Carl A. Raschke
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231173841
- eISBN:
- 9780231539623
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231173841.003.0003
- Subject:
- Religion, Philosophy of Religion
The difference between “value of origin” and “origin of value”—is what philosophy as genealogy seeks to discern and in the process opens up an interval at a site of experience that is neither ...
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The difference between “value of origin” and “origin of value”—is what philosophy as genealogy seeks to discern and in the process opens up an interval at a site of experience that is neither conceptual nor purely “aesthetic.” We may call this interval the space of the experience of art, which allows us to intuit both the force that gives rise to the experience and the event of its formation that illumines in its plasticity. But in recognizing this moment of valuation, genealogy goes even one step further. It arrives at the threshold of establishing how force sets in motion the kind of complex value structures and value assemblages that inform the collective life of humanity. In short, it seeks to ascertain the force that constitutes the political.Less
The difference between “value of origin” and “origin of value”—is what philosophy as genealogy seeks to discern and in the process opens up an interval at a site of experience that is neither conceptual nor purely “aesthetic.” We may call this interval the space of the experience of art, which allows us to intuit both the force that gives rise to the experience and the event of its formation that illumines in its plasticity. But in recognizing this moment of valuation, genealogy goes even one step further. It arrives at the threshold of establishing how force sets in motion the kind of complex value structures and value assemblages that inform the collective life of humanity. In short, it seeks to ascertain the force that constitutes the political.
Gillian Knoll
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474428521
- eISBN:
- 9781474481175
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474428521.001.0001
- Subject:
- Literature, Shakespeare Studies
Conceiving Desire in Lyly and Shakespeare explores the role of the mind in creating erotic experience on the early modern stage. To “conceive” desire is to acknowledge the generative potential of the ...
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Conceiving Desire in Lyly and Shakespeare explores the role of the mind in creating erotic experience on the early modern stage. To “conceive” desire is to acknowledge the generative potential of the erotic imagination, its capacity to impart form and make meaning out of the most elusive experiences. Drawing from cognitive and philosophical approaches, this book advances a new methodology for analysing how early modern plays dramatize inward erotic experience.
Grounded in cognitive theories about the metaphorical nature of thought, Conceiving Desire in Lyly and Shakespeare traces the contours of three conceptual metaphors—motion, space, and creativity—that shape erotic desire in plays by John Lyly and William Shakespeare. Although Lyly and Shakespeare wrote for different types of theatres and only partially-overlapping audiences, both dramatists created characters who speak erotic language at considerable length and in extraordinary depth. Their metaphors do more than merely narrate or express eros; they constitute characters’ erotic experiences.
Each of the book’s three sections explores a fundamental conceptual metaphor, first its philosophical underpinnings and then its capacity for dramatizing erotic experience in Lyly’s and Shakespeare’s plays. Conceiving Desire in Lyly and Shakespeare provides a literary and linguistic analysis of metaphor that credits the role of cognition in the experience of erotic desire, even of pleasure itself.Less
Conceiving Desire in Lyly and Shakespeare explores the role of the mind in creating erotic experience on the early modern stage. To “conceive” desire is to acknowledge the generative potential of the erotic imagination, its capacity to impart form and make meaning out of the most elusive experiences. Drawing from cognitive and philosophical approaches, this book advances a new methodology for analysing how early modern plays dramatize inward erotic experience.
Grounded in cognitive theories about the metaphorical nature of thought, Conceiving Desire in Lyly and Shakespeare traces the contours of three conceptual metaphors—motion, space, and creativity—that shape erotic desire in plays by John Lyly and William Shakespeare. Although Lyly and Shakespeare wrote for different types of theatres and only partially-overlapping audiences, both dramatists created characters who speak erotic language at considerable length and in extraordinary depth. Their metaphors do more than merely narrate or express eros; they constitute characters’ erotic experiences.
Each of the book’s three sections explores a fundamental conceptual metaphor, first its philosophical underpinnings and then its capacity for dramatizing erotic experience in Lyly’s and Shakespeare’s plays. Conceiving Desire in Lyly and Shakespeare provides a literary and linguistic analysis of metaphor that credits the role of cognition in the experience of erotic desire, even of pleasure itself.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0009
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter discusses the taxonomy of imaginary literary works (supplementing the taxonomy of fictionalized life‐writings proposed in Chapter 5), and their scarcity during the nineteenth century. It ...
