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Simon J. Evnine explores the view (which he calls amorphic hylomorphism) that some objects have matter from which they are distinct but that this distinctness is not due to the existence of anything like a form. He draws on Aristotle's insight that such objects must be understood in terms of an account that links what they are essentially with how they come to exist and what their functions are (the coincidence of formal, final, and efficient causes). Artifacts are the most prominent kind of objects where these three features coincide, and Evnine develops a detailed account of the existence and identity conditions of artifacts, and the origins of their functions, in terms of how they come into existence. This process is, in general terms, that they are made out of their initial matter by an agent acting with the intention to make an object of the given kind. Evnine extends the account to organisms, where evolution accomplishes what is effected by intentional making in the case of artifacts, and to actions, which are seen as artifactual events.
This open access book examines from a variety of perspectives the disappearance of moral content and ethical judgment from the models employed in the formulation of modern economic theory, and some of the papers contain important proposals about how moral judgment could be reintroduced in economic theory. The chapters collected in this volume result from the favorable reception of the first volume of the Virtues in Economics series and represent further contributions to the themes set out in that volume: (i) examining the philosophical and methodological fallacies of this turn in modern economic theory that the removal of the moral motivation of economic agents from modern economic theory has entailed; and (ii) proposing a return descriptive economics as the means with which the moral content of economic life could be restored in economic theory. This book is of interest to researchers and students of the methodology of economics, ethics, philosophers concerned with agency and economists who build economic models that rest in the intention of the agent.
An engaging, encyclopedic account of the material world of early modern Britain as told through a unique collection of dated objects The period from 1500 to 1800 in England was one of extraordinary social transformations, many having to do with the way time itself was understood, measured, and recorded. Through a focused exploration of an extensive private collection of fine and decorative artworks, this beautifully designed volume explores that theme and the variety of ways that individual notions of time and mortality shifted. The feature uniting these more than 450 varied objects is that each one bears a specific date, which marks a significant moment—for reasons personal or professional, religious or secular, private or public. From paintings to porringers, teapots to tape measures, the objects—and the stories they tell—offer a vivid sense of the lived experience of time, while providing a sweeping survey of the material world of early modern Britain.
Objects: USA 2020 hails a new generation of artist-craftspeople by revisiting a groundbreaking event that redefined American art. In 1969, an exhibition opened at the Smithsonian Institution that redefined American art. Objects: USA united a cohort of artists inventing new approaches to art-making by way of craft media. Subsequently touring to twenty-two museums across the country, where it was viewed by over half a million Americans, and then to eleven cities in Europe, the exhibition canonized such artists as Anni Albers, Sheila Hicks, Wharton Esherick, Wendell Castle, and George Nakashima, and introduced others who would go on to achieve widespread art-world acclaim, including Dale Chihuly, Michele Oka Doner, J. B. Blunk, and Ron Nagle. Objects: USA 2020 revisits this revolutionary exhibition and its accompanying catalog--which has become a bible of sorts to curators, gallerists, dealers, craftspeople, and artists--by pairing fifty participants from the original exhibition with fifty contemporary artists representing the next generation of practitioners to use--and upend--the traditional methods and materials of craft to create new forms of art. Published to coincide with an exhibition of the same title at the renowned gallery R & Company, and featuring essays by some of the foremost authorities on craft at the intersection of art, including Glenn Adamson, curator and former director of the Museum of Arts & Design; James Zemaitis, curator and former head of twentieth-century design at Sotheby's; and Lena Vigna, curator of exhibitions at the Racine Art Musuem; an interview with Paul J. Smith, the cocurator of Objects: USA; archival photographs of the original exhibition and important historical works; and lush full-color images of contemporary works, Objects: USA 2020 is an essential art historical reference that traces how craft was elevated to the status of museum-quality art, and sets its trajectory forward.
