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Relevant bibliographies by topics / Absurd (Philosophy) in art

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Academic literature on the topic 'Absurd (Philosophy) in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Absurd (Philosophy) in art"

1

Kosilova, Elena. "Conceptualization of the Absurd in Philosophy From Logic to Logic of Sense." Philosophy. Journal of the Higher School of Economics VI, no. 3 (2022): 208–21. http://dx.doi.org/10.17323/2587-8719-2022-3-208-221.

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The article discusses the question of what absurd is. At first, the absurd seems to exist in two forms — semantic and existential. Semantic absurd is a characteristic of a statement, whilst existential absurd is a characteristic of a person's existence. However, the article shows that these are not two different entities but one. In antiquity, absurdity was synonymous with the falsity of a conclusion. In modern philosophy, Husserl, in Logical Investigations, believes that absurd objects cannot be understood. However, Tertullian's line appears already in early Christianity, linking absurd with an act of faith. In the 19th century, Kierkegaard was its representative. IIn the middle of the 20th century, Camus showed that the attitude to life as absurd is an honest view of life without illusions, followed by Nagel. In the 20th century, the absurd appeared in art, where it expanded the boundaries of consciousness. The new philosophy of the absurd takes into account its connection with novelty, creativity, liberation. It breaks established ties and makes the familiar new. Soviet scientist B.F. Porshnev points out that a particular act of thinking, “deabsurdization”, underlies logic. J. Deleuze in Logic of Sense demonstrates that nonsense provides the “gift of meaning”, comprehension always begins with some bewilderment; common sense is unproductive, but nonsense makes thought work. Before Deleuze, the absurd was an anthropological phenomenon, howbeit Deleuze gave it an ontological status. The modern philosophy of the absurd may even turn out to be theology.

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Myropolska, E. V. "THE DRAMA SEARCHES ON THE FIELDS OF THE "PHILOSOPHY OF THE ABSURD": THE EXPERIENCE OF MODERN UNDERSTANDING." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 64–68. http://dx.doi.org/10.17721/ucs.2020.1(6).14.

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The article reflects the logics of the development of the "philosophy of absurd" – a term of intellectual tradition connected with attributive characteristic of reference between a man and surrounding world. The best productive ideas of the "philosophy of absurd" – non- conformism,resistance to the imposition of other people's thoughts, revolt, freedomand some others have been described.The "philosophy of absurd" is aphilosophical conception which examines a man in the context of his inevitable relations with the world which is sencseless and unfriendly to human individuality, in the result of which "absurd consciousness" is bearing. The nuances of the "philosophy of absurd" in the art practices of the XX-th – the first two decades of the XXI-st centuries, especially absurd drama has been disclosed. Its typical signs are the absence of act's plays and time, the plot and composition are breaking, existentialist's mood of characters, absurd plot's situations, words' nonsense and so on. The heroes of the plays by S. Becket from the very beginning are solitude. But S. Becket developes ideas of "the philosophy of absurd", showing that if such people find faith, there is no strength that can break them. The main theme of S. Becket's creation is man's doom, his solitude. S.Becket became the most typical interpretator of the ideas of "the philosophy of absurd" in the drama, finding both simple and non-traditional methodsfor classic theatre aesthetics and new means of their incarnation.The playwright very exactly expressed such thought: progress's movement causes "progress" to all mankind reticence, alienation, closeness. One of the reasons of the negative perception of the world S. Becket calls a man's unrealizness and as a result – man's deformation. The consciousness wich is prepared by philosophical comprehension and scene "playing" absurd situations, helps a modern man worthly treat such situations in the real life, understanding that life occurs Hic et Nunc, we can't delay it for tomorrow.

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Rybińska, Krystyna. "The Absurd as a Representation: Towards a Hermeneutics of the Inexplicable (The Problematic Case of Godot)." Studia Anglica Posnaniensia 51, no. 4 (2016): 67–86. http://dx.doi.org/10.1515/stap-2016-0020.