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This chapter discusses the taxonomy of imaginary literary works (supplementing the taxonomy of fictionalized life‐writings proposed in Chapter 5), and their scarcity during the nineteenth century. It concludes the discussion of Joyce, and ends with an account of Stein's Autobiography of Alice B. Toklas as an indisputable example of a fictionally authored auto/biography.Less
This chapter discusses the taxonomy of imaginary literary works (supplementing the taxonomy of fictionalized life‐writings proposed in Chapter 5), and their scarcity during the nineteenth century. It concludes the discussion of Joyce, and ends with an account of Stein's Autobiography of Alice B. Toklas as an indisputable example of a fictionally authored auto/biography.
Markus Eberl
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780813056555
- eISBN:
- 9780813053486
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813056555.001.0001
- Subject:
- History, Cultural History
Innovation causes change. Indeed, modern Western societies see it as a crucial asset to advance. But can it also explain change in ancient societies? This book approaches material change as a crucial ...
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Innovation causes change. Indeed, modern Western societies see it as a crucial asset to advance. But can it also explain change in ancient societies? This book approaches material change as a crucial component of innovation; that is, the materialization of ideas that become widely adopted. Individuals exercise their agency not only to maintain society but also to cause change through inventions. Here, a symbolic approach is developed to conceptualize their creativity. Metonyms and metaphors link knowledge domains in novel but incomplete ways that imply a meta-discourse on knowledge. Their awareness allows individuals to imagine alternative worlds and trace a coherent path of action through this Garden of Forking Paths. The material nature of inventions exhibits interaction and adoption publicly. Individual decision-making interweaves and the resulting interferences map structural changes in society. The often-long course of existence of ancient societies allows us to trace where and when inventions emerged and how individuals adopted them. Nonetheless, evolutionary approaches to innovation often privilege Western technology and streamline past material diversity into a discourse on modernity. They ignore how inventions serve culture-specific needs and follow cultural logic. Therefore, this book focuses on Central America’s Classic Maya (A.D. 250–900). It discusses innovation for a diverse society—ranging from divine rulers to farmers—that continually changed over centuries.Less
Innovation causes change. Indeed, modern Western societies see it as a crucial asset to advance. But can it also explain change in ancient societies? This book approaches material change as a crucial component of innovation; that is, the materialization of ideas that become widely adopted. Individuals exercise their agency not only to maintain society but also to cause change through inventions. Here, a symbolic approach is developed to conceptualize their creativity. Metonyms and metaphors link knowledge domains in novel but incomplete ways that imply a meta-discourse on knowledge. Their awareness allows individuals to imagine alternative worlds and trace a coherent path of action through this Garden of Forking Paths. The material nature of inventions exhibits interaction and adoption publicly. Individual decision-making interweaves and the resulting interferences map structural changes in society. The often-long course of existence of ancient societies allows us to trace where and when inventions emerged and how individuals adopted them. Nonetheless, evolutionary approaches to innovation often privilege Western technology and streamline past material diversity into a discourse on modernity. They ignore how inventions serve culture-specific needs and follow cultural logic. Therefore, this book focuses on Central America’s Classic Maya (A.D. 250–900). It discusses innovation for a diverse society—ranging from divine rulers to farmers—that continually changed over centuries.
Suzie Attiwill, Terri Bird, Andrea Eckersley, and Antonia Pont
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781474429344
- eISBN:
- 9781474438568
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474429344.001.0001
- Subject:
- Philosophy, Aesthetics
Practising with Deleuze offers the first systematic reading of Gilles Deleuze’s mature philosophy from the perspective of contemporary creative practitioners, including fine artists, a dancer, a ...
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Practising with Deleuze offers the first systematic reading of Gilles Deleuze’s mature philosophy from the perspective of contemporary creative practitioners, including fine artists, a dancer, a creative writer, designer and philosopher. It offers a way of rethinking notions of aesthetics, art, and creativity within the field of practice. Unconventional in presentation, this book is reflective of the engagement of contemporary creative practices with the generative philosophy of Deleuze. Each chapter focuses on a key aspect of production - practising, forming, framing, experiencing, and encountering - and is accompanied by short summary texts outlining the context of Deleuze’s contributions to each of these aspects. These discussions contextualise Deleuzian thought within a range of practices. In so doing, they enable the reader to approach these philosophical concepts within the milieu of creative practice.Less
Practising with Deleuze offers the first systematic reading of Gilles Deleuze’s mature philosophy from the perspective of contemporary creative practitioners, including fine artists, a dancer, a creative writer, designer and philosopher. It offers a way of rethinking notions of aesthetics, art, and creativity within the field of practice. Unconventional in presentation, this book is reflective of the engagement of contemporary creative practices with the generative philosophy of Deleuze. Each chapter focuses on a key aspect of production - practising, forming, framing, experiencing, and encountering - and is accompanied by short summary texts outlining the context of Deleuze’s contributions to each of these aspects. These discussions contextualise Deleuzian thought within a range of practices. In so doing, they enable the reader to approach these philosophical concepts within the milieu of creative practice.
