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"Evidentiary Realism aims to articulate a particular form of realism in art that portrays and reveals evidence from complex social systems. ...Evidentiary Realism focuses on artworks that prioritize formal aspects of visual language and mediums; diverging from journalism and reportage, they strive to provoke visual pleasure and emotional responses. The evidence is presented through photography, film, drawing, painting, and sculpture, with strong references to art history. In particular, these artists also theoretically articulate the aesthetic, social and documentary functions of their mediums in relation to the subject matter they investigate"--Page 1.
This book exhibits deep philosophical quandaries and intricacies of the historical development of science lying behind a simple and fundamental item of common sense in modern science, namely the composition of water as H2O. Three main phases of development are critically re-examined, covering the historical period from the 1760s to the 1860s: the Chemical Revolution (through which water first became recognized as a compound, not an element), early electrochemistry (by which water’s compound nature was confirmed), and early atomic chemistry (in which water started out as HO and became H2O). In each case, the author concludes that the empirical evidence available at the time was not decisive in settling the central debates and therefore the consensus that was reached was unjustified or at least premature. This leads to a significant re-examination of the realism question in the philosophy of science and a unique new advocacy for pluralism in science. Each chapter contains three layers, allowing readers to follow various parts of the book at their chosen level of depth and detail. The second major study in "complementary science", this book offers a rare combination of philosophy, history and science in a bid to improve scientific knowledge through history and philosophy of science.
Pragmatism and Objectivity illuminates the nature of contemporary pragmatism against the background of Rescher’s work, resulting in a stronger grasp of the prospects and promises of this philosophical movement. The central insight of pragmatism is that we must start from where we find ourselves and deflate metaphysical theories of truth in favor of an account that reflects our actual practices of the concept. Pragmatism links truth and rationality to experience, success, and action. While crude versions of pragmatism state that truth is whatever works for a person or a community, Nicholas Rescher has been at the forefront of arguing for a more sophisticated pragmatist position. According to his position, we can illuminate a robust concept of truth by considering its links with inquiry, assertion, belief, and action. His brand of pragmatism is objective and organized around truth and inquiry, rather than other forms of pragmatism that are more subjective and lenient. The contingency and fallibility of knowledge and belief formation does not mean that our beliefs are simply what our community decides, or that truth and objectivity are spurious notions. Rescher offers the best chance of understanding how it is that beliefs can be the products of human inquiry yet aim at the truth nonetheless. The essays in this volume, written by established and up-and-coming scholars of pragmatism, touch on themes related to epistemology, philosophy of mind, philosophy of science, and ethics.
Bentham and the Arts considers the sceptical challenge presented by Bentham’s hedonistic utilitarianism to the existence of the aesthetic, as represented in the oft-quoted statement that, ‘Prejudice apart, the game of push-pin is of equal value with the arts and sciences of music and poetry. If the game of push-pin furnish more pleasure, it is more valuable than either.’ This statement is one part of a complex set of arguments on culture, taste, and utility that Bentham pursued over his lifetime, in which sensations of pleasure and pain were opposed to aesthetic sensibility. Leading scholars from a variety of disciplines reflect on the implications of Bentham’s radical utilitarian approach for our understanding of the history and contemporary nature of art, literature, and aesthetics more generally.
