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In this study, Alan Paskow first asks why fictional characters, such as Hamlet and Anna Karenina, matter to us and how they are able to emotionally affect us. He then applies these questions to painting, demonstrating that paintings beckon us to view their contents as real. What we visualise in paintings, he argues, is not simply in our heads but in our world. Paskow also situates the phenomenological approach to the experience of painting in relation to methodological assumptions and claims in analytic aesthetics as well as in contemporary schools of thought, particularly Marxist, feminist, and deconstructionist.
Why do reasonable people lead their nations into the tremendously destructive traps of international conflict? Why do nations then deepen their involvement and make it harder to escape from these traps? In Paradoxes of War, originally published in 1990, Zeev Maoz addresses these and other paradoxical questions about the war process. Using a unique approach to the study of war, he demonstrates that wars may often break out because states wish to prevent them, and continue despite the desperate efforts of the combatants to end them. Paradoxes of War is organized around the various stages of war. The first part discusses the causes of war, the second the management of war, and the third the short- and long-term implications of war. In each chapter Maoz explores a different paradox as a contradiction between reasonable expectations and the outcomes of motivated behaviour based on those expectations. He documents these paradoxes in twentieth century wars, including the Korean War, the Six Day War, and the Vietnam War. Maoz then invokes cognitive and rational choice theories to explain why these paradoxes arise. Paradoxes of War is essential reading for students and scholars of international politics, war and peace studies, international relations theory, and political science in general.
Merleau-Ponty and the Paradoxes of Expression offers a comprehensive reading of the philosophical work of Maurice Merleau-Ponty, a central figure in 20th-century continental philosophy. By establishing that the paradoxical logic of expression is Merleau-Ponty's fundamental philosophical gesture, this book ties together his diverse work on perception, language, aesthetics, politics and history in order to establish the ontological position he was developing at the time of his sudden death in 1961. Donald A. Landes explores the paradoxical logic of expression as it appears in both Merleau-Ponty's explicit reflections on expression and his non-explicit uses of this logic in his philosophical reflection on other topics, and thus establishes a continuity and a trajectory of his thought that allows for his work to be placed into conversation with contemporary developments in continental philosophy. The book offers the reader a key to understanding Merleau-Ponty's subtle methodology and highlights the urgency and relevance of his research into the ontological significance of expression for today's work in art and cultural theory.
The book contains a collection of essays by scholars and artists from a range of different fields including art, art history, architectural theory and philosophy. The essays are based on papers given at a symposium in Copenhagen in June 2008 and refer to the following considerations: When spectators confront and designers invent works of art and architecture, vital questions regarding their appearance arise. Based on multiple discourses on these subjects, contemporary positions in art, architecture and philosophy draw up new challenges, especially with regard to the creative practices. Within and between these positions emerge potentials for modes of thinking and doing with a new sensitivity. Contributors include Michael Asgaard Andersen and Henrik Oxvig, Renaud Barbaras, Andrew Benjamin, Olafur Eliasson, Sanford Kwinter, David Leatherbarrow, Martin Seel, David Summers, and Sven-Olov Wallenstein.
Leonardo da Vinci (1452–1519) was one of the preeminent figures of the Italian Renaissance. He was also one of the most paradoxical. He spent an incredible amount of time writing notebooks, perhaps even more time than he ever held a brush, yet at the same time Leonardo was Renaissance culture’s most fanatical critic of the word. When Leonardo criticized writing he criticized it as an expert on words; when he was painting, writing remained in the back of his brilliant mind. In this book, Joost Keizer argues that the comparison between word and image fueled Leonardo’s thought. The paradoxes at the heart of Leonardo’s ideas and practice also defined some of Renaissance culture’s central assumptions about culture and nature: that there is a look to script, that painting offered a path out of culture and back to nature, that the meaning of images emerged in comparison with words, and that the difference between image-making and writing also amounted to a difference in the experience of time.
Authenticity is one of the most crucial, but also most contested concepts in literary and cultural studies. Hollowed out by postmodernist theory, it paradoxically enough persists as an important backdrop for the discussion of literature, film, and the visual arts. The essays in this volume explore perspectives on authenticity and case studies dealing with »the authentic«. They thereby seek to show how the paradoxical persistence of authenticity in contemporary critical discourse can be turned into a fruitful point of departure for an analysis of literary texts, but also films, and the visual arts.
The Three Paradoxes is an intricate and complex autobiographical comic by one of the most talented and innovative young cartoonists today. The story begins with a story inside the story: the cartoon character Paul Hornschemeier is trying to finish a story called "Paul and the Magic Pencil." Paul has been granted a magical implement, a pencil, and is trying to figure out what exactly it can do. He isn't coming up with much, but then we zoom out of this story to the creator, Paul, whose father is about to go on a walk to turn off the lights in his law office in the center of the small town. Abandoning the comic strip temporarily, Paul leaves with his camera, in order to fulfill a promise to his girlfriend that he would take pictures of the places that affected him as a child. Each "chapter" of the story is drawn in a completely different style, with strikingly unique production and color themes, and yet, somehow, despite (or perhaps because of) this non-linear progression, it all comes together as one story: a story questioning change, progress, and worth within the author's life.
