Shottenkirk Dena (85 results)

Pamphlet. This is not a book. The gallery guide/catalogue for an exhibition of work by Judith Barry, Glenn Branca, Hanne Darboven, Eve Laramee, Holt Quental, Dena Shottenkirk, Wolfgang Staehle, William Stone, Mark Tansey, and Anne Turyn. The show was curated by Leslie Tonkonow and Klaus Ottmann and was held at Stux Gallery, NYC, January 13 - February 6, 1988. Texts by Tonkonow, Ottmann, and Barry; spiral-fold pamphlet; 8 pages; 10 b&w illustrations; 5 x 10.5 inches. Condition: Fine pamphlet. Will be sandwiched securely between stiff layers of cardboard and shipped the next business day.…

Paperback. Condition: Very Good. C Magazine, Issue #73 Spring 2002 a Canadian Art Magazine with pieces by Lynn Crosbie, Dena Shottenkirk, Cris Kraus, Kika Thornel, Wayne Baerwaldt, Carl Skelton and others. Pieces on Corinne Carlson, Three Generations of Conceptual Artists, Sophie Calle, Martin Creed, Nadine Norman, Sam Samore and more. 42 pages, paper with stiff cover. Color and black and white reproductions. Very good condition.…

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Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New. 1st edition NO-PA16APR2015-KAP.

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Condition: New. In English.

Hardcover. Condition: new. Hardcover. This book offers a different take on the aesthetic experience. Firstly, aesthetics has traditionally been analyzed only from the point of view of the viewer. This book does not do that, as aesthetics involves both a viewer and a maker; thus, a satisfactory account of the aesthetic experience would be one that was derived from both kinds of perceptual experiences. Secondly, this book focuses on the role of low-level features, such as texture, illumination, color, shape, movement, etc., in the aesthetic experience. Perception itself significantly involves these low-level features, and the sensory experience of aesthetics does so particularly. To explicate this, the book provides background information into recent findings in visual science that support this emphasis on low-level features, particularly within the framework of very early perception known as gist perception, which is experienced in the first approximately 300 ms. This gist experience is also viewed through the philosophical lens of sensing, which gives a framework with which to understand low-level percepts. Thirdly, the book concludes with a description of how the perceptual and cognitive processes of viewer and maker interact with curatorial/critical testimony in order to construct the artworks meaning. Thus, art is seen as a kind of conversation. To explicate this, the book provides background information into recent findings in visual science that support this emphasis on low-level features, particularly within the framework of very early perception known as gist perception, which is experienced in the first approximately 300 ms. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardcover. Condition: Very Good. Nelson Goodman's disparate writings are often written about only within their own particular discipline, such that the epistemology is discussed in contrast to others' epistemology, the aesthetics is contrasted with more traditional aesthetics, and the ontology and logic is viewed in contrast to both other contemporary philosophers and to Goodman's historical predecessors. This book argues that that is not an adequate way to view Goodman. The separate disciplines of ontology, epistemology, and aesthetics should be viewed as sequential steps within his thought, such that each provides the ground rules for the next section and, furthermore, providing the reasons for limitations on the terms av.…

Paperback. Condition: Brand New. 352 pages. 9.00x6.00x0.82 inches. In Stock.

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Condition: Very Good. Minor shelf wear otherwise fine.

Hardcover. Condition: new. Hardcover. This book offers a different take on the aesthetic experience. Firstly, aesthetics has traditionally been analyzed only from the point of view of the viewer. This book does not do that, as aesthetics involves both a viewer and a maker; thus, a satisfactory account of the aesthetic experience would be one that was derived from both kinds of perceptual experiences. Secondly, this book focuses on the role of low-level features, such as texture, illumination, color, shape, movement, etc., in the aesthetic experience. Perception itself significantly involves these low-level features, and the sensory experience of aesthetics does so particularly. To explicate this, the book provides background information into recent findings in visual science that support this emphasis on low-level features, particularly within the framework of very early perception known as gist perception, which is experienced in the first approximately 300 ms. This gist experience is also viewed through the philosophical lens of sensing, which gives a framework with which to understand low-level percepts. Thirdly, the book concludes with a description of how the perceptual and cognitive processes of viewer and maker interact with curatorial/critical testimony in order to construct the artworks meaning. Thus, art is seen as a kind of conversation. To explicate this, the book provides background information into recent findings in visual science that support this emphasis on low-level features, particularly within the framework of very early perception known as gist perception, which is experienced in the first approximately 300 ms. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…

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Hardcover. Condition: New. Brand new book, sourced directly from publisher. Dispatch time is 9-10 days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Condition: New. In English.

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Hardcover. Dust Jacket Condition: No Dust Jacket As Issued. Text clean and tight; no dust jacket; Routledge Studies In Contemporary Philosophy; 8vo 8" - 9" tall; 360 pages As New No dust jacket as issued.

Buch. Condition: Neu. Druck auf Anfrage Neuware - Printed after ordering - This book offers a different take on the aesthetic experience. Firstly, aesthetics has traditionally been analyzed only from the point of view of the viewer. This book does not do that, as aesthetics involves both a viewer and a maker; thus, a satisfactory account of the aesthetic experience would be one that was derived from both kinds of perceptual experiences. Secondly, this book focuses on the role of low-level features, such as texture, illumination, color, shape, movement, etc., in the aesthetic experience. Perception itself significantly involves these low-level features, and the sensory experience of aesthetics does so particularly. To explicate this, the book provides background information into recent findings in visual science that support this emphasis on low-level features, particularly within the framework of very early perception known as gist perception, which is experienced in the first approximately 300 ms. This gist experience is also viewed through the philosophical lens of sensing, which gives a framework with which to understand low-level percepts. Thirdly, the book concludes with a description of how the perceptual and cognitive processes of viewer and maker interact with curatorial/critical testimony in order to construct the artwork s meaning. Thus, art is seen as a kind of conversation.…

Condition: New.

Hardback. Condition: New. 2009 ed. Nelson Goodman's disparate writings are often written about only within their own particular discipline, such that the epistemology is discussed in contrast to others' epistemology, the aesthetics is contrasted with more traditional aesthetics, and the ontology and logic is viewed in contrast to both other contemporary philosophers and to Goodman's historical predecessors. This book argues that that is not an adequate way to view Goodman. The separate disciplines of ontology, epistemology, and aesthetics should be viewed as sequential steps within his thought, such that each provides the ground rules for the next section and, furthermore, providing the reasons for limitations on the terms available to the subsequent writing(s). This is true not merely because this is the general chronology of his writing, but more importantly because within his metaphysics lies Goodman's basic nominalist ontology and logic, and it is upon those principles that he builds his epistemology and, furthermore, it is the sum of both the metaphysics and the epistemology, with the nominalist principle as the guiding force, which constructs the aesthetics. At the end of each section of this book, the consequent limitations imposed on his terms and concepts available to him are explicated, such that, by the end of the book, the book delineates the constraints imposed upon the aesthetics by both the metaphysics and the epistemology.This book will benefit not only the professionals in the field of philosophy, but will also help both graduate and upper level undergraduate students understand Goodman's disparate writings within their proper context, and hopefully will also encourage them to view philosophical thinking in a less truncated and departmentalized way.…