Is a sound an object, an experience, an event, or a relation? What exactly does the emerging discipline of sound studies study? Sound Objects pursues these questions while exploring how history, culture, and mediation entwine with sound’s elusive objectivity. Examining the genealogy and evolution of the concept of the sound object, the commodification of sound, acousmatic listening, nonhuman sounds, and sound and memory, the contributors not only probe conceptual issues that lie in the forefront of contemporary sonic discussions but also underscore auditory experience as fundamental to sound as a critical enterprise. In so doing, they offer exciting considerations of sound within and beyond its role in meaning, communication, and information and an illuminatingly original theoretical overview of the field of sound studies itself. Contributors. Georgina Born, Michael Bull, Michel Chion, Rey Chow, John Dack, Veit Erlmann, Brian Kane, Jairo Moreno, John Mowitt, Pooja Rangan, Gavin Steingo, James A. Steintrager, Jonathan Sterne, David Toop
There is broad acceptance across the Humanities and Social Sciences that our deliberations on the social need to take place through attention to practice, to object-mediated relations, to non-human agency and to the affective dimensions of human sociality. This Companion focuses on the objects and materials found at centre stage, and asks: what matters about objects? Objects and Materials explores the field, providing succinct summary accounts of contemporary scholarship, along with a wealth of new research investigating the capacity of objects to shape, unsettle and exceed expectations. Original chapters from over forty international, interdisciplinary contributors address an array of objects and materials to ask what the terms of collaborations with objects and materials are, and to consider how these collaborations become integral to our understandings of the complex, relational dynamics that fashion social worlds. Objects and Materials will be of interest to students and scholars across the social sciences and humanities, including in sociology, social theory, science and technology studies, history, anthropology, archaeology, gender studies, women’s studies, geography, cultural studies, politics and international relations, and philosophy.
The new edition of an introduction to computer programming within the context of the visual arts, using the open-source programming language Processing; thoroughly updated throughout. The visual arts are rapidly changing as media moves into the web, mobile devices, and architecture. When designers and artists learn the basics of writing software, they develop a new form of literacy that enables them to create new media for the present, and to imagine future media that are beyond the capacities of current software tools. This book introduces this new literacy by teaching computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity. Written by Processing's cofounders, the book offers a definitive reference for students and professionals. Tutorial chapters make up the bulk of the book; advanced professional projects from such domains as animation, performance, and installation are discussed in interviews with their creators. This second edition has been thoroughly updated. It is the first book to offer in-depth coverage of Processing 2.0 and 3.0, and all examples have been updated for the new syntax. Every chapter has been revised, and new chapters introduce new ways to work with data and geometry. New “synthesis” chapters offer discussion and worked examples of such topics as sketching with code, modularity, and algorithms. New interviews have been added that cover a wider range of projects. “Extension” chapters are now offered online so they can be updated to keep pace with technological developments in such fields as computer vision and electronics. Interviews SUE.C, Larry Cuba, Mark Hansen, Lynn Hershman Leeson, Jürg Lehni, LettError, Golan Levin and Zachary Lieberman, Benjamin Maus, Manfred Mohr, Ash Nehru, Josh On, Bob Sabiston, Jennifer Steinkamp, Jared Tarbell, Steph Thirion, Robert Winter
This Element is a survey of central topics in the metaphysics of material objects. The topics are grouped into four problem spaces. The first concerns how an object's parts are related to the object's existence and to the object's nature, or essence. The second concerns how an object persists through time, how an object is located in spacetime, and how an object changes. The third concerns paradoxes about objects, including paradoxes of coincidence, paradoxes of fission, and the problem of the many. The fourth concerns views with radical consequences regarding the existence of composite material objects, including mereological nihilism, ontological anti-realism, and deflationism.
While most developers today use object-oriented languages, the full power of objects is available only to those with a deep understanding of the object paradigm. How to Use Objects will help you gain that understanding, so you can write code that works exceptionally well in the real world. Author Holger Gast focuses on the concepts that have repeatedly proven most valuable and shows how to render those concepts in concrete code. Rather than settling for minimal examples, he explores crucial intricacies, clarifies easily misunderstood ideas, and helps you avoid subtle errors that could have disastrous consequences. Gast addresses the technical aspects of working with languages, libraries, and frameworks, as well as the strategic decisions associated with patterns, contracts, design, and system architecture. He explains the roles of individual objects in a complete application, how they react to events and fulfill service requests, and how to transform excellent designs into excellent code. Using practical examples based on Eclipse, he also shows how tools can help you work more efficiently, save you time, and sometimes even write high-quality code for you. Gast writes for developers who have at least basic experience: those who’ve finished an introductory programming course, a university computer science curriculum, or a first or second job assignment. Coverage includes • Understanding what a professionally designed object really looks like • Writing code that reflects your true intentions—and testing to make sure it does • Applying language idioms and connotations to write more readable and maintainable code • Using design-by-contract to write code that consistently does what it’s supposed to do • Coding and architecting effective event-driven software • Separating model and view, and avoiding common mistakes • Mastering strategies and patterns for efficient, flexible design • Ensuring predictable object collaboration via responsibility-driven design Register your product at informit.com/register for convenient access to downloads, updates, and corrections as they become available.
This book rethinks historical and contemporary theatre, performance, and cultural events by scrutinizing and theorizing the objects and things that activate stages, venues, environments, and archives.