The author points to the spiritual relationship between certain underlying ideas in the philosophy of Gernot Böhme—especially in the areas of aesthetics and anthropology—and the typical features of Japanese culture as visible in its art, language and everyday life. For this, he turns to Böhme’s essay On the Aesthetics of the Ephemeral to show the typically ephemeral character of the Japanese painting school, he also reflects on the sophisticated aesthetics of Japanese culinary art. In Mueller’s opinion Japanese culture in many (...) ways put some of Böhme’s philosophical postulates to practical use, notably those concerning the contemplative tendencies of individuals, the obliteration in experience of the difference between the subjective and objective, and the passive acceptance of atmospheric factors. (shrink)

Creativity is fundamental to human experience. In On Creativity David Bohm, the world-renowned scientist, investigates the phenomenon from all sides. This is a remarkable and life-affirming book by one of the most far-sighted thinkers of modern.

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

"This book is valuable as expounding in full a theory of meaning that has its roots in the work of Frege and has been of the widest influence.

This volume provides a valuable discussion of Husserl's lifelong project of the critique of science which makes no attempt to conflate the pre-World War I ...

Das Ziel: Konstitutionssystem der Begriffe Das Ziel der vorliegenden Untersuchungen ist die Aufstellung eines erkenntnismäßig-logischen Systems der ...

Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the factors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected perceptual (...) consequences of architecture with Arnheim's customary clarity and precision. (shrink)

In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...) depth. (shrink)

Available for the first time in 20 years, here are two important works from the 1920s by the best-known representative of the Vienna Circle.

In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...) depth. (shrink)

Views the process of artistic creation in light of the conflict between man's quest for order and increasing universal disorder.

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

"Groundbreaking when first published in 1969, this book is now of even greater relevance to make the reader aware of the need to educate the visual sense, a ...

As a leading member of the Vienna Circle, Rudolph Carnap's aim was to bring about a "unified science" by applying a method of logical analysis to the empirical data of all the sciences. This work, first published in English in 1934, endeavors to work out a way in which the observation statements required for verification are not private to the observer. The work shows the strong influence of Wittgenstein, Russell, and Frege.

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the actors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected perceptual (...) consequences of architecture with Arnheim's customary clarity and precision. (shrink)

Stimulating, thought-provoking text by one of the 20th century’s most creative philosophers clearly and discerningly makes accessible such topics as probability, measurement and quantitative language, structure of space, causality and determinism, theoretical laws and concepts and much more. "...the best book available for the intelligent reader who wants to gain some insight into the nature of contemporary philosophy of science."—Choice.

In this clear and accessible book, Gernot Bohme places philosophical ethics in the context of our individual and social lives. Arguing against the conception of ethics as a body of knowledge, Bohme defines morality as a matter of 'serious questions'. In the case of an individual, a serious question is one that determines that person's mode of living. In the case of society, a serious question is one that shapes our social norms. In Ethics in Context, Bohme explores the key (...) areas of moral living and moral discourse. He examines some of the urgent issues affecting society today, such as the moral implications of reproductive technology, man's mastery over nature and the right of citizenship. This book is a lucid and engaging guide to ethics, which will be of great interest to students of philosophy and, indeed, to all those interested in the subject. (shrink)

This essay is an attempt to reconcile the disturbing contradiction between the striving for order in nature and in man and the principle of entropy implicit in the second law of thermodynamics - between the tendency toward greater organization and the general trend of the material universe toward death and disorder.

The purpose of this phenomenological study is to describe the experience of enduring marriage in mid-life. The literature reveals a lack of research about contemporary mid-life marriage, reflecting only theoretical pieces and research studies on marital happiness, factors that make a marriage successful, and variables contributing to divorce. Noticeably absent are studies conducted from a phenomenological philosophical perspective. Questioning what enduring marriage involves for individuals in mid-life served to orient the researchers to the meaning of the experience. Seventeen volunteers participated (...) in twenty-six initial and follow-up interviews. Using van Manen's methodological structure of human science research, a composite description that reflects enduring marriage in mid-life emerged. Two essential themes that characterize the experience, The Threads that Bind Us and A Season of Change and seven sub-themes explicating these essential themes portray the partnership of enduring mid-life marriage. The themes that comprise the structure of the experience reflect its form as a relational, time-space, and corporeal phenomenon. The findings are described in detail using narrative description in order to offer a rich account of each theme, and the implications provide a direction for future research. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

"This book is valuable as expounding in full a theory of meaning that has its roots in the work of Frege and has been of the widest influence.... The chief virtue of the book is its systematic character. From Frege to Quine most philosophical logicians have restricted themselves by piecemeal and local assaults on the problems involved. The book is marked by a genial tolerance. Carnap sees himself as proposing conventions rather than asserting truths. However he provides plenty of matter (...) for argument."-Anthony Quinton, Hibbert Journal. (shrink)