Herman Parret – författare

No detailed description available for "Meaning and Understanding".

No detailed description available for "Pretending to Communicate".

This text contains contributions from two Kant conferences which took place in Leuven and Cerisy-la-Salle in 1993.

No detailed description available for "e;Discussing Language"e;.

No detailed description available for "e;Language and Discourse"e;.

No detailed description available for "e;Meaning and Understanding"e;.

No detailed description available for "e;Pretending to Communicate"e;.

No detailed description available for "Language and Discourse".

No detailed description available for "Discussing Language".

Epilogue by Christine Buci-GlucksmannKarel Appel. A Gesture of Colour is the first of a series of six volumes, bringing together the most important writings of Jean-François Lyotard (1924 - 1998) on contemporary art and artists. The book he devoted to the art of Karel Appel (1921 - 2006) is doubtlessly one of the most complete and inspired texts of all the writings included in the series. Neither the original French manuscript nor the English translation have ever been published, and their presentation face to face should constitute a considerable plus.In this book, Lyotard presents Karel Appel's "matterism" as an offer of presence, presence deferred - it is the visual where every predicate is suspended, the visual touched, "gesture" of colour more than property of colour, appearance at the edge of the abyss. Christine Buci-Glucksmann's epilogue indicates the position of Karel Appel. A Gesture of Colour within the whole of Lyotard's writings on art, considering equally the philosopher's subsequent work.Winner of the Plantin Moretus Prize 2010 for the best designed book in the category textbooks and academic publications Photo Credits: Van Looveren & Princen

Selected for the 2012 AAUP Book, Jacket and Journal Show in the category 'Scholarly Illustrated'!Awarded with 'Best Vormgegegeven Boek 2011' for the best designed book in the category business and academic publications Sam Francis. Lesson of Darkness is the second of a series of six volumes, bringing together the most important writings of Jean-François Lyotard (1924-1998) on contemporary art and artists. This second volume introduces forty-three poetical reflections and comments on the work of the well-known Californian painter Sam Francis (1923-1994). This edition reprints the English text published in 1993, which is no longer available, face to face with the previously unpublished French original. It also reproduces in full colour all forty-three paintings commented upon by Lyotard.In Lyotard's opinion ‘the work [by Sam Francis] pays homage to the visible marvel and bears witness to the visual enigma'. Lyotard discovers in these poetic reflections the subtle variety of meanings in the use of colour in Sam Francis's paintings.Photos: Van Looveren & Princen

The most important writings of Lyotard on contemporary art in English for the first timeSeven writings assembled in the context of the philosophy of art that Jean-François Lyotard developed in the nineteen-eighties, at the time of the Differend(1983) and of the ‘Kantian turn' leading to the Lessons on the Analytic of the Sublime (1992), are here published for the first time in English translation. The texts focus on three artists with widely divergent aesthetic orientations: the colourist-draughtsman Valerio Adami, the conceptual metaphysician Shusaku Arakawa, and Daniel Buren, the ‘pragmatist of the invisible'. These three protagonists share the notion that the interest in art does not lie in the simple denotation of a frame of reference, but in the connotations of material nuances, in flavours, in tones-in one word, the visual that is barely revealed in the anamnesis that guides the visible and provokes the essential inquietude of the aesthetic experience. What to Paint? Not reality or a ‘world', nor a rich subjectivity, nor even the phantasms of dreams or ideals of being-together, but the act of painting itself, and, beyond the performance of the painter, the presence of matters, a presence that in Arakawa's word is quite obviously blank, elusive.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content)

Final volume in the series 'Jean-François Lyotard: Ecrits sur l'art contemporain et les artistes / Writings on Contemporary Art and Artists'!Lyotard met Jacques Monory in 1972, and the text on him published at that time was the first that Lyotard dedicated to contemporary art since Discourse, Figure. Lyotard's interest in the plastic arts thus fits fully within the setting of his political preoccupations. The artist-protagonist stages the recurring motifs that fascinate Lyotard: the scene of the crime, the revolver, the woman, the victim, glaciers, deserts, stars. The atmosphere of the essays on Monory is "Californian". Monory's imaginary repertoire goes well beyond the masters of modernity and is in line rather with a "modern contemporary surrealism". Both Lyotard and Monory live the "dilemma of Americanisation", the America represented by cinema, fashion, novels, music. It is in this atmosphere that Lyotard and Monory will finally evoke their supreme experience of difference: desire and fear, exultation and a profound malaise. The plastic universe of Monory and the aesthetic meditations of Lyotard are in perfect symbiosis. Sarah Wilson's epilogue thoroughly outlines both the history of a friendship, and at the same time the intellectual and artistic climate of the nineteen-seventies.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

