Artículo que está relacionado con los esquemas neuronales de reconocimiento de pautas y patrones,
serie de Fibonacci y la proporción aúrea.
La Neuroestética promete revigorizar una indagación científica de una teoría de lo bello.
Neuroaesthetics promises to reinvigorate science's search for a theory of beauty.
Beauty and the Brain § SEEDMAGAZINE.COM
Posted using ShareThis
Mostrando entradas con la etiqueta Creación. Mostrar todas las entradas
Mostrando entradas con la etiqueta Creación. Mostrar todas las entradas
viernes, 19 de marzo de 2010
Patrones y pautas: Los esquemas antrópicos.
Es una buena introducción a la que Michael Schermer ha llamado "patternicity"
Hay un libro en Editorial Salvat acerca de ello: Pautas en la naturaleza. Se vincula con la serie Fibonacci y la llamada Geometrías sagradas.
Nature's Patterns by Philip Ball reviewed by Martin Kemp TLS
Hay un libro en Editorial Salvat acerca de ello: Pautas en la naturaleza. Se vincula con la serie Fibonacci y la llamada Geometrías sagradas.
Nature's Patterns by Philip Ball reviewed by Martin Kemp TLS
jueves, 4 de marzo de 2010
Chiméres
la Revista fundada por Deleuze y Guattari
http://www.revue-chimeres.fr/
Pagina en facebook
http://www.facebook.com/group.php?gid=89456460989&ref=mf
http://www.revue-chimeres.fr/
Pagina en facebook
http://www.facebook.com/group.php?gid=89456460989&ref=mf
Sonoridades
Inspirado por la última frase de "Postscriptum a las Sociedades de control" de Gilles Deleuze
http://www.archive.org/details/CoilsOfTheSerpentBurrowsOfTheMolehill
martes, 16 de febrero de 2010
mini_bio de Deleuze
http://www.facebook.com/home.php?ref=home#!/deleuze
Gilles Deleuze (January 18, 1925–November 4, 1995) was one of the most influential and prolific French philosophers of the second half of the twentieth century. Deleuze conceived of philosophy as the production of concepts, and he characterized himself as a “pure metaphysician.” In his magnum opus Difference and Repetition, he tries to develop a metaphysics adequate to contemporary mathematics and science—a metaphysics in which the concept of multiplicity replaces that of substance, event replaces essence and virtuality replaces possibility. Deleuze was also well-known for a number of important monographs he published in the history of philosophy (on Hume, Nietzsche, Kant, Bergson, Spinoza, Foucault, and Leibniz), as well as for his writings on the various arts, which include a two- volume study of the cinema, books on Proust and Sacher-Masoch, a monograph on the painter Francis Bacon, and a collection of essays on literature. Deleuze considered these latter works as pure philosophy, and not criticism, since he sought to create the concepts that correspond to the artistic practices of painters, filmmakers, and writers. In 1968, he met Félix Guattari, a political activist and radical psychoanalyst, with whom he wrote several works, among them the two-volume Capitalism and Schizophrenia, comprised of Anti-Oedipus (1972) and A Thousand Plateaus (1980). Their final collaboration was What is Philosophy? (1991).
Deleuze is noteworthy for his rejection of the Heideggerian notion of the “end of metaphysics,” as well as the extent of his non-philosophical references (inter alia, differential calculus, thermodynamics, geology, molecular biology, population genetics, ethology, embryology, anthropology, psychoanalysis, economics, linguistics, and even esoteric thought); his colleague Jean-François Lyotard spoke of him as a “library of Babel.” Although it remains to be seen whether the 20th century will be “Deleuzean,” as his friend Michel Foucault once quipped, Deleuze's work has already enjoyed a considerable influence both inside and outside the contemporary academy; along with a growing influence in philosophy, Deleuze's work is approvingly cited by, and his concepts put to use by, researchers in architecture, urban studies, geography, film studies, musicology, anthropology, gender studies, literary studies and other fields.
One of the barriers to Deleuze's being more well-read among mainstream philosophers is his writing style, which can be highly allusive, as well as peppered with neologisms; to make matters even more complex, these terminological innovations shift from one work to the other. While claims of intentional obscurantism are not warranted, Deleuze did mean for his style to keep readers on their toes, or even to “force” them to rethink their philosophical assumptions. As befits an encyclopedia entry, we will concentrate on the conceptual architecture of his thought, though readers should be aware that, perhaps more than with most philosophers, such a treatment of Deleuze's work removes much of the performative effect of reading the original.
Works by Deleuze
* (1953) Empirisme et subjectivité (Paris: PUF); tr. as Empiricism and Subjectivity, by Constantin Boundas (New York: Columbia University Press, 1991).
