Many-Valued Aesthetics : Interconnections in the Work of Mary Bauermeister

Many-Valued Aesthetics Interconnections in the Work of Mary Bauermeister

»Yes, No, Perhaps« are the most written words in Mary Bauermeister's artworks. Together they stand for the concept of many-valued aesthetics in the German artist's oeuvre - an aesthetic that Bauermeister developed using many-valued logic. Hauke Ohls brings the artist's central groups...

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Detalles Bibliográficos
Autor principal: Ohls, Hauke (-)
Autor Corporativo: Studio Mary Bauermeister funder (funder)
Formato: Libro electrónico
Idioma:Inglés
Publicado: Bielefeld : transcript Verlag 2024.
Edición:1st ed
Colección:Image ; 249
Materias:
ART / History / Contemporary (1945-).
Aesthetics.
Art History of the 20th Century.
Art History.
Art.
Assemblage.
Culture.
Female Art History.
Fine Arts.
Many-Valued Aesthetics.
Postwar Art.
Ver en Biblioteca Universitat Ramon Llull:https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009849238706719
Tabla de Contenidos:
  • Cover
  • Contents
  • 1. Prologue
  • 2. Aesthetics of Many‐Valued Logic
  • 2.1 Needless Needles
  • The Needless Needles Light Sheet
  • Needless Needles Drawing
  • Needless Needles Lens Boxes
  • Fibonacci Networks
  • 2.2 "A Trans‐Aristotelian Human Type": Many‐Valued Logic according to Gotthard Günther
  • Günther's Aristotelian Axioms
  • Günther's Relationship to Hegel
  • Many‐Valued Logic
  • 2.3 A Trans‐Aristotelian Type of Artist: The Many‐Valued Aesthetic of Needless Needles
  • Many‐Valued External Being
  • An Aesthetic Concept of Many‐Valuedness
  • Many‐Valued Aesthetic
  • Many‐Valued Aesthetics by means of the Identity of Reflection of the Object
  • 3. Combination Principle
  • 3.1 Principles of Education
  • 3.2 Facets of Abstraction
  • Dot‐Structure Paintings
  • Honeycomb Pictures
  • 3.3 Musical Parameters
  • Magnet Pictures
  • Painterly Conception
  • Notationality
  • Beyond Fluxus
  • 3.4 (Many‐Valued) Combinations
  • Chance and Indeterminacy
  • (Many‐Valued) Combination Principle
  • 4. Material and Materiality
  • Material and Materiality
  • 4.1 A (Many‐Valued) Intermateriality
  • Intermateriality
  • Howevercall as an Intermaterial Assemblage
  • 4.2 The Poetics of the Found as Material I: Light Sheets and Textiles
  • 4.3 The Poetics of the Found as Material II: Stones
  • 5. The Use of Writing in Bauermeister's Oeuvre
  • Beyond Surrealism
  • 5.1 A Topology of Notational Iconicity
  • Notational Iconicity
  • The Convergences of Writing and Drawing
  • Spatiality and Materiality
  • 5.2 Cooperative Iconicity
  • 5.3 The Epistemological Potentials of (Reflexive) Notational Iconicity
  • Notational Reflection(s)
  • Handwriting(s)
  • The Association of Scribbling
  • 6. Networking in and between Works
  • Pencil as Motif
  • Network‐Like Networking
  • 6.1 Picture‐to‐Picture References
  • Repetitions and Their Differences
  • Square Tree Commentaries.
  • 6.2 Production Processes between Hand, Eye, and Tools
  • Tools of A's Touch
  • Easels
  • Pictionary's Checkered Pattern
  • Hand
  • Eye
  • Work Processes
  • 6.3 Reflections on Titles and Frames
  • Titles
  • Frames in Connection with Titles
  • Networks and Autonomies of Title and Frame
  • 6.4 The (Many‐Valued) Metalevels
  • The Checkered Pattern as Metareference
  • Meta‐Image
  • 7. Epilogue
  • Bibliography
  • List of Figures.

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