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Metaphorical Materialism: Art in New York in the Late 1960s is a volume of essays on the relationship between materiality and materialism in the work of Carl Andre, Robert Smithson, Richard Serra, Eva Hesse and Lawrence Weiner.
Robert Smithson (1938-1973), one of the most important artists of his generation, produced sculpture, drawings, photographs, films, and paintings in addition to the writings collected here.
The present framing of the cultural debate in terms of materialism versus religion has allowed materialism to go unchallenged as the only rationally-viable metaphysics. This book seeks to change this. It uncovers the absurd implications of materialism and then, uniquely, presents a hard-nosed non-materialist metaphysics substantiated by skepticism, hard empirical evidence, and clear logical argumentation. It lays out a coherent framework upon which one can interpret and make sense of every natural phenomenon and physical law, as well as the modalities of human consciousness, without materialist assumptions. According to this framework, the brain is merely the image of a self-localization process of mind, analogously to how a whirlpool is the image of a self-localization process of water. The brain doesn’t generate mind in the same way that a whirlpool doesn’t generate water. It is the brain that is in mind, not mind in the brain. Physical death is merely a de-clenching of awareness. The book closes with a series of educated speculations regarding the afterlife, psychic phenomena, and other related subjects. ,
Presents a radically anti-foundationalist reading of Nietzsche's philosophy of religion.
"In Metaphorical Materialism: Art in New York in the Late 1960s, Dominic Rahtz returns to a period when the materiality of art was thematized and theorized according to varying conceptions of matter and form, and consciously related to materialisms held as wider philosophical and political positions and attitudes. The book consists of a volume of essays on the relationships between materiality and materialism, informed by definitions of labour, process, corporeality, and language, in the work of Carl Andre, Robert Smithson, Richard Serra, Eva Hesse and Lawrence Weiner"--
Timely and original, this collection of essays from the leading figures in their fields throws new and valuable light on the significance and future of flânerie. The flâneur is usually identified as the ‘man of the crowd’ of Edgar Allen Poe and Charles Baudelaire, and as one of the heroes of Walter Benjamin’s Arcades Project. The flâneur’s activities of strolling and loitering are mentioned increasingly frequently in sociology, cultural studies and art history, but rarely is the debate developed further. The Flâneur is the first book to develop the debate beyond Baudelaire and Benjamin, and to push it in unexpected and exciting directions.
Walter Benjamin and the Aesthetics of Power explores Walter Benjamin?s seminal writings on the relationship between mass culture and fascism. The book offers a nuanced reading of Benjamin?s widely influential critique of aesthetic politics, while it contributes to current debates about the cultural projects of Nazi Germany, the changing role of popular culture in the twentieth century, and the way in which Nazi aesthetics have persisted into the present. Lutz Koepnick first explores the development of the aestheticization thesis in Benjamin?s work from the early 1920s to his death in 1940. Pushing Benjamin?s fragmentary remarks to a logical conclusion, Koepnick sheds light on the ways in which the Nazis employed industrial mass culture to redress the political as a self-referential space of authenticity and self-assertion. Koepnick then examines to what extent Benjamin?s analysis of fascism holds up to recent historical analyses of the National Socialist period and whether Benjamin?s aestheticization thesis can help conceptualize cultural politics today. Although Koepnick insists on crucial differences between the stage-managing of political action in modern and postmodern societies, he argues throughout that it is in Benjamin?s emphatic insistence on experience that we may find the relevance of his reflections today. Walter Benjamin and the Aesthetics of Power is both an important contribution to Benjamin studies and a revealing addition to our understanding of the Third Reich and of contemporary culture?s uneasy relationship to Nazi culture.
This book collects virtually all research perspectives on metaphor in the field of cognitive linguistics. Moreover, it presents a comprehensive range of research methods for metaphor including qualitative and quantitative methods and the combination of the two. For example, critical metaphor analysis, metaphor interpretation, metaphor experiments, neuro method, and so on are all explained in detail.