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De jaren zestig in de carrière van de veelzijdige Amerikaanse maker (geb. 1941) van o.a. performances, installaties, videokunst en sculptuur.
The most comprehensive collection to date of the artist Bruce Nauman's writings plus all of his major interviews from 1965 to 2001. Since the 1960s, the artist Bruce Nauman has developed a highly complex and pluralistic oeuvre ranging from discrete sculpture, performance, film, video, and text-based works to elaborate multipart installations incorporating sound, video recording and monitors, and architectural structures. Nauman's work is often interpreted in terms of movements and mediums, including performance, postminimalism, process, and conceptual art, thereby emphasizing its apparent eclecticism. But what is often overlooked is that underlying these seemingly disparate artistic tendencies are conceptual continuities, one of which is an investigation of the nature of language. Unlike many of his contemporaries, Nauman has refrained from participating in the critical discourse surrounding his own work. He has given relatively few interviews over the course of his career and has little to do with the art press or critical establishment. Indeed, he granted Janet Kraynak and The MIT Press almost complete autonomy in the preparation of this volume. In contrast to Nauman's reputation for silence, however, from the beginning of his career, the incorporation of language has been a central feature of his art. This collection takes as its starting point the seeming paradox of an artist of so few words who produces an art of so many words. Please Pay Attention Please contains all of Nauman's major interviews from 1965 to 2001, as well as a comprehensive body of his writings, including instructions and proposal texts, dialogues transcribed from audio-video works, and prose texts written specifically for installation sculptures. Where relevant, the texts are accompanied by illustrations of the artworks for which they were composed. In the critical essay that serves as the book's introduction, the editor investigates Nauman's art in relation to the linguistic turn in art practices of the 1960s—understanding language through the speech act—and its legacy in contemporary art.
One of the most innovative, provocative, and influential of America's contemporary artists, Bruce Nauman spent his formative years in Northern California. This text explores Nauman's relationship to the place where he created his earliest and most strikingly original works during the mid to late 1960s.
"From the beginning I was trying to see if I could make art that did that. Art that was just there all at once. Like getting hit in the face with a baseball bat. Or better yet, like getting hit in the back of the neck. You never see it coming; it just knocks you down. I like that idea very much: the kind of intensity that doesn't give you any trace of whether you're going to like it or not."—Bruce Nauman "Bruce Nauman's art is about heightened awareness, awareness of spaces we usually don't notice (the one under the chair, out of which he made a sculpture) and sounds we don't listen for (the one in the coffin), awareness of emotions we suppress or dread... It's hard to feel indifferent to work like his."—Michael Kimmelman, New York Times One of America's most important artists, Bruce Nauman has worked in a dazzling variety of media since the mid-1960s: sculpture, photography, performance, installation, sound, holography, film, and video. What has been a constant throughout his career, however, is his persistence in exploring both art as an investigation of the self and the power of language to define that self. The latest volume in the acclaimed Art + Performance series is the first book to combine the key critical writings on Nauman with the artist's own writings and interviews with him, as well as images of his work. Bruce Nauman offers a multifaceted portrait of an artist whose determination to experiment with style and form has created a body of work as eclectic and perhaps more influential than that of any other living American artist.
To date, scholars explored Bruce Nauman’s oeuvre through various perspectives, concepts and premises, including linguistics, performance, power and knowledge, sound, the political and more. Amidst this vast and rich field, Nauman’s pieces have been regarded by critics in terms of systematic skepticism, tragic skepticism, skepticism of the medium, and linguistic doubt. This book methodically analyzes the notion of performative skepticism and its relevance to various dimensions of Bruce Nauman’s post-minimalist artistic practice. It is argued that Nauman performs the perpetual failure of perception, hence, demonstrating its doubtful validity to produce certain knowledge without allowing a resolution. This kind of skepticism, here called performative skepticism, exposes the impossibility of epistemological equipment to produce knowledge, and the impossibility of attaining certainty in bridging the gap between knowledge and the real.
G. E. M. Anscombe (1919–2001) is one of the most important philosophers of the twentieth century. Known primarily for influencing research in action theory and moral philosophy, her work also has relevance in the study of metaphysics, philosophy of language, philosophy of mind, philosophy of religion, and politics. The Anscombean Mind provides a comprehensive survey of Anscombe’s thought, not only placing it in its historical context but also exploring its enduring significance in contemporary debates. Divided into three clear parts, twenty-three chapters by an international array of contributors address the following themes: ancient philosophy metaphysics mind and language Wittgenstein action and ethics politics religion and faith. The Anscombean Mind is an indispensable resource for anyone studying and researching action theory, ethics, moral philosophy, Wittgenstein, twentieth-century philosophy, and Anscombe herself.
