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Books on the topic 'Aesthetics of the error'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Schoenberg's error. Philadelphia: University of Pennsylvania Press, 1991.

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2

Reason, James. Human error. Cambridge: Cambridge University Press, 1990.

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3

Oriol, Jordi. t-ERROR. Tarragona: Arola, 2012.

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4

Paul, Janczewski, ed. Fatal error. New York: Kensington Pub., 2003.

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5

Balaam's error. Wheaton, Ill: Crossway Books, 1992.

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6

Einstein's error. 3rd ed. London: A.H. Winterflood, 1986.

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7

Human error. Cambridge [England]: Cambridge University Press, 1990.

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8

Reversible error. New York, N.Y., U.S.A: Dutton, 1992.

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9

Russia's error. Metairie, LA: MAETA, 1997.

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10

Human error. New York: TOR, 1985.

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11

Trent, Brenda. Cupid's error. New York: Silhouette Books, 1987.

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12

Tanenbaum, Robert. Reversible error. New York [etc.]: Signet, 1993.

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13

Harmless Error. New York: Grand Central Publishing, 2001.

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14

JANCE, J. A. Fatal error. Waterville, Me: Thorndike Press, 2011.

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15

Mitchell, Gladys. Printer's error. [Watford, England?]: Minnow Press, 2008.

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16

Human error. New York, NY: Dramatists Play Service, 2008.

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17

Roberts, Mark. Unforced error. Austin, Tex: Zumaya Otherworlds, 2011.

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18

Tony, Albers, ed. Computer error. Crystal Lake, IL: Rigby, 2000.

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19

Fatal error. London: Simon & Schuster, 2011.

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20

Fatal error. New York: Simon & Schuster, 2011.

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21

Euro error. New York: Algora Pub., 1999.

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22

Stone, G. H. Fatal error. New York: Random House, 1990.

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23

Cano, María Fernanda. El error. Buenos Aires: Ediciones Simurg, 2000.

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24

Prejudicial error. New York: Onyx, 1996.

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25

Copyright Paperback Collection (Library of Congress), ed. Fatal error. New York City: Leisure Books, 2004.

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26

Locsin, Teodoro M. Trial & error. [Manila?], Philippines: Free Press, 1994.

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27

Roy, Lewis. Grave error. New York: Carroll & Graf, 2005.

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28

Ridpath, Michael. Fatal error. London: Michael Joseph, 2003.

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29

Human error. New York: St. Martin's Press, 1996.

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30

Pilot error. London: Constable, 2009.

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31

Trent, Brenda. Cupid's error. New York: Silhouette Books, 1987.

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32

Permanent error. Munich: Prestel Pub., 2011.

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33

Winterflood, A. H. Newton's error. 2nd ed. London: A.H. Winterflood, 1986.

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34

Day, Ronald William. Design Error. Boca Raton : Taylor & Francis, CRC Press, 2017.: CRC Press, 2016. http://dx.doi.org/10.1201/9781315383262.

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35

Wilson, F. Paul. Fatal error. New York: Tor, 2010.

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36

Mitchell, Gladys. Printer's error. [Watford, England?]: Minnow Press, 2008.

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37

Wainer, Howard. Depicting error. Princeton, N.J: Educational Testing Service, 1995.

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38

Ridpath, Michael. Fatal error. London: Penguin, 2004.

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39

Vout, Caroline. The Error of Roman Aesthetics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198803034.003.0002.

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Today, discussions of ancient art criticism privilege technical terms (akribeia [“accuracy”], aletheia [“truth”], decor [“fittingness”], symmetria [“symmetry”]). Discussions of Rome’s reception of Greek art, as revealed, for example, in Pliny the Elder, stress the need for elites to perform their artistic expertise, with Petronius’ Satyrica providing an elegant caricature. Yet this emphasis represents but one way of telling the story of Greek art’s naturalism and appropriation. In light of ancient accounts of famous artists, Gombrich’s language of “making and matching” can be rethought as “trial and error,” a formula that casts the problems of producing art that is similis veritati (“like to the truth”) in a new light. Indeed Rome’s entire appreciation of Greek art could be described as “one big error” and the Roman reception of Greek art taken as the paradigm for how art must be received. Seen like this, recent scholarship is radically reductive. Why privilege reason?

