This dissertation follows an existing tradition in which a particular type of ocularcentrism has been challenged as the only viable epistemological model residing in the visual. For decades Western thinkers have been asking if a visual paradigm must be intrinsically dualistic? They have inquired as to whether or not the Cartesian project has resulted in a conflation of knowing and seeing such that a fixed gaze has come to obscure all other possible manners of looking. Instead of simply adding yet another voice to the critique, this project disrupts the flattening, homogenizing and thinning of experience. To the methods of phenomenology, hermeneutics, archaeology, genealogy and deconstruction—all attempts, in one way or another, to upend the dehumanizing effects of objectification-this inquiry adds the approach of the artist to the project of thawing frozen conceptual structures.
Building on select texts by Richard Rorty and the thoughts of a group of Post-Nietzschean Continental philosophers—Heidegger, Merleau-Ponty, Derrida, Cixous and Foucault, among others—this study illuminates the contributions of the artist to the purview of the philosopher. When the artist trains her gaze on thinking about looking, she becomes artist/philosopher, transforming a set of foundational dualistic oppositions, including that of sense and thought.
Applying an aesthetic lens to selected philosophical works drew three, original, paradigmatic figures to the surface: the Lenticular Image , the Reverse Panopticon and the (W)hole . Inhabiting the cusp between art and philosophy—a discursive space that one might place under the umbrella of Visual Culture Studies—I clarify these paradigms with the aid of images ranging from Plato's Cave to Zippy the Pinhead. The practical application of these "new" conceptual models zooms in on the historically hypostatized gaze and makes visible practices of looking that have long been hidden in its shadow. When embraced, they are constitutive of the approach of the artist/philosopher yielding experience which fluxes rather than fixes, shimmers instead of solidifies, and unveils itself, in all its richness.
|School:||Union Institute and University|
|School Location:||United States -- Ohio|
|Source:||DAI-A 68/09, Dissertation Abstracts International|
|Subjects:||Fine arts, Philosophy|
|Keywords:||Aesthetics, Artist/philosopher, Philosopher, Visual culture|
Copyright in each Dissertation and Thesis is retained by the author. All Rights Reserved
The supplemental file or files you are about to download were provided to ProQuest by the author as part of a
dissertation or thesis. The supplemental files are provided "AS IS" without warranty. ProQuest is not responsible for the
content, format or impact on the supplemental file(s) on our system. in some cases, the file type may be unknown or
may be a .exe file. We recommend caution as you open such files.
Copyright of the original materials contained in the supplemental file is retained by the author and your access to the
supplemental files is subject to the ProQuest Terms and Conditions of use.
Depending on the size of the file(s) you are downloading, the system may take some time to download them. Please be