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Abstract This article attempts to re-signify the already extensively discussed conception of the absurd attributed to the aesthetic phenomenon presented by the so-called theatre of the absurd by critically reconsidering its paradigmatic work Waiting for Godot in relation to philosophical hermeneutics (Heidegger, Gadamer, Ricoeur). The fact that Beckett’s artistic method invalidates the transparency of the mirror-like relation between reality and art is known, and yet the potential theoretical consequences of such a literary revolution do not seem to have been exhausted - particularly in respect to the category of the absurd. Hence, the presented inquiry aims to view the phenomenon quite against its common conceptualizations derived from existentialist philosophy in order to indicate a possible route of exploring it from a hermeneutic perspective and thereby challenging, to some extent, Simon Critchley’s (2004: 165) famous assertion that Beckett’s oeuvre seems “uniquely resistant to philosophical interpretation”.

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Rumualdo Ávila, Mauricio Simón. "Del absurdo y el Eros: Albert Camus." Sincronía XXV, no. 80 (2021): 151–59. http://dx.doi.org/10.32870/sincronia.axxv.n80.6b21.

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This articule is a study about the relation between the philosophy of the absurd and the Eros in the literary work of the french writer Albert Camus, with the aim to show how these two conceptions are incompatible. To do this, the different settings of the absurd that are present in the books of Camus and their implications with the Eros were analyzed. This relation was approached with the visions of the characters that act with the presence or ausence of Eros

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Apressyan, Armen R. "Street artists: acquiring a face." Chelovek 33, no. 2 (2022): 165. http://dx.doi.org/10.31857/s023620070019517-5.

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Despite the growing popularity of street art, the names of street artists — with the possible exception of one or two - are not known to the general public, street art is impersonal in the mass consciousness. Of course, there is a significant amount of information resources dedicated to street art, but they do not significantly affect the wide popularity of artists. Like many years ago, even the names of very interesting authors are known only to a narrow circle of fans of the genre. An absurd situation is emerging: even Banksy, who can be considered as the most famous street artist in the world, is impersonal. No one knows who exactly is hiding behind this name, and for many years fans of his artworks have been putting forward a variety of theories, sometimes frankly fantastic. The article suggests that in today&apos;s art world, a street artist can gain wide popularity, «acquire a face» only by changing his status and abandoning street art in favor of easel painting. The works of Jean-Michel Basquiat and Richard Hambleton are considered as examples.

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Zhilichev, P. E. "Absurdist Drama and Its Academical Reception in Russian and Western Literary Criticism." Bulletin of Kemerovo State University 24, no. 5 (2022): 626–34. http://dx.doi.org/10.21603/2078-8975-2022-24-5-626-634.

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This paper attempts to identify and systematize the main approaches to the theater of absurd and absurdist drama in Western and Russian literary studies. The term theater of the absurd was originally introduced by Martin Esslin. This concept has become a common denominator and refers to the dramatic work of such famous authors as Samuel Beckett, Eugène Ionesco, Harold Pinter, Arthur Adamov, and Jean Genet. Martin Esslin and his followers brought in several important features into the absurdist drama, i.e., alogism, disjointed communication, wordplay (Patrice Pavis), etc. They attempted to conceptualize the theater of the absurd as a part of a broader typological unit, e.g., Michael Bennett’s theater of parabola. Russian scholars and critics have developed a range of important concepts as well. They see absurd as a violation of basic rules of communication (Olga Revzina, Isaac Revzin). The Union of Real Art (Mikhail Yampolskiy, Dmitry Tokarev) focuses on the principle of serialized eventfulness. Others concentrate on the meta-descriptive nature of absurd (Evgenyi Kluev) and develop the concept of absurdity as a picture of the world (Olga Burenina-Petrova). Both in Western and Russian studies, the conceptualization of the theater of the absurd follows two opposite poles: absurd can be interpreted as either a linguistic phenomenon (deconstruction of communication), or as a certain way of human existence. During the 1980–2000s, post-structuralist philosophy played a major role in the re-thinking of the absurd, while the interaction of philosophical and literary approaches determined the principles of historical aesthetics. As suggested by contemporary researchers, the discourse of the absurdist drama has the following features: deconstruction of cultural codes; actualization of the archaic basis of theater; parodying literal and theatrical conventions; problematization of the semiotic linkage (sign and its referent); depiction of mosaic consciousness and unstable cosmos.

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كريم, زيد, and حسن الخفاجي. "The impact of Nietzsche's philosophy on the aesthetics of the literary text." Kufa Journal of Arts 1, no. 20 (2014): 295–324. http://dx.doi.org/10.36317/kaj/2014/v1.i20.6368.