Post-war Cinema and Modernity explores the relationship between film and modernity in the second half of the twentieth century. Its distinguishing feature is the focus on the close connections between history, theory and textual criticism. The first section, on Film Theory and Film Form, begins with a sustained group of theory readings. Bazin and Telotte critique new post-war forms of film narrative, while Metz and Birch respond to the filmic innovations of the 1960s and the question of modernism. Pasolini's landmark polemic on the cinema of poetry is a vital springboard for the later critiques by Deleuze and Tarkovsky of time and the image, and for Kawin and De Lauretis of subjectivities and their narrative transformation, while Jameson deals with the topical question of film and postmodernity. There follows a series of essays grouped around different aspects of film form. General discussion of changes in film technology and cinematic perception can be seen in the essays by Virilio, Wollen, Aumont and Bukatman, and is extended to a discussion of film documentary. Finally, there is a focus on cinematographers and their filmic collaboration, with a specially commissioned essay on post-war British cinematography, and readings featuring the work of Michael Chapman with Martin Scorsese and Nestor Almendros with Terrence Malick.The second section looks at International Cinema, placing filmmaking and filmmakers in a social and a national context, as well as taking up many aspects of film theory. It brings together landmark essays which contextualise feature films historically, yet also highlight their aesthetic power and their wider cultural importance. Filmmakers discussed include Ozu, Bresson, Hitchcock, Godard, Fassbinder and Zhang Yimou. There is a new translation of Kieslowski's essay on Bergman's The Silence and an essay specially commissioned for the volume on the work of Theo Angelopoulos.Features* Filmmaking and filmmakers are placed in social, nat
The Open Invitation explores the relationship between prefigurative politics and activist video. Schiwy analyzes activist videos from the 2006 uprising in Oaxaca, the Zapatista’s Other Campaign, as well as collaborative and community video from the Yucatán. Schiwy argues that transnational activist videos and community videos in indigenous languages reveal collaborations and that their political impact cannot be grasped through the concept of the public sphere. Instead, she places these videos in dialogue with recent efforts to understand the political with communality, a mode of governance articulated in indigenous struggles for autonomy, and with cinematic politics of affect.
A Companion to Contemporary Documentary Film presents a collection of original essays that explore major issues surrounding the state of current documentary films and their capacity to inspire and effect change. Presents a comprehensive collection of essays relating to all aspects of contemporary documentary films Includes nearly 30 original essays by top documentary film scholars and makers, with each thematic grouping of essays sub-edited by major figures in the field Explores a variety of themes central to contemporary documentary filmmakers and the study of documentary film – the planet, migration, work, sex, virus, religion, war, torture, and surveillance Considers a wide diversity of documentary films that fall outside typical canons, including international and avant-garde documentaries presented in a variety of media
First published in 1988, Modern Anti-Realism and Manufactured Truth examines the forms of anti-realism which have sprouted in analytic philosophy and addresses more directly the grander culture of anti-realism. No attempt is made in these pages to demonstrate the existence of a mind independent world. Part one of the book is devoted to a clarification and defense of Correspondence. In chapter 2, Correspondence is refined by distinguishing what is critical to it from other tenets with which philosophical debate has burdened it. Next in chapter 3, author looks at some of the most common complaints against Correspondence, as well as a novel objection propounded by Hillary Putnam. Chapter 4 deals with the two most prominent alternative truth theories- Coherence and Pragmatism. Chapter 5 details a version of Correspondence. Part two of the book considers not standard theories of truth, but theories in which truth is epistemologized. Chapter 6 begins with an overview of certain generalized positions, including relativism about truth but most of the part two is devoted to the examination of three rather individualized attempts to epistemologize truth. The author concludes that once Correspondence is better understood and the genuine insights of these views are clarified, global realism survives intact. This is a must read for students of philosophy, political philosophy.
An original and provocative exploration of the relationship between contemporary art, politics, and activism Artists Remake the World introduces readers to the political ambitions of contemporary art in the early twenty-first century and puts forward a new, wide-ranging account of art's political potential. Surveying such innovations as evidence-driven art, socially engaged art, and ecological art, the book explores how artists have attempted to offer bold solutions to the world's problems. Vid Simoniti offers original perspectives on contemporary art and its capacity as a force for political and social change. At its best, he argues, contemporary art allows us to imagine utopias and presents us with hard truths, which mainstream political discourse cannot yet articulate. Covering subjects such as climate change, social justice, and global inequality, Simoniti introduces the reader to a host of visionary contemporary artists from across the globe, including Ai Weiwei, Olafur Eliasson, Wangechi Mutu, Naomi Rincón Gallardo, and Hito Steyerl. Offering a philosophy of contemporary art as an experimental branch of politics, the book equips the reader with a new critical apparatus for thinking about political art today.