Techne Theory: A New Language for Art
Autor Henry Statenen Limba Engleză Hardback – 21 feb 2019
Understood as techne, art-making, like all other cultural accomplishments, is a form of work performed by an artisan who has inherited the know-how of previous generations of artisans. Along the way, Techne Theory cuts through the humanist-structuralist impasse over the question of artistic agency and explains what 'form' really means.
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Specificații
ISBN-13: 9781472592897
ISBN-10: 1472592891
Pagini: 216
Dimensiuni: 156 x 234 x 22 mm
Greutate: 0.48 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:London, United Kingdom
ISBN-10: 1472592891
Pagini: 216
Dimensiuni: 156 x 234 x 22 mm
Greutate: 0.48 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:London, United Kingdom
Cuprins
Acknowledgements
Part One: Fundamentals
Chapter 1: Introduction: The Techne Standpoint
Chapter 2: Art and Evolution
Chapter 3: The Artist's Touch
Part Two: Origins in Greek Philosophy
Chapter 4: How Plato (Despite Himself) Invented Techne Theory
Chapter 5: From Aristotle to Extended Mind
Part Three: Where Do Poems Come From?
Chapter 6: A Romantic View: Seamus Heaney
Chapter 7: Excursus on the Nature of Language
Chapter 8: An Anti-Romantic View: Paul Valéry
Part Four: Studies in Modernist Techne
Chapter 9: T. J. Clark's Picasso
Chapter 10: What's Radical About Radical Painting?
Chapter 11: The Techne of Kafka's Metamorphosis
Part Five: Techne Metatheory
Chapter 12: Universal Design Space and the Lines of Force
Bibliography
Index
Part One: Fundamentals
Chapter 1: Introduction: The Techne Standpoint
Chapter 2: Art and Evolution
Chapter 3: The Artist's Touch
Part Two: Origins in Greek Philosophy
Chapter 4: How Plato (Despite Himself) Invented Techne Theory
Chapter 5: From Aristotle to Extended Mind
Part Three: Where Do Poems Come From?
Chapter 6: A Romantic View: Seamus Heaney
Chapter 7: Excursus on the Nature of Language
Chapter 8: An Anti-Romantic View: Paul Valéry
Part Four: Studies in Modernist Techne
Chapter 9: T. J. Clark's Picasso
Chapter 10: What's Radical About Radical Painting?
Chapter 11: The Techne of Kafka's Metamorphosis
Part Five: Techne Metatheory
Chapter 12: Universal Design Space and the Lines of Force
Bibliography
Index
Recenzii
Each of the diverse chapters makes for highly interesting (and for an analytic philosopher refreshingly different) reading . [For] analytic philosophers of aesthetics, who have for the most part neglected the topic of creativity, this book is interesting and creative in both style and content.
From the standpoint of techne theory, Kant's most radical insight concerned the limitation of the creative power of individual genius, which cannot account for the emergence of the novelty or the formal evolution of the artwork. Building on this critical insight, Staten creates a highly original phenomenological investigation into the technical components of "art-making," remaining grounded in material processes and what art and literary theory can (and cannot) tell us about them.
In this learned, original, important, and always lively new study, Henry Staten moves today's heated and often sterile debate about aesthetic form to a new place-a place that is also (and in the best sense), an old place, newly inhabited. Staten rethinks Plato's and Aristotle's concepts of eidos and techne in three ways: first, by bringing searching attention of a scholarly and critical kind to tensions and contradictions within the founding works themselves; second, by making those works respond to the very developments that they sponsored in both Romantic and modernist works; and third, by coordinating ancient Greek concepts of art, form, medium, making, and doing, with a posthumanist framework that reunites knowledge and know-how, theory and practice, eidos and hyle, and vates and poietes. Anyone with any interest in the idea of form (and in the formation of ideas) should read this book. It changes the game we've been playing.
From the standpoint of techne theory, Kant's most radical insight concerned the limitation of the creative power of individual genius, which cannot account for the emergence of the novelty or the formal evolution of the artwork. Building on this critical insight, Staten creates a highly original phenomenological investigation into the technical components of "art-making," remaining grounded in material processes and what art and literary theory can (and cannot) tell us about them.
In this learned, original, important, and always lively new study, Henry Staten moves today's heated and often sterile debate about aesthetic form to a new place-a place that is also (and in the best sense), an old place, newly inhabited. Staten rethinks Plato's and Aristotle's concepts of eidos and techne in three ways: first, by bringing searching attention of a scholarly and critical kind to tensions and contradictions within the founding works themselves; second, by making those works respond to the very developments that they sponsored in both Romantic and modernist works; and third, by coordinating ancient Greek concepts of art, form, medium, making, and doing, with a posthumanist framework that reunites knowledge and know-how, theory and practice, eidos and hyle, and vates and poietes. Anyone with any interest in the idea of form (and in the formation of ideas) should read this book. It changes the game we've been playing.