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I've been playing mental turnaround for the world of modernity leading role in the structure of the concept and the nature of the work, whether art Cecchelaa theatrically or text morally, in the starting thinking philosophically liberal looking for a new, and address all the challenges and weaves values modernist compatible and ideological era, through the march - modernity, what Postmodernism, down to the modern post-modernity, suggesting understood the philosophical shift mental and search in entity core values, and clear impact of the philosopher (Friedrich Nietzsche) in the heart of these values, as well as the philosophy of contemporary art in all schools and trends that were realistic or classic modern or romantic and also Albornasah and expressive and absurd and others, the search in the aesthetics of the literary text and properties held by the literary text contemporary in all trends, because this text is able to influence the public, and raise their emotions, the goal is to achieve a fun and thrill in its drafting, so calls in search of Aesthetics literary text that was poetry or prose or novel or short story, frame aesthetic which results in the context of literary schools of contemporary and which did not seek field to mention all of these schools, and we went in our search to the most famous, in the direction of a pattern literary particular objective or subjective, what matters framework year for this text, and thereunder of different components, such as words and structures, images and symbols and nods and others that are psychological artist and his sense of growing force in clarifying this concept, embodied in the symbol of human excellence philosophy lute eternal has considered philosopher (Nietzsche) important art is that human Next Through this genius (Superman), which made him in most schools and contemporary trends, for example, their flags .

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Ponomareva, Anastasiia. "Absurdist Fiction in the Focus of Philosophy: Máirtín Ó Cadhain and his Novel "The Dirty Dust"." Философская мысль, no. 12 (December 2022): 42–49. http://dx.doi.org/10.25136/2409-8728.2022.12.38927.

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The subject of the study is the phenomenon of the absurd in Irish fiction and its relation to philosophical discourse. Absurdist fiction is proposed to be analyzed from the point of view of the philosophical meanings embedded in it. Most often, this is the interpretation of the absurd as a concept meaning a person's discord with the world. The novel by the Irish writer &#211; Cadhain is considered as representing the absurdity of the human existence. In the analysis of the novel, the methods of modern cultural knowledge were used: the description of various sociocultural trends and phenomena, their theoretical generalization. The purpose of the work is to clarify the meaning of the absurd for the constitution of human existence. The article explores the connection of the realities present in the novel with the philosophy of traditionalism. The absurd is investigated as an indicator of the "silencing" of meaning. The factors that bring together the views of modernists who wrote about the absurd and the traditionalist doctrine are: fixation of the destruction of the habitual way of life, self-integrity, perversion or disappearance of the hierarchical social order, substitution of values, a direct indication of the "end of time" (eschatology). Changes in speech almost always act as an indicator of the heroes losing their own identity. With the help of this indicator, as a rule, loss of connection with Another, global alienation and dehumanization of a human being are recorded. Thus, the importance of the category of the absurd for fundamental philosophical ontology is proved.

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Shand, John. "How to live?" Philosophy 82, no. 2 (2007): 347–48. http://dx.doi.org/10.1017/s003181910732007x.

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This paper is not about truth but about consistency. Pointing to inconsistency would be a dry worthless exercise were there not people who are inconsistent in the specific way described and for whom such inconsistency matters. There are those who tell us that life has no value and is pointless, that it is ‘absurd’, and yet that it matters how we live our lives; in particular that we ought to square up to the truth that life has no value and is pointless. Philosophy and art, especially in the nineteenth and twentieth centuries, have often seen this view in the ascendant when they get onto the issue of ‘the meaning of life’.

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De Castro Cândido, Sara, Nàvia Regina Ribeiro da Costa, and Ruzileide Epifânio Nogueira. "The Absurd Man in camusiana philosophy and poetry drummondiana: language as a source of (trans)formation." Fragmentos de Cultura 27, no. 3 (2017): 361. http://dx.doi.org/10.18224/frag.v27i3.5039.