Andrea Moro
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262034890
- eISBN:
- 9780262335621
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034890.003.0011
- Subject:
- Linguistics, Psycholinguistics / Neurolinguistics / Cognitive Linguistics
What can we expect to be our understanding of human languages given what we have understood from exploiting the notion of impossible language? The chapter discusses the limits of our understanding, ...
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What can we expect to be our understanding of human languages given what we have understood from exploiting the notion of impossible language? The chapter discusses the limits of our understanding, highlighting the elusiveness of linguistic creativity, and suggest a possible scenario where all syntactic rules can be translated in a geometrical representation (call it “Euclidean Grammars”).Less
What can we expect to be our understanding of human languages given what we have understood from exploiting the notion of impossible language? The chapter discusses the limits of our understanding, highlighting the elusiveness of linguistic creativity, and suggest a possible scenario where all syntactic rules can be translated in a geometrical representation (call it “Euclidean Grammars”).
Andrew Smith
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780719088414
- eISBN:
- 9781526115256
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719088414.001.0001
- Subject:
- Literature, Criticism/Theory
The focus in this book is on how the dead and dying were represented in Gothic texts between 1740 and 1914-between Graveyard poetry and the mass death occasioned by the First World War. The corpse ...
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The focus in this book is on how the dead and dying were represented in Gothic texts between 1740 and 1914-between Graveyard poetry and the mass death occasioned by the First World War. The corpse might seem to have an obvious place in the Gothic imaginary but, as we shall see, the corpse so often refuses to function as a formal Gothic prop and in order to understand why this occurs we need to explore what the corpse figuratively represented in the Gothic during the long nineteenth century. Representations of death often provide a vehicle for other contemplations than just death. A central aim of this study is to explore how images of death and dying were closely linked to models of creativity, which argues for a new way of looking at aesthetics during the period. Writers explored include Edward Young, Ann Radcliffe, Mary Shelley, James Boaden, Edgar Allan Poe, Emily Brontë, George Eliot, Henry Rider Haggard, Bram Stoker and Arthur Machen.Less
The focus in this book is on how the dead and dying were represented in Gothic texts between 1740 and 1914-between Graveyard poetry and the mass death occasioned by the First World War. The corpse might seem to have an obvious place in the Gothic imaginary but, as we shall see, the corpse so often refuses to function as a formal Gothic prop and in order to understand why this occurs we need to explore what the corpse figuratively represented in the Gothic during the long nineteenth century. Representations of death often provide a vehicle for other contemplations than just death. A central aim of this study is to explore how images of death and dying were closely linked to models of creativity, which argues for a new way of looking at aesthetics during the period. Writers explored include Edward Young, Ann Radcliffe, Mary Shelley, James Boaden, Edgar Allan Poe, Emily Brontë, George Eliot, Henry Rider Haggard, Bram Stoker and Arthur Machen.
John Kaag
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780823254934
- eISBN:
- 9780823261031
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823254934.001.0001
- Subject:
- Philosophy, Aesthetics
In this book, John Kaag explores the following questions: What is the imagination? And where does the imagination come from? In order to answer these questions, Kaag explains the way that the concept ...