* (1956) “La Conception de la différence chez Bergson,” Etudes bergsoniennes 4 (1956): 77-112; tr. as “Bergson's Conception of Difference,” by Melissa McMahon, in John Mullarkey, ed., The New Bergson (Manchester: Manchester University Press, 1999).
* (1962) Nietzsche et la philosophie (Paris: PUF); tr. as Nietzsche and Philosophy, by Hugh Tomlinson (Minneapolis: University of Minnesota Press, 1983).
* (1963) La philosophie critique de Kant (Paris: PUF); tr. as The Critical Philosophy of Kant, by Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1984).
* (1966) Le Bergsonisme (Paris: PUF); tr. as Bergsonism, by Hugh Tomlinson and Barbara Habberjam (New York: Zone Books, 1988).
* (1967) Présentation de Sacher-Masoch (Paris: Minuit); tr. as Masochism: An Interpretation of Coldness and Cruelty, by Jean McNeil (New York: G. Braziller, 1971).
* (1968) Différence et répétition (Paris: PUF); tr. as Difference and Repetition, by Paul Patton (New York: Columbia University Press, 1994).
* (1968) Spinoza et le problème de l'expression (Paris: Minuit); tr. as Expressionism in Philosophy: Spinoza, by Martin Joughin (New York: Zone Books, 1990).
* (1969) Logique du sens (Paris: Minuit); tr. as The Logic of Sense, by Mark Lester with Charles Stivale (New York: Columbia University Press, 1990).
* (1972) “A quoi reconnaît-on le structuralisme?” in Francois Châtelet, ed., Histoire de la philosophie, tome 8: Le XXe siècle (Paris: Hachette, 1972): 299-335; tr. as “How Do We Recognize Structuralism?” in Desert Islands (New York: Semiotexte, 2003).
* (1964 [1970, 1976]) Proust et les signes (Paris: PUF); tr. (of 1976 ed) as Proust and Signs: The Complete Text, by Richard Howard (Minneapolis: University of Minnesota Press, 2003).
* (1977) Dialogues (avec Claire Parnet) (Paris: Flammarion); tr. as Dialogues, by Hugh Tomlinson and Barbara Habberjam (New York: Columbia University Press, 1987).
* (1981 [1970]) Spinoza: Philosophie pratique; (Paris: PUF); tr. as Spinoza: Practical Philosophy, by Robert Hurley (San Francisco: City Lights Books, 1988).
* (1981) Francis Bacon: Logique de la sensation (Paris: Editions de la différence); tr. as Francis Bacon: Logic of Sensation, by Daniel W. Smith (Minneapolis: University of Minnesota Press, 2005).
* (1983) Cinéma I: l'Image-Mouvement (Paris: Minuit); tr. as Cinema I: The Movement-Image, tr. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986).
* (1985) Cinéma II: l'Image-temps (Paris: Minuit); tr. as Cinema II: The Time-Image, by Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1989).
* (1986) Foucault (Paris: Minuit); tr. as Foucault, Sean Hand (Minneapolis: University of Minnesota Press, 1988).
* (1988) Le Pli: Leibniz et le Baroque (Paris: Minuit); tr. as The Fold: Leibniz and the Baroque, by Tom Conley (Minneapolis: University of Minnesota Press, 1993)
* (1990) Pourparlers (Paris: Minuit); tr. as Negotiations, by Martin Joughin (New York: Columbia University Press, 1995).
* (1993) Critique et clinique (Paris: Minuit); tr. as Essays Critical and Clinical, by Daniel Smith and Michael Greco (Minneapolis: University of Minnesota Press, 1997).
* (1995) “L'immanence: une vie,” Philosophie 47 (septembre 1), 3-7; tr. as “Immanence: A Life” in Two Regimes of Madness (New York: Semiotexte, 2006).
* (2002) L'Île déserte et autres textes: textes et entretiens 1953-1974, ed. David Lapoujade (Paris: Minuit, 2002); tr. as Desert Islands and Other Texts (1953-1974), by Mike Taormina (New York: Semiotexte, 2003).
* (2003) Deux régimes de fous: textes et entretiens 1975-1995, ed. David Lapoujade (Paris: Minuit); tr. as Two Regimes of Madness: Texts and Interviews 1975-1995 (New York: Semiotexte, 2006).
