#ontology Tumblr posts

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    David Woodruff Smith, preface to the 2nd edition of Husserl

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    Robert Sokolowski, Husserlian Meditations: How Words Present Things

    (Is a whole more than the sum of its parts? I think the last paragraph answers this with a yes and no - a tree, yes, a pair of socks not so much).

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    Robert Sokolowski, Husserlian Meditations: How Words Present Things

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  • DSC_3776 Sacred/Secular : Vessels on Painting by Russell Moreton
    Via Flickr:
    Ceramics and Architectural Forms The idea of the numinous Raveningham Sculpture Trail Creative development and building of an interior space or room for ceramic/sculptural objects within the environment of the landscape.

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  • “Seven clans composed the Ani’-Yun’-Wiya (Cherokee): Kituwha (or Blind Savannah), Wolf, Deer, Bird, Holly, Paint and Long Hair. Each village had households representing the various clans. Families were matrilineal; a child’s clan was determined by the clan of his or her mother, and families lived in the household of the mother. As in other nations, marriage was exogamous, with members of a given clan forbidden to marry one another.

    Clans were charged with the responsibility of avenging the breaking of the social code. For example, when a clan member was killed, the person’s clan was expected to retaliate. The Cherokee believed that the spirit of a dead kinsman could not enter the ‘darkening land’ where souls dwelled after death until revenge had taken place. The clan of the person killed in revenge took no further action because harmony had been restored. An unavenged death left a state of disequilibrium, causing disease, drought or other calamity.

    …No records show towns going to war against one another. In times of war against outside enemies, younger war (Red) chiefs assumed leadership. In peacetime administrative authority was in the hands of the older peace (White) chiefs.”

    –William A. Young, “Quest for Harmony: Native American Spiritual Traditions”

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  • “The thing is, meaning is not absolute.  It does not reside inside the artwork to be unlocked or decoded and revealed.  Meaning is something that happens between you and the work.  It’s different for you than it is for anyone else, and it’s always shifting, changing, depending on who you are and where you are, and what’s happening around you.

    The artist does not own the meaning.  And neither do the experts or authorities who present it to you.  They are voices in the room, often very good and compelling ones, but ultimately you determine the meaning for yourself and only for yourself. “

    Sarah Urist Green from The Art Assignment

    (Love love love this quote, so much great stuff is buried within!   For starters its a great reminder on how we interact with art and that we are, indeed, interacting with it.  It may seem, at first, like we’re only passive observers but it is quite the opposite — there is a lot going on.  It is almost an ongoing dialogue, and the meaning we create is very much our own that may both include and be irrespective of that of the artist’s.

    Even greater however is that we can replace “art,” “artist,” and “artwork” with “events,” “the world,” or “our life” in order to delve into the quote even deeper and explore its implications, inspirations, and liberations in whole new ways.  What layers can we uncover in doing so?  What dialogues that we thought we had long ago settled upon can we re-engage with?  What new futures might we write?

    So much to unpack, both in the quote and inside of our created meanings.  Very well said.)

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  • “I am half inclined to think we are all ghosts … It is not only what we have inherited from our fathers and mothers that exists again in us, but all sorts of old dead ideas and all kinds of old dead beliefs and things of that kind. They are not actually alive in us; but there they are dormant all the same, and we can never be rid of them.”

    Henrik Ibsen, Ghosts

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  • New-tricolour Series: Mystery Cocoon
    (installation of textile object, stroboscope)

    ANTI_GOLD_RUSH group exhibition, Młode Wilki 19 Festival, Szczecin, Poland

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  • New-tricolour Series: Mystery Cocoon
    (installation of textile object, stroboscope)

    ANTI_GOLD_RUSH group exhibition, Młode Wilki 19 Festival, Szczecin, Poland

    first 3 photos credit: Emilia Turek

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  • Names are the consequence of things.

    Thomas Aquinas

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  • An extract from my lecture notes about Ontology:

    Slide 10: Ontology

    Concerns itself with the question; what is photography?

    What is this medium of photography? The fundamental question

    Slide 11 - 13: Ontology asks: What is Photography?

    Barthes quotation – what photography is in itself?

    This is what he means

    What makes it different from other medium that defines photography, what’s unique about it?

    Slide 14: Examples of modernist photography of the f64 group.

    Modernism in photography ontologically charged component

    F64 people in the US for example wanted to practice photography as photography, to distinguish themselves of all other media of art.

    The argument went; stick to photography as it is and find out what is valuable it as a visual art form. In many ways, modernism wanted to define itself media wanted to define itself and separate from all other media partly to find social function.

    Clemet Greenburg’s argument about modernist paintings: that when we come to modern period other than enlightenment painting had lost its job (paraphrased terms). Before the enlightenment paintings had been of biblical scenes, important people Kings & Queens etc. Enlightenment had swept that off the table. Kant questioned: how can we know that there is a God, you can’t verify that there’s a God. It had lost its social function and had to find a new one.

    Painters had to find a new function in society, it came to be that painters need to find what’s specific about their media and will find out what their social function is.

    Same argument used for Photography how different from all other art, find its social function to become high functioning art. Needs to finds its own limitations, it needs to find its own definition.