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In this book, John Kaag explores the following questions: What is the imagination? And where does the imagination come from? In order to answer these questions, Kaag explains the way that the concept of the imagination has been articulated in the history of Western philosophy, concentrating on its development in 18th century German idealism (primarily in the writings of Kant and Schiller) and in 19th century American pragmatism (embodied in the writings of C.S. Peirce). Kaag's historical approach to the imagination reveals important affinities between German idealism and the philosophy of C.S. Peirce. The primary goal of this intellectual history, however, is to reveal crucial point concerning the definition and the origins of the imagination and human creativity. The imagination should not be regarded as a narrow aesthetic faculty, but rather as a process that plays a vital role in human cognition and meaning-making. The imagination has long been regarded as belonging to artists and poets, but what Kaag's account suggests is that this artistic process emerges from natural processes, making sense of Kant's very bold claim that human genius is a “gift of nature.” Kant, Schiller and Peirce—with increasing specificity—argue that the dynamics of nature are in some way continuous with the creativity of human thinking and doing. This position regarding the “nature of the imagination” encourages Kaag to reconsider the unique form of idealism that emerges in post-Kantian thought (an idealism like Peirce's that takes seriously the findings of the empirical sciences). In the final sections of the book, Kaag turns to contemporary cognitive neuroscience to see if this emerging discipline can help chart the way of the imagination.Less
In this book, John Kaag explores the following questions: What is the imagination? And where does the imagination come from? In order to answer these questions, Kaag explains the way that the concept of the imagination has been articulated in the history of Western philosophy, concentrating on its development in 18th century German idealism (primarily in the writings of Kant and Schiller) and in 19th century American pragmatism (embodied in the writings of C.S. Peirce). Kaag's historical approach to the imagination reveals important affinities between German idealism and the philosophy of C.S. Peirce. The primary goal of this intellectual history, however, is to reveal crucial point concerning the definition and the origins of the imagination and human creativity. The imagination should not be regarded as a narrow aesthetic faculty, but rather as a process that plays a vital role in human cognition and meaning-making. The imagination has long been regarded as belonging to artists and poets, but what Kaag's account suggests is that this artistic process emerges from natural processes, making sense of Kant's very bold claim that human genius is a “gift of nature.” Kant, Schiller and Peirce—with increasing specificity—argue that the dynamics of nature are in some way continuous with the creativity of human thinking and doing. This position regarding the “nature of the imagination” encourages Kaag to reconsider the unique form of idealism that emerges in post-Kantian thought (an idealism like Peirce's that takes seriously the findings of the empirical sciences). In the final sections of the book, Kaag turns to contemporary cognitive neuroscience to see if this emerging discipline can help chart the way of the imagination.
Ulrich Baer
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780823256280
- eISBN:
- 9780823261338
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823256280.003.0025
- Subject:
- Literature, Poetry
In this brief chapter, Rilke’s conviction that every experience in life carried with it a creative mission to be accomplished is discussed.
In this brief chapter, Rilke’s conviction that every experience in life carried with it a creative mission to be accomplished is discussed.
Jonathan Evans
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781474400176
- eISBN:
- 9781474426909
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474400176.001.0001
- Subject:
- Literature, Women's Literature
The Many Voices of Lydia Davis shows how translation, rewriting and intertextuality are central to the work of Lydia Davis, a major American writer, translator and essayist. Winner of the Man Booker ...
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The Many Voices of Lydia Davis shows how translation, rewriting and intertextuality are central to the work of Lydia Davis, a major American writer, translator and essayist. Winner of the Man Booker International Prize 2013, Davis writes innovative short stories that question the boundaries of the genre. She is also an important translator of French writers such as Maurice Blanchot, Michel Leiris, Marcel Proust and Gustave Flaubert. Translation and writing go hand-in-hand in Davis’s work. Through a series of readings of Davis’s major translations and her own writing, this book investigates how Davis’s translations and stories relate to each other, finding that they are inextricably interlinked. It explores how Davis uses translation - either as a compositional tool or a plot device - and other instances of rewriting in her stories, demonstrating that translation is central for understanding her prose. Understanding how Davis’s work complicates divisions between translating and other forms of writing highlights the role of translation in literary production, questioning the received perception that translation is less creative than other forms of writing.Less
The Many Voices of Lydia Davis shows how translation, rewriting and intertextuality are central to the work of Lydia Davis, a major American writer, translator and essayist. Winner of the Man Booker International Prize 2013, Davis writes innovative short stories that question the boundaries of the genre. She is also an important translator of French writers such as Maurice Blanchot, Michel Leiris, Marcel Proust and Gustave Flaubert. Translation and writing go hand-in-hand in Davis’s work. Through a series of readings of Davis’s major translations and her own writing, this book investigates how Davis’s translations and stories relate to each other, finding that they are inextricably interlinked. It explores how Davis uses translation - either as a compositional tool or a plot device - and other instances of rewriting in her stories, demonstrating that translation is central for understanding her prose. Understanding how Davis’s work complicates divisions between translating and other forms of writing highlights the role of translation in literary production, questioning the received perception that translation is less creative than other forms of writing.
