Relevant bibliographies by topics / Metaphysics of art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Metaphysics of art'

Author: Grafiati
Published: 5 June 2025
Last updated: 24 June 2025

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Journal articles on the topic "Metaphysics of art"

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Vélez, León Paulo. "¿Relaciones entre Metafísica y Arte?" Eikasia. Revista de Filosofía 48 (March 1, 2013): 131–38. https://doi.org/10.5281/zenodo.55698.

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In this paper we intend to make visible a possible relationship between metaphysics and art, from the presuppose, in absolute terms they are the same, so that what you say is true of the metaphysical arts. However, the distinction between metaphysics and art is not feasible to show the world, especially in an artistic event such as a concert or show, but because the distinctions of the world. Try to address this issue since the concept of Sorge (cure, care) and metaphysical budgets that will eventually settled by Heidegger in <em>Sein und Zeit.</em>
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Morris, Michael. "Art and Metaphysics." Aristotelian Society Supplementary Volume 94, no. 1 (2020): 1–17. http://dx.doi.org/10.1093/arisup/akaa002.

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Abstract Artists often think of themselves as engaged in a project of understanding things. Many of those who look at, listen to, or read works of art think that they emerge from the experience with their understanding enriched. The aim of this paper is to explain what kind of understanding representational art can provide.
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Cadús, Raúl. "El paisaje como interfaz (experiencia estética y metafísica)." Revista de Filosofía Laguna, no. 47 (2020): 99–112. http://dx.doi.org/10.25145/j.laguna.2020.47.06.

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This article deals with landscape as a nexus between the aesthetic experience and the metaphysical issue of Being, in order to highlight its epistemological power linked with thinking and experiencing the Being. On the basis of a landscape analysis made from an ontological perspective, it reveals itself as a specially qualified phenomenon for the development of a Metaphysics-esthetics as an inquiring and experiencing way, enabling a reconsideration of Metaphysics as theory and practice. Firstly I present an introduction to the metaphysics-esthetics experience from a historical perspective, to expose next two ontological perspectives on landscape: a) as a part of a larger ontological chain and a subjective-objective co-production; b) as a proto-art of Nature, artwork and art of peoples.
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Perelshtein, Roman. "Metaphysics of cinema art." Herald of Culturology, no. 1 (2021): 57–79. http://dx.doi.org/10.31249/hoc/2021.01.03.

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The author of the article explores cinema art as a kind of worldview model, based on the tragic myth of Aristotle. The well-known doctrine of tragedy is the part of the doctrine of tragic myth. Both tragedy and drama strive for catharsis, that is, to purify and heal the soul. The discussion of drama as a spiritual teaching becomes extremely relevant in this regard. The hero of the drama (wider than a movie with a dramatic plot) goes on a journey to meet his eternal "I", and, therefore, to become himself. The hero may fail, but there is no other purpose for the journey or initiation.
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Davies, Stephen, and Jerrold Levinson. "Music, Art, and Metaphysics." Journal of Aesthetic Education 26, no. 2 (1992): 110. http://dx.doi.org/10.2307/3332930.

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Currie, Gregory, and Jerrold Levinson. "Music, Art, and Metaphysics." Philosophy and Phenomenological Research 53, no. 2 (1993): 471. http://dx.doi.org/10.2307/2107784.

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KIRCHNER, DANIEL, CHRISTOPH BENZMÜLLER, and EDWARD N. ZALTA. "MECHANIZING PRINCIPIA LOGICO-METAPHYSICA IN FUNCTIONAL TYPE-THEORY." Review of Symbolic Logic 13, no. 1 (2019): 206–18. http://dx.doi.org/10.1017/s1755020319000297.

