What Drawing and Painting Really Mean

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A01=Paul Crowther
Abstract Art
Abstract Works
Aesthetic Empathy
aesthetic experience analysis
Aesthetic Space
aesthetics
art history
art making
art practice philosophy
Author_Paul Crowther
Blackcurrant Juice
Blombos Cave
Carnal Essence
Category=ABA
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cognitive image studies
creative gesture research
digital art creation
drawing
Drawing Machine
Duchamp's Nude Descending
Duchamp’s Nude Descending
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eq_bestseller
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eq_non-fiction
Figure Ground Relation
Homo Erectus
Intensive Magnitude
material practice
Merleau Ponty's Notion
Merleau Ponty’s Notion
Object's Availability
Object’s Availability
Optical Illusion
painting
phenomenological analysis of drawing
phenomenology
philosophy
Pictorial Space
self-transformation
Space Time Transcendence
Specific Latent Factors
Synthetic Cubism
Tertiary Analysis
Vast Common Ground
Vice Versa
Virtual Animation
Virtual Content
Virtual Figure
visual culture
visual imagery
visual perception theory

Product details

  • ISBN 9781138232662
  • Weight: 612g
  • Dimensions: 174 x 246mm
  • Publication Date: 03 May 2017
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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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.

Paul Crowther is Professor Emeritus of Philosophy at the National University of Ireland, Galway. He was formerly Reader in Aesthetics and the History of Art at Oxford University. Of his many monographs, the most recent is How Pictures Complete Us: The Beautiful, the Sublime, and the Divine.

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