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BL
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| Record Number
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859929
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| Main Entry
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Verstegen, Ian
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| Title & Author
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Arnheim, gestalt and media : : an ontological theory /\ Ian Verstegen.
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| Publication Statement
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Cham, Switzerland :: Springer,, [2018]
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, ©2018
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| Series Statement
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SpringerBriefs in philosophy
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| Page. NO
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1 online resource
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| ISBN
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3030029700
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: 9783030029708
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3030029697
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9783030029692
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| Bibliographies/Indexes
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Includes bibliographical references.
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| Contents
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Intro; Preface; Contents; Chapter 1: Arnheim After the Post-medium Condition; 1.1 Medium and System Skepticism; 1.2 The Changing Landscape; 1.3 Rudolf Arnheim; 1.4 Revisiting Essentialism; 1.5 Description and Norms; Chapter 2: Gestalt Ontology; 2.1 Gestalt Ontology; 2.2 Against Physicalism; 2.3 Strata for Objects, Wholes for Composites; 2.4 Revisiting Media Essentialism; 2.5 Dominating Strata; 2.6 Relational Determination of Media Effects; Chapter 3: What All Media Share; 3.1 Medial Objects as Cultural Objects; 3.2 All Medial Statements Are Spatial; 3.3 The Robin and the Saint
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3.4 Levels of Determinate AbstractionChapter 4: Defining Difference in Media; 4.1 Mediation: Eye and Ear; 4.2 Mediation: Media; 4.3 Materialtheorie and Representational Concepts; 4.4 Accident and Determinacy; 4.5 Mechanical Registration and Reproducibility; 4.6 Content and Interpretation; 4.7 Art as Mediation; Chapter 5: The Two Elementary Classes of Aesthetic Objects: Spatial and Temporal Modalities; 5.1 Spatial Versus Temporal Arts; 5.2 Ontology of Co-existence and Sequence; 5.3 Distinction Between Spatial and Temporal Arts; 5.4 The Range of Identity of the Spatial and Temporal Arts
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5.5 Structure Versus Knowledge of StructureChapter 6: The Spatial and Temporal Modalities; 6.1 Modality; 6.2 Spatial Modalities; 6.3 Spatial Hybrids; 6.4 Difference Between Object and Environment Modalities; 6.5 Difference Between Image and Object Modalities; 6.6 Difference Between Image and Environment Modalities; 6.7 Temporal Modalities; 6.8 Temporal Hybrids; 6.9 Difference Between Temporal Modalities; Chapter 7: The Ontology of the Individual Modalities; 7.1 The Range of Identity of the Pictorial Work; 7.1.1 Pictorial Materials; 7.1.2 Pictorial Materials: Photography
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7.2 The Range of Identity of the Sculptural Work7.2.1 Sculptural Materials; 7.3 The Range of Identity of the Building; 7.3.1 Architectural Materials; 7.4 The Range of Identity of the Pantomime; 7.4.1 The Range of Identity of Absolute Pantomime; 7.4.2 The Range of Identity of Enriched Pantomime; 7.4.3 Pantomimic Materials: The Color Film; 7.5 The Range of Identity of the Musical Work; 7.6 The Range of Identity of the Literary Work; 7.6.1 Literary Material: Radio; Chapter 8: Medial Composites; 8.1 Arnheim's Argument; 8.2 Laws of Dominant Media and, for Temporal Media, Completeness
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8.3 How Are Spatial and Temporal Modalities Related?8.4 Artistic Composites of Spatial Modalities; 8.4.1 Object and Environment; 8.4.2 Image and Object; 8.4.3 Environment and Image; 8.5 Artistic Composites of Temporal Modalities; 8.5.1 Speech and Pantomime; 8.5.2 Theatre; 8.5.3 The Talking Film; 8.5.4 Music and Poetry; 8.5.5 Opera; 8.5.6 Music and Pantomime; 8.6 A Case Study: Comics; Chapter 9: Conclusion: Medial Wisdom
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| Abstract
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This monograph presents a synthesis and reconstruction of Rudolf Arnheim's theory of media. Combining both Arnheim's well-known writings on film and radio with his later work on the psychology of art, the author presents a coherent approach to the problem of the nature of a medium, space and time, and the differentia between different media. The latent ontological commitments of Arnheim's theories is drawn out by affirming Arnheim's membership in the Brentano school of Austrian philosophy, which allows his theories to be clarified and strengthened, particularly with the metaphysical writings of Roman Ingarden. The resulting theory is relational, portraying essential medial differences with neutral criteria and allowing for a rigorous definition of a medium. The way in which a medium is based on the inherent dispositions of medial materials creates a highly appealing theory that is determinate without being deterministic. The theory is thus highly timely as people in media studies seek to address the determinate nature of media after the post-medium condition. The book will appeal to researchers and graduate students in cultural and media studies as well as architecture and design.
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| Subject
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Arnheim, Rudolf.
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Arnheim, Rudolf.
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| Subject
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Art-- Philosophy.
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| Subject
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ART-- Criticism Theory.
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| Subject
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Art-- Philosophy.
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| Dewey Classification
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700.1
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| LC Classification
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N7483.A75
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