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Originally published in 1954, Creative Realism: A New Method of Winning provides a simple process of self-hypnosis whereby you can free the mind from its fragmentation in the subconscious. Dr. Rolf Alexander theorizes that we are all hypnotized to a considerable degree by what has happened to or around us in our lives. Assigning many of our personality troubles on “hypnosis-without-a-hypnotist,” he offers a method which he calls ‘self-realization,’ and which is used to dehypnotize ourselves. The use of this method is urged as a preliminary to the administering of autosuggestion, and provides an antidote to remaining in a suggestible trance to some extent after the use of autohypnosis. Dr. Rolf Alexander devoted himself to a lifelong program of private research and experimentation, and following extensive worldwide travel and the meticulous investigation of many little-known systems, he discovered the new and revolutionary philosophy named ‘Creative Realism,’ which this book outlines.
Introduces artists to the painting techniques and compositional approaches needed to develop an abstract style of work in all art media.
"Realism materialism art (RMA) introduces a diverse selection of new realist and materialist philosophies and examines their ramifications on the arts. Encompassing neo-materialist theories, object-oriented ontologies, and neo-rationalist philosophies, RMA serves as a primer on "speculative realism," considering its conceptual innovations as spurs to artistic thinking and practice and beyond."--From publisher's description.
One fall evening in 1880, Russian painter Ilya Repin welcomed an unexpected visitor to his home: Lev Tolstoy. The renowned realists talked for hours, and Tolstoy turned his critical eye to the sketches in Repin's studio. Tolstoy's criticisms would later prompt Repin to reflect on the question of creative expression and conclude that the path to artistic truth is relative, dependent on the mode and medium of representation. In this original study, Molly Brunson traces many such paths that converged to form the tradition of nineteenth-century Russian realism, a tradition that spanned almost half a century—from the youthful projects of the Natural School and the critical realism of the age of reform to the mature masterpieces of Tolstoy, Fyodor Dostoevsky, and the paintings of the Wanderers, Repin chief among them. By examining the classics of the tradition, Brunson explores the emergence of multiple realisms from the gaps, disruptions, and doubts that accompany the self-conscious project of representing reality. These manifestations of realism are united not by how they look or what they describe, but by their shared awareness of the fraught yet critical task of representation. By tracing the engagement of literature and painting with aesthetic debates on the sister arts, Brunson argues for a conceptualization of realism that transcends artistic media. Russian Realisms integrates the lesser-known tradition of Russian painting with the familiar masterpieces of Russia's great novelists, highlighting both the common ground in their struggles for artistic realism and their cultural autonomy and legitimacy. This erudite study will appeal to scholars interested in Russian literature and art, comparative literature, art history, and nineteenth-century realist movements.
Disrupted Realism is the first book to survey the works of contemporary painters who are challenging and reshaping the tradition of Realism. Helping art lovers, collectors, and artists approach and understand this compelling new phenomenon, it includes the works of 38 artists whose paintings respond to the subjectivity and disruptions of modern experience. Widely published author and blogger John Seed, who believes that we are "the most distracted society in the history of the world," has selected artists he sees as visionaries in this developing movement. The artists' impulses toward disruption are as individual as the artists themselves, but all share the need to include perception and emotion in their artistic process. Six sections lay out and analyze common themes: "Toward Abstraction," "Disrupted Bodies," "Emotions and Identities," "Myths and Visions," "Patterns, Planes, and Formations," and "Between Painting and Photography." Interviews with each artist offer additional insight into some of the most incisive and relevant painting being created today.
Few literary phenomena are as elusive and yet as persistent as realism. While it responds to the perennial impulse to use literature to reflect on experience, it also designates a specific set of literary and artistic practices that emerged in response to Western modernity. Landscapes of Realism is a two-volume collaborative interdisciplinary investigation of this vast territory, bringing together leading-edge new criticism on the realist paradigms that were first articulated in nineteenth-century Europe but have since gone on globally to transform the literary landscape. Tracing the manifold ways in which these paradigms are developed, discussed and contested across time, space, cultures and media, this second volume shows in its four core essays and twenty-four case studies four major pathways through the landscapes of realism: The psychological pathways focusing on emotion and memory, the referential pathways highlighting the role of materiality, the formal pathways demonstrating the dynamics of formal experiments, and the geographical pathways exploring the worlding of realism through the encounters between European and non-European languages from the nineteenth century to the present.This volume is part of a book set which can be ordered at a special discount:
This book fills a gap in the literature of 21st century international visual arts education by providing a structured approach to understanding the benefits of Philosophical Realism in art education, an approach that has received little international attention until now. The framework as presented provides a powerful interface between research and practical reconceptualisations of critical issues and practice in the domains of art, design, and education that involve implications for curriculum in visual arts, teaching and learning, cognitive development, and creativity. The book extends understanding of Philosophical Realism in its practical application to teaching practice in visual arts in the way it relates to the fields of art, design, and education. Researchers, teacher educators and specialist art teachers are informed about how Philosophical Realism provides insights into art, design, and education. These insights vary from clearer knowledge about art to the examination of beliefs and assumptions about the art object. Readers learn how cognitive reflection, and social and practical reasoning in the classroom help cultivate students’ artistic performances, and understand how constraints function in students’ reasoning at different ages/stages of education.
The institutionalization of History and Philosophy of Science as a distinct field of scholarly endeavour began comparatively earl- though not always under that name - in the Australasian region. An initial lecturing appointment was made at the University of Melbourne immediately after the Second World War, in 1946, and other appoint ments followed as the subject underwent an expansion during the 1950s and 1960s similar to that which took place in other parts of the world. Today there are major Departments at the University of Melbourne, the University of New South Wales and the University of Wollongong, and smaller groups active in many other parts of Australia and in New Zealand. "Australasian Studies in History and Philosophy of Science" aims to provide a distinctive publication outlet for Australian and New Zealand scholars working in the general area of history, philosophy and social studies of science. Each volume comprises a group of essays on a connected theme, edited by an Australian or a New Zealander with special expertise in that particular area. Papers address general issues, however, rather than local ones; parochial topics are avoided. Further more, though in each volume a majority of the contributors is from Australia or New Zealand, contributions from elsewhere are by no means ruled out. Quite the reverse, in fact - they are actively encour aged wherever appropriate to the balance of the volume in question.
For the past 30 years, Paget Henry has been one of the most articulate and creative voices in Caribbean scholarship, making seminal contributions to the study of Caribbean political economy, C.L.R. James studies, critical theory, phenomenology, and Africana philosophy. In the case of Afro-Caribbean philosophy, he inaugurated a new philosophical school of inquiry. Journeys in Caribbean Thought: The Paget Henry Reader outlines the trajectory of Henry’s scholarly career, beginning and ending with his most recent work on the distinctive character of Africana and Caribbean philosophy and political and intellectual leadership in his home of Antigua and Barbuda. In between, the book returns to Henry’s early consideration of the relationship of political economy to cultural flourishing or stagnation and how both should be studied, and to the problem with which Henry began his career, of peripheral development through a focus on Caribbean political economy and democratic socialism. Henry’s canonical work in Anglo-Caribbean thought draws upon a heavily creolized canon.