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Figurative painting of the past five years, represented here by an exciting young generation of artists and vital practitioners, addresses the challenge of contemporary representation through expressionistic compositions and new techniques reflecting digital fluency. Figuration is one of the oldest art forms, but it continually evolves, along with our changing understanding of human identity. The artists featured here often source imagery from the Internet, and draw on aesthetics developed in Internet-first channels. Digital techniques and affordances are incorporated into rendering processes with traditional media: brushstrokes are more precise, lines are sharper, and color is more highly keyed. In these works, expressionism is located more in the composition than in the paint handling. This richly illustrated collection of figurative works is accompanied by texts that connect the present moment in painting to the early 1980s, when the emergence of artists such as Jean-Michel Basquiat, Francesco Clemente, David Salle, and Julian Schnabel revitalized the art dialogue after the extended dissolution of Minimalism, and to its roots in the practice of painters like Picabia.
Erudite, inspirational, and concise, Michael Lydon offers a celebration of the craft of writing that will serve as a guidebook for aspiring writers and avid readers. A musician and former Newsweek reporter who was a founding editor of Rolling Stone, Lydon calls writing "a visible word music, more like singing than drawing", and indeed his own prose rings with a rhythm and lyricism that exemplifies his view. With enthusiasm and great warmth, he asks a question central to all writers and readers: "What makes writing good?" and for his answers he taps sources that range from the Bible to Raymond Chandler, Shakespeare to Nabokov, Dickens to the New York Times. What makes Lydon's study both remarkable and refreshing, however, is his conscious attempt to present an antidote to postmodern literary theory which tries to erase the presence of the author and negate the existence of an external reality. In contrast, Lydon describes in engaging, readable terms his own discovery that authors are very much alive and that reality is out there to be captured in their writing.
Instruction and education have no age. The philiawisdomethics science is a method permitting to search the arts of good life. The principle of philosophical action, of philosophical arts, reside in an analytical mind, of wondering, either of question, contrary to all acquired sciences. The philosopher does not make himself a connoisseur, but as a human being that wants to know something very well. To avoid falling in believes that have no issue, illusions and appearances, he use reason or intellect. To know himself better, he does not search truth by someone else, but through himself. To uninitiated, philosophical science is an unimportant subject, and the philosopher a schizophrener. Those that hate the philosophical arts, consider it as a simple abstract reflexion, which has no link with the visible life. From the moment that philosophy requires to situate oneself out of the world, before all self exteriorisation, it is as such a way to deny life. The real philosopher has no other interest than to learn how to get out of the world, and to live as he is not in the world, according to Emperoy. Legends, anecdotes, on anti-philosophers show that they were persons living out of the Marge of reality.
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Received document entitled: RESPONDENT'S SUPPLEMENTAL BRIEF
The nature of representation is a central topic in philosophy. This is the first book to connect problems with understanding representational artifacts, like pictures, diagrams, and inscriptions, to the philosophies of science, mind, and art. Can images be a source of knowledge? Are images merely conventional signs, like words? What is the relationship between the observer and the observed? In this clear and stimulating introduction to the problem John V. Kulvicki explores these questions and more. He discusses: the nature of pictorial experience and "seeing in" recognition, resemblance, pretense, and structural theories of depiction images as aids to scientific discovery and understanding mental imagery and the nature of perceptual content photographs as visual prostheses. In so doing he assesses central problems in the philosophy of images, such as how objects we make come to represent other things, and how we distinguish kinds of representation - pictures, diagrams, graphs - from one another. Essential reading for students and professional philosophers alike, the book also contains chapter summaries, annotated further reading, and a glossary.
This book is published open access under a CC BY 4.0 license. Predicting the time needed to complete a project, task or daily activity can be difficult and people frequently underestimate how long an activity will take. This book sheds light on why and when this happens, what we should do to avoid it and how to give more realistic time predictions. It describes methods for predicting time usage in situations with high uncertainty, explains why two plus two is usually more than four in time prediction contexts, reports on research on time prediction biases, and summarizes the evidence in support of different time prediction methods and principles. Based on a comprehensive review of the research, it is the first book summarizing what we know about judgment-based time predictions. Large parts of the book are directed toward people wishing to achieve better time predictions in their professional life, such as project managers, graphic designers, architects, engineers, film producers, consultants, software developers, or anyone else in need of realistic time usage predictions. It is also of benefit to those with a general interest in judgment and decision-making or those who want to improve their ability to predict and plan ahead in daily life.
Provides an examination of the use of rebirth and renewal in classic literary works.
This volume explores the conceptual, methodological and praxeological aspects of dialectical analysis in world politics. As dialectics has remained an under-theorised analytical tool in international relations, this volume provides a critical resource for those seeking to deploy dialectics in their own research by showcasing its effectiveness for understanding and transforming world politics. Contributions demonstrate a number of innovative ways in which dialectical thinking can be of benefit to the study of world politics by covering three thematic concerns: (i) conceptual or meta-theoretical dimensions of dialectics; (ii) methodological features and general principles of dialectical approaches; and (iii) applications and/or case studies that deploy a dialectical approach to world politics. Canvassing a diverse range of dialectical approaches on key issues in world politics – from global security to postcolonial resistances, from the theoretical problems of reification and complexity, to the study of the global futures and the intercultural historical expressions of dialectics – Dialectics and World Politics offers key insights into the social forces and contradictions that are generative of transformation in world politics and yet routinely downplayed in orthodox approaches to international relations. Each chapter demonstrates how dialectics can be utilized more broadly in the discipline and deployed in a critical fashion as part of an emancipatory project. This book was originally published as a special issue of Globalizations.
This volume advances the contemporary debate on five central issues in the philosophy of film. These issues concern the relation between the art and technology of film, the nature of film realism, how narrative fiction films narrate, how we engage emotionally with films, and whether films can philosophize. Two new essays by leading figures in the field present different views on each issue. The paired essays contain significant points of both agreement and disagreement; new theories and frameworks are proposed at the same time as authors review the current state of debate. Given their combination of richness and clarity, the essays in this volume can effectively engage both students, undergraduate or graduate, and academic researchers.