Найти книгу: "Art and Objects"

In this book, the founder of object-oriented ontology develops his view that aesthetics is the central discipline of philosophy. Whereas science must attempt to grasp an object in terms of its observable qualities, philosophy and art cannot proceed in this way because they don't have direct access to their objects. Hence philosophy shares the same fate as art in being compelled to communicate indirectly, allusively, or elliptically, rather than in the clear propositional terms that are often taken – wrongly – to be the sole stuff of genuine philosophy. Conceiving of philosophy and art in this way allows us to reread key debates in aesthetic theory and to view art history in a different way. The formalist criticism of Greenberg and Fried is rejected for its refusal to embrace the innate theatricality and deep multiplicity of every artwork. This has consequences for art criticism, making pictorial content more important than formalism thinks but less entwined with the social sphere than anti-formalism holds. It has consequences for art history too, as the surrealists, David, and Poussin, among others, gain in importance. The close link between aesthetics and ontology also invites a new periodization of modern philosophy as a whole, and the habitual turn away from Kant’s thing-in-itself towards an increase in philosophical «immanence» is shown to be a false dawn. This major work will be of great interest to students and scholars of philosophy, aesthetics, art history and cultural theory.

Inspired by research undertaken for the new Medieval & Renaissance Galleries at the Victoria and Albert Museum, Re-thinking Renaissance Objects explores and often challenges some of the key issues and current debates relating to Renaissance art and culture. Puts forward original research, including evidence provided by an in-depth study arising from the Medieval & Renaissance Gallery project Contributions are unusual in their combination of a variety of approaches, but with each paper starting with an examination of the objects themselves New theories emerge from several papers, some of which challenge current thinking

Impossible objects are those about which the philosopher, narrowly conceived, can hardly speak: poetry, film, music, humor. Such «objects» do not rely on philosophy for interpretation and understanding; they are already independent practices and sites of sensuous meaning production. As Elvis Costello has said, «writing about music is like dancing about architecture.» We don't need literary theory in order to be riveted by the poem, nor a critic's analysis to enjoy a film. How then can philosophy speak about anything outside of itself, namely all of those things which actually matter to us in this world? In Impossible Objects, Simon Critchley – one of the most influential and insightful philosophers writing today – extends his philosophical investigation into non-philosophical territories, including discussions on tragedy, poetry, humor, and music. In a series of engaging and enlightening conversations, Critchley reflects on his early work on the ethics of deconstruction; the recurring themes of mortality and nihilism; his defense of neo-anarchism; and his recent investigation into secular faith, or «a faith of the faithless». Essential reading for artists, academics, and general readers alike, this book explores the relationship between the philosophical world and those complex and fascinating «impossible objects» which give life meaning.

Here is a book that takes the sting out of learning object-oriented design patterns! Using vignettes from the fictional world of Harry Potter, author Avinash C. Kak provides a refreshing alternative to the typically abstract and dry object-oriented design literature. Designing with Objects is unique. It explains design patterns using the short-story medium instead of sterile examples. It is the third volume in a trilogy by Avinash C. Kak, following Programming with Objects (Wiley, 2003) and Scripting with Objects (Wiley, 2008). Designing with Objects confronts how difficult it is for students to learn complex patterns based on conventional scenarios that they may not be able to relate to. In contrast, it shows that stories from the fictional world of Harry Potter provide highly relatable and engaging models. After explaining core notions in a pattern and its typical use in real-world applications, each chapter shows how a pattern can be mapped to a Harry Potter story. The next step is an explanation of the pattern through its Java implementation. The following patterns appear in three sections: Abstract Factory, Builder, Factory Method, Prototype, and Singleton; Adapter, Bridge, Composite, Decorator, Facade, Flyweight, and Proxy; and the Chain of Responsibility, Command, Interpreter, Iterator, Mediator, Memento, Observer, State, Strategy, Template Method, and Visitor. For readers’ use, Java code for each pattern is included in the book’s companion website. All code examples in the book are available for download on a companion website with resources for readers and instructors. A refreshing alternative to the abstract and dry explanations of the object-oriented design patterns in much of the existing literature on the subject. In 24 chapters, Designing with Objects explains well-known design patterns by relating them to stories from the fictional Harry Potter series

In this book, the authors focus on the concrete aspects of IoT (Internet of Things): the daily operation, on the ground, of this domain, including concrete and detailed discussion of the designs, applications and realizations of Secure Connected Things and IoT. As experts in the development of RFID and IoT technologies, the authors offer the reader a highly technical discussion of these topics, including the many approaches (technical, security, safety, ergonomic, economic, normative, regulations, etc.) involved in Secure Connected Objects projects. This book is written both for readers wishing to familiarize themselves with the complex issues surrounding networking objects and for those who design these connective «things».