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Other Than

Other Than. Brian Grassom Aberdeen School of Art and Architecture, Research. 2005. ALTERITY. Brian Grassom Aberdeen School of Art and Architecture, Research. 2005. ALTERITY. = ( other-ness ). Brian Grassom Aberdeen School of Art and Architecture, Research. 2005. Prologue.

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Other Than

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  1. Other Than Brian Grassom Aberdeen School of Art and Architecture, Research. 2005

  2. ALTERITY Brian Grassom Aberdeen School of Art and Architecture, Research. 2005

  3. ALTERITY =(other-ness) Brian Grassom Aberdeen School of Art and Architecture, Research. 2005

  4. Prologue Brian Grassom Aberdeen School of Art and Architecture, Research. 2005

  5. PA INTING Brian Grassom. Creation, 1993

  6. PAINTING Brian Grassom. S. Lucia, 1996

  7. PAINTING Brian Grassom. S. Giulia, 1996

  8. Meaning PAINTING Feeling Brian Grassom. S. Michele, 1996

  9. SCULPTURE Brian Grassom. City, 2001

  10. SCULPTURE Brian Grassom. City, (detail) 2001

  11. SCULPTURE Brian Grassom. City II, 2001

  12. SCULPTURE Brian Grassom. City II, (detail) 2001

  13. SCULPTURE Brian Grassom. City III, 2004

  14. SCULPTURE Brian Grassom. Three Cities, (detail) 1995

  15. Jacques Derrida 1932-2004 Brian Grassom Aberdeen School of Art and Architecture, Research. 2005

  16. DERRIDA, J. The Double Session. In: Dissemination

  17. SCULPTURE Brian Grassom. City II, (detail) 2001

  18. SCULPTURE Brian Grassom. City II, 2001

  19. DEMOCRACY Brian Grassom. City II, (detail) 2001

  20. I BeautyandTruth Brian Grassom Aberdeen School of Art and Architecture, Research. 2005

  21. Beauty is truth, truth beauty, - that is all Ye know on earth, and all ye need to know. KEATS. Ode on a Grecian Urn. In: Selections from Keats: Sonnets, Odes and Narrative Poems.

  22. Brian Grassom. City II, (detail) 2001

  23. Brian Grassom. City II, (detail) 2001

  24. At all events we are well aware that poetry being such as we have described is not to be regarded seriously as attaining to the truth. PLATO. Republic (X). In: Dialogues

  25. the real artist (…) would be interested in realities and not in imitations. PLATO. Republic (X). In: Dialogues

  26. Pulchrum autem respicit vim cogniscitivam; pulchra enim dicuntur quae visa placent. On the other hand, beauty relates to the knowing power, for beautiful things are those that please when they are seen. AQUINAS. Summa Theologica

  27. Beauty = Truth Praxiteles. Aphrodite of Knidos (copy)

  28. IntegritasWholeness Consonitas Proportion ClaritasBrightness AQUINAS. Summa Theologica

  29. Transcendentals of BEING The one, a thing, something, the good, the true + (Beauty?) According to Aquinas, from Aristotle through Arabic culture to the Scholastics ECO, U. The Aesthetics of Thomas Aquinas

  30. Integritas: Wholeness Consonitas: Proportion Claritas: Brightness H. Fantin-Latour. Still-Life; Thomas Aquinas. Summa Theologica

  31. In its purely formal aspect - the aspect which is of interest in aesthetics - a perfect object is an object which has integrityand proportion, and nothing more is required. Its form is complete, ontologically ready to be judged beautiful (…) However, if this judgment is actually to take place, it is necessary that a seeing or looking (visio) should be focused upon the thing (…) And it is therefore necessary that there should be a new and essential type of proportion, this time between the knowing subject and the object (…) Proportion presents itself as clarity. Proportion is its own clarity. It is fullness of form, therefore fullness of rationality, therefore the fullness of knowability; but it is a knowability which becomes actual only in relation to the knowing eye (…) Clarityis the fundamental communicability of form, which is made actual in relation to someone’s looking at or seeing of the object. The rationality that belongs to every form is the “light” which manifests itself to aesthetic seeing. ECO, U. The Aesthetics of Thomas Aquinas.