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AbstractPrincipia Logico-Metaphysica contains a foundational logical theory for metaphysics, mathematics, and the sciences. It includes a canonical development of Abstract Object Theory [AOT], a metaphysical theory (inspired by ideas of Ernst Mally, formalized by Zalta) that distinguishes between ordinary and abstract objects.This article reports on recent work in which AOT has been successfully represented and partly automated in the proof assistant system Isabelle/HOL. Initial experiments within this framework reveal a crucial but overlooked fact: a deeply-rooted and known paradox is reintroduced in AOT when the logic of complex terms is simply adjoined to AOT’s specially formulated comprehension principle for relations. This result constitutes a new and important paradox, given how much expressive and analytic power is contributed by having the two kinds of complex terms in the system. Its discovery is the highlight of our joint project and provides strong evidence for a new kind of scientific practice in philosophy, namely, computational metaphysics.Our results were made technically possible by a suitable adaptation of Benzmüller’s metalogical approach to universal reasoning by semantically embedding theories in classical higher-order logic. This approach enables one to reuse state-of-the-art higher-order proof assistants, such as Isabelle/HOL, for mechanizing and experimentally exploring challenging logics and theories such as AOT. Our results also provide a fresh perspective on the question of whether relational type theory or functional type theory better serves as a foundation for logic and metaphysics.
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De Clercq, R. "The Metaphysics of Art Restoration." British Journal of Aesthetics 53, no. 3 (2013): 261–75. http://dx.doi.org/10.1093/aesthj/ayt013.

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Montiel, Jorge. "Aztec Metaphysics—Two Interpretations of an Evanescent World." Genealogy 3, no. 4 (2019): 59. http://dx.doi.org/10.3390/genealogy3040059.

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This paper contrasts two contemporary approaches to Nahua metaphysics by focusing on the stance of the Nahua tlamatinime (philosophers) regarding the nature of reality. Miguel León-Portilla and James Maffie offer the two most comprehensive interpretations of Nahua philosophy. Although León-Portilla and Maffie agree on their interpretation of teotl as the evanescent principle of Nahua metaphysics, their interpretations regarding the tlamatinime metaphysical stances diverge. Maffie argues that León-Portilla attributes to the tlamatinime a metaphysics of being according to which being means permanence and stability and thus, since earthly things are continuously changing, being cannot be predicated of them, hence earthly things are not real. I present textual support to show that León-Portilla does not read Nahua metaphysics through the lens of a metaphysics of being and thus that León-Portilla does not interpret the tlamatinime as denying the reality of earthly things. I then provide an exegetical analysis of León-Portilla’s texts to show that, in his interpretation, metaphysical concerns are intimately linked to existential questions regarding the meaning of human life. Ultimately, I argue that, in León-Portilla’s interpretation, the tlamatinime conception of art functions as poiesis, that is, as the process of aesthetic creation that gives meaning to human life.
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Bobant, Charles. "French Phenomenology of Art and Metaphysics." Phainomenon 36, no. 1 (2023): 21–32. http://dx.doi.org/10.2478/phainomenon-2023-0009.

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Abstract This article examines the relationship between French phenomenology of art and metaphysics. More specifically, it highlights four points. Firstly, French phenomenological aesthetics is characterized by a certain ignorance of the renewal of artistic questioning initiated by Anglo-Saxon aesthetics. Secondly, French phenomenology of art is a metaphysics of art, which considers that works of art contain an ontological (cosmophanic or theophanic) revelation. Thirdly, French phenomenology of art is part of the “theological turn of French phenomenology”. Authors tend towards theology or “cosmotheology”. Fourthly, French phenomenology of art, which is a metaphysics of the sensible, possesses the theoretical means to think philosophically about conceptual art.
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Dissertations / Theses on the topic "Metaphysics of art"

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Nickels, Zachary. "The Art of Loneliness." Kent State University Honors College / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1462549085.

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Heins, Barbara. "Giorgio de Chirico's metaphysical art and Schopenhauer's metaphysics : an exploration of the philosophical concept in de Chirico's prose and paintings." Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332890.

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Murphy, Richard. "Art, metaphysics and dialectic : R.G. Collingwood and the crisis of Western civilisation." Thesis, Swansea University, 2006. https://cronfa.swan.ac.uk/Record/cronfa42930.