Thomas Yarrow
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781501738494
- eISBN:
- 9781501738500
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501738494.001.0001
- Subject:
- History, Cultural History
In a large room, on the third floor of an old woollen mill in the South West of England, nine architects spend most of their working lives, designing buildings and overseeing their construction. ...
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In a large room, on the third floor of an old woollen mill in the South West of England, nine architects spend most of their working lives, designing buildings and overseeing their construction. Asked where these come from, architects admit a kind of ignorance: 'Total magic!' as one puts it, 'Something comes from nothing!' Focusing on the everyday lives of architects, the book explores how buildings are assembled through an intimate and elusive choreography of people, materials, places, tools and ideas. Through these interactions, it asks and answers some questions of wider interest: What is the relationship between a working and a personal life? What is creativity? How is it possible to live truthfully in a world of contradiction and compromise? What does it mean to claim to know with authority? Most basically but most fundamentally the book is concerned with the question of what it is like to be an architect, and what lessons others might learn from the example their experience provides. Amongst other things, these have to do with the nature of expert knowledge, design, creativity and the central but less celebrated arts of administration.Less
In a large room, on the third floor of an old woollen mill in the South West of England, nine architects spend most of their working lives, designing buildings and overseeing their construction. Asked where these come from, architects admit a kind of ignorance: 'Total magic!' as one puts it, 'Something comes from nothing!' Focusing on the everyday lives of architects, the book explores how buildings are assembled through an intimate and elusive choreography of people, materials, places, tools and ideas. Through these interactions, it asks and answers some questions of wider interest: What is the relationship between a working and a personal life? What is creativity? How is it possible to live truthfully in a world of contradiction and compromise? What does it mean to claim to know with authority? Most basically but most fundamentally the book is concerned with the question of what it is like to be an architect, and what lessons others might learn from the example their experience provides. Amongst other things, these have to do with the nature of expert knowledge, design, creativity and the central but less celebrated arts of administration.
Gillian Knoll
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474428521
- eISBN:
- 9781474481175
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474428521.003.0011
- Subject:
- Literature, Shakespeare Studies
Part III studies characters who conceive of desire as a dynamic process of mutual creation. These introductory pages explore the world-making capacities of the metaphor ‘Love is a Collaborative Work ...
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Part III studies characters who conceive of desire as a dynamic process of mutual creation. These introductory pages explore the world-making capacities of the metaphor ‘Love is a Collaborative Work of Art,’ which conceptualises love as artfully creating a reality. This creative process often invites a third entity—a filter, a buffer, or an instrument—that mediates between the subject and object of desire. When Kenneth Burke writes about the role of instruments in daily life, he emphasises the instrument’s ontological connection, its potential fusion, with the subject who deploys it. This section explores this dynamic connection in the collaborative work of art that is Shakespeare’s Cesario. In Twelfth Night, Cesario is an ongoing process rather than a finished product. An erotic subject, object, and instrument, Cesario keeps becoming Cesario through his/their continued exchanges with Orsino and Olivia.Less
Part III studies characters who conceive of desire as a dynamic process of mutual creation. These introductory pages explore the world-making capacities of the metaphor ‘Love is a Collaborative Work of Art,’ which conceptualises love as artfully creating a reality. This creative process often invites a third entity—a filter, a buffer, or an instrument—that mediates between the subject and object of desire. When Kenneth Burke writes about the role of instruments in daily life, he emphasises the instrument’s ontological connection, its potential fusion, with the subject who deploys it. This section explores this dynamic connection in the collaborative work of art that is Shakespeare’s Cesario. In Twelfth Night, Cesario is an ongoing process rather than a finished product. An erotic subject, object, and instrument, Cesario keeps becoming Cesario through his/their continued exchanges with Orsino and Olivia.
David Huddart
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9781781380253
- eISBN:
- 9781781381540
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781380253.003.0006
- Subject:
- Linguistics, English Language
This chapter studies the relationship between pedagogy, criticism, and creativity, in the postcolonial classroom. The specific example of Hong Kong is the focus, an example that emphasizes the limits ...
