Haecceities : Essentialism, Identity, and Abstraction.

Intro -- Contents -- Acknowledgements -- List of Haecceity Illustrations and Figures -- Part 1 Introduction -- Chapter 1 Theses of Abstraction -- 1.1 Singling Something Out -- 1.2 Singling Out Objects -- 1.3 Particular Identity -- 1.4 Understanding Particular Identity -- 1.5 Artwork Identity and Perceptual Objects -- 1.6 The Notion of an Artistic Complex -- 1.7 Using Essential Elements of an Artistic Complex -- Chapter 2 The Essential Elements of an Artistic Complex and the Idea of Essentialism or Essentialist Abstraction -- 2.1 Object -- 2.2 Subject -- 2.3 Consciousness: Perceptual and Conceptual Awareness -- 2.4 Agency -- 2.5 Epistemological Relations of Subject to Object: Knowing Which, Knowing That, and Knowing What -- 2.6 Indexicals -- 2.7 Logical Relations of Objects and Consciousness: Phenomenality and Noumenality -- 2.8 History of Awareness and Agency -- 2.9 Cause and Effect and Change -- 2.10 Becoming -- 2.11 Stability and Change in Dependent and Intended Objects -- 2.12 Apprehension and Reapprehension -- 2.13 Identity and Difference -- 2.14 Parts and Wholes -- 2.15 Space and Time -- 2.16 Continuity and Discontinuity and Recurrence and Non-Recurrence -- 2.17 Aesthetically Essential Properties -- Chapter 3 Radical Identity -- Chapter 4 Essence and Essentialism -- Chapter 5 Consciousness -- 5.1 Consciousness is Heterogeneous -- 5.2 Consciousness is Multifarious -- 5.3 Reflexive and Irreflexive Events -- 5.4 Monadic and Polyadic Events -- 5.5 First-Order and Second-Order Events -- Chapter 6 Objects -- 6.1 Existential and Non-Existential Objects -- 6.2 Phenomenal and Noumenal Objects -- 6.3 Dependent and Independent Objects -- 6.4 Ideational Objects -- 6.5 Identity-Dependent Objects -- 6.6 Type-Dependent Objects -- Chapter 7 Summary and the Goals and Workings of Essentialism.

Part 2 Space, Time, Language, and Objects, and Particular Matters of General Relevance to Essentialism -- Chapter 8 The Particularity of Objects and the Use of the Term 'haecceity' in Regard to Essentialist Artworks -- 8.1 Thisness and Whatness -- 8.2 Whatness and Thisness -- 8.3 The Primacy of Thisness -- 8.4 Haecceity -- Chapter 9 Space, Language, and the Perceptual Object -- 9.1 Language and Two-Dimensional Space -- 9.2 The Relation of Written Language to Things Beyond its Space -- 9.3 The Figure of Language and its Surrounding Ground -- 9.4 Linear and Circular Language on Stationary Grounds -- 9.5 The Problem of Number and its Solution -- 9.6 The Problem of Distribution and the Solution of it and the Problem of Number in Relation to One Another -- 9.7 The Problem of Figure and Ground -- 9.8 The Solution of the Problem of Figure and Ground -- 9.9 The Problem of Asymmetry -- 9.10 The Solution of the Problem of Asymmetry -- 9.11 The Simultaneous Solution of the Problems of Number, Distribution, Figure and Ground, and Asymmetry for Linear Language on a Two-Dimensional Surface -- Chapter 10 Effects of the Algorithm: Visible and Invisible, On and Off the Surface -- 10.1 Matrices in Conceptual Space -- 10.2 Dualities and Identities -- 10.3 Grids and Matrices -- 10.4 The Visual Relation of Matrices to their Surrounding Space -- 10.5 Additional Matters Pertaining to the Use of Matrices -- Chapter 11 Time and the Perceptual Object -- Chapter 12 Space, Time, Language, and the Perceptual Object -- Chapter 13 Meaning, Specification Tokens, and Matrices -- Chapter 14 Time and the Specified Object -- Chapter 15 Change and the Perceptual Object -- 15.1 The Standard Case -- 15.2 Possible Sources of Change -- 15.3 Imagined Change -- 15.4 Points of Relevance to Imagined Change -- Chapter 16 Interpretation.

Chapter 17 The Delimitation of Logical Space and a Subject's History of Awareness -- 17.1 Objects and Boundaries -- 17.2 Phenomenal Divisions of the Space of Objects and Awareness -- 17.3 Essentialist Delimitations -- 17.4 Awareness and Objects -- 17.5 Language and Abstraction -- Part 3 Haecceities, Ideational Objects, and Identity -- Chapter 18 No Artwork Without an Identity -- Chapter 19 Traditional Identity in the Visual Arts -- 19.1 Art, Physics, and Perception -- 19.2 Art, Objects, and Understanding -- 19.3 Essentialism and Conceptual Idealism -- 19.4 When is Art? When is an Essentialist Artwork? -- Chapter 20 Essentialism and Identity -- 20.1 Ingredients of Identity -- 20.2 Identity and Perceptual Objects -- 20.3 The Dependence of Ideational Identity on Language -- Chapter 21 Haecceities and Ideational Objects -- 21.1 Dependent and Independent Identity -- 21.2 Identity Dependence, Type Dependence, and Participatory Artworks -- 21.3 The Present and Present Understanding -- 21.4 Single and Multiple Ideational Objects -- 21.5 Past and Present Ideational Objects -- 21.6 Essentialist Artworks and Past and Present Ideational Objects -- Chapter 22 Kinds of Ideational Identity -- 22.1 An Ideational Whole -- 22.2 Ideational Wholes and Ideational and Perceptual Parts-I -- 22.3 Conditions of Plural Ideational Identity -- 22.4 Equivalent Ideational Wholes -- 22.5 Ideational Wholes and Ideational and Perceptual Parts-II -- 22.6 A Whole Consisting of Equivalent Ideational Parts -- 22.7 Ideational Wholes and Ideational and Perceptual Parts-III -- 22.8 Summary of Ideational Identity -- Chapter 23 Basic and Sophisticated Space, Meaning, Identity, and Work -- 23.1 Basic and Sophisticated Space -- 23.2 Basic and Sophisticated Meaning -- 23.3 Basic and Sophisticated Identity and Work -- 23.4 Essentialist Space -- 23.5 Essentialist Time.

