Immanence的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列問答集和資訊懶人包

Capitalism and the New Political Unconscious: A Philosophy of Immanence

為了解決Immanence的問題，作者 這樣論述：

Fabio Vighi is Professor of Critical Theory and Italian at Cardiff University, UK. His previous titles include: Critical Theory and the Crisis of Contemporary Capitalism, co-authored with Heiko Feldner (Bloomsbury, 2015) and Between Urban Topographies and Political Spaces: Threshold Experiences (201

4), co-edited with Alexis Nuselovici and Mauro Ponzi. Riccardo Panattoni is Professor of Moral Philosophy and Director of the Department of Human Sciences at Verona University, Italy. His previous titles include: Giorgio Agamben. La vita che prende forma (2018) and, co-edited with E. Grazioli, Live.

Intensità, intermittenza, registrazione (2017).

Immanence進入發燒排行的影片

內在地圖－李冠儀當代首飾創作論述

為了解決Immanence的問題，作者李冠儀 這樣論述：

創作做為一種語言，闡述創作者的所見與不可見，透過創作抒發內在沈潛的聲響，收束感知所獲得的複雜資訊，發掘記憶或者覺察生活，將感知裡所體驗的線索轉化成為創作形式，藉由創作將內在的意象體現為實體，從創作過程裡尋獲獨樹一幟的思維，藉此得到療癒或抒發內在的創作目的。本創作論述整理筆者對於家庭經驗及創作的疑惑，探究是否有股力量，亦或是某些徵兆不斷刺激創作者觸發探索的動力，致使創作者起心動念，規劃創作的內容，並付諸行動實踐。筆者從自我發掘與學理研究探討創作意識如何產生，無形的力量如何作為引導，又源自何處？對創作者賦予哪些影響？創作的運作其實在身體裡發生了什麼事，最終創作又向創作者展現了什麼價值與意義？一系

列關於梳理家庭經驗，真實的解構並重建內在地圖與重新開啟感知的創作歷程，筆者試圖以創作療癒自我，藉由創作開展對感知的理解及觀看自我的向度，達成一種譬如抽離的模式遠觀自身，在沈浸於創傷與透過創作的暫時抽離之間，從擺盪於彼此間的感受顯現真實自我的存在，走向認同家庭的階段。創作以五個系列闡述認同家庭特質的歷程，首先是〈窺探系列〉體現筆者向早期經驗進行覺察的初始意象；〈破曉系列〉表述揭發家庭歷史後的情緒轉折；〈脈動系列〉呈現家庭關係與自身知覺經驗相互制約的衝突與糾結感受；〈疊加系列〉發想自記憶中故居地板的破碎補丁；〈容納系列〉則作為隱藏與收納記憶的空間。創作將內在的意象塑造並實踐，闡述了內心透過覺察所感

悟的風景。

The Intolerable Image: Reason, Realism and Art

為了解決Immanence的問題，作者Beech, Amanda 這樣論述：

On how art can be understood as a space within which the project of reason is pursued.Modern and contemporary art have often defined themselves against the conceptual and linguistic mediations of reason, claiming that their practices offer a different and more direct access to the real or the materi

al. Employing a unique configuration of philosophy, art theory, and a consideration of specific artworks together with analysis of popular culture, current political events, and Hollywood cinema, artist, and theorist Amanda Beech challenges this deep-seated orthodoxy, asking how art can instead be u

nderstood as a space within which the project of reason is pursued. Developing out of the idealism of theological-sacral art, sustained in Romanticism and entrenched by poststructural antirealist critiques, the notion that art is opposed to reason defined the political and social hopes of the avant-

garde, was manifested in the crisis of a self-conscious conceptualism, and remains implicit in the ontologies of immanence, anti-representationalism, and new materialist theories of affect championed in contemporary works today. But the grounds for art’s autonomy as nonreason have never been secure,

Beech argues, and are associated with a tragic sensibility and ultimately with naive and conservative beliefs about the nature of the image. Worse still, while it asserts its natural right to the field of unreason and its access to a real that language cannot touch, contemporary art in fact continu

es to be of service to persistent and dominant ideologies. Considering the various possible relationships between reason and realism, Beech asks what kinds of picturing they involve, and what forms of epistemology they mobilise. When we can no longer maintain the assumption that it necessarily excee

ds the normative linguistic practices of reason and is more real than other ways of addressing the world, what might the practice of art become? Amanda Beech an artist and writer, and is Dean of Critical Studies, California Institute of the Arts, Santa Clarita, California. Her work has been shown

in solo and group shows worldwide, and she has also published artist’s books including Sanity Assassin (Urbanomic, 2010) and Final Machine (Urbanomic, 2013).

漂流與突圍──廖鴻基海洋書寫意識研究

為了解決Immanence的問題，作者陳韻如 這樣論述：

臺灣海洋文學作家廖鴻基，其生活與著作皆不離海洋。在其每部作品中，皆可見其海洋哲思。不只是海與陸，離與返、寬廣與狹仄、小與大、遠與近、水面與水下、深淺浮沉，以至於山、岸與河口，都有其繁複辯證。而人與海洋生物、群己之間甚至是父女關係，都在海洋中獲得新的視野與相處。本文以「人」與「海」的關係為軸心發散，從空間、彼我以及文類與策略等面向深入討論。「漂流」與「突圍」，是廖鴻基的書寫中頻頻出現的語彙，「漂流」是心靈意識，也是其書寫中恆常出現的議題與元素；「突圍」則是海洋原鄉帶給他的動能與結果，也是梳理廖鴻基幾十本作品後可發現其逐漸推進的幾項書寫特色。「圍」，過去是人世帶給他的羈絆囿限，海洋的誘引使其入海

，突破陸地生活的圍困；雖然海上船舶亦具囿限性，卻也因為海洋，使其突破對於海洋的單一視角，由近而遠、由海面而海下、再由海返陸，看見並記錄海洋的繽紛，並賦予船舶更多象徵性與積極意義。而就其書寫文類及策略來說，可看出廖鴻基近年作品的開展與嘗試，無論是海洋文學選集、長篇小說或海洋寓言，又或是海洋書寫與海洋教育的並行。持續的行動與書寫，為臺灣海洋文學譜寫更深廣的題材與風貌，亦打造出一處極具其獨特風格的無域之海。