The concept of 'thingness' is something I pursue constantly in all my work, not just Problem Glyphs.
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But in this earlier stage, a quality of thingness still inhabits the sound of clarinets and oboes.
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Morandi's practice, in contrast to Parmiggiani's, was very much about the still life, seeing the thingness of the objects arranged carefully.
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The thingness that Hesse applied to her titling process ripples throughout her drawings, most patently in the working sketches she made between 1967 and 1970.
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These pieces collapse the distinction between text and thing: the object is poetic in its thingness even as the poet's words are effaced and subsumed into the work.
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As ideas for art, they may be said to qualify as proto-postmodern, to the extent that that means anything, for their tension between the Duchampian readymade (with white borders signalling thingness) and self-abnegating obsession.
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If those same creative energies and technologies that went into making that "thingness," that sense of place a reality, were instead focused inwards, down deep below the depths of Hyrule, what would that even look like?
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The recurrent motifs, whether a cruciform, a squiggle, or a blob evoking a head and neck, create a narrative trail from painting to painting that underscores the unity of Lasker's thinking and the exhilarating thingness of each work.
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With a background in perceptual psychology, Turrell learned how to manipulate both space and light, as opposed to working with more traditional materials—his goal, as he is often quoted saying, is in trying to capture the "thingness" of light.
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Like Murray, his shaped surfaces bridge painting and sculpture, emphasizing the thingness of the artwork, but while her canvases are painstakingly constructed to reflect the buoyancy of her vision, his four-by-eight sheets of plywood are splintered into fragments, as if consumed by anxiety.
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Gironcoli's thingness — the cold, metallic paint and aggregation of precisely defined, recombinant forms (some of which are cut out and collaged into the composition, augmenting their tactility) — is a thoroughgoing contradiction of Bacon's painterly expressionism (though both oeuvres can be seen as suffused with Sartre's Nausea).
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Braiding together senses, moods, and impressions, Shapiro designs exquisite sensual tapestries of ideas and notions, where text and textures are welded to one another: "the haiku from your hair" conjures both the force of lyrical comparison and the weight of its thingness – a haiku resides in the hair.
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There is a startling number of paintings included in the show, but for the most part, these works, whose subjects often touched on social issues, were more concerned with content than with the thingness of the paint, which is what Freud, at his best, turns into an obsession.
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As the single musical phrase recurs, it begins to possess a solidity, a thingness, as if it were etched in the air, but the viewer — this viewer, at any rate — is not so centered, being lulled instead into a mood where the mind can wander fruitfully where it will.
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Bell's balancing of the terms "abstraction" and "materials" is significant — especially with regard to the works from 1978 on display here — by differentiating the absolute thingness of these paintings from the allusions to the observational world that you find even in something as densely materialist as Richard Serra's black oil-stick drawings.
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Schuil frequently treats the aluminium before painting it, making dents and holes that become integral parts of the picture. “I use them not to emphasize the thingness of the picture, but because they fit into the picture,” Schuil told Dominic van den Boogerd in 2000. In the mid-1990s, Schuil’s work became more complex. By mirroring, doubling, and combining motifs, he fashioned increasingly elaborate and baroque compositions.
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However, this was not the biggest issue, he insisted. The difficulty arose with the “second cognizance,” namely, knowledge of the “reality distinguishable in itself from other realities”—in other words, the uniqueness of the reality. This constituted the locus of the classical philosophical dilemma that preoccupied Qūnavī. The goal of knowledge was “knowledge of the realities of things.” One may either deny this knowledge to man, on the grounds that his natural faculties were imperfect, or affirm it at the risk of according him absolute knowledge. Contrasted to the second cognizance stood the first, which consisted of the “awareness of existence” and the perception of its “thingness.” His demarcation between this indistinct thingness and singular reality corresponded to the theological division of “subject” (mawḍūc) and “object of inquiry” (maṭlūb)—what is given and what is sought by way of knowledge. The realities, in the plural, consisted of the branches, the manifold qualities of the divine essence, by which God manifests Himself.
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Sunyata points to the "emptiness" or no-"thing"-ness of all "things". Though we perceive a world of concrete and discrete objects, designated by names, on close analysis the "thingness" dissolves, leaving them "empty" of inherent existence. The Heart sutra, a text from the prajnaparamita-sutras, articulates this in the following saying in which the five skandhas are said to be "empty": The teachings on the five skandhas belong to the central teachings in the Tripitaka. They form a subdivision of the Samyutta Nikaya.