A paradox lies at the heart of modernity: the simultaneous demand to create ideas to make us better humans and communities, along with the contrary imperative that we criticize all ideals, especially the ones we have created. In philosophy we see this paradox most acutely in figures like Immanuel Kant, who states that we cannot know the essence of things and yet we must retain old ideas – God, freedom, and the soul – in order to become better and more ethical humans. Or in Friedrich Nietzsche, whose eternal recurrence, a self-created myth whose sole purpose is to get us to see the value in the everyday. This basic scheme – belief and un-belief – is one of the fundamental elements of modernity, manifesting itself in the philosophies of Herbert Marcuse and Michel Foucault, along with the theologies of Blaise Pascal, C.S. Lewis, William James, Sallie McFague, and Philip Clayton. How do we live out the values we know to be constructions? This question holds captive our ability to solve public goods problems and make our lives more meaningful. Instead of seeing this paradox of modernity as self-deception or bad faith, Zachary Simpson employs cognitive and social scientific research to explain how best to realize values that we know to be false: through art, community, and ritual. In Simpson's account, the values we construct must conform to narrative, be reinforced through community, and habituated through ritual. And yet modernity has also undermined collectivity and ritual. Thus arises the second paradox of modernity: the best tools we have for realizing values are those which devalue the individual modern subject.The last part of the book attempts to make three normative points regarding modernity. First, the modern, individualist subject is insufficient to realize the very values and aspirations of modernity. We must recognize that humans are collective and communal. Second, we cannot simply create values – they must arise in communities and be realized through narrative and ritual. And, third, if we are to live meaningful lives as contemporary meta-ethicists and positive psychologists argue, then such lives must include art, community, and ritual as a way to affirm and reinforce one’s values.Let’s Pretend is a statement about one of the dilemmas of the contemporary western world and how that dilemma is, and might be, resolved. How do we believe in the values that we know will make a better world, even if they are of our own making? We must do so, in part, by becoming less modern, by engaging with one another and imagining more.The book should serve as both an essay in the history of Western thought as well as a constructive argument about the nature of the modern epoch and what resources we have to realize the central aspirations of modernity. It aims to fill a critical lacuna in theoretical and philosophical approaches to modernity. While most texts focus on either the need for created values or the need to remedy modern subjectivity, few, if any, link the two problems together. Moreover, they do not ground their analyses in the social sciences and contemporary findings regarding the efficacy of narrative, communal action, and rituals.The book is unique, then, because it asks a central question – how do we believe in what we know to be false? – and because it answers this question using interdisciplinary methods that allow us to see the faultlines and paradoxes of our age.
An introduction to awe-inspiring ideas at the brink of paradox: infinities of different sizes, time travel, probability and measure theory, and computability theory. This book introduces the reader to awe-inspiring issues at the intersection of philosophy and mathematics. It explores ideas at the brink of paradox: infinities of different sizes, time travel, probability and measure theory, computability theory, the Grandfather Paradox, Newcomb's Problem, the Principle of Countable Additivity. The goal is to present some exceptionally beautiful ideas in enough detail to enable readers to understand the ideas themselves (rather than watered-down approximations), but without supplying so much detail that they abandon the effort. The philosophical content requires a mind attuned to subtlety; the most demanding of the mathematical ideas require familiarity with college-level mathematics or mathematical proof. The book covers Cantor's revolutionary thinking about infinity, which leads to the result that some infinities are bigger than others; time travel and free will, decision theory, probability, and the Banach-Tarski Theorem, which states that it is possible to decompose a ball into a finite number of pieces and reassemble the pieces so as to get two balls that are each the same size as the original. Its investigation of computability theory leads to a proof of Gödel's Incompleteness Theorem, which yields the amazing result that arithmetic is so complex that no computer could be programmed to output every arithmetical truth and no falsehood. Each chapter is followed by an appendix with answers to exercises. A list of recommended reading points readers to more advanced discussions. The book is based on a popular course (and MOOC) taught by the author at MIT.
An argument that the movement for network neutrality was of a piece with its neoliberal environment, solidifying the continued existence of a commercially driven internet. Media reform activists rejoiced in 2015 when the FCC codified network neutrality, approving a set of Open Internet rules that prohibitedproviders from favoring some content and applications over others—only to have their hopes dashed two years later when the agency reversed itself. In this book, Russell Newman offers a unique perspective on these events, arguing that the movement for network neutrality was of a piece with its neoliberal environment rather than counter to it; perversely, it served to solidify the continued existence of a commercially dominant internet and even emergent modes of surveillance and platform capitalism. Going beyond the usual policy narrative of open versus closed networks, or public interest versus corporate power, Newman uses network neutrality as a lens through which to examine the ways that neoliberalism renews and reconstitutes itself, the limits of particular forms of activism, and the shaping of future regulatory processes and policies. Newman explores the debate's roots in the 1990s movement for open access, the transition to network neutrality battles in the 2000s, and the terms in which these battles were fought. By 2017, the debate had become unmoored from its own origins, and an emerging struggle against “neoliberal sincerity” points to a need to rethink activism surrounding media policy reform itself.