Important philosophical volume by foremost architectural conceptualist emphasizes organic design, interrelated study of all arts. He provides introductory, retrospective, and prospective analysis, explores the creative instinct, organic order, form and vitality, form and time, form and logic, form and function, the dogmatic, mechanized, and the creative mind, and more.

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...) (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

Art and Form: From Roger Fry to Global ModernismROSESAMPenn State University Press. 2019. pp. 224. £71.95.

This paper argues that in foregoing the questions that emerge from the dialectical relationship between form and meaning, an intrinsic fallacy mistakes the relationship between the arts and education for a simplistic mechanism of signification—a false “ease”—where empty forms are supposedly given meaning by ethical and aesthetic givens as if the pedagogy of art were analogous to an empty room that was (or still needs to be) inhabited. Art’s false “ease” presents a tautology that presumes the relationship between the (...) arts and learning on assumptions that force a false equivalence between (a) the perception of implicit causes that constitute a number of externalised artistic attributes (such as creative, critical, and intuitive forms of thinking and making) by which the arts are instrumentalised, and (b) a number of desired effects that are seen as being equal to the relative value that an arts subject (or discipline) commands in a perceived relationship with the world in terms of its use and therefore function. To counter this distortion this paper makes a case for a pedagogical aesthetics that would unlearn—and thereby exit—the educationalist tautology of art’s false ease. While politically this would mean that the arts are recognized in their ability to think and act outside the traditional notion of schooling as a walled polis, philosophically this represents a challenge to move arts education away from the “spatial” concepts by which dialectical narratives, such as those of form and content, have been hitherto assumed as constructivist signifiers. (shrink)

'Doing an Aristotle' on Form: a highly compressed attempt to explain what we mean by the ambiguous term "form" in visual arts.

Music's status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-nineteenth century, Friedrich Theodor Vischer and other Hegelian aestheticians kept insisting on art's (...) conceptual clarity, but they adapted the aesthetic system on which this requirement had been based. Their adaptations turned out to be decisive for the development of music criticism, to such an extent that music critics used them to point out musical content and to confirm music's autonomy as an art form. This book unravels the network of music critics and philosophers, including not only Hegel but also Franz Liszt, Franz Brendel, and Eduard Hanslick, whose works shaped public opinions of music."--Publisher's description. (shrink)

Formes simples : présentes dans l'art avant l'histoire, inspirées de la nature ou des outils élémentaires, de l'évolution des techniques, des avancées en mathématiques, en biologie ou encore des découvertes archéologiques, elles sont réapparues au XIXe siècle en Occident. Ce livre explore la fascination qu'elles suscitent, leurs significations et leurs influences sur l'invention des formes modernes."--Page 4 of cover.

Review of Thomas Munro, Form and Style in the Arts, in Philosophy and Phenomenological Research, XXXII, 4 (June l973).

Multitude of strangely beautiful natural forms: Radiolaria, Foraminifera, Ciliata, diatoms, calcareous sponges, Siphonophora, star corals, starfishes, Protozoa, flagellates, brown seaweed, jellyfishes, sea-lilies, moss animals, sea-urchins, glass sponges, leptomedusae, horny corals, trunkfishes, true sea slugs, anthomedusae horseshoe crabs, sea-cucumbers, octopuses, bats, orchids, sea wasps, seahorse, a dragonfish, a frogfish, much more. All images black-and-white.

Even the best of artists are human, and therefore capable of turning out bad work. The father of poets has set his children the example of nodding, and small blame to his children if in this, as in other matters, they have followed where Homer led. Critics, that hardy and self-sacrificing race of beings who voluntarily incur the enmity of artists for the sake of the common welfare, have to classify the various manners and causes of nodding in poets. I (...) do not claim to be a critic, but I want to call your attention to a particular kind of nodding which presents a curious problem in the theory of art. I will call it the nod of the uncongenial subject. (shrink)

Art is a human communicative system that relies on referential cognition of thoughts, emotions, and experiences through symbolic meanings, which explains why only humans have art and why it is ubiquitously present throughout human societies. Archaeological evidence for early material art signals presence of symbolic and abstract cognition. In early human life in Africa the symbolism afforded by group dance formation would have been more advantageous for survival than individual artistic expression, but it would not leave archaeological physical traces. Slipping (...) into synchronized movements is a natural form of expressing interpersonal unity and symbolically signaling the members' affiliation to the group. In sharp contrast, production of material art encourages individual virtuosity in talent, something only a select few would possess, and in this regard it is not as inclusive as group dance. It is proposed here that the early Homo sapiens relied on symbolic expressions of intermember unity through group dance. (shrink)