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This thesis argues that Collingwood's philosophy is best understood as a diagnosis of and response to a crisis of Western civilisation. The various and complementary aspects of the crisis of civilisation are explored and Collingwood is demonstrated to be working in the traditions of Romanticism and 'historicism'. In Part One, I examine Collingwood's conception of the crisis of modernity in terms of the Romantic idea of the unity of the forms of experience and his philosophy of art. Contemporary civilisation is seen as corrupted by the suppression of emotion and is to be regenerated by art: the expression of emotion and truthful consciousness. In Part Two, the crisis of civilisation is explained as the failure of contemporary civilisation to significantly move beyond a dependency on a Platonic philosophy of being. The solution, it is proposed, is the development of a philosophy of becoming, which reconciles normative thinking with historical change. The criteria for value and truth are located, not in an ideal transcendent world, but in a 'way of life' in the widest sense. In this respect, Collingwood is compared with Ortega y Gasset and Nietzsche. Part Three demonstrates that Collingwood's dialectical philosophy reveals itself in a historicist phenomenology of mind and a dialectical theory of liberalism and civilisation. This dialectical view leads to a critique of the ill effects of capitalism and of the rationalisation and bureaucratisation of contemporary life. On these subjects, the theories of Collingwood and Ortega y Gasset are contrasted with those of Nietzsche and Weber.
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Davies, Shaun, of Western Sydney Nepean University, and Faculty of Visual and Performing Arts. "Sound art and the annihilation of sound." THESIS_FVPA_XXX_Davies_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/402.

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This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesis<br>Master of Arts (Hons)
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Wiesemueller, Cornelia Francesca. "Vapour trails of imagination : the metaphysics of virtual reality : the deepest seat of creativity." Thesis, The University of Sydney, 2002. https://hdl.handle.net/2123/29234.

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In this dissertation I try to define the metaphysics of Virtual Reality, offer ideas on perception and the mind and look at philosophical notions of art and myth—making. I discuss a number of different artists (including myself) who go beyond the world of the tangible object and struggle with expression, composition, space, time and movement.
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Opperman, J. A. "Imaging the metaphysical in contemporary art practice : a comparative study of intertextuality, poststructuralism and metaphysical symbolism." Thesis, Port Elizabeth Technikon, 2002. http://hdl.handle.net/10948/101.

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It was then that I decided to investigate how contemporary forms of metaphysical imaging have evolved formally and stylistically. I began to question how such approaches might be informed by current philosophical thought, given that many contemporary theorists have adopted a sceptical view towards metaphysical discourse. This point of contention presented me with the initial challenge of finding an artist whose exploration of metaphysical content is supported by topical philosophical thought. I intended this inquiry to serve as a basis from which to develop my own approach to imaging metaphysical content and to situate it within the context of contemporary thought.
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Roulstone, Karen Georgette. "Rethinking absence : art practice and the critical metaphysics of Jacques Derrida and Jacques Lacan." Thesis, University of Plymouth, 2006. http://hdl.handle.net/10026.1/2495.

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The methodology aims to demonstrate that absence is not reducible to one approach or another but plays on the incommensurabilities, commensurabilities and gaps between the different concepts presented. The 'motions of absence', which are textual insertions interspersed between the sections, directly articulate the methodology of the thesis by responding to and exploring the thinking in each section. The methodology therefore both produces and addresses the tensions and gaps available in visual and theoretical discourses to demonstrate absence. lt thereby allows for the possibility of a re-inscription of signification for absence to occur.
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Steel, J. "The nature of prescription in cuisine : Research proposing a paradigm of metaphysical hypotheses as solution to the problem of menu prescription in the art of cuisine." Thesis, University of Strathclyde, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371981.

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White, David Allan, of Western Sydney Nepean University, and Faculty of Visual and Performing Arts. "From Apollonian to Dionysiac : a paper on Nietzsche's division of culture into two principal strains. The Apollonian and the Dionysian, and its application to the art of painting." THESIS_FVPA_XXX_White_D.xml, 1996. http://handle.uws.edu.au:8081/1959.7/464.