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This article seeks to an approach between the poetry of Carlos Drummond de Andrade, in Feeling of the world (1940), and the philosophy of Albert Camus, in The Myth of Sisyphus - the work of art as adventure of a spiritual destiny (2012), for, to think through by the language praticed by Drummond in two poems – Poem of necessity and Holding hands –, the be in the world and the passing of the man's condition of the being ontic to the be ontological, using also Durand (2012) and another theorists. Making use, as methodology, by the bibliographical research, and theory express of poetic text, concepts and analysis based on the phenomenological critique. Still in an interdisciplinary approach, to reflect the subject and its constitution as speech, will use theories of French line of discourse analysis (DA) and the line Anglo-Saxon (ADC), whose leading exponents are respectively, Michel Pêcheux and Norman Fairclough, relying on the concept of dialectical materialism.   O Homem Absurdo na filosofia camusiana e na poesia drummondiana: a linguagem como fonte da (trans)formação  Este artigo busca aproximações entre a poesia de Carlos Drummond de Andrade, em Sentimento do Mundo (1940), e a filosofia de Albert Camus, em O mito de Sísifo – a obra de arte como aventura de um destino espiritual (2012), para, por meio da linguagem praticada por Drummond em dois poemas – Poema da necessidade e Mãos dadas –, pensar o estar no mundo e a passagem do homem da condição de ser ôntico para ser ontológico, valendo-se, também, de Durand (2012) e de outros teóricos. Utiliza, como metodologia, a pesquisa bibliográfica e expressa teorias do texto poético, conceitos e análises com base na crítica fenomenológica. Ainda, numa atitude interdisciplinar, para refletir sobre o sujeito e sua constituição como discurso, baseia-se nas teorias da Análise de Discurso de linha francesa (AD) e de linha anglo-saxã (ADC), cujos principais expoentes são, respectivamente, Michel Pêcheux e Norman Fairclough, apoiando-se na concepção do materialismo dialético.

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Dissertations / Theses on the topic "Absurd (Philosophy) in art"

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Brigham, Stephen. "Limitations of reason and liberation of absurdity reason and absurdity as means of personal and social change: case study: psychotherapy /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060320.161119/index.html.

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Hodges, Steven. "The digital absurd." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/33950.

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I believe that the concept of the absurd, as described in philosophy and reflected in works of drama and literature, provides an unusual and helpful perspective from which to view the emerging field of digital media. In my opinion, absurd principles can help us understand the mixed feelings we may have when engaging with digital media: joy and frustration, play and despair, significance and nonsense. I intend to explore the concept of the absurd through a handful of authors and works, including the philosophy of Camus and the literature and drama of Pinter, Beckett, Roussel, and the Oulipo. I will use these works to analyze characteristics of absurdist works and then extend this analysis to characteristics and theory of digital media. I believe an absurdist analysis may bring a new vantage point to the study of digital media, from which we can see not only the advantages and liberation it offers but also the ever-present threat of nonsense it entails.

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Salov, Amanda. "An absurd beauty." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4982.

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Thesis (M.S.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 10, 2009) Includes bibliographical references.

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Paul, Mumme. "The Absurd beyond Modernism." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16599.

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While the absurd is usually associated with the modern subject, it is the purpose of this project to show how it is still relevant today. The concepts of end times, ecological disaster, and post-democracy are pressing concerns of the new millennium that emphasise the futility of being and a lack of political agency. Absurdity describes a similar condition, the feeling of purposelessness that results from the observation that life has no inherent meaning. A fundamentally modern condition of religious dispossession, this feeling is predominantly frustration, since it is impossible to determine the meaning of life through reason. In these cases, crisis seems unavoidable, insurmountable, and permanent, and these attitudes can be observed in works of art since modernism. The thesis aims to define the absurd by the special examination of works closely associated with the concept, which will allow the identification of a specific literary and artistic tradition originating in the nineteenth century and continuing to the present. This is achieved through the rigorous examination of works by Søren Kierkegaard, Albert Camus, Michel Houellebecq, and Bruce Nauman. Despite the fact that works reflecting the absurd respond to distinct historical conditions, they all express frustration at the limitations of human agency, and the incomprehensibility of life.

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Van, der Colff Margaretha Aletta Adams Douglas. "Douglas Adams : analysing the absurd." Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-08212008-183816.

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Bowker, Matthew Hamilton. "Albert Camus and the political philosophy of the absurd." College Park, Md. : University of Maryland, 2008. http://hdl.handle.net/1903/8255.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2008.<br>Thesis research directed by: Dept. of Government and Politics. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Hober, Christine. "Das Absurde : Studien zu einem Grenzbegriff menschlichen Handelns /." Münster : Lit, 2001. http://catalogue.bnf.fr/ark:/12148/cb38883010j.

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Grayson, Erik. "Towards a postmodern absurd : the fiction of Joseph Heller." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19693.

