vital connections between art history, aesthetics, and contemporary philosophy, this expanded second edition presents new ways for rethinking the methodologies and theories of art and art history. The book comprises a complete revision of each theorist; updated and trustworthy bibliographies on each; an informative introduction about the reception of critical theory within art history; and a beautifully written, original essay on the state of art history and theory that serves as an afterword. From Marx to Deleuze, from Arendt to Rancière, Theory for Art History is designed for use by undergraduate students in courses on the theory and methodology of art history, graduate students seeking an introduction to critical theory that will prepare them to engage the primary sources, and advanced scholars in art history and visual culture studies who are themselves interested in how these perspectives inflect art historical practice. Adapted from Theory for Religious Studies by William E. Deal and Timothy K. Beal.
Thinking beyond the human condition -- An introduction to Bergson -- A melancholy science: Bergson on Lucretius -- Bergson on time, freedom, and the self -- Bergson on memory -- Bergson's reformation of philosophy in creative evolution -- Bergson and ethics -- Bergson and Nietzsche on religion: critique, immanence, and affirmation (with Jim Urpeth) -- Bergson on education and the art of life
In the early twentieth century, André Colomer was perhaps the best-known figure in the anarchist movement. A poet, philosopher, activist, and public speaker, he was enmeshed in the Parisian political and artistic scene at a time of political and cultural revolution. Amid the avant-garde explosions of Cubism, futurism, and surrealism and the ferment of radical politics on left and right, Colomer became anarchism’s leading advocate. He galvanized the Parisian public through his agitational writing and organizing, as well as his involvement in a sensational murder case, while developing a distinctive philosophical account of anarchist individualism. Yet Colomer died in obscurity in Moscow, abandoned by his friends and comrades, and is scarcely known in the English-speaking world today. Lyrical Individualism presents a selection of Colomer’s crucial writings, with a focus on anarchist theory and the philosophy of Henri Bergson. It reveals the richness of Colomer’s philosophical work, particularly his creative engagement with Bergson, Max Stirner, and Friedrich Nietzsche to forge a novel anarchist ideology. Colomer’s writings not only offer valuable insights into interwar anarchism, they also present a distinctive philosophical vision that in many ways anticipates theories and debates animating radical political movements today. This book also showcases his acerbic and pugnacious political commentary on the turbulent events of the 1910s and 1920s. The first translation and publication of Colomer’s work since his untimely death in 1931, Lyrical Individualism allows a range of readers to discover this vital thinker.
Dematerialization and the Social Materiality of Art by Elize Mazadiego Pdf
In Dematerialization and the Social Materiality of Art Elize Mazadiego interprets experimental art practices that negated the object’s primacy, developing new materialities rooted in Argentina’s changing social life and transformative experiences of modernization in the 1950s and 1960s.
'Ralph Ellison, Temporal Technologist' elucidates the theory of temporality that binds Ellison's oeuvre together, and explains why race is a matter of time. Germana offers a wholesale reinterpretation of Ellison's corpus as well as an extension of Ellison's ideas about the dynamism of becoming and the open-endedness of the future.