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This chapter studies the relationship between pedagogy, criticism, and creativity, in the postcolonial classroom. The specific example of Hong Kong is the focus, an example that emphasizes the limits of certain paradigms, as de-essentializing the native speaker for the Hong Kong classroom, while something that students can understand, is something that is resisted to the extent that the acceptance Hong Kong English is itself resisted. Global English implies restriction, the exonormative, the instrumental, and emotional distance. World Englishes studies encourages the liberation of difference, against this globalizing linguistic force. However, this chapter argues that this desire, while appropriate for a context such as Singapore, is not necessarily appropriate for apparently comparable contexts.Less
This chapter studies the relationship between pedagogy, criticism, and creativity, in the postcolonial classroom. The specific example of Hong Kong is the focus, an example that emphasizes the limits of certain paradigms, as de-essentializing the native speaker for the Hong Kong classroom, while something that students can understand, is something that is resisted to the extent that the acceptance Hong Kong English is itself resisted. Global English implies restriction, the exonormative, the instrumental, and emotional distance. World Englishes studies encourages the liberation of difference, against this globalizing linguistic force. However, this chapter argues that this desire, while appropriate for a context such as Singapore, is not necessarily appropriate for apparently comparable contexts.
Daniel Punday
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780816696994
- eISBN:
- 9781452953601
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816696994.003.0007
- Subject:
- Literature, Criticism/Theory
The conclusion returns to the issue of the teaching of writing raised in chapter 2, and advocates for an expanded understanding of what it means to help students think about themselves as writers. ...
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The conclusion returns to the issue of the teaching of writing raised in chapter 2, and advocates for an expanded understanding of what it means to help students think about themselves as writers. Too often we talk about the teaching of writing as a matter of encouraging students to embrace their ability to respond to a variety of rhetorical situations in personal, civic, and professional life. Since writing is the emblematic activity of contemporary knowledge work, the composition classroom is an ideal place to address changing attitudes towards work, creativity, and invention. More broadly, as writing becomes a model for a host of professional activities like programming, we should use these classes to help students to find a balance between the individual and the corporate, between the shared and the new, and between the professional and the personal.Less
The conclusion returns to the issue of the teaching of writing raised in chapter 2, and advocates for an expanded understanding of what it means to help students think about themselves as writers. Too often we talk about the teaching of writing as a matter of encouraging students to embrace their ability to respond to a variety of rhetorical situations in personal, civic, and professional life. Since writing is the emblematic activity of contemporary knowledge work, the composition classroom is an ideal place to address changing attitudes towards work, creativity, and invention. More broadly, as writing becomes a model for a host of professional activities like programming, we should use these classes to help students to find a balance between the individual and the corporate, between the shared and the new, and between the professional and the personal.
Yue Chim Richard Wong
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9789888139446
- eISBN:
- 9789888180349
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888139446.003.0011
- Subject:
- Society and Culture, Asian Studies
The author entertains the notion that in the long run, Hong Kong's economic growth counts critically on the creativity and innovation of the citizens. Positive non-interventionism has long been the ...
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The author entertains the notion that in the long run, Hong Kong's economic growth counts critically on the creativity and innovation of the citizens. Positive non-interventionism has long been the guiding principle in managing local economic affairs, and therefore, conspicuously there is merely limited room for positive intervention to prevail in society. This chapter puts forward an argument selective intervention for promoting policies and building institutions to foster creativity and innovation.Less
The author entertains the notion that in the long run, Hong Kong's economic growth counts critically on the creativity and innovation of the citizens. Positive non-interventionism has long been the guiding principle in managing local economic affairs, and therefore, conspicuously there is merely limited room for positive intervention to prevail in society. This chapter puts forward an argument selective intervention for promoting policies and building institutions to foster creativity and innovation.
Maria Voyatzaki
- Published in print:
- 2018
- Published Online:
- May 2020
- ISBN:
- 9781474420570
- eISBN:
- 9781474453905
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474420570.003.0001
- Subject:
- Philosophy, Aesthetics
Maria Voyatzaki’s chapter examines how contemporary speculations on matter shift materiality into the epicentre of architectural contemplation and affect its ethos and praxis. By encountering the ...
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Maria Voyatzaki’s chapter examines how contemporary speculations on matter shift materiality into the epicentre of architectural contemplation and affect its ethos and praxis. By encountering the emergence of a new paradigm for which the establishment of an overall orthodoxy is impossible, the chapter, following the contemporary quest for a better understanding of this model of reality, offers a profound insight into contemporary thinking and creating architecture in this new framework defined as posthuman.