  32. This is why beauty consists in due proportion, for the senses delight in things duly proportioned, as in what is after their own kind – because even sense is a sort of reason, just as is every knowing power. Now, since knowledge is by assimilation, and likeness relates to form, beauty properly belongs to the nature of a formal cause. AQUINAS. Summa Theologica

  33. the enchantment of the heart Joyce, J. Portrait of the Artist as a Young Man

  34. James Joyce. Ulysses

  35. II Being Brian Grassom Aberdeen School of Art and Architecture, Research. 2005

  36. Does it [the question of the meaning of Being] simply remain - or is it at all - a mere matter for soaring speculation about the most general of generalities, or is it rather, of all questions, both the most basic and the most concrete? HEIDEGGER, M. Being and Time

  37. Alethia: the “uncovering” of truth HEIDEGGER, M. Being and Time

  38. PHENOMENOLOGY (Husserl) and ONTOLOGY Heidegger) phainomena – the totality of what lies in the light of day or can be brought to light - what the Greeks sometimes identified simply with ta onta (beings). [phenomenon:] that which shows itself in itself HEIDEGGER, M. Being and Time / The origin of the Work of Art. In: Basic Writings

  39. (…) there is no Grund, or ultimate truth; there are only historically destined or historically despatched overtures from a Selbst or Same, which gives itself to us through these overtures (by traversing them rather than by using them as a means). VATTIMO, G. The End of Modernity

  40. (…) in order to name the essential nature of Being, language would have to find a single word, the unique word. From this we can gather how daring every thoughtful word addressed to Being is Nevertheless such daring is not impossible, since Being speaks always and everywhere throughout language. HEIDEGGER, M. The Anaximander Fragment. Cited in DERRIDA, J., On the Name.

  41. (…) it is the determination of being as presence or as beingness that is interrogated by the thought of différance. Such a question could not emerge and be understood unless the difference between Being and beings were somewhere to be broached [a reference to Heidegger]. First consequence: différance is not. It is not a present being, however excellent, unique, principal or transcendent. It governs nothing, reigns over nothing, and nowhere exercises any authority. It is not announced by any capital letter. DERRIDA, J. Margins of Philosophy

  42. III Aesthetics Brian Grassom Aberdeen School of Art and Architecture, Research. 2005

  43. [Natural Beauty] Flowers, free patterns, lines aimlessly intertwining (…) have no signification, depend upon no definite concept, and yet please. [Aesthetic Beauty] (…) taste in the beautiful may be said to be the one and only disinterested and free delight, for with it no interest, whether of sense or reason, extorts approval. [The Sublime] can never be anything more than a negative presentation - but still it expands the soul. KANT. The Critique of Judgement

  44. In securing an autonomous domain of aesthetic judgement, a domain with its own norms, language and set of practices, Kant was simultaneously securing the independence of the domain of cognition from aesthetic interference. BERNSTEIN, J. M. The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno

  45. (…) it begins to engender what we have come to think of as the fundamental conceptual vocabulary of continental philosophy, the philosophy that challenges enlightened modernity through recourse to the phenomena of art and aesthetics. BERNSTEIN, J. M. The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno

  46. Spiritualization in new art prohibits it from tarnishing itself any further with the topical preferences of philistine culture: the true, the beautiful, and the good. ADORNO, T. W. Aesthetic Theory

  47. Francis Bacon, Study after Velazquez’s Portrait of Pope InnocentX, 1953

  48. Artworks become appearances, in the pregnant sense of the term - that is, as the appearance of an other - when the accent falls on the unreality of their own reality. ADORNO, T. W. Aesthetic Theory

  49. (…) the more is not simply the nexus of the elements, but an other, mediated through this nexus and yet divided from it. The artistic elements suggest through this nexus what escapes from it. ADORNO, T. W. Aesthetic Theory

  50. Because art is what it has become, its concept refers to what it does not contain. The tension between what maturates art and art’s past circumscribes the so-called questions of aesthetic constitution. Art can be understood only by its laws of movement, not according to any set of invariants. It is defined by its relation to what it is not ADORNO, T. W. Aesthetic Theory

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