23.6 Sophisticated Identity, Meaning, and Work -- 23.7 The Space of Apprehension and the Field of Understanding -- 23.8 Memory and Meaning -- 23.9 Sophisticated and Virtual Identity -- Chapter 24 Haecceity Artwork Identity: Preliminary Points -- 24.1 Conceptual or Qualitative Sameness -- 24.2 Conceptual or Qualitative Difference -- 24.3 Logical and Conceptual Difference in Artwork Identity -- Chapter 25 Disseminated Identity -- 25.1 Synchronic Dissemination -- 25.2 Diachronic Dissemination -- 25.3 Every Disseminated Object is Ideational, but not Every Ideational Object is Disseminated -- 25.4 Ideational Plurality and Types and Disseminated Identity -- 25.5 Disseminated Objects and Parts and Wholes -- 25.6 Egalitarian Artworks and Disseminated Identity -- 25.7 Perceptual Objects and Identity -- 25.8 Qualitative Sameness and Difference of Disseminated Objects -- 25.9 Interpretation and Dissemination -- 25.10 Reasons for Speaking of the Equality of Kinds of Disseminated-and by Extension Distributed-Identity -- Cahapter 26 Distributed Identity -- 26.1 Distributed Objects and Artwork Identity -- 26.2 Dissemination and Distribution -- 26.3 Distributed Objects and Parts and Wholes -- 26.4 Qualitative Sameness and Difference of Distributed Objects -- 26.5 Interpretation and Distribution -- 26.6 The Artist's Determination of Kinds of Identity -- Chapter 27 Disseminated And/Or Distributed Identity -- 27.1 Artworks and Properties -- Chapter 28 Non-Disseminated and Non-Distributed Identity -- 28.1 Non-Disseminated and Non-Distributed Identity and Parts and Wholes -- Chapter 29 Aesthetic Properties and Basic and Sophisticated Space -- Chapter 30 Homogeneous Identity -- Chapter 31 Heterogeneous Identity -- Chapter 32 Actuality and Possibility and Identity -- Cahapter 33 Possibilities of Identity -- Chapter 34 Identity and Abstraction.

Chapter 35 Things that can Complicate Identity -- Chapter 36 Thisness and Essentialism -- Chapter 37 Egalitarian Identity -- Chapter 38 Summary of Essentialist Identity -- Part 4 The Space of Apprehension and the Field of Understanding -- Chapter 39 Introduction -- 39.1 The Space of Apprehension -- 39.2 The Field of Understanding -- 39.3 The Space of Apprehension and the Field of Understanding -- 39.4 The Relevance of the Space of Apprehension and the Field of Understanding to Essentialist Identity -- Chapter 40 Circles, Matrices, and the Space of Apprehension -- 40.1 Seeing and Understanding in the Space of Apprehension: Matrices -- 40.2 The Rational Delimitation of the Space of Apprehension: Circles and Matrices -- 40.3 Words and Matrices -- 40.4 Space and Time and Perception and Understanding in Matrices of Language -- 40.5 Positive and Negative Spaces in Essentialist Matrices -- 40.6 The Relation of Essentialist Space to Subject and Object -- 40.7 Matters of Aesthetic Relevance -- Chapter 41 Language and Information in the Haecceities Series -- 41.1 Matrices and Words and Thoughts -- 41.2 The Language of Abstraction -- 41.3 The Background Knowledge of Specifications -- 41.4 The General Function of Specifications and the Space of Apprehension -- 41.5 Visual Stasis and Conceptual Dynamism -- Chapter 42 Comprehending Specifications -- 42.1 Meaning and Apprehension at a Time and at Different Times -- 42.2 The Static and the Dynamic in Comprehension -- Chapter 43 The Field of Understanding -- 43.1 The Field of Understanding and Sophisticated Haecceity Identity -- 43.2 Consciousness and the Space of Apprehension -- 43.3 The Relevance of Subject Knowledge to Essentialist Artworks -- 43.4 Contrasts between, and Relations of, Space and its Apprehension -- 43.5 The Space of Meaning as a Source of Artistic Material -- 43.6 Meaning, Meanings, and Aesthetics.

43.7 Time and the Field of Understanding.

Haecceities: Essentialism, Identity, and Abstraction is an artistic and philosophical examination of the limits of Abstraction in art and of kinds of radical identity determined in the identification of those limits. Strayer's results challenge common notions of art and identity.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.