As architecture throughout its history has always been defined on the basis of a certain worldview and in reference to a certain conception of the human, what will architecture become in the posthuman turn or even more in the nonhuman? How are its broad spectrum of established ideas, values and practices problematised by this new philosophical debate on architectural thinking and practicing in our globalised and technologically mediated world? The chapter examines these questions in terms of three main issues: the new conceptions of architecture that could emerge from the contemporary materialisms, the new understandings of the material outcome of architectural creative work and the influences of the above conceptions and understandings on the development of the creative process.Less
Maria Voyatzaki’s chapter examines how contemporary speculations on matter shift materiality into the epicentre of architectural contemplation and affect its ethos and praxis. By encountering the emergence of a new paradigm for which the establishment of an overall orthodoxy is impossible, the chapter, following the contemporary quest for a better understanding of this model of reality, offers a profound insight into contemporary thinking and creating architecture in this new framework defined as posthuman.
As architecture throughout its history has always been defined on the basis of a certain worldview and in reference to a certain conception of the human, what will architecture become in the posthuman turn or even more in the nonhuman? How are its broad spectrum of established ideas, values and practices problematised by this new philosophical debate on architectural thinking and practicing in our globalised and technologically mediated world? The chapter examines these questions in terms of three main issues: the new conceptions of architecture that could emerge from the contemporary materialisms, the new understandings of the material outcome of architectural creative work and the influences of the above conceptions and understandings on the development of the creative process.
Kas Oosterhuis
- Published in print:
- 2018
- Published Online:
- May 2020
- ISBN:
- 9781474420570
- eISBN:
- 9781474453905
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474420570.003.0004
- Subject:
- Philosophy, Aesthetics
The chapter engages with the idea that nonhuman creativity is fostering a new architecture based on continuous variation both in its theoretical and in its technical and material dimension. The ...
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The chapter engages with the idea that nonhuman creativity is fostering a new architecture based on continuous variation both in its theoretical and in its technical and material dimension. The chapter depicts the trajectory of ONL, the author’s practice, and how with this mission it has moved to the third industrial revolution that has altogether revolutionised architecture as a whole. In this chapter Kas Oosterhuis redefines the fundamentals in three phases; phase A: mass production, phase B: mass customisation - in which phase ONL’s built projects are positioned - and moving into the upbeat of phase C: distributed robotic design, production, assembly and operation, in which phase the achievements of Hyperbody’s interactive architecture are positioned. He concludes by challenging the traditional role of the architect that has shifted, nowadays, to that of an expert.Less
The chapter engages with the idea that nonhuman creativity is fostering a new architecture based on continuous variation both in its theoretical and in its technical and material dimension. The chapter depicts the trajectory of ONL, the author’s practice, and how with this mission it has moved to the third industrial revolution that has altogether revolutionised architecture as a whole. In this chapter Kas Oosterhuis redefines the fundamentals in three phases; phase A: mass production, phase B: mass customisation - in which phase ONL’s built projects are positioned - and moving into the upbeat of phase C: distributed robotic design, production, assembly and operation, in which phase the achievements of Hyperbody’s interactive architecture are positioned. He concludes by challenging the traditional role of the architect that has shifted, nowadays, to that of an expert.
Marcos Cruz
- Published in print:
- 2018
- Published Online:
- May 2020
- ISBN:
- 9781474420570
- eISBN:
- 9781474453905
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474420570.003.0005
- Subject:
- Philosophy, Aesthetics
In this chapter Marcos Cruz suggests a new way of biointegrated design which explores non-building, unthinkable novel materials that are products of in-vivo research on living organisms and forms ...
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In this chapter Marcos Cruz suggests a new way of biointegrated design which explores non-building, unthinkable novel materials that are products of in-vivo research on living organisms and forms that are physically built and yield new aesthetics, resulting from novel hybrid techniques of production. Nonhuman creativity comes from this new aesthetics and from the in-vitro mathematical systems and material computation that run parallel. Not only a new aesthetics is put forward, but also a new way of dealing with environmental issues, critical to future living. The chapter dwells on the shift from the performance of materials to their performativity, as a way of explaining the interactivity between materials and their broader ecology. Moreover, through his work as teacher and as practising architect, the author illustrates how nature itself is potentially programmable matter.Less
In this chapter Marcos Cruz suggests a new way of biointegrated design which explores non-building, unthinkable novel materials that are products of in-vivo research on living organisms and forms that are physically built and yield new aesthetics, resulting from novel hybrid techniques of production. Nonhuman creativity comes from this new aesthetics and from the in-vitro mathematical systems and material computation that run parallel. Not only a new aesthetics is put forward, but also a new way of dealing with environmental issues, critical to future living. The chapter dwells on the shift from the performance of materials to their performativity, as a way of explaining the interactivity between materials and their broader ecology. Moreover, through his work as teacher and as practising architect, the author illustrates how nature itself is potentially programmable matter.