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Sunyata points to the "emptiness" or no-"thing"-ness of all "things". Though we perceive a world of concrete and discrete objects, designated by names, on close analysis the "thingness" dissolves, leaving them "empty" of inherent existence. The Heart sutra, a text from the prajñaparamita sutras, articulates this in the following saying in which the five skandhas are said to be "empty": Yogacara explains this "emptiness" in an analysis of the way we perceive "things". Everything we conceive of is the result of the working of the five skandhas—results of perception, feeling, volition, and discrimination.
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Paul Jennings, "Sleep for Sale", in Idly Oddly, Reinhardt, 1959. Several of his pieces touched on the invented philosophical movement of Resistentialism,Paul Jennings, "Report on Resistentialism", The Spectator, 23 April 1948, reprinted as Thingness of Things, The New York Times, 13 June 1948 a concept that probably owes some of its force to the contempt that Jennings—a devout Catholic—felt for the intellectual fashion he was parodying. Jennings was an admirer of James Thurber,Paul Jennings, Thurber, Punch, March 1965. In: The Paul Jennings Reader, Bloomsbury, 1990 who attended a dinner party at Jennings' house and subsequently wrote of the conversation in a 1955 New Yorker piece.
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The Vera List Center for Art and Politics develops their programs in cycles, habitually identifying a topic of particular urgency and broad resonance that brings together artists, scholars, activists, public intellectuals, and political and cultural leaders to discuss and explore thematic issues and questions, through a variety of programs, over the course of four semesters. The first annual theme for 2004–05 was Homeland, followed by Considering Forgiveness in 2005–06, The Public Domain in 2006–07, Agency in 2007–08, Branding Democracy in 2008–09, Speculating on Change in 2009–10, Thingness in 2011–13, Alignment in 2013-2015, and Post Democracy in 2015–17. The current theme for 2018-2020 is If Art is Politics.
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Brown, B. (2004) As Brown writes in his essay "Thing Theory": > We begin to confront the thingness of objects when they stop working for us: > when the drill breaks, when the car stalls, when the window gets filthy, > when their flow within the circuits of production and distribution, > consumption and exhibition, has been arrested, however momentarily. The > story of objects asserting themselves as things, then, is the story of a > changed relationship to the human subject and thus the story of how the > thing really names less an object than a particular subject-object relation. > As they circulate through our lives, we look through objects (to see what > they disclose about history, society, nature, or culture - above all, what > they disclose about us), but we only catch a glimpse of things.
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The book is spread across three chapters, with the first two chapters focusing on an overall review of the history of philosophy and its discussion of moral agency, moral rights, human rights, and animal rights and the third chapter focusing on what defines "thingness" and why machines have been excluded from moral and ethical consideration due to a misuse of the patient/agent binary. The first chapter, titled Moral Agency, breaks down the history of said agency based on what it included and excluded in various parts of history. Gunkel also raises the conflict between discussing the morality of humans toward objects and the theory of the philosophy of technology that "technology is merely a tool: a means to an end". The main issue, he explains, in defining what constitutes an appropriate moral agent is that there will be things left outside of what is included, as the definition is based on a set of characteristics that will inherently not be all-encompassing.
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Resistentialism is a jocular theory to describe "seemingly spiteful behavior manifested by inanimate objects",Paul Hellwig, Insomniac's Dictionary (Ivy Books, 1989) where objects that cause problems (like lost keys or a runaway bouncy ball) are said to exhibit a high degree of malice toward humans. The theory posits a war being fought between humans and inanimate objects, and all the little annoyances that objects cause throughout the day are battles between the two. The concept was not new in 1948 when humorist Paul Jennings coined this name for it in a piece titled "Report on Resistentialism", published in The Spectator that yearReport on Resistentialism, The Spectator, 23 April 1948 and reprinted in The New York Times;Thingness of Things, The New York Times, 13 June 1948 the word is a blend of the Latin res ("thing"), the French résister ("to resist"), and the existentialism school of philosophy.A.Word.A.Day—resistentialism The movement is a spoof of existentialism in general, and Jean-Paul Sartre in particular, Jennings naming the fictional inventor of Resistentialism as Pierre-Marie Ventre.
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