Gilles Deleuze (January 18, 1925–November 4, 1995) was one of the most influential and prolific French philosophers of the second half of the twentieth century. Deleuze conceived of philosophy as the production of concepts, and he characterized himself as a “pure metaphysician.” In his magnum opus Difference and Repetition, he tries to develop a metaphysics adequate to contemporary mathematics and science—a metaphysics in which the concept of multiplicity replaces that of substance, event replaces essence and virtuality replaces possibility. Deleuze was also well-known for a number of important monographs he published in the history of philosophy (on Hume, Nietzsche, Kant, Bergson, Spinoza, Foucault, and Leibniz), as well as for his writings on the various arts, which include a two- volume study of the cinema, books on Proust and Sacher-Masoch, a monograph on the painter Francis Bacon, and a collection of essays on literature. Deleuze considered these latter works as pure philosophy, and not criticism, since he sought to create the concepts that correspond to the artistic practices of painters, filmmakers, and writers. In 1968, he met Félix Guattari, a political activist and radical psychoanalyst, with whom he wrote several works, among them the two-volume Capitalism and Schizophrenia, comprised of Anti-Oedipus (1972) and A Thousand Plateaus (1980). Their final collaboration was What is Philosophy? (1991).
Deleuze is noteworthy for his rejection of the Heideggerian notion of the “end of metaphysics,” as well as the extent of his non-philosophical references (inter alia, differential calculus, thermodynamics, geology, molecular biology, population genetics, ethology, embryology, anthropology, psychoanalysis, economics, linguistics, and even esoteric thought); his colleague Jean-François Lyotard spoke of him as a “library of Babel.” Although it remains to be seen whether the 20th century will be “Deleuzean,” as his friend Michel Foucault once quipped, Deleuze's work has already enjoyed a considerable influence both inside and outside the contemporary academy; along with a growing influence in philosophy, Deleuze's work is approvingly cited by, and his concepts put to use by, researchers in architecture, urban studies, geography, film studies, musicology, anthropology, gender studies, literary studies and other fields.
One of the barriers to Deleuze's being more well-read among mainstream philosophers is his writing style, which can be highly allusive, as well as peppered with neologisms; to make matters even more complex, these terminological innovations shift from one work to the other. While claims of intentional obscurantism are not warranted, Deleuze did mean for his style to keep readers on their toes, or even to “force” them to rethink their philosophical assumptions. As befits an encyclopedia entry, we will concentrate on the conceptual architecture of his thought, though readers should be aware that, perhaps more than with most philosophers, such a treatment of Deleuze's work removes much of the performative effect of reading the original.
Works by Deleuze
* (1953) Empirisme et subjectivité (Paris: PUF); tr. as Empiricism and Subjectivity, by Constantin Boundas (New York: Columbia University Press, 1991).
* (1956) “La Conception de la différence chez Bergson,” Etudes bergsoniennes 4 (1956): 77-112; tr. as “Bergson's Conception of Difference,” by Melissa McMahon, in John Mullarkey, ed., The New Bergson (Manchester: Manchester University Press, 1999).
* (1962) Nietzsche et la philosophie (Paris: PUF); tr. as Nietzsche and Philosophy, by Hugh Tomlinson (Minneapolis: University of Minnesota Press, 1983).
* (1963) La philosophie critique de Kant (Paris: PUF); tr. as The Critical Philosophy of Kant, by Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1984).
* (1966) Le Bergsonisme (Paris: PUF); tr. as Bergsonism, by Hugh Tomlinson and Barbara Habberjam (New York: Zone Books, 1988).
* (1967) Présentation de Sacher-Masoch (Paris: Minuit); tr. as Masochism: An Interpretation of Coldness and Cruelty, by Jean McNeil (New York: G. Braziller, 1971).
* (1968) Différence et répétition (Paris: PUF); tr. as Difference and Repetition, by Paul Patton (New York: Columbia University Press, 1994).
* (1968) Spinoza et le problème de l'expression (Paris: Minuit); tr. as Expressionism in Philosophy: Spinoza, by Martin Joughin (New York: Zone Books, 1990).
* (1969) Logique du sens (Paris: Minuit); tr. as The Logic of Sense, by Mark Lester with Charles Stivale (New York: Columbia University Press, 1990).
* (1972) “A quoi reconnaît-on le structuralisme?” in Francois Châtelet, ed., Histoire de la philosophie, tome 8: Le XXe siècle (Paris: Hachette, 1972): 299-335; tr. as “How Do We Recognize Structuralism?” in Desert Islands (New York: Semiotexte, 2003).
* (1964 [1970, 1976]) Proust et les signes (Paris: PUF); tr. (of 1976 ed) as Proust and Signs: The Complete Text, by Richard Howard (Minneapolis: University of Minnesota Press, 2003).
* (1977) Dialogues (avec Claire Parnet) (Paris: Flammarion); tr. as Dialogues, by Hugh Tomlinson and Barbara Habberjam (New York: Columbia University Press, 1987).