Barbara Glowczewski
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474450300
- eISBN:
- 9781474476911
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474450300.003.0013
- Subject:
- Philosophy, History of Philosophy
This essay shows that the exhaustion of the earth, of certain ontologies, and of our creative forces, are all interconnected, just as the ethico-aesthetic responses to this exhaustion are inseparable ...
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This essay shows that the exhaustion of the earth, of certain ontologies, and of our creative forces, are all interconnected, just as the ethico-aesthetic responses to this exhaustion are inseparable from cosmopolitics. More and more activist movements struggling against the destruction of their living environments – especially because of the extractive industries that accelerate the climate change and poison the water and the air, – look for alliance with and inspiration from Indigenous people, such as Aboriginal Australians, whose vision of the Earth is not to deny nature on the pretext that it would have succumbed to human technologies. This article proposes to respond to the reduction of ontologies in anthropology with a “slow anthropology” that would be “standing with the Earth”, a slow anthropology based on a field experience, ecosophically inspired by visions and creativity of Indigenous peoples and of their allies, and by the Science Fiction according to Haraway, Stengers and Meillassoux. First published in 2017.Less
This essay shows that the exhaustion of the earth, of certain ontologies, and of our creative forces, are all interconnected, just as the ethico-aesthetic responses to this exhaustion are inseparable from cosmopolitics. More and more activist movements struggling against the destruction of their living environments – especially because of the extractive industries that accelerate the climate change and poison the water and the air, – look for alliance with and inspiration from Indigenous people, such as Aboriginal Australians, whose vision of the Earth is not to deny nature on the pretext that it would have succumbed to human technologies. This article proposes to respond to the reduction of ontologies in anthropology with a “slow anthropology” that would be “standing with the Earth”, a slow anthropology based on a field experience, ecosophically inspired by visions and creativity of Indigenous peoples and of their allies, and by the Science Fiction according to Haraway, Stengers and Meillassoux. First published in 2017.
Yannis Stavrakakis
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748619801
- eISBN:
- 9780748672073
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748619801.003.0002
- Subject:
- Political Science, Political Theory
This opening chapter aims at initiating a dialogue between Lacanian (political) theory and the social and political theory advanced by Cornelius Castoriadis. A follower of Lacan's seminar who ...
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This opening chapter aims at initiating a dialogue between Lacanian (political) theory and the social and political theory advanced by Cornelius Castoriadis. A follower of Lacan's seminar who subsequently rejected Lacanian theory, Castoriadis serves as a border figure, a frontier signpost, whose differentiation from the Lacanian corpus can help us draw a first delimitation of the terrain of the Lacanian Left. In fact, a closer look reveals a surprising proximity between the two projects on many levels. Crucially, they both seem to share a similar type of social constructionism. However, they draw quite different conclusions from this constructionism: Castoriadis stresses the importance of creativity while Lacan highlights the alienating dimension of every social construction. Furthermore, in order to safeguard a politics of radical imagination, Castoriadis ultimately disavows the alienating limits of human creation. Here, the Lacanian Left follows a differentdirection. Instead of leading to political quietism or nihilism, a serious registering of the limits of creativity – the Lacanian real as an index of the negative – should be seen as a condition of possibility for a passionate and imaginative transformative politics and for the radicalization of democracy.Less
This opening chapter aims at initiating a dialogue between Lacanian (political) theory and the social and political theory advanced by Cornelius Castoriadis. A follower of Lacan's seminar who subsequently rejected Lacanian theory, Castoriadis serves as a border figure, a frontier signpost, whose differentiation from the Lacanian corpus can help us draw a first delimitation of the terrain of the Lacanian Left. In fact, a closer look reveals a surprising proximity between the two projects on many levels. Crucially, they both seem to share a similar type of social constructionism. However, they draw quite different conclusions from this constructionism: Castoriadis stresses the importance of creativity while Lacan highlights the alienating dimension of every social construction. Furthermore, in order to safeguard a politics of radical imagination, Castoriadis ultimately disavows the alienating limits of human creation. Here, the Lacanian Left follows a differentdirection. Instead of leading to political quietism or nihilism, a serious registering of the limits of creativity – the Lacanian real as an index of the negative – should be seen as a condition of possibility for a passionate and imaginative transformative politics and for the radicalization of democracy.
