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This thesis introduces Tadao Ando, a well-known Japanese architect, who is currently working on an emerging concept in the discourse of architecture, and is opening an approach of high sensibility (sensual, reflective, flexible, and complex, sensitively matching with every moment of life) and conceptualism (rational, logically approaching truth) that is widely considered one of the most important ways of thinking and designing architecture.In the introduction chapter, Tadao Ando's is introduced as a master of architecture and as a critic. Secondly, his goals, objectives, concepts and strategies are outlined. These aspects are grouped and developed into major themes. Those themes will later be interpreted in Chapter Four.In the second chapter of the thesis, the architecture of Tadao Ando is examined more closely, through critics' studies and his writings. This part aims to open further discussions on the most substantial and important grounds and sources of his architecture, which are interpreted in further detail in Chapter Four: the key themes of his works and theories.Being aware that Ando's architecture cannot be understood without grasping "Japaneseness", or the historical cultural and regional contexts of Japan, the third chapter will be devoted to briefly introducing the origins, philosophy, traditions, and culture of the country, as well as major points of new waves of Japanese architecture, both of which tangibly and intangibly serve as the foundation for Ando's architectural themes: nature, shintai, and geometry as both abstract construct and substance. This chapter is essential for understanding the foundation and context of Ando's thoughts that always determine his architecture.Chapter Four is the key part of the thesis. It focuses on two aspects: Ando's philosophically-based theoretical concepts, and his major themes which have been introduced in the previous sections. This chapter provides a general and coherent understanding of his work.The concluding chapter summarizes the crucial points from among Ando's visions, moving from origins and philosophical grounds through concepts, strategies and theories, to the unique solutions which he advances for problems of the age. Thematically, Tadao Ando's works may be shown to reveal: Dialogue with Nature and Tradition (cosmologies, culture); Shintai and Space (mutual independence and penetration); and Geometry (spatial compositions, minimalist form, material and texture). Among these three over riding themes, there are many interrelated sub-themes are also examined. Download 1st chapter & ByteSizeSystems Reader FREE - and buy ByteSize b-book for $5.00.
A leading mind in the world of artificial intelligence answers the provocative question: “Can we introduce emotion into the computer?” Can we introduce emotion into the computer? David Gelernter, one of the leading lights in artificial intelligence today, begins The Muse in the Machine with this provocative question. In providing an answer, he not only points to a future revolution in computers, but radically changes our views of the human mind itself. Bringing together insights from computer science, cognitive psychology, philosophy of mind, and literary theory, David Gelernter presents what is sure to be a much debated view of how humans have thought, how we think today, and how computers will learn to think in the future.
This anthology applies phenomenological concepts and methods to issues of philosophical theology and philosophical theology and philosophy: the being and nature of God, and the divine modes of relatedness to nature, to society, and to the self. Essays in Phenomenological Theology contains previously unpublished papers by Iso Kern, J. N. Findlay, Charles Courtney, Thomas Prufer, Robert Williams, James Hart, Steven Laycock, and James Buchanan. It is the first volume to assemble an entire spectrum of phenomenological-theological ideas, including those of neo-Platonic meditation, phenomenological neo-Thomism, Hegelian phenomenological dialectics, Husserlian transcendental reflection, and post-modern deconstructive iconoclasm. The book will be useful to philosophers and theologians seeking an enriched understanding of the rapidly-burgeoning discipline of phenomenological theology, and promises unexpected insights even to seasoned phenomenologists seeking to expand their horizons.
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This study traces an important but largely overlooked conception of abstraction in art from its roots in eighteenth-century empirical epistemology to its application in the pursuit of ideal form from Joshua Reynolds to Piet Mondrian. Theorized by Enlightenment philosophy as a means of discovering ideal essence by purging natural form of its accidental and contingent qualities abstraction was a major focus of philosophical, scientific, and aesthetic discourse for more than one hundred fifty years, serving as the nucleus of fundamental debates about the philosophy of mind, the relationship between the Ancients and the Moderns, the nature of human racial and functional variety, the nature of God's creative ideas, the use of brushwork in painting, the validity of abstraction in art, and the visual appearance of ideal truth and beauty.
This book offers a cutting-edge interpretation of the philosophy of F.W.J. Schelling by critically reconsidering the interpretations of some of his “successors”. It argues that Schelling’s philosophy should be read as an ontology of immanence, highlighting its relevance for ongoing debates on ethics and freedom.
Abstract Expressionist works on paper from the permanent collection of The Metropolitan Museum of Art are presented in this volume, which documents the wealth of the Museum's holdings in that area. Many of them are published here for the first time, and several are recent additions to the collection. All are illustrated in full-page color reproductions that show the nuances of each work in great detail. The Abstract Expressionists are best known for their paintings and sculptures, and virtually all of the many publications about these artists concentrate on those large-scale works. This unique catalogue deals exclusively with their smaller, more intimate works on paper, providing many new insights about the routes that led to the Abstract Expressionists' innovative artistic accomplishments. The nineteen artists included are William Baziotes, James Brooks, Elaine de Kooning, Willem de Kooning, Arshile Gorky, Adolph Gottlieb, Philip Guston, Gerome Kamrowski, Franz Kline, Robert Motherwell, Barnett Newman, Jackson Pollock, Richard Pousette-Dart, Theodore Roszak, Mark Rothko, Anne Ryan, David Smith, Theodoros Stamos, and Mark Tobey. Each of them is discussed in a separate essay, which encompasses information about the artist's background and development, commentary about the importance of drawing in his or her oeuvre, and an analysis of each work in the selection. Also included in the essays is technical information about a number of the individual works that enhances understanding of the variety and originality of these artists' media and techniques.
Exploring alternative conceptions of the divine, Jessica Eastwood considers the ways of believing in God that are authentic and sincere, moving beyond traditional metaphysical structures that many find difficult to accept. In this study, she examines a unique branch of religious non-realism known as religious fictionalism, making the case for its ability to resonate on an intellectual and emotional level. Considering the extent to which fictionalism allows us to make sense of the role of religion in our spiritual lives, she presents its limitations on adhering to what might be an attractive contemporary model for philosophy of religion called 'the humane turn'. Articulating an alternative conception of God that we can relate to in an intellectual, emotional and spiritual way, Eastwood sheds light on a minimalist form of religious realism, which preserves the reality of God without committing the theist to a host of additional religious beliefs.