TWO-VOLUME SET! Buy volume 4, I & 4, II together and receive € 20 discount.You only pay €109 instead of € 129! >Ce second tome du quatrième volume rassemble trente-neuf textes de Lyotard qui concernent vingt-six artistes contemporains importants et novateurs : Luciano Berio, Richard Lindner, René Guiffrey, Gianfranco Baruchello, Henri Maccheroni, Riwan Tromeur, Albert Ayme, Manuel Casimiro, Ruth Francken, Barnett Newman, Jean-Luc Parant, François Lapouge, Sam Francis, André Dubreuil, Joseph Kosuth, Sarah Flohr, Lino Centi, Gigliola Fazzini, Bracha Lichtenberg Ettinger, Henri Martin, Michel Bouvet, Corinne Filippi, Stig Brøgger, François Rouan, Pierre Skira et Béatrice Casadesus. Plusieurs de ces textes sont des contributions à des catalogues dont certains sont inaccessibles ou introuvables. Ce volume est illustré par plus de soixante images, pour la plupart en couleur, d'oeuvres d'art commentées par Lyotard dans ces textes. On comprend que Lyotard, au titre d'une esthétique de la présence matérielle, favorise la peinture. L'art de peindre, pour qu'il y ait présence, doit se rendre à ce rien qui vibre entre le vide et le plein, un air, un clinamen, un neutre, une nuance, un timbre.This second book of the fourth volume in the series brings together thirty-nine essays by Lyotard that deal with twenty-seven influential and innovative contemporary artists: Luciano Berio, Richard Lindner, René Guiffrey, Gianfranco Baruchello, Henri Maccheroni, Riwan Tromeur, Albert Ayme, Manuel Casimiro, Ruth Francken, Barnett Newman, Jean-Luc Parant, François Lapouge, Sam Francis, André Dubreuil, Joseph Kosuth, Sarah Flohr, Lino Centi, Gigliola Fazzini, Bracha Lichtenberg Ettinger, Henri Martin, Michel Bouvet, Corinne Filippi, Stig Brøgger, François Rouan, Pierre Skira, and Béatrice Casadesus. Some of these texts were originally written as contributions to catalogues; others were published in now-inaccessible journals. This volume is illustrated with more than sixty images, mainly in colour, of works of art discussed by Lyotard in these writings.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Order now the complete collection and receive the final volume for free!If you buy the complete collection 'Jean-François Lyotard: Writings on Contemporary Art and Artists', you only pay € 297,00 or £246.00 (instead of € 346,50 or £289.00)Please note that shippings costs are not included.Contact info@lup.be for shipping costs to US, Europe and the rest of the world.Volume 1: Karel Appel, Un geste de couleur / Karel Appel, A Gesture of Colour€ 39,50 / £35.00, ISBN 978 90 5867 756 3Winner Flemish Prize for Best Designed Academic Book 2010Volume 2: Sam Francis, Leçon de ténèbres / Sam Francis, Lesson of Darkness€ 39,50 / £35.00, ISBN 978 90 5867 781 5Winner Flemish Prize for Best Designed Academic Book 2011 & selected for the 2012 aaup Book Show, category ‘Scholarly Illustrated'Volume 3: Les Transformateurs Duchamp / Duchamp's trans/formers€ 39,50/ £35.00, ISBN 978 90 5867 790 7Republishes the version by Editions Galilée (Paris, 1977) and the English translation by the Lapis Press (Los Angeles, 1990) face to faceVolume 4, I + II: Textes dispersés I & II / Miscellaneous Texts I & II€ 109,00 / £89.00, ISBN 978 90 5867 896 6Two-volume set!Volume 5: Que Peindre? / What to Paint? Adami, Arakawa, Buren€ 69,50 / £52.00, ISBN 978 90 5867 792 1Translated in English for the first timeVolume 6: L'assassinat de l'expérience par la peinture, Monory / The Assassination of Experience by Painting, Monory€ 49,50 /£43.00, ISBN 978 90 5867 881 2Final volume Go to www.lyotard.be for more information.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content)

Duchamp's TRANS/formers is the third in a series of six volumes that exhaustively bringstogether the writings of Jean-François Lyotard (1924-1998) on contemporary arts and artists. This collection of essays, written between 1974 and 1977 in the middle of the time of Duchamp's rediscovery in France, was published by Editions Galilée (Paris) in 1977 and in English translation by The Lapis Press (Los Angeles) in 1990. This volume republishes the two versions face to face, including the drawings, diagrams and images of the original edition.Duchamp's TRANS/formers reconstructs the Large Glass and Given, Duchamp's two major works that glorify the body in its topological conceptuality. The book introduces the question of the advent and the event of art, and invites us furthermore to consider the debt that philosophical commentary owes to the artistic gesture. This essay in philosophical aesthetics also includes reflections on the question of style, on the relation between the notions of transformer and performance, and on recourse to the machine in order to reveal the cunning nature of the machinations in play.

TWO-VOLUME SET!Buy volume 4, I & 4, II together and receive € 20 discount.You only pay €109 instead of € 129! > Ce quatrième volume dans la collection dédiée aux écrits de Jean-François Lyotard sur l'art contemporain et les artistes contient neuf essais sur l'esthétique générale et la théorie de l'art. Ces essais sont publiés en français, la langue originale, avec les traductions en anglais. La plupart de ces textes, préservés à la Bibliothèque Littéraire Jacques Doucet à Paris, sont publiés en ce lieu pour la première fois. Ils ne manifestent pas un « autre » Lyotard que celui que nous connaissons de ses écrits majeurs. Mais ils couvrent l'entière période de sa production, de 1969 à 1997, et rendent le développement de sa philosophie de l'art plus explicite. Après la conception « libidinale » dans ses premiers écrits sur l'art, on constate chez Lyotard vers 1980 le « tournant kantien » qui place sa philosophie de l'art sous l'égide du sublime. Ces essais suggèrent ce que signifient, pour Jean-François Lyotard, la main du peintre tout comme le regard de l'amoureux de la résonance des couleurs.This fourth volume in the series devoted to Jean-François Lyotard's writings on contemporary art and artists presents nine essays on general aesthetics and the theory of art. They are published in the original French along with English translations on facing pages. Most of these texts, preserved in the Lyotard archives of the Bibliothèque Littéraire Jacques Doucet in Paris, are published here for the first time. They do not reveal ‘another Lyotard' than the one whom we know through his major writings. Nevertheless, they cover the whole period of his production, from 1969 to 1997; and they make the development of his philosophy of art explicit. After the ‘libidinal' conception of art in his early writings, the ‘Kantian twist' of around 1980 places his view on art under the aegis of the sublime.These essays specify what, for Jean-François Lyotard, the hand of the painter means, as well as the gaze of the viewer, enamoured with resonant colours.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).