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The six lectures that make up this book were delivered in March 2011 at London University's School of Oriental and Asian Studies as the Jordan Lectures on Comparative Religion. They revolve around the intersection of two ideas, nothingness and desire, as they apply to a re-examination of the questions of self, God, morality, property, and the East-West philosophical divide.Rather than attempt to harmonize East and West philosophies into a single chorus, Heisig undertakes what he calls a "philosophical antiphony." Through the simple call-and-response of a few representative voices, Heisig tries to join the choir on both sides of the antiphony to relate the questions at hand to larger problems that press on the human community. He argues that as problems like the technological devastation of the natural world, the shrinking of elected governance through the expanding powers of financial institutions, and the expropriation of alternate cultures of health and education spread freely through traditional civilizations across the world, religious and philosophical responses can no longer afford to remain territorial in outlook. Although the lectures often stress the importance of practice, their principal preoccupation is with seeing the things of life more clearly. Heisig explains: "By that I mean not just looking more closely at objects that come into my line of view from day to day, but seeing them as mirrors in which I can see myself reflected. Things do not just reveal parts of the world to me; they also tell me something of how I see what I see, and who it is that does the seeing. To listen to what things have to say to me, I need to break with the habit of thinking simply that it is I who mirror inside of myself the world outside and process what I have captured to make my way through life. Only when this habit has been broken will I be able to start seeing through the reflections, to scrape the tain off the mirror, as it were, so that it becomes a window to the things of life as they are, with only a pale reflection of myself left on the pane. Everything seen through the looking glass, myself included, becomes an image on which reality has stamped itself. This, I am persuaded, is the closest we can come to a ground for thinking reasonably and acting as true-to-life as we can."

Desire (Philosophy) --- Nothing (Philosophy) --- Philosophy, Comparative.

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This book provides a much-needed introduction to the Kyoto School of Japanese philosophy. Robert E. Carter focuses on four influential Japanese philosophers: the three most important members of the Kyoto School (Nishida Kitarō, Tanabe Hajime, and Nishitani Keiji), and a fourth (Watsuji Tetsurō), who was, at most, an associate member of the school. Each of these thinkers wrestled systematically with the Eastern idea of "nothingness," albeit from very different perspectives.Many Western scholars, students, and serious general readers are intrigued by this school of thought, which reflects Japan's engagement with the West. A number of works by various thinkers associated with the Kyoto School are now available in English, but these works are often difficult to grasp for those not already well-versed in the philosophical and historical context. Carter's book provides an accessible yet substantive introduction to the school and offers an East-West dialogue that enriches our understanding of Japanese thought while also shedding light on our own assumptions, habits of thought, and prejudices.

Nothing (Philosophy) --- Philosophy, Japanese --- Nothingness (Philosophy) --- Nihilism (Philosophy) --- Ontology --- Nishitani, Keiji, --- Tanabe, Hajime, --- Nishida, Kitarō, --- Keiji, Nishitani --- 西谷啓治 --- 田辺元, --- 田邊元, --- Kitaro, Nishida, --- 西田幾多郎, --- 西田几多郎,

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In No Medium, Craig Dworkin looks at works that are blank, erased, clear or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphée to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg's Erased De Kooning Drawin g to the artist Nick Thurston's erased copy of Maurice Blanchot's The Space of Literature (in which only Thurston's marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications of obscured or obliterated subjects of photographs. Reexamining the famous case of John Cage's 4'33", Dworkin links Cage's composition to Rauschenberg's White Paintings, Ken Friedman's Zen for Record (and Nam June Paik's Zen for Film) and other works, offering also a "guide to further listening" that surveys more than 100 scores and recordings of "silent" music. Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.

Arts, Modern --- Nothing (Philosophy) in art. --- Arts --- Themes, motives. --- Experimental methods --- History --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- ARTS/General --- ARTS/Music & Sound Studies --- SOCIAL SCIENCES/Media Studies --- Nothing (Philosophy) in art --- 7.01 --- 7.036 --- abstractie --- eenentwintigste eeuw --- kunst --- kunsttheorie --- leegte --- literatuur --- monochromie --- muziek --- stilte --- twintigste eeuw --- Themes, motives --- Arts, Primitive