Thinking with Images (Record no. 3155)

MARC details
000 -LEADER
fixed length control field 02183 a2200361 4500
001 - CONTROL NUMBER
control field 0367665832
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250317100418.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 250312042020GB eng
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9780367665838
037 ## - SOURCE OF ACQUISITION
Source of stock number/acquisition Taylor & Francis
Terms of availability GBP 41.99
Form of issue BB
040 ## - CATALOGING SOURCE
Original cataloging agency 01
041 ## - LANGUAGE CODE
Language code of text/sound track or separate title eng
072 7# - SUBJECT CATEGORY CODE
Subject category code QDTN
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Subject category code AB
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Subject category code ART009000
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Subject category code PHI001000
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Subject category code PHI000000
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Subject category code 700.1
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100 1# - MAIN ENTRY--PERSONAL NAME
Personal name John M. Carvalho
245 10 - TITLE STATEMENT
Title Thinking with Images
Remainder of title An Enactivist Aesthetics
250 ## - EDITION STATEMENT
Edition statement 1
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Place of publication, distribution, etc. Oxford
Name of publisher, distributor, etc. Routledge
Date of publication, distribution, etc. 20200930
300 ## - PHYSICAL DESCRIPTION
Extent 160 p
520 ## - SUMMARY, ETC.
Expansion of summary note This book advances an enactivist theory of aesthetics through the study of inscrutable artworks that challenge us to think because we do not know what to think about them. John M. Carvalho presents detailed analyses a four artworks that share this unique characteristic: Francis Bacon’s Study After Velázquez’s Portrait of Pope Innocent X (1953), the photographs of Duane Michals, based on a retrospective of his work, Storyteller , at the Carnegie Museum of Art (2014), Étant donnés (1968) by Marcel Duchamp, and Jean-Luc Godard’s 1963 film Le Mépris (released in the United States as Contempt ). Carvalho argues against the application of theory to derive appreciation or meaning from these artistic works. Rather, each study enacts an embodied cognitive engagement with the specific artworks intended to demonstrate the value of thinking about artworks that might be extended to our engagement with the world in general. This thinking happens, as these studies show, when we trust our embodied skills and their guide to what artworks and the world around us afford for the activation and refinement of those skills. Thinking with Images will be of interest to scholars working in the philosophy of art and philosophical aesthetics, as well as art historians concerned with the meaning and value of contemporary art.

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