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In this research paper for the postgraduate degree of Master of Arts (Hons) (Visual Arts), the author is proposing to investigate the relationship of Nietzsche's division of culture into two principal strains, 'The Apollonian and the Dionysiac', and its application to the art of painting. When Nietzsche wrote the 'Birth of Tragedy' in 1872, from which his division of culture emerged, it was entitled 'The Birth of Tragedy from the Spirit of Music'. Young (1992), also describes music as 'The Dionysian art' in his book 'Nietzsche's Philosophy of Art'. With consideration to changes in art and perception between the latter nineteenth and the twentieth century, a stronger argument for the inclusion of painting as 'a Dionysian art', can be formed. The author also analyses the metaphysical in art and through an examination of the nature of the Dionysiac as described in religious rites as opposed to varying analysis from Nitzsche and his critics<br>Master of Arts (Hons) (Visual Arts)
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Barbour, Susan Jean. "Elegaic materialism : the poetry and art of Susan Howe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4a0decd4-dec1-4f23-9457-d4d8b58c97c1.

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The American poet Susan Howe (1937-present) began her career as a visual artist, but owing to a dearth of information about her early collages it has been difficult to say anything substantive about how they might have shaped her poetic practice. In 2010, she placed her collages on archive. Along with a number of personal interviews with Howe, this heretofore unavailable material has enabled me to consider Howe's subsequent work in a new light and to establish significant links between her early visual aesthetics and the poetics of bibliography, historiography, and elegy for which she is now known. Howe's collages, like her poetry, focus on details that are at risk of vanishing from cultural memory and printed record. For this reason, I argue that her work evinces an 'elegaic materialism', or a way of reading, viewing, and thinking about texts that is attuned to loss. If “history is the record of the winners,” as Howe says, then one way of rescuing marginalized perspectives is by regarding manuscripts as drawings, thereby rescuing the concrete particulars deemed irrelevant by editors and historians. As Howe's late work turned increasingly toward elegy, her early aesthetic contributed to a nuanced poetics of personal loss and to a series of astonishing new formal tropes. The Introduction to this thesis discusses Howe's materialism in the context of current literary theory and textual scholarship. Chapter 1 concerns itself with Howe's art historical context. Chapter 2 analyses a selection of her word-drawings. Chapter 3 considers Howe's transition to poetry. Chapter 4 addresses her turn to archival documents in her middle period. Chapter 5 looks at the influence on Howe of documentary film, especially in connection with the task of representing a lost loved one, and Chapter 6 discusses her two most recent elegies, The Midnight and THAT THIS. A Coda completes the circle by once more considering Howe in the context of the visual arts at the moment she was selected to exhibit at the 2014 Whitney Biennial.
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Books on the topic "Metaphysics of art"

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Bronstein, Léo. Fragments of life, metaphysics, and art. 2nd ed. Transaction, 1995.

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Lee, C. J. P. The metaphysics of mass art: Cultural ontology. Edwin Mellen Press, 1999.

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Anna-Teresa, Tymieniecka, World Institute for Advanced Phenomenological Research and Learning., and World Congress of Phenomenology (1st : 1988 : Santiago de Compostela, Spain), eds. New queries in aesthetics and metaphysics: Time, historicity, art, culture, metaphysics, the transnatural. Kluwer Academic Publishers, 1991.

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Levinson, Jerrold. Music, art, and metaphysics: Essays in philosophical aesthetics. Oxford University Press, 2011.

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Shusterman, Richard. Pragmatist aesthetics: Living beauty, rethinking art. 2nd ed. Rowman & Littlefield, 2000.

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Jaroszyński, Piotr. Metafizyka i sztuka. "Gutenberg-Print", 1996.

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Parks, Tim. Medici money: Banking, metaphysics, and art in fifteenth-century Florence. Profile, 2005.

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Noah, Hass-Cohen, and Carr Richard Psy D, eds. Art therapy and clinical neuroscience. Jessica Kingsley Publishers, 2008.

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Savinio, Alberto. La nascita di Venere: Scritti sull'arte. Adelphi, 2007.

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Florian, Mircea. Metafizică și artă. Editura Echinox, 1992.

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Book chapters on the topic "Metaphysics of art"

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Cekić, Miodrag. "Art as Communication." In New Queries in Aesthetics and Metaphysics. Springer Netherlands, 1991. http://dx.doi.org/10.1007/978-94-011-3394-4_18.

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Granger, David A. "Metaphysics at Work." In John Dewey, Robert Pirsig, and the Art of Living. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-12252-0_3.

