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|Title: ||Art as a narrative of alterity. Part 1: Prolegomenon, appendices, and bibliography. Part 2: Books.|
|Authors: ||Grassom, Brian James|
|Supervisors: ||Baldacchino, John|
|Issue Date: ||Nov-2006|
|Publisher: ||The Robert Gordon University|
|Citation: ||GRASSOM, B. J., 2004. Reality, Illusion and Alterity: The Advent of the Other. Human Creativity Between Reality and Illusion. 9th Annual Meeting of the International Society for Phenomenology, Aesthetics and Fine Arts. Harvard University, Cambridge, Mass. 14-15 May 2004.|
GRASSOM, B. J., 2004. Art, Alterity, and Logos: In the Spaces of Separation. Logos of Phenomenology, Phenomenology of the Logos. World Phenomenology Institute , 3rd World Congress. Oxford University, Oxford, England. 16-20 August 2004.
GRASSOM, B. J., 2005. Beyond Cause and Effect: Beauty, Truth, Alterity. Beauty's Appeal in the Transformation of Standards for Valuation. 10th Annual Meeting of the International Society for Phenomenology, Aesthetics and Fine Arts. Harvard University. Cambridge, Mass. 27-28 May 2005.
GRASSOM, B. J., 2005. Alterity, Art and the Language of the Soul. Phenomenology of Life: From the Animal Soul to the Human Mind. 55th International Phenomenology Congress. Radboud University, Nijmegen, Netherlands. 17-20 August 2005.
GRASSOM, B. J., 2006. Measure and Excess. The Happy Choice: Measure or Excess? 11th Annual Meeting of the International Society for Phenomenology, Aesthetics and Fine Arts. Harvard University. Cambridge, Mass. 26-27 May 2006.
|Abstract: ||There is a close relationship between art and philosophy. From time to
time, philosophy attempts to make art its theme. Invariably it has to
acknowledge the very qualities of art that it seeks to explain - art’s
elusiveness and its indeterminateness. On the other hand, it is the nature
of art to philosophise within itself, about itself, and about the world. In
this sense it operates as tacit philosophy.
The language of art and the language of philosophy differ in form; but
recent turns in philosophy have led to the expression of its truth in terms
that transcend language and question its own epistemic structure. At the
same time, art has always acknowledged its approach to ‘truth’ and
‘knowledge’ as being ‘other’ to that epistemology.
This ‘otherness’ to traditional ways of knowing is recognised in
philosophical discourse as ‘alterity’. The thesis posits that in art alterity
has always been, and remains, tacit and integral to art’s being. Thus, by
exploring the ways in which – through alterity – art and philosophy
intersect and interweave, the thesis aims to reveal a new kind of
knowledge that transcends the rational and the empirical but is
nonetheless not only valid, but of the very highest integrity. That
knowledge is transmitted through a particular critical and creative
approach to philosophy and to art that opens the possibility of the ‘event’
The thesis uses a discourse of philosophy and critical theory to reveal
Alterity in philosophy, principally through the work of Derrida,
Heidegger, Adorno, and Levinas; Alterity in art through the works of Fra
Angelico, Pollock, Fantin-Latour, Malevich, Vermeer, and Saitowitz; and
Alterity in my own art practice through a set of six sculptures.|
|Appears in Collections:||Theses (Art)|
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