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2. Art History, Immanently
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Kapitel in diesem Buch
- Frontmatter i
- Contents v
- List of Illustrations vii
- Notes on Contributors ix
- Introduction: Art’s Philosophy – Bergson and Immanence 1
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Part I: Bergson, Art, History
- 1. Bergson, History and Ontology 17
- 2. Art History, Immanently 32
- 3. Art History, Less Its Conditions of Possibility: Following Bergson’s ‘Le Possible et le réel’ 47
- 4. Matisse, Bergson, Oiticica, etc. 63
- 5. Bergson Before Deleuze: How to Read Informel Painting 80
- 6. Revolutionary Immanence: Bergson Among the Anarchists 94
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Part II: Unconditional Practice
- 7. The Matter of the Image: Notes on Practice-Philosophy 115
- 8. Pasearse: Duration and the Act of Photographing 131
- 9. Duration and Rhetorical Movement 148
- 10. A Diagram of the Finite-Infinite Relation: Towards a Bergsonian Production of Subjectivity 165
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Part III: Immanence of the Visible
- 11. Painting the Invisible: Time, Matter and the Image in Bergson and Michel Henry 189
- 12. ‘For We Will Have Shown it Nothing’: Bergson as Non- Philosopher (of) Art 206
- 13. The Untimeliness of Bergson’s Metaphysics: Reading Diffractively 232
- 14. Hyperaesthesia and the Virtual 247
- Afterword: An Art Historical Return to Bergson 260
- Index 272
Kapitel in diesem Buch
- Frontmatter i
- Contents v
- List of Illustrations vii
- Notes on Contributors ix
- Introduction: Art’s Philosophy – Bergson and Immanence 1
-
Part I: Bergson, Art, History
- 1. Bergson, History and Ontology 17
- 2. Art History, Immanently 32
- 3. Art History, Less Its Conditions of Possibility: Following Bergson’s ‘Le Possible et le réel’ 47
- 4. Matisse, Bergson, Oiticica, etc. 63
- 5. Bergson Before Deleuze: How to Read Informel Painting 80
- 6. Revolutionary Immanence: Bergson Among the Anarchists 94
-
Part II: Unconditional Practice
- 7. The Matter of the Image: Notes on Practice-Philosophy 115
- 8. Pasearse: Duration and the Act of Photographing 131
- 9. Duration and Rhetorical Movement 148
- 10. A Diagram of the Finite-Infinite Relation: Towards a Bergsonian Production of Subjectivity 165
-
Part III: Immanence of the Visible
- 11. Painting the Invisible: Time, Matter and the Image in Bergson and Michel Henry 189
- 12. ‘For We Will Have Shown it Nothing’: Bergson as Non- Philosopher (of) Art 206
- 13. The Untimeliness of Bergson’s Metaphysics: Reading Diffractively 232
- 14. Hyperaesthesia and the Virtual 247
- Afterword: An Art Historical Return to Bergson 260
- Index 272