_A groundbreaking study of the development of form in eighteenth-century aesthetics_ In this original work, Abigail Zitin proposes a new history of the development of form as a concept in and for aesthetics. Her account substitutes women and artisans for the proverbial man of taste, asserting them as central figures in the rise of aesthetics as a field of philosophical inquiry in eighteenth-century Europe. She shows how the idea of formal abstraction so central to conceptions of beauty in this period (...) emerges from the way practitioners think about craft and skill across the domestic, industrial, and so-called high arts. Zitin elegantly maps the complex connections among aesthetics, form, and formalism, drawing out the understated presence of practice in the writings of major eighteenth-century thinkers including Locke, Addison, Burke, and Kant. This new take on an old story ultimately challenges readers to reconsider form and why it matters. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Form and Discontent*Rosmarie Waldrop (bio)1. Composition as ExplanationIn the beginning there is Gertrude Stein, who says in “Composition as Explanation”: “Everything is the same except composition and as the composition is different and always going to be different everything is not the same” [520].I could also say, in the beginning is Aristotle: “the fable is simply this, the combination of the incidents” [1460].2. A Look AroundThe forms that (...) have been striking me as “wild” have tended to be Steinian in this sense of stressing the horizontal, the axis of composition. I’m most struck by 3 tendencies: one is literally spatial composition, e.g. Susan Howe’s work; another, an emphasis on discontinuity, leaps on the level of syntax, of logic, of grammar. Breaks that do not immediately fold back into a smooth unity and may occur in mid-sentence:I was on my way from Carthage, it was night. It is not wax I am scorching was dead about her with knots.—Norma Cole, MarsI hide behind a category by misbehaving.—Carla Harryman, Under the BridgeLoop conceived in a line, the spine with its regions, reasons. On another, sweaters hang by the wrist to dry. The list is sweet. You lie. The eye is met by the season.—Ron Silliman, ParadiseYou took my temperature which I had meant to save for a more difficult day.—Rosmarie Waldrop, The Reproduction of ProfilesWent out so I’d take the car and a whole system of banking and money is based on a hierarchy.—Leslie Scalapino, Considering How Exaggerated the Music IsROAST POTATOESRoast Potatoes for.—Gertrude Stein, “Tender Buttons”Or, a subtler example, Mei-mei Berssenbrugge’s almost unnoticeable shifts from one grammatical structure into another: [End Page 54]Never mind if he calls, the places you get through inwardness take time, and to drift down to the shore of the island, you know by the sand moving, even the coarse sand here It’s hard to say if you can even stand up, there....[13]The third tendency is mathematical. There is a lot of counting. Not stresses, not even syllables—I’m not considering that most unimaginative bunch, the new formalists—but words per line, sentences per paragraph. You all know about Ron Silliman’s love for the Fibonacci number series, or Lyn Hejinian’s My Life, which began with 37 sections of 37 sentences each. When she published a second edition at age 45, she added 8 sentences to each section plus 8 new sections.Jacques Roubaud: “No ideas but in numbers” [291].Then, in a somewhat more remote way, a number of people use ideas of permutation. For example, Jackson Mac Low’s 4 Trains, of which I will quote the first two stanzas:Train rule atom intricate nitrogen. Rule unusual leotard entropy. Atom train ostrich might. Intricate nitrogen train rule intricate casual atom train entropy. Nitrogen intricate train rule ostrich genealogy entropy nitrogen.Rule unusual leotard entropy. Unusual nitrogen unusual social unusual atom leotard. Leotard entropy ostrich train atom rule dies. Entropy nitrogen train rule ostrich pope yearly.[7]As Zukofsky puts it: “[Thus] poetry may be defined as an order of words that as movement and tone (rhythm and pitch) approaches in varying degrees the wordless art of music as a kind of mathematical limit” [27].All these examples draw attention to arrangement, composition. They all listen to language. I once wrote:I don’t even have thoughts, I say, I have methods that make language think, take over and me by the hand. Into sense or offense, syntax stretched across rules, relations of force, fluid the dip of the plumb line, the pull of eyes.... No beginnings. All unrepentant middle.