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Paperback. The Being and Event trilogy is the philosophical basis of Alain Badiou's entire oeuvre. It is formed of three major texts, which constitute a kind of metaphysical saga: Being and Event (1988). ), Logics of the Worlds (2006) and finally The Immanence of Truths, which he has been working on for 15 years.The new volume reverses the perspective adopted in Logics of Worlds. Where in that book, Badiou saw fit to analyze how truths, qua events, appear from the perspective of particular worlds that by definition exclude them, in The Immanence of Truths Badiou asks instead how the irruption of truths transforms the worlds within which they by necessity must arise. An emphasis on regularity and continuity has given way to an attempt, one unquestionable in its philosophical power and implications, to formalize rupture and reconfiguration.The Being and Event trilogy is a unique and ambitious work that reveals how truths can be at once context-specific and universal, situational and eternal. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Immersion is the new orthodoxy. Within the production, curation and critique of sound art, as well as within the broader fields of sound studies and auditory culture, the immersive is routinely celebrated as an experiential quality of sound, the value of which is inherent yet strengthened through dubious metaphysical oppositions to the visual. Yet even within the visual arts an acoustic condition grounded in Marshall McLuhan's metaphorical notion of acoustic space underwrites predispositions towards immersion. This broad conception of an acoustic condition in contemporary art identifies the envelopment of audiences and spectators who no longer perceive from a distance but immanently experience immersive artworks and environments.Immanence and Immersion takes a critical approach to the figures of immersion and interiority describing an acoustic condition in contemporary art. It is argued that a price paid for this predisposition towards immersion is often the conceptual potency and efficacy of the work undertaken, resulting in arguments that compound the marginalisation and disempowerment of practices and discourses concerned with the sonic. The variously phenomenological, correlational and mystical positions that support the predominance of the immersive are subject to critique before suggesting that a stronger distinction between the often confused concepts of immersion and the immanence might serve as a means of breaking with the figure of immersion and the circle of interiority towards attaining greater conceptual potency and epistemological efficacy within the sonic arts.

Immersion is the new orthodoxy. Within the production, curation and critique of sound art, as well as within the broader fields of sound studies and auditory culture, the immersive is routinely celebrated as an experiential quality of sound, the value of which is inherent yet strengthened through dubious metaphysical oppositions to the visual. Yet even within the visual arts an acoustic condition grounded in Marshall McLuhan's metaphorical notion of acoustic space underwrites predispositions towards immersion. This broad conception of an acoustic condition in contemporary art identifies the envelopment of audiences and spectators who no longer perceive from a distance but immanently experience immersive artworks and environments.Immanence and Immersion takes a critical approach to the figures of immersion and interiority describing an acoustic condition in contemporary art. It is argued that a price paid for this predisposition towards immersion is often the conceptual potency and efficacy of the work undertaken, resulting in arguments that compound the marginalisation and disempowerment of practices and discourses concerned with the sonic. The variously phenomenological, correlational and mystical positions that support the predominance of the immersive are subject to critique before suggesting that a stronger distinction between the often confused concepts of immersion and the immanence might serve as a means of breaking with the figure of immersion and the circle of interiority towards attaining greater conceptual potency and epistemological efficacy within the sonic arts.

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Contents: Roman fundamental theology in the last quarter of the nineteenth century -- The Blondelian challenge -- Alfred Loisy and the radicalization of the modernist movement -- History and dogma: the debate between Alfred Loisy and Maurice Blondel -- Lucien Laberthonnière's "critical mysticism" -- Friedrich Von Hügel: experience and transcendence -- George Tyrrell: revelation as experience -- The integralist response (1): prelude to the Roman condemnation of modernism -- The integralist response (2): Pascendi and after -- Modernism in retrospect -- Appendix 1: Joseph Lemius (1860-1923), draughtsman of Pascendi -- Appendix 2: The anti-modernist oath.

The Anthropocene marks the age of significant human impact on the Earth’s ecosystems, dramatically underscoring the reality that human life is not separate from nature but an integral part of it. Culturally, ecologically, and socially destructive practices such as resource extraction have led to this moment of peril. These practices, however, implicate more than industrial and economic systems: they are built into the political theology of American exceptionalism, compelling us to reimagine human social and political life on Earth. American Immanence seeks to replace the dominant American political tradition, which has resulted in global social, economic, and environmental injustices, with a new form of political theology, its dominant feature a radical democratic politics. Michael S. Hogue explores the potential of a dissenting immanental tradition in American religion based on philosophical traditions of naturalism, process thought, and pragmatism. By integrating systems theory and concepts of vulnerability and resilience into the lineages of American immanence, he articulates a political theology committed to democracy as an emancipatory and equitable way of life. Rather than seeking to redeem or be redeemed, Hogue argues that the vulnerability of life in the Anthropocene calls us to build radically democratic communities of responsibility, resistance, and resilience. American Immanence integrates an immanental theology of, by, and for the planet with a radical democratic politics of, by, and for the people.

What art is―its very nature―is the subject of this book by one of the most distinguished continental theorists writing today. Informed by the aesthetics of Nelson Goodman and referring to a wide range of cultures, contexts, and media, The Work of Art seeks to discover, explain, and define how art exists and how it works. To this end, Gérard Genette explores the distinction between a work of art's immanence―its physical presence―and transcendence―the experience it induces. That experience may go far beyond the object itself.Genette situates art within the broad realm of human practices, extending from the fine arts of music, painting, sculpture, and literature to humbler but no less fertile fields such as haute couture and the culinary arts. His discussion touches on a rich array of examples and is bolstered by an extensive knowledge of the technology involved in producing and disseminating a work of art, regardless of whether that dissemination is by performance, reproduction, printing, or recording. Moving beyond examples, Genette proposes schemata for thinking about the different manifestations of a work of art. He also addresses the question of the artwork's duration and mutability.

Unread book in perfect condition.

Unread book in perfect condition.

Unread book in perfect condition.

Contents: Roman fundamental theology in the last quarter of the nineteenth century -- The Blondelian challenge -- Alfred Loisy and the radicalization of the modernist movement -- History and dogma: the debate between Alfred Loisy and Maurice Blondel -- Lucien Laberthonnière's "critical mysticism" -- Friedrich Von Hügel: experience and transcendence -- George Tyrrell: revelation as experience -- The integralist response (1): prelude to the Roman condemnation of modernism -- The integralist response (2): Pascendi and after -- Modernism in retrospect -- Appendix 1: Joseph Lemius (1860-1923), draughtsman of Pascendi -- Appendix 2: The anti-modernist oath.

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In this book Mark Torgerson shows how modern architecture has heavily influenced the construction of new sacred spaces, producing a new way of building that emphasizes God's coming near to us. Torgerson begins by discussing God's transcendence and immanence and showing how church architecture has traditionally interpreted these key concepts. He then traces the theological roots of immanence's priority from liberal theology and liturgical innovation to modern architecture. Next, Torgerson illustrates this new architecture of immanence through particular practitioners, focusing especially on the work of theologically savvy architect Edward Anders Sövik. Finally, he addresses the future of church architecture as congregations are buffeted by the twin forces of liturgical change and postmodernism.An Architecture of Immanence will interest architects, liturgists, and all Christians who seek to read the sacred spaces of the recent past.

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Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.84

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.69

Unread book in perfect condition.