Totes Phenom
Phenomenon, from the Greek for ‘things that appear’
Phenomenology is a philosophy of experience. For phenomenology the ultimate source of all meaning and value is the lived experience of human beings. All philosophical systems, scientific theories, or aesthetic judgments have the status of abstractions from the ebb and flow of the lived world.
A phenomenological approach to Artistic Intention
Drawing and Phenomenology
https://intellectdiscover.com/content/journals/10.1386/drtp_00066_1
To draw on something means to allow yourself to be informed by and to heed the clues, suggestions and directions emanating from another source. The aim of this article is to describe how walking, as an embodied form of visual and performative practice, might open up opportunities and avenues for an expanded drawing approach. The first step is to plant one’s feet on the ground and let yourself be drawn to the terrain. The whole experience emerges from the terrain and thus it can be considered as drawing from the ground up. This article discusses and considers how un/planned perambulations can be transformed into a drawing(-out) tool that extends the meaning of the practice to comprise multimodal extrapolations and a diverse range of media. The eclectic approaches discussed in this article draw heavily on phenomenology and bear traces of a grounded theory that borrows from deep mapping combined with aspects of Dasein, which can be discerned throughout the process. The discussion explores the wider meaning of drawing as a form of seeing and making in response to place and time, while it attempts to push drawing beyond the limits imposed by a restricted flat surface.
At the Existentialist Café: Freedom, Being, and Apricot Cocktails
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Why Drawing Matters
https://intellectdiscover.com/content/journals/10.1386/drtp_00016_2
What is a Drawing
https://intellectdiscover.com/content/journals/10.1386/drtp.1.2.197_1
Drawing, both as process and product, has proved notoriously resistant to definition. The current need for a reformulated definition is made more pressing by the postulation of ‘an expanded field of drawing’ comparable with a presumed expanded field of sculpture. This expanded field of drawing is characterized by a widespread dissolution of the traditional boundaries between categories such as drawing, writing, diagram and code. A revolution in art practice has been accompanied by a corresponding resurgence in analytical theory and critical context, reflected in exhibitions, publications and the formation of professional networks. In such a period of transformation and change it is advisable that we revisit the issue of definition of terms and practices. A variety of approaches to definition are reviewed, including ostensive and stipulative strategies. Wittgenstein’s concept of definition based upon ‘family resemblance’ is tested but found unhelpful in this case. The philosophical concepts of qualia and supervenience are introduced as useful strategies in formulating a consistent definition. The role of intention is appraised, as is the legitimacy of applying the concept of drawing by transference to print media. The article concludes with a proposal that there is still scope for a stipulative definition of drawing, and that the essence of drawing resides in the articulation of planar space. It is proposed that in this context the role of intention is immaterial. It is suggested that by deploying the concepts of qualia and supervenience the appellation ‘drawing’ can with some justification be extended by transference to a wide range of analogous products such as painting and prints.
What Drawing and Painting Really Mean | Phenomenology of Image and Gesture
There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their making embody unique meanings that transform our perception of space-time and sense of finitude. These meanings have not been addressed by art history or visual studies hitherto, and have only been considered indirectly by philosophers (mainly in the phenomenological tradition). If these intrinsic meanings are explained and further developed, then the philosophy of art practice is significantly enhanced. The present work, accordingly, is a phenomenology of how the gestural and digital creation of visual imagery generates self-transformation through aesthetic space.
Chapter: The Phenomenology of Drawing and Painting
This chapter addresses the intuitive symbolic meanings and associations that are involved in drawing and painting as activities, identifies a similar range of meanings intrinsic to the planar structure of drawing and painting. It considers the ontology of drawing and painting as gestural activities using physical materials. The chapter identifies a similar range of meanings intrinsic to the planar structure of drawing and painting. The planar support is also important in relation to abstract art. For the basis of meaning in such works is the placing of marks upon a two-dimensional plane to create the optical illusion of them being in front of or behind the plane, or of being animated in relation to it.
