OpenAIR @ RGU >
Design and Technology >
Art & Design >
Theses (Art) >

Please use this identifier to cite or link to this item:
This item has been viewed 46 times in the last year. View Statistics

Files in This Item:

File Description SizeFormat
Grassom PhD thesis.pdf236.8 MBAdobe PDFView/Open
Title: Art as a narrative of alterity. Part 1: Prolegomenon, appendices, and bibliography. Part 2: Books.
Authors: Grassom, Brian James
Supervisors: Baldacchino, John
Diggle, Jeremy
Keywords: Aesthetics
Critical theory
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’ of Alterity. 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)

All items in OpenAIR are protected by copyright, with all rights reserved.


   Disclaimer | Freedom of Information | Privacy Statement |Copyright ©2012 Robert Gordon University, Garthdee House, Garthdee Road, Aberdeen, AB10 7QB, Scotland, UK: a Scottish charity, registration No. SC013781