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Tarasov, Oleg. "4. Florenskii, Metaphysics and Reverse Perspective." In How Divine Images Became Art, translated by Stella Rock. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0378.04.

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The philosophical meaning and formal peculiarities of the icon within a system of reverse perspective were first examined by the Russian philosopher and theologian Pavel Florenskii (1882–1937). It is fundamentally important to analyze his writings to understand the basis on which to view the icon as an art form, especially given that his ideas coincided with those of many Russian and Western avant-garde artists. Particular attention is devoted to a replica of Andrei Rublev’s (1360–1428) Trinity icon (1411, or 1425–27), which belonged to Florenskii himself. As Florenskii wrote, ‘Rublev’s Trinity exists, hence God exists’ – the kernel of his symbolic concept and metaphysics of reverse perspective. Published in this chapter are drawings illustrating reverse perspective in Florenskii’s own hand, discovered in the Florenskii family archive in Moscow by the author.
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Bennett, Benjamin. "Meter and Metaphysics: Hölderlin’s “Hyperions Schicksalslied”." In The Defective Art of Poetry. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137381880_5.

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Granger, David A. "Dewey’s and Pirsig’s Metaphysics." In John Dewey, Robert Pirsig, and the Art of Living. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-12252-0_2.

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Lorenc, Iwona. "Anti-Metaphysical Thinking on Art." In New Queries in Aesthetics and Metaphysics. Springer Netherlands, 1991. http://dx.doi.org/10.1007/978-94-011-3394-4_23.

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Das, Saitya Brata. "Ereignis: Heidegger on Art, Technology and Metaphysics." In The World to Come. Routledge, 2022. http://dx.doi.org/10.4324/9781003332619-4.

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Sinclair, Mark. "Repeating Metaphysics Heidegger’s Account of Equipment." In Heidegger, Aristotle and the Work of Art. Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230625075_3.

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Came, Daniel. "Schopenhauer on the Metaphysics of Art and Morality." In A Companion to Schopenhauer. Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444347579.ch16.

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Presas, Mario A. "The Magic of Art in the Magic-Less World." In New Queries in Aesthetics and Metaphysics. Springer Netherlands, 1991. http://dx.doi.org/10.1007/978-94-011-3394-4_29.

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Conference papers on the topic "Metaphysics of art"

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Braud, Tristan, Brian Lau, Dominie Hoi Lam Chan, et al. "Nature: Metaphysics + Metaphor (N:M+M): Exploring Persistence, Feedback, and Visualisation in Mixed Reality Performance Arts." In SA '24: SIGGRAPH Asia 2024 Art Papers. ACM, 2024. http://dx.doi.org/10.1145/3680530.3695439.

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K. Nikolić, Predrag, Ruiyang Liu, and Shengcheng Luo. "Metaphysics of The Machines." In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. ACM, 2021. http://dx.doi.org/10.1145/3483529.3483730.

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Jia, Ruo. "Cloud as an Alternative Architecture." In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.45.

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In A Theory of /Cloud/ (1972), the cloud, or rather, the graph of cloud, served as the entry point of the French art historian and theorist Hubert Damisch (1928-2017) in his understanding of the limits of Western art and art history as framed since the Renaissance. Here he initiated another possibility of painting—a “theory” of painting, which he simultaneously termed “a history of painting”—by concluding the book with an examination of Chinese landscape painting. Participating in the sinophelia of French intellectuals that accompanied the Chinese Cultural Revolution launched by Mao, Damisch’s turn represented his philosophical initiative to reflect on and shift away from Western metaphysics, especially from the negative dialectics of Hegel, and towards a different architecture based on a harmonious and positive materialist dialectic inspired by Chinese Taoist and Chan Buddhist philosophy. Here, in Damisch’s “reinvention” of Chinese painting, the cloud not only literally entered paintings to negotiate the intertextuality of mountain and water, ink and brush, and even that of the painter and painting, but also to fill the role of the materialist body in a different perspective of world formation—as the breath, the one movement that sustains or constitutes all life. In Damisch’s vision, such a cloud even leads to a different kind of architecture, one that counters the philosophical metaphor of architecture as the stability of the arche, the subject, the essence, or any anchored center. The cloud and its philosophical architectural alternative also contribute to a reflection on the very physicality of architecture, leading to the formation of an architecture in absentia, to which Damisch was to return in 2003 when discussing Diller+Scofidio’s Blur Building (2002), as well as the Chinese architecture of the Ming Dynasty.
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Butina, Anastasiya. "ANTHROPOLOGICAL CONTENT OF SANKHYA METAPHYSICS." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/2.1/s06.010.