* (1981 [1970]) Spinoza: Philosophie pratique; (Paris: PUF); tr. as Spinoza: Practical Philosophy, by Robert Hurley (San Francisco: City Lights Books, 1988).
* (1981) Francis Bacon: Logique de la sensation (Paris: Editions de la différence); tr. as Francis Bacon: Logic of Sensation, by Daniel W. Smith (Minneapolis: University of Minnesota Press, 2005).
* (1983) Cinéma I: l'Image-Mouvement (Paris: Minuit); tr. as Cinema I: The Movement-Image, tr. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986).
* (1985) Cinéma II: l'Image-temps (Paris: Minuit); tr. as Cinema II: The Time-Image, by Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1989).
* (1986) Foucault (Paris: Minuit); tr. as Foucault, Sean Hand (Minneapolis: University of Minnesota Press, 1988).
* (1988) Le Pli: Leibniz et le Baroque (Paris: Minuit); tr. as The Fold: Leibniz and the Baroque, by Tom Conley (Minneapolis: University of Minnesota Press, 1993)
* (1990) Pourparlers (Paris: Minuit); tr. as Negotiations, by Martin Joughin (New York: Columbia University Press, 1995).
* (1993) Critique et clinique (Paris: Minuit); tr. as Essays Critical and Clinical, by Daniel Smith and Michael Greco (Minneapolis: University of Minnesota Press, 1997).
* (1995) “L'immanence: une vie,” Philosophie 47 (septembre 1), 3-7; tr. as “Immanence: A Life” in Two Regimes of Madness (New York: Semiotexte, 2006).
* (2002) L'Île déserte et autres textes: textes et entretiens 1953-1974, ed. David Lapoujade (Paris: Minuit, 2002); tr. as Desert Islands and Other Texts (1953-1974), by Mike Taormina (New York: Semiotexte, 2003).
* (2003) Deux régimes de fous: textes et entretiens 1975-1995, ed. David Lapoujade (Paris: Minuit); tr. as Two Regimes of Madness: Texts and Interviews 1975-1995 (New York: Semiotexte, 2006).
miércoles, 3 de febrero de 2010
Programa teo.art 4 09-10/2
Para alumnos de La Esmeralda
PLAN DE TRABAJO
Ciclo Escolar 2009-2010/2
Nombre de la asignatura: Teoría del arte
Semestre: 4º
Número de sesiones:
16
Fecha: 11 enero-22 junio 2010
Horas frente a grupo: 54 hs.
Horas Trabajo independiente: 54 hs
Presentación:
CONDICIONES SOCIOCULTURALES DE LA PRODUCCIÓN DEL ARTE
El arte como esfera de relaciones sociales.
PROPÓSITO: Analizar las relaciones que se producen entre sociedad. la cultura y el arte, en sus procesos y manifestaciones artísticas.
Objetivos de aprendizaje:
Al término del curso:
-Comprender los problemas socioantropológicos dela situación actual del arte y las nuevas formas de experiencia estética.
-Condiciones sociales de los criterios de valor dentro del campo del arte.
-Conocer y saber confrontar las teorías sobre la experiencia estética, las de mayor vigencia hoy día.
-Conocer algunas categorías básicas desde las que se puede pensar la experiencia t la produccción artística.
-Las transformaciones socioculturales del campo del arte y la experiencia del arte.
CONTENIDO TEMÁTICO:
1 Arte, cultura y sociedad como campos sociales
2 Arte, artistas y pùblico en su dimensión socio-cultural
3 Procesos de produccion, mediación y recepción en las artes
4 Lo estético y lo artístico como actos de significación social
PROBLEMATICA
1¿Cuándo ocurre el arte? ¿Cómo ocurre el arte?
2.¿Los creadores son creados?¿En que condiciones segeneran esferas autónomas?
3.¿Cuáles son los campos e instituciónes del arte, sus prácticas y sus juegos
Metodología del curso:
Actividades de aprendizaje
Bajo conducción del docente
Lectura analítica de los textos que conforman el contenido de la asignatura
(Tipos de lectura: Informativa, apropiadora, evaluadora)
Exposición argumentada
Discusión fundamentada entorno a los textos
Actividades Independientes del alumno
Lecturas e investigación de los temas propuestos
Actividades propuestas por el docente:
por ejemplo Observaciones de campo comparativas. Entre diversos grupos indagar¿Qué es una experiencia perceptiva y en qué forma se parece o no a una sensación? ¿Cuál es la relación entre imaginar y tener una imagen?¿Cómo asignamos nombres a las cosas?