[A Form / of Taking / It All 74]And none of these forms are “organic form.” None relies primarily on metaphor, though from the Romantics on poetry has been more or less identified with it.3. Frameworka. HistoricalLet me step back for a moment to the beginnings of the concept of organic form, what it reacted against.When Goethe started to make a splash writing free verse, around 1770, the dominant aesthetic... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MIND FORMING AND MANUDUCTIO IN AQUINAS* MARIE I. GEORGE St. John's University Jamaica, New York QUINAS'S CONCERN for pedagogy is plain from his explicit discussions of the subject, the most noteworthy of which is found in the preface to the Summa Theologiae. His qualities as a teacher of beginning students have been brought out by numerous modern authors, among whom are Josef Pieper,1 who underlines both Thomas's ability to (...) arouse wonder and his use of ordinary language intelligible to all, and James Weisheipl,2 who points out that Aquinas's commentaries on Aristotle reveal a concern for the neophyte who is trying to comprehend the relation between faith and reason. One important aspect of Aquinas's teaching on pedagogy generally does not get the attention it merits, however, and this is the need for ' manuductio.' 3 ' Manuductio ', or ' xeipaywv£a ' (literally, 'leading by the hand') is an expression which Aquinas *This paper was read at the Sixteenth International Conference on Patristic, Mediaeval, and Renaissance Studies, Villanova University, Pennsylvania, September 1991. 1 Cf. Josef Pieper, Guide to Thomas Aquinas (New York: Pantheon Books, 1962)' c. 8. 2 Cf. James Weisheipl, O.P., Friar Thomas d'Aquino (Washington, D.C.: Catholic University of America Press, 1974), 281. 3 This article drew much of its inspiration from the works of Msgr. Maurice Dionne, a thinker who both elaborated upon and consciously implemented Aquinas's teachings on this subject. Cf. especially: Initation a la logique, ed. Yvan Pelletier (Ste-Foy, Quebec: L'Institut Apostolique Renaissance inc., 1976), and La N ecessite de la logique en regard de chacune des vertus intellectuelles, ed. Louis Brunet, vol. 1 (Quebec: Societe d'Etudes Aristoteliciennes 1980), hereafter cited as La N ec. 201 202 MARIE I. GEORGE adopts from Dionysius.4 It is a word that has different but related meanings in the moral, intellectual, and spiritual orders. Our intention is to elucidate the thomistic doctrine of ' leadingby -the-hand ' in the context of intellectual education, or ' mind forming,' discussing its nature, its necessity, and its place in the global picture of human knowing as outlined by Aquinas. We will begin by delineating in general what manuductio is by comparing two key passages, the first of which is to be found in the Summa Theologiae: The teacher leads the students from what is already known to knowledge of things unknown in two ways. First, by putting before him certain aids or instruments which his intellect uses in order to acquire science ; for example, when he presents him with some less universal proposition which nevertheless the student is able to judge from things already known; or when he proposes to him some sensible examples, or similitudes, or opposites, or some other things of this sort, from which the intellect of the learner is ' led by the hand ' (manuducitur) to the knowledge of a truth previously unknown to him. The other way [the teacher leads the student] is when he strengthens the intellect of the learner... inasmuch as he proposes the order of principles to conclusions to the student, who perhaps by himself would not have so much ability to put things together (virtutem collativam) that from the principles he could deduce the conclusions. And therefore it is said in Posterior Analytics. Bk. I, that 'demonstration is a syllogism making one know '. And through this mode the one who demonstrates makes the listener know.5 4 Cf. In Librum Beati Dionysii De Divinis Nominibus Ezpositio (Turin: Marietti, 1950), where St. Thomas comments on the following phrase from Dionysius (p. 14) : "E1r ailT7]11 a11a"Yoµe110J11 a11aTaTtX7/ xe1pa"YOJ1lla" ("ad ipsam sursum actorum suscitative manuductio "). The commentary reads (p. 17, # 48) : "Further, it is necessary that man progress to better things; and as to this, he says fifthly ' suscitative manuductio sursum actorum ' i.e., those things which go up, that is, make progre"ss, 'ad Ipsam ', namely to the Divinity. [The expression] 'suscitative' manuductio, however, is used because not only can one give a helping hand to those wanting to make progress, but one can even stimulate or urge [people] to progress." All translations are my own. Cf. also Quaestiones disputatae de veritate, q. 27, art... (shrink)