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Gogichaishvili, Liliana. "T.S Eliot’s Early Poetry and John Donne’s “Metaphysical” Poetics." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2025. https://doi.org/10.62119/icla.3.8931.

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The works of the “metaphysical” poet John Donne can be freely considered as one of the biggest influences of twentieth century English poetry. It was because of the modernist writers that Donne came to be popular again in the modern world. Modernist poets saw their own ideas and aspirations in Donne’s raging, controversial, highly intellectual poetry, a possibility of which they gained from the poetics of “metaphysical” verse itself. In terms of “getting back” to the “metaphysics”, 20th century literature greatly owes to T.S Eliot. In his critical theories and poetic practice Eliot notonly analyses Donne’s poetry, but he also regenerates “metaphysical” poetics in his own works. Thanks to T.S Eliot this knowledge was later shared with all Anglo-American modernist poetry. One of the most important artistic techniques which is so characteristic of both Donne’s and Eliot’s poetics is” metaphysical” wit. It tends to create such a surprising effect, that is achieved by comparison and drawing of totally different ideas and images together. In order to express wit "Metaphysicians" use conceit – a complex, widespread metaphor that can express both intellect and fantasy at the same time. One of the most famous examples of a conceit in Donne’s poetry is found in his late poem called “Hymn to God, my God, in my Sickness”. Here the author identifies himself with a map, whereas he calls the doctors cosmographers. The same artistic effect is noticed in Eliot’s famous poem “The Love Song of J. Alfred Prufrock”. In this poem the stillness of the evening is compared to a patient “etherized upon a table”. There are lots of such imitations of Donne’s poetry in Eliot’s works. These very parallels of Donne’s and Eliot’s lyrics are discussed in my thesis, where I try to demonstrate how the influence of the 17thcentury poetry worked on Eliot’s early poems.
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ODROWAŻ–SYPNIEWSKA, JOANNA. "NATURAL KINDS — WHAT ARE THEY?" In Proceedings of the 5th Metaphysics of Science Workshop. WORLD SCIENTIFIC, 2009. http://dx.doi.org/10.1142/9789814299053_0006.

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Bezrukov, A. V. "Trough Emblems to Metaphysical Wit: Creating the Art of Ingenuity." In PHILOLOGICAL SCIENCES, INTERCULTURAL COMMUNICATION AND TRANSLATION STUDIES: THEORETICAL AND PRACTICAL ASPECTS. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-039-1-18.

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Medić, Ivana. "Dragutin Gostuški’s Cinemusic (and what would Gostuški think about quantum music)." In Iskošeni ugao Dragutina Gostuškog. Muzikološki institut SANU Beograd, 2024. https://doi.org/10.46793/dgost23.321m.

