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List of contents
1.Introduction
2. The Spot on the Wall: Chance versus Automatism
3. Sound and Phenomenology: Pierre Schaeffer’s Sonic Research
4. Chance as Epoche: John Cage and Non-intentionality
5. Twisting Free form Aesthetics and the Will: Heidegger and the work of Art
6. Purposive Purposelessness: Cage, Heidegger, Eckhart
7. Fluxus and the Flux: Husserl, Derrida and Gadamer on Experience
8. Poethics: I Have Nothing to Say and I am Saying It
9. Contingency, Complex Realism and the Cinematic Image
Notes
Bibliography
Index
About the author
Ian Andrews teaches at the University of New South Wales, Australia. He is also a media artist and theorist working with generative sound, video and text in installation formats. His areas of research interest include aesthetics, philosophy, poetry, sound, film theory, semio-linguistics and contemporary art.
Summary
In drawing upon the work of Jacques Derrida, Edmund Husserl and Martin Heidegger and aligning it with a new trend in interdisciplinary phenomenology, Ian Andrews provides a unique look at the role of chance in art and its philosophical implications. His account of how the composer John Cage and other avant-garde creatives such as Marcel Duchamp, Tristan Tzara, Sol LeWitt and Ed Ruscha used chance in their work to question the structures of experience and prompt a new engagement with these phenomena makes a truly important contribution to Continental philosophy.
Chance, Phenomenology and Aesthetics will appeal to scholars and advanced students in the disciplines of phenomenology, deconstruction and hermeneutics, as well as being compelling reading for anyone interested in pursuing sound studies, art theory and art history through an interdisciplinary post-phenomenological lens.
Foreword
Ian Andrews uses Husserlian theory to interrogate the philosophical consequences of using random elements in sonic, visual and poetic art practices.
Additional text
How do we form an aesthetic that allows the things of this world to show themselves in all their chance and fleeting unexpectedness? No other recent study of phenomenological aesthetics offers such an eloquent and informative defence of the random in art and its powers of exposure.