Art and Phenomenology
https://www.routledge.com/Art-and-Phenomenology/Parry/p/book/9780415774505?srsltid=AfmBOoowbQ0SGKVuDCl64IZBZW-XRnkpH3r46LrJOToJnL-gEBXqgSEm
Philosophy of art is traditionally concerned with the definition, appreciation and value of art. Through a close examination of art from recent centuries, Art and Phenomenology is one of the first books to explore visual art as a mode of experiencing the world itself, showing how in the words of Merleau-Ponty ‘Painting does not imitate the world, but is a world of its own’.
An outstanding series of chapters by an international group of contributors examine the following questions:
Paul Klee and the body in art
colour and background in Merleau-Ponty’s phenomenology of art
self-consciousness and seventeenth-century painting
Vermeer and Heidegger
philosophy and the painting of Rothko
embodiment in Renaissance art
sculpture, dance and phenomenology.
Phenomenology of Spirit - Hegel
https://en.wikipedia.org/wiki/The_Phenomenology_of_Spirit
ChatGPT: Hegel's Phenomenology of Spirit (also translated as *Phenomenology of Mind*) is a complex and foundational work in Western philosophy that traces the development of consciousness through various stages toward the realisation of "Absolute Knowledge." The central theme is the evolution of human consciousness and the unfolding of spirit (or mind) in history.
Key Points:
1. Dialectical Method: Hegel uses a dialectical method, where each stage of consciousness develops through a process of thesis, antithesis, and synthesis. Each stage overcomes the contradictions of the previous one, leading to a higher level of understanding.
2. Stages of Consciousness: The work outlines the journey of consciousness from simple sensory experience to self-awareness and eventually to a fully developed spirit. Major stages include:
- Sense-certainty: The most basic level of awareness, where knowledge is derived from immediate sensory experience.
- Perception: Consciousness recognizes objects and begins to understand the world as a collection of stable, independent entities.
- Force and the Understanding: The mind begins to grasp underlying forces and the concept of causality.
- Self-consciousness: The awareness of the self as an individual, distinct from others.
- Reason: The recognition of the self as a part of the universal, rational order.
3. Master-Slave Dialectic: A crucial part of the work is the "master-slave" dialectic, where self-consciousness is formed through a struggle for recognition. The master and the slave represent different aspects of self-consciousness, and through this relationship, the slave eventually achieves a higher level of self-awareness and freedom.
4. Spirit: As consciousness develops, it transitions into "spirit," which represents a higher form of collective consciousness expressed in culture, society, and history. Spirit is the realization of freedom in a social and historical context.
5. Absolute Knowledge: The culmination of the phenomenological journey is "Absolute Knowledge," where spirit fully realizes itself and achieves self-comprehension. Here, the distinctions between subject and object, self and world, are reconciled.
6. Historical Process: Hegel sees this process as not just a philosophical journey but as the unfolding of human history. Each stage corresponds to a different epoch in history, reflecting the evolving human consciousness.
In summary, *Phenomenology of Spirit* presents a developmental view of consciousness, where the individual mind gradually comes to understand itself as part of a greater historical and universal process, ultimately leading to self-realization and freedom within the context of a shared spirit.
Egological meets Ecological | Drawing Perspectives
Aspects of Edmund Husserl’s egological phenomenology and James J. Gibson’s ecological visual perception theory are construed dialectically for the purpose of informing the teaching of drawing, with an emphasis on understanding relationships between viewer positions and objects in the environment as represented through geometric projection systems. Such a grounding is conducive to a drawing practice capable of insights leading to new knowledge of our relationships with our environment, both egological and ecological, in an art school curriculum currently distorted by neo-liberal trends from the core study of visual perception and communication.