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In this study I advocate two interrelated hypotheses, the first of which is that the composer, musicologist and art historian Dragutin Gostuški (1923–1998), who spent his career at the Institute of Musicology SASA, was an undestined avant-gardist. Although, based on the texts published in Yugoslavia during his lifetime, one might conclude that Gostuški was regarded as a traditionalist by his contemporaries, his extensive manuscript collection and published writings convince us that a real avant-garde spirit actually imbued his multifaceted activities. My second hypothesis refers to the assumption that Gostuški would be positively surprised by the present-day reception of his theoretical works and projects. Quite unexpectedly, half a century after Gostuški drafted his innovative but, un ortunately, never implemented project of Cinemusic, my collaborators and I found ourselves in the role of Gostuški’s successors, thanks to the Quantum Music and Beyond Quantum Music projects funded by Creative Europe. Although these projects did not directly arise from Gostuški’s drafts, it is important to discuss them in parallel in order to emphasize the continuity of innovative thought at the Institute of Musicology SASA, a scientific institution that was often – and unfairly – considered conservative and closed to new ideas. Thus, I present a wealth of information on Cinemusic and other visionary insights of Dragutin Gostuški, to dispel any doubts about the avantgarde nature of his artistic profile. The fact that he did not manage to realise his visions does not diminish their innovativeness, and his undestined avantgarde became belatedly relevant. Gostuški’s conviction that contemporary art must be firmly connected with science and technology, and especially with physics as the closest natural science to music, was achieved almost half a century later in the Quantum Music and Beyond Quantum Music projects, under the auspices of his lifelong workplace, the Institute of Musicology SASA. The main idea of these projects was to create a technological environment that would allow music to penetrate the world of quantum particles and then translate it into the tangible everyday world that we can experience through our senses. In doing so, we followed the path that Gostuški had anticipated, and we achieved close cooperation with scientists immersed in research at the cusp between physics and metaphysics. With these projects, based on the fundamental interweaving of music and natural sciences (which was one of Gostuški’s main goals), we put the Institute of Musicology SASA on the map of innovative European scientific research organizations and contributed to the global affirmation of Serbian science on music – which is precisely what Gostuški wanted to achiev.
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Zimmermann, Rainer. "The Metaphysical Ground of Information Processing." In ISIS Summit Vienna 2015—The Information Society at the Crossroads. MDPI, 2015. http://dx.doi.org/10.3390/isis-summit-vienna-2015-t8.1002.

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Vanheeswijck, Guido. "CARNAP BROUGHT HOME: THE ELIMINATION OF THE METAPHYSICAL NEED." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb21/s06.024.

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Reports on the topic "Metaphysics of art"

1

Colburn, Ben, Fiona Macpherson, Derek Brown, Laura Fearnley, Calum Hodgson, and Neil McDonnell. Policy and Practice Recommendations for Augmented and Mixed Reality. University of Glasgow, 2024. http://dx.doi.org/10.36399/gla.pubs.326686.

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This policy report arises from the research project Augmented Reality: Ethics, Perception, Metaphysics, conducted at the University of Glasgow’s Centre for the Study of Perceptual Experience between November 2021 and November 2023. It was funded by a grant from the Royal Society of Edinburgh. The project brought together experts in various academic fields, with partners from industry and regulatory bodies, to explore the nature of augmented and mixed reality technology, the theories underpinning them, and the ethical and legal questions prompted by new technology in this domain.
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Lylo, Taras. Російсько-українська війна в інтерпретаціях іранського видання «The Tehran Times»: основні ідеологеми та маніпулятивні прийоми. Ivan Franko National University of Lviv, 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11730.

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The article analyzes the main ideologemes in the Iranian English-language newspaper The Tehran Times about the Russian-Ukrainian war. Particular attention is paid to such ideologemes as “NATO-created Ukraine war”, “Western racism”, “an average European is a victim of the US policy”. The author claims that the newspaper is a repeater of anti-Ukrainian ideologemes by the Russian propaganda, including such as “coup d’état in Ukraine”, “denazification”, “special military operation”, “conflict in Ukraine”, “genocide in Donbas”, but retranslates them in a specific way: the journalists of The Tehran Times do not often use such ideologemes, but mainly ensure their functioning in the newspaper due to the biased selection of external authors (mainly from the USA), who are carriers of the cognitive curvature. The object of the research is also the manipulative techniques of the newspaper (the appeal to “common sense”, simplification of a complex problem, etc.). Methods of modeling the image of the enemy are also studied (first of all, such an enemy for the Tehran Times is the USA), among which categoricalness occupies a special place (all features of the opponent are interpreted not only at its own discretion, but indisputably; such and only such perception of the opponent is “the ultimate truth”), stereotypes (stereotypes replace the true knowledge), demonization (the opponent is portrayed as the embodiment of absolute, metaphysical evil) and asynchrony (an astronomer’s view, who sees a star as if it was the same all eternity to this point. The dynamics of history is ignored by propagandist). Keywords: ideologeme, manipulative techniques, Russia, racism, propaganda.
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