01253nam a2200325 i 4500991001151999707536040414s2004 nju b 001 0 eng d0691118981b12726084-39ule_instDip.to Matematicaeng516.36AMS 58J40AMS 44A12AMS 53C40LC QA649.G372Gasqui, Jacques56874Radon transforms and the rigidity of the Grassmannians /Jacques Gasqui and Hubert GoldschmidtPrinceton ; Oxford :Princeton University Press,2004xvii, 366 p. ;24 cmAnnals of mathematics studies ;156Includes bibliographical references and indexRadon transformsGrassmann manifoldsGoldschmidt, Hubertauthorhttp://id.loc.gov/vocabulary/relators/aut56875.b1272608421-09-0614-04-04991001151999707536LE013 58J GAS11 (2004)12013000145402le013pE78.38-l- 02020.i1351604828-04-04Radon transforms and the rigidity of the grassmannians670617UNISALENTOle01314-04-04ma -engnju0103122nam 22005531 450 991079559770332120171009095604.01-350-00419-71-350-00416-210.5040/9781350004191(CKB)4340000000213381(MiAaPQ)EBC4939398(OCoLC)1000048121(UtOrBLW)bpp09261140(PPN)233131728(EXLCZ)99434000000021338120171025d2017 uy 0engurcnu||||||||rdacontentrdamediardacarrierExpanded painting ontological aesthetics and the essence of colour /Mark Titmarsh[New York] :Bloomsbury Academic,2017.1 online resource (228 pages)1-350-10199-0 1-350-00417-0 Includes bibliographical references and index.Chapter 1. The Presence of Paint -- Chapter 2. Expanded Painting -- Chapter 3. Post Aesthetics -- Chapter 4. An Ontology of Colour -- Chapter 5. The Painting of Being -- Notes -- Bibliography."The relevance of painting has been questioned many times over the last century, by the arrival of photography, installation art and digital technologies. But rather than accept the death of painting, Mark Titmarsh traces a paradoxical interface between this art form and its opposing forces to define a new practice known as 'expanded painting' giving the term historical context, theoretical structure and an important place in contemporary practice. As the formal boundaries tumble, the being of painting expands to become a kind of total art incorporating all other media including sculpture, video and performance. Painting is considered from three different perspectives: ethnology, art theory and ontology. From an ethnological point of view, painting is one of any number of activities that takes place within a culture. In art theory terms, painting is understood to produce objects of interest for humanities disciplines. Yet painting as a medium often challenge both its object and image status, 'expanding' and creating hybrid works between painting, objects, screen media and text. Ontologically, painting is understood as an object of aesthetic discourse that in turn reflects historical states of being. Thus, Expanded Painting delivers a new kind of saying, a post-aesthetic discourse that is attuned to an uncanny tension between the presence and absence of painting."--Bloomsbury Publishing.AestheticsArtPhilosophyColor in artOntologyPaintingPhilosophyPhilosophy: aestheticsAesthetics.ArtPhilosophy.Color in art.Ontology.PaintingPhilosophy.745.723Titmarsh Mark1476198UtOrBLWUtOrBLWBOOK9910795597703321Expanded painting3690646UNINA