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40

Kling, Sheri D. Avoiding a Fatal Error: Extending Whitehead’s Symbolism Beyond Language. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429566.003.0008.

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Typically, discussion of Whitehead’s modes of perception and symbolic reference are limited to the perception of sense-data and the use and interpretation of language as symbolic, but Whitehead’s thought can be connected to the imaginal realm of art, dream symbols, and archetypes when he argues that broadening our definition of perception beyond solely sense perception ‘can be of no importance unless we can detect occasions of experience exhibiting modes of functioning which fall within its wider scope. If we discover such instances of non-sensuous perception, then the tacit identification of perception with sense-perception must be a fatal error barring the advance of systematic metaphysics’ (AI 180). In order to avoid the ‘fatal error’ of limiting perception to strictly sense perception, this chapter argues that since Whitehead included aesthetic expression in his understanding of symbolism, and was open to non-sensory perception, Whitehead’s symbolism can be connected to that of Carl Jung to broaden and enrich the scholarship on symbolism, and that such an integration can positively influence human society’s intensity of experience and overall aliveness, vitality, and zest for life, especially when a practice of dream work is incorporated in this integration.

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41

Garden Of Orthodontics: Thoughts, Suggestions, Errors. QUINTESSENCE, 2000.

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42

Formisano, Marco. “Im Sinne der Antike”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198803034.003.0008.

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Within Sacher-Masoch’s Venus in Furs, this chapter argues, Roman antiquity represents a privileged landscape of error, while the protagonists, Severin and Wanda, portray their “perverse” sexual predilections as error of a distinctly Roman kind. Delving further than any previous critic into the novella’s classical allusions, this chapter shows how Sacher-Masoch’s narrative depends on reversing elements of Lucretius, Ovid, and Apuleius. This chapter also demonstrates how this relates to the way in which a concept of reversal in general—especially the normative paradigm of the sexually dominant male and submissive female—organizes the text’s very structure. Extending Deleuze’s views on the centrality of the contract to masochistic fantasy, this chapter highlights the contract as a textual device able to represent the short circuit of the masochistic aesthetic, within which antiquity plays a major role.

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43

Asano, Tadanobu. Error. Little More,Japan, 1999.

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44

Wolf, Christoph. Error facti et error iuris. Mohr Siebeck, 2019. http://dx.doi.org/10.1628/978-3-16-155473-5.

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45

Bryant, Jason. Bladder Exstrophy. Edited by Kirk Lalwani, Ira Todd Cohen, Ellen Y. Choi, and Vidya T. Raman. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190685157.003.0040.

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Bladder exstrophy is a rare condition in which there is an error in fetal development leaving the bladder and pelvic structure malformed. The bladder, pelvic girdle, and external genitalia are often split, requiring repair. The goals of this repair are to improve quality of life in terms of urinary continence, aesthetics, pelvic stabilization, and sexual function. This repair often requires prolonged traction and external fixation to adequately fuse the pelvic girdle. To aid in the healing and tolerance of this, a prolonged epidural catheter is often used. The pharmokinetics and risk of infection are major considerations during the prolonged use of a caudal catheter.

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46

Reason/Zap. Errors, Error Detection And Error Recovery. Psychology Press, 1994.

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47

Mortal Error. St. Martin's Press, 1993.

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48

Error judicial. Sevilla (España): Algaida Edicitores, 2015.

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49

Fatal Error. Corgi Childrens, 1996.

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50

Ultimate Error. Prominent Books, LLC, 2018.

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