    F64 manifesto said it wanted to view photography as photography. Want to be Photographers, defines photography as having no technique or composition derivative of any other art form

    Slide 15 – 16:  Extract from the f64 manifesto

    They thought it was about clarity and precision and sharpness.

    Albert Renger-Patzsch: photography is a reproductive medium and should stick to that.

    PG history and theory are full of ideas of what PG is – some of these characteristics that theoreticians have banded about.

    Slide 17: Indexicality, Truth, Objectivity, Realism, Definition/ sharpness, Reproducibility.

    Not an exhaustive list of some of the characteristics of photography - above

    Charles Sanders-Purse, American philosopher, he came up with a categorisation of signs: 1) symbolic 2) iconic 3) indexical

    1)     Symbolic: mean what they mean by convention.

    2)     Iconic: look like what they mean

    3)     Indexical: refers to their meaning because they have been caused by their meaning i.e. a fever; there’s a causical link between it and the infection that caused it. FEVER is an index of the infection. Another example: if I press my foot in the sand on a beach I leave an indexical sign. The foot has caused it.

    CS-P also said that photographs are indexical signs.


    Signs, symbolic, conventional belief.  

    One of the most common theories about photography still around. Photography is taking pictures of objects without putting yourself into the image in anyway, it’s realism.

    Walter Benjamin argument is that photography is reproductive in that you can reproduce the same image again and again. Painters can’t do that, sculptures, theatre performances can’t that but photography can.

    Slide 18: Uta Barth Images

    Philosophers test/ question that thinking……. Are these not photographs? They are, we can say this intuitively.

    By the f64 characteristics given, does that mean that these are not photographs?

    Sharpness and definition are therefore not necessarily characteristics of photographs to be photographs. What about sharpness, truth? (see next slide)  

    Slide 19: View of the Boulevard de Temple c. 1839 Daguerre.

    This is a Daguerreotype, it’s not truth i.e long exposure, there would have been people, horse and carriages passing by in the street and it can’t be reproduced exactly. Almost like a theatre performance.

    Exposure time was 5-40 minutes probably 15 minutes.

    Truth is that definitive of photography?

    Many of the listed characteristics are not necessary for photographs to be photographs.

    Slide 20: To Get Really Philosophical: Necessary and sufficient conditions:

    To formulate this into a method of ontological philosophy thinking, you can use these mind of testing method: necessary and sufficient conditions:

    1)     Is something necessary condition of an image being a photograph. Are there images that don’t have that quality.

    2)     Is that quality of a sufficient condition of photographs, are there images that have that quality that are clearly not photographs?

    By using this method invariably prove other peoples arguments wrong.

    Arguably - when some quality or set of qualities is simultaneously both necessary and sufficient – a real definition of photography.

    Slide 21 - 24: Rhein 11, 1999. Gursky.

    Test that theory. Is this a photograph?

    Is it indexical? It is not, at least its credentials in question as the power station has been taken out.

    Realistic? If that’s necessary then forget surrealist photography then

    Truthful? Start thinking if staged photographs staged on fiction can’t be classed as photographs.

    It’s not a resolvable question but is a useful exercise.

    If we lump all those qualities together, does that make a photograph?

    Slide 25-26: Pollen

    If we out those qualities together; if an image is:

    Indexical, truthful, objective, realistic, sharp, reproducible. Does that make a photograph?

    A micro-scanned image of pollen; it is indexical, it is realistic, it is all of the all the characteristics but it isn’t of visible light perse. Does that mean a photograph has to be made by light? It shares all the qualities.

    Do we then say that photography is made by light on a light sensitive surface, how are representative paintings made? Paint on canvas on paint brushes, does light have anything to do with it? Yes, it is light reflected off the subject which you interpret and put onto the canvas.

    Philosophers push and push until you can’t argue any more.

    Theoreticians of photography are saying that they cannot define this medium.

    Slide 27: Echeveria, 1922. Albert Renger-Patzsch & SEM image of a Norway spruce branch.


    When you see a photograph you know it is one. You can tell the difference between a scanned image and a photographed image.

    Many micro images look like modernist photography, perhaps from the 1930’s.

    Slide 28 – 29: Micro images similar to the previous slide.

    Even intuitively when you encounter different types of images, it’s difficult to know whether you’re looking at a photograph or something else.

    Some painters make their work look like it’s a photograph.


    I need to test the theories of ‘what makes a photograph’ and intuitively ‘when you see a photograph you know it is one’. I recently assisted a photographer taking architectural of a commercial building, the client said “the photograph on the wall.. I mean the CGI image on the wall..” intuitively she said photograph because that is the norm but corrected herself because the technology used was not a camera but computer graphic software. I would like to continue with taking the understanding of photography to its basic form.

    #5IMAG001W #Beyond The Frame #Project Ideas#Ontology #What Is A Photograph? #Notes#Reflection
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  • Danaïdes

    Les philosophes s'épuisent à tirer du verbe être tout ce qu'il peut contenir.

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    David Woodruff Smith, Mind World

    #david woodruff smith #aristotle #alfred north whitehead #ernst mayr#ontology#biology #history of philosophy #ancient greek
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  • The transcendent cannot be found “out there,” but only “in here.” Literalism (in the strict modern sense of the word) is a crude rejection of interiority, and therefore also a rejection of ontological awareness.

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