Otras actividades programadas:
Bibliografía:
Bourdieu Pierre Sociología y cultura
-¿Quien crea a los creadores?
-Alta cultura alta costura
-Metamorfosis de los gustos
Las Reglas del arte
-Mercado de bienes simbòlicos
-Las formas del capital cultural
Respuestas Antropología reflexiva
-Lógica de los campos
-Habitus ilusio y racionalidad
Dickie Georg El circulo del arte.
Heinich Natalie Sociología del arte.
Pereda Carlos Conversar es humano.
Thuillier Jacques Teoría general de la historia del arte.
Criterios y procedimientos de evaluación y acreditación
La Evaluación será a través de revisiones periódicas
Durante el semestre: Evaluaciones parciales (mínimo 2) y un trabajo general.
Fichas de Lectura argumentada
Participación
Presentación por equipo e individual
Porcentaje de asistencia para acreditar: 80%
Criterios de selección: NO Aplica
Nombre y firma del profesor:
Eduardo Andión Gamboa
PLAN DE TRABAJO
Ciclo Escolar 2009-2010/2
Nombre de la asignatura: Teoría del arte
Semestre: 4º
Número de sesiones:
16
Fecha: 11 enero-22 junio 2010
Horas frente a grupo: 54 hs.
Horas Trabajo independiente: 54 hs
Presentación:
CONDICIONES SOCIOCULTURALES DE LA PRODUCCIÓN DEL ARTE
El arte como esfera de relaciones sociales.
PROPÓSITO: Analizar las relaciones que se producen entre sociedad. la cultura y el arte, en sus procesos y manifestaciones artísticas.
Objetivos de aprendizaje:
Al término del curso:
-Comprender los problemas socioantropológicos dela situación actual del arte y las nuevas formas de experiencia estética.
-Condiciones sociales de los criterios de valor dentro del campo del arte.
-Conocer y saber confrontar las teorías sobre la experiencia estética, las de mayor vigencia hoy día.
-Conocer algunas categorías básicas desde las que se puede pensar la experiencia t la produccción artística.
-Las transformaciones socioculturales del campo del arte y la experiencia del arte.
CONTENIDO TEMÁTICO:
1 Arte, cultura y sociedad como campos sociales
2 Arte, artistas y pùblico en su dimensión socio-cultural
3 Procesos de produccion, mediación y recepción en las artes
4 Lo estético y lo artístico como actos de significación social
PROBLEMATICA
1¿Cuándo ocurre el arte? ¿Cómo ocurre el arte?
2.¿Los creadores son creados?¿En que condiciones segeneran esferas autónomas?
3.¿Cuáles son los campos e instituciónes del arte, sus prácticas y sus juegos
Metodología del curso:
Actividades de aprendizaje
Bajo conducción del docente
Lectura analítica de los textos que conforman el contenido de la asignatura
(Tipos de lectura: Informativa, apropiadora, evaluadora)
Exposición argumentada
Discusión fundamentada entorno a los textos
Actividades Independientes del alumno
Lecturas e investigación de los temas propuestos
Actividades propuestas por el docente:
por ejemplo Observaciones de campo comparativas. Entre diversos grupos indagar¿Qué es una experiencia perceptiva y en qué forma se parece o no a una sensación? ¿Cuál es la relación entre imaginar y tener una imagen?¿Cómo asignamos nombres a las cosas?
Otras actividades programadas:
Bibliografía:
Bourdieu Pierre Sociología y cultura
-¿Quien crea a los creadores?
-Alta cultura alta costura
-Metamorfosis de los gustos
Las Reglas del arte
-Mercado de bienes simbòlicos
-Las formas del capital cultural
Respuestas Antropología reflexiva
-Lógica de los campos
-Habitus ilusio y racionalidad
Dickie Georg El circulo del arte.
Heinich Natalie Sociología del arte.
Pereda Carlos Conversar es humano.
Thuillier Jacques Teoría general de la historia del arte.
Criterios y procedimientos de evaluación y acreditación
La Evaluación será a través de revisiones periódicas
Durante el semestre: Evaluaciones parciales (mínimo 2) y un trabajo general.
Fichas de Lectura argumentada
Participación
Presentación por equipo e individual
Porcentaje de asistencia para acreditar: 80%
Criterios de selección: NO Aplica
Nombre y firma del profesor:
Eduardo Andión Gamboa
Para usar bien el término fractal
Para evitar como un adjetivo de "estatus"
Es un link usual pero útil para iniciar http://es.wikipedia.org/wiki/Fractal
Es un link usual pero útil para iniciar http://es.wikipedia.org/wiki/Fractal
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