Drawing Insects and Phenomenology
https://ejournal.usm.my/wacanaseni/article/view/ws-vol16-2017-8/pdf
Mark Making Beneath the Surface
https://intellectdiscover.com/content/journals/10.1386/drtp_00129_1
Drawing evokes notions of mark-making on a surface. This paper explores an immersive and fluid kind of mark-making that originates beneath the surface, gradually emerging to reveal what is going on at a deeper level more specifically under the sea. Immersive mark-making arises from below in the form of undercurrents, generating ripples that progressively and delicately make their way up as they glimmer and reflect the light penetrating the surface of the water. Hand gestures contribute to fluid movements that form tiny, frothy bubbles, each containing a reflective space awaiting to be explored and delved into. The fleeting bubbles are so delicate and elusive that their elegant movement can hardly be absorbed by the naked eye. A camera is needed to catch these special moments lasting only a few seconds and which can never be replicated. The current set of immersive charcoal drawings documents the result of swift mark-making gestures below the surface of the Mediterranean Sea captured by a submerged action camera. What the collection of photographs reveals is a universe made of miniscule worlds, drifting and rolling in a playful unchoreographed manner before vanishing into thin air. The poetic passage, both agitated and graceful, allows for drawing in water. It comprises shapes and rhythms, light and darkness, shifts and stillness, aspects we rarely have the time to reflect upon. The ensuing discussion presents the findings emanating from beneath by bringing to the surface of the paper the liquid cosmos generated by drawing in water.
An Index of Longing
https://intellectdiscover.com/content/journals/10.1386/drtp_00131_1
Feminist epistemology positions knowledge in relationship to, or as contingent on, its knower. From this framework, drawing can be situated as a relational and embodied form of knowing the phenomenal world. Drawing opens a space in which we can explore the margin between perception and representation as an epistemological problem. It asks: ‘How can we locate the relationship between knowers and what is known across time through the canon of drawing?’. Drawing is the enactment of this problem. It bridges the gap between the phenomenal and the constructed world of knowledge and, in doing so, visualizes the relationship between our senses and our sense of self. My research reflects on the visual history of ‘The Corinthian Maid’, a Roman origin story for the first act of drawing, and on its use in my own creative practice as a framework to explore the evolution of western ideas on gender, embodiment, knowledge and creativity. The Corinthian Maid functions as an access point through which to consider new understandings of the relationship between knowledge and the body, with drawing as our guide.
Phenomenologies of Art and Vision
Contemporary discussions of the image like to emphasize art's societal functions. Few studies come close to answering why pictures and sculptures fascinate and intrigue regardless of any practical functions they might serve. In this original, thought-provoking study, Paul Crowther reveals the intrinsic significance of pictures and sculptures. To address the question of how painting becomes an art, Crowther uses the analytic philosophy of Richard Wollheim as a starting point. But to sufficiently answer the question, he makes an important link to a tradition much more successful in giving voice to the deeper ontology of visual art - existential phenomenology.
The result is a work that demonstrates the reciprocal relationship between phenomenology and analytic aesthetics. To expand its ontological scope and solve the problem of expression, analytic aesthetics needs phenomenology; while to develop a sustained, critically balanced, and intellectually available ontology, phenomenology needs the discursive force and lucidity of analytic philosophy. This convincing case for a post-analytic phenomenology of art is an important advancement of contemporary discussions of the philosophy of art.
What is Existential Phenomenology? Google AI: Existential phenomenology is a research approach and a movement in philosophy that focuses on the human condition, values, and choices:
Research approach
Existential phenomenological research aims to understand the human experience in a way that reflects a person's values, emotions, and relationships. This approach can help researchers understand the needs of others by identifying and setting aside theoretical and ideological prejudices.
Movement
Existential phenomenology is a movement that draws on the Reflective-Descriptive spirit of the Logical Investigations and the interest in Nietzsche and Kierkegaard in the 1920s and 1930s.
Philosophy
Existential phenomenology is a philosophical view that argues that philosophy should begin from experience, and that the temporality of personal existence is the framework for analyzing the human condition