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This thesis examines the entirety of Joseph Heller's career as a novelist and explores the various existential themes uniting a seemingly diverse body of work. Considering Heller's relationship to the philosophy of Albert Camus and Jean-Paul Sartre, "Towards a Postmodern Absurd: The Fiction of Joseph Heller" suggests that the novelist promotes the same existentially authentic lifestyle of revolt originally articulated by the French existentialists. Refuting the critical assessment of Heller's fiction as formless, this thesis argues that Heller deliberately structures his fiction around the concept of dejd vu in order to buttress the author's existential concerns with the absurdity of human existence. Finally, in response to the recent debates over Joseph Heller's place in the postmodern American canon, the thesis identifies the author's use of such postmodern concepts as pastiche and paranoia as a further reinforcement of the relevance of an absurdist worldview in contemporary America.

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Dungan, Drew W. "South Park and absurd culture war ideologies the art of stealthy conservatism /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Epling, Leslie Rose. "Costume Designing for Theatre of the Absurd - Come and Go, Footfalls, and The Dumb Waiter." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/honors/6.

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In October of 2010, ETSU staged three one-act plays in the Theatre of the Absurd genre--Come and Go and Footfalls by Samuel Beckett and The Dumb Waiter by Harold Pinter. This thesis gives a brief overview of Theatre of the Absurd and how Beckett and Pinter helped to shape and define the genre. It also gives an analysis of these three plays from the perspective of the costume designer.

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Books on the topic "Absurd (Philosophy) in art"

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Mel, Gooding, and Rothenstein Julian 1948-, eds. Dr. Clock's handbook. Redstone Press, 2006.

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Bugallo, Xosé A. Sánchez. O absurdo e a arte contemporánea. Consorcio de Santiago, 2006.

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Marroquí, Javier, and David Arlandis. Cosas que solo un artista puede hacer. MARCO, 2010.

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Sarafov, Nikolaĭ. Antilogii͡a︡ na bagonalizma. Fakel, 1993.

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Silber, John. Architecture of the absurd: How "genius" disfigured a practical art. Quantuck Lane Press, 2007.

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Smith, Bob and Roberta. Make your own damn art. Black Dog, 2004.

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Bagiński, Arek. Chaos. Oficyna Wydawnicza Atut--wrocławskie Wydawn. Oświatowe, 1999.

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Hober, Christine. Das Absurde: Studien zu einem Grenzbegriff menschlichen Handelns. Lit, 2001.

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af, Petersens Magnus, and Moderna museet (Stockholm Sweden), eds. Eklips: Konst i en mörk tid = Eclipse : art in a dark age. Moderna Museet, 2008.

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Roberta, Smith, and Baltic Centre for Contemporary Art., eds. Make your own damn art: Bob and Roberta Smith. Black Dog Publishing, 2004.

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Book chapters on the topic "Absurd (Philosophy) in art"

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Murray, Patrick, and Jeanne Schuler. "Is Life Absurd?" In Political Philosophy and Public Purpose. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-35028-3_2.

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Belliotti, Raymond Angelo. "Shakespeare and The Absurd." In The Routledge Companion to Shakespeare and Philosophy. Routledge, 2018. http://dx.doi.org/10.4324/9781315677019-26.

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Hillyer, Richard. "“Absurd and Foolish Philosophy”: Hobbes and Rochester." In Hobbes and His Poetic Contemporaries. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230604346_5.

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Decker, Kevin S. "Theater of the Absurd: Breaking Bad as Edifying Philosophy." In Philosophy and Breaking Bad. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40343-4_16.

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Vandenbussche, Hanne, and Elisabeth De Schauwer. "Disability-Philosophy-Art." In The Routledge International Handbook of Transdisciplinary Feminist Research and Methodological Praxis. Routledge, 2024. http://dx.doi.org/10.4324/9781003303558-29.

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Meyer, Ingo. "Philosophy of art." In The Routledge International Handbook of Simmel Studies. Routledge, 2020. http://dx.doi.org/10.4324/9780429297502-12.

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Harrison-Barbet, Anthony. "The philosophy of art." In Mastering Philosophy. Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-1-137-03589-9_10.

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Harrison-Barbet, Anthony. "The Philosophy of Art." In Mastering Philosophy. Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-20916-3_9.

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Flanagan, Ben, and Owen Flanagan. "Anguished Art." In Blues-Philosophy for Everyone. Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781118153284.ch7.