Taking a work by J.M. Coetzee as an example, this volume explores the way both literature and philosophy seek - and fail - to represent reality. Stephen Mulhall examines Coetzee's 'Elizabeth Costello', which deals with the moral status of animals.
"Thoughtful Images: Philosophy Illustrated is the first systematic investigation of how artists throughout the ages have illustrated philosophical texts, ideas, concepts, and theories. The book begins by developing a theory of visual illustrations of philosophical texts and undermining what the author calls "the denigration of illustration." The book then takes a more historical approach, beginning in Ancient Greece and Rome and proceeding through Medieval illuminations and printed broadsides to the frontispieces of philosophical texts. Throughout, attention is paid to how technological developments enable different means for illustrating philosophy"--
This volume contains all of the presidential addresses given before the American Society for Value Inquiry since its first meeting in 1970. Contributions are by Richard Brandt*, Virgil Aldrich*, John W. Davis*, the late Robert S. Hartman*, James B. Wilbur*, the late William H. Werkmeister, Robert E. Carter, the late William T. Blackstone, Gene James, Eva Hauel Cadwallader, Richard T. Hull, Norman Bowie*, Stephen White*, Burton Leiser+, Abraham Edel, Sidney Axinn, Robert Ginsberg, Patricia Werhane, Lisa M. Newton, Thomas Magnell, Sander Lee, John M. Abbarno, Ruth Miller Lucier, and Tom Regan*. Autobiographical sketches* by all of the living contributors and one recently deceased, biographical statements of the remainder, together with photographic portraits of all the contributors*, make this volume a unique record of value inquiry during the past quarter century. (* indicates previously unpublished or unpublished in the present form; + indicates substantial new material has been added.) The addresses cover diverse topics, from broad, general ones, to value inquiry into literature, bioethics, and public policy; to philosophy of mind, to critical studies of other philosophers' work, defenses of philosophy and of applied ethics, individual-, role- and cultural-relativism of values. The American Society for Value Inquiry is nearing its 25th anniversary. Its leadership is elected annually, often with a vice president becoming president-elect, then president, then past president: a structure that serves to insure a measure of continuity. Its members are drawn to the society not by a particularly credo or ideology or philosophical position, but by a common interest in questions of value, ranging from abstract meta-value inquiry to disciplinary and trans-disciplinary value inquiry. For those who share this range of passions, the volume will preserve, collect, organize, and in a number of cases recover material in danger of being lost to them. The Presidential Address is a unique genre, resembling in some ways a sermon. Indeed, preparing a presidential address before a philosophical society is often an exercise in developing an exhortation to members to take up a neglected topic, to embrace as important a particular viewpoint; it may as well be a cautionary to avoid a particular error. It is often a dramatic moment: as a last act of the presidency, having observed closely the trends and winds blowing through the discipline, the speaker is afforded the opportunity to hold forth on a topic at once intensely personal and believed to be of wide interest. While some societies publish presidential addresses in newsletters or informal proceedings, and occasionally in professional bulletins or journals, rarely have a substantial bloc of a society's presidential addresses been collected and published under one cover. Too often the presidential address is delivered, discussed by those present, perhaps summarized in a paragraph in a newsletter to members, and filed as a fond memory of a moment of honor in the papers of the author - sometimes to be forgotten, lost, discarded, or otherwise removed from availability to scholars of the history of philosophy. This volume inaugurates a series aiming at preserving presidential and other major addresses before philosophical societies. It seeks to be a historical record, not only of the address but also of the reflections and recollections of the author. It seeks to preserve as a part of the historical record a photograph of the author. And, with the personal character of an autobiographical statement, it seeks to humanize and render lively and real the professi...
Heterogeneous objects provides various essays that explore the encounter of photography with other media since the 1960s. The essays offer new ways of thinking about photography beyond modernist notions of medium specificity and autonomy based upon the idea that a photograph does not rely on a coherent system of codes but is almost always encountered as a fragmented, partial object. Addressing recent debates in art history and photography theory, film studies, and media theory, the contributions cover a broad array of approaches, relating photography to issues of the panorama, surveillance, sculpture, transformation and processuality, and the development of new media categories. Rather than conceiving of photography as a medium, the aim is to reconsider the photograph as a historically, theoretically, and culturally embedded heterogeneous object that is always related to, in contact with, or shaped by other media.