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Ghosh, Ranjan K. "Emotions in Art." In SpringerBriefs in Philosophy. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2460-4_3.

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Conference papers on the topic "Absurd (Philosophy) in art"

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Wenting Xie and Ren Peng. "Philosophy of art & arts in philosophy." In Conceptual Design (CAID/CD). IEEE, 2008. http://dx.doi.org/10.1109/caidcd.2008.4730806.

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Chistyakova, Olga. "Postmodern Philosophy and Contemporary Art." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.26.

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de Oliveira Gelape, Lucas, and Thiago Álvares Feital. "From Art to Politics: challenging representation." In XXVI World Congress of Philosophy of Law and Social Philosophy. Initia Via, 2015. http://dx.doi.org/10.17931/ivr2013_wg141_03.

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Svetlana, Rudanovskaya. "Existential Experience of Absurd: Its Mental Background in Modern Culture." In Proceedings of the 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icelaic-18.2018.161.

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Chen, Zhentao. "Art in Wittgenstein’s Philosophy of Language." In 2021 6th International Conference on Modern Management and Education Technology（MMET 2021）. Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211011.059.

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Zhou, Lei. "Study on the Absurd Beauty of Marc Chagall’s “Lovers Under the Eiffel Tower”." In 2021 Conference on Art and Design: Inheritance and Innovation (ADII 2021). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220205.003.

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LUO, JING-QUAN. "ON THE PHENOMENON OF ALIENATION IN KAFKA'S METAMORPHOSIS." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35699.

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Metamorphosis is one of Kafka's representative short stories. It mainly reveals the alienation of modern western society through the absurd story of the protagonist Gregor Samsa turning into a beetle. From the perspectives of self-alienation, the alienation of living environment, the alienation of interpersonal relationship and the alienation of the relationship between man and nature, this paper discusses the squeeze and distortion of human beings in the western capitalist society, and reproduces the true picture of the abnormal society.

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Gunther, York H. "Where(of) Art Cannot Speak." In Annual International Conference on Philosophy: Yesterday, Today & Tomorrow. Global Science & Technology Forum (GSTF), 2014. http://dx.doi.org/10.5176/2382-5677_pytt14.10.

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Wei, Ying. "Environmental Art Design Based on Ecological Philosophy Perspective." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.58.

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He, Shuqing. "Beauty and Art in the Oriental Philosophy. An Aesthetic Study in the Traditional Chinese Philosophy." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.20.

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Reports on the topic "Absurd (Philosophy) in art"

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Kost’, Stepan. THE CONCEPT OF CREATIVITY IN JOURNALISM. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11092.

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The article analyzes some theoretical and practical aspects of creativity. The author shares his opinion that the concept of creativity belongs to the fundamental concepts of philosophy, psychology, literature, art, pedagogy. Creativity is one of the important concepts of the theory of journalism. The author does not agree with the extended definition of creativity. He believes that journalistic activity becomes creativity when it is free and associated with the creation and establishment of new national and universal values, with the highest intensity of intellectual and moral strength of the journalist, when journalism is a manifestation of civic position, when this activity combines professional skills and perfect literary form.The author also believes that literary skill and the skill of a journalist are not identical concepts, because literary skill is a component of journalistic skill.

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Webb, Philip, and Sarah Fletcher. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing. SAE International, 2020. http://dx.doi.org/10.4271/epr2020024.

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This SAE EDGE™ Research Report builds a comprehensive picture of the current state-of-the-art of human-robot applications, identifying key issues to unlock the technology’s potential. It brings together views of recognized thought leaders to understand and deconstruct the myths and realities of human- robot collaboration, and how it could eventually have the impact envisaged by many. Current thinking suggests that the emerging technology of human-robot collaboration provides an ideal solution, combining the flexibility and skill of human operators with the precision, repeatability, and reliability of robots. Yet, the topic tends to generate intense reactions ranging from a “brave new future” for aircraft manufacturing and assembly, to workers living in fear of a robot invasion and lost jobs. It is widely acknowledged that the application of robotics and automation in aerospace manufacturing is significantly lower than might be expected. Reasons include product variability, size, design philosophy, and relatively low volumes. Also, the occasional reticence due to a history of past false starts plays a role too. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing goes deep into the core questions that really matter so the necessary step changes can move the industry forward.

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