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China is currently afflicted by enormous environmental problems.
This book, drawing on ancient and modern Chinese environmental
thinking, considers what it is that makes an environment a
desirable place for living. The book emphasises ideas of beauty,
and discusses how these ideas can be applied in natural,
agricultural and urban environments in order to produce desirable
environments. The book argues that environment is both a product of
nature and of human beings, and as such is potentially alterable by
culture. The book explores the three aspects of environmental
beauty whereby such alteration might be beneficially made:
integrated and holistic; ecological and man-made; and authentic and
everyday. This book addresses environmental issues by distinctively
suggesting that an aesthetic approach inspired from ancient Chinese
tradition could help us overcome the many problems that human
beings have created at local and global levels. Although its main
focus is the traditional and current contexts of the People's
Republic of China, the book transcends national borders. A typical
example is the ancient Chinese thought system and cultural practice
of Feng Shui ( ) that sought to negotiate how the natural
environment and human constructions can cohabit without destructing
each other. The author evokes that sought-after harmony through the
powerful image of gardens of life whose environmental beauty can be
found in traditional Chinese gardens and palaces as well as
historically and culturally preserved cities.
China is currently afflicted by enormous environmental problems.
This book, drawing on ancient and modern Chinese environmental
thinking, considers what it is that makes an environment a
desirable place for living. The book emphasises ideas of beauty,
and discusses how these ideas can be applied in natural,
agricultural and urban environments in order to produce desirable
environments. The book argues that environment is both a product of
nature and of human beings, and as such is potentially alterable by
culture. The book explores the three aspects of environmental
beauty whereby such alteration might be beneficially made:
integrated and holistic; ecological and man-made; and authentic and
everyday. This book addresses environmental issues by distinctively
suggesting that an aesthetic approach inspired from ancient Chinese
tradition could help us overcome the many problems that human
beings have created at local and global levels. Although its main
focus is the traditional and current contexts of the People's
Republic of China, the book transcends national borders. A typical
example is the ancient Chinese thought system and cultural practice
of Feng Shui ( ) that sought to negotiate how the natural
environment and human constructions can cohabit without destructing
each other. The author evokes that sought-after harmony through the
powerful image of gardens of life whose environmental beauty can be
found in traditional Chinese gardens and palaces as well as
historically and culturally preserved cities.
Artistic residency has become widely adopted in Western countries
while only recently having become popular and well-supported within
Taiwan. This book explores the challenges that this form of art
practice faced in contemporary Taiwan from the revocation of
Martial Law in 1987 to the 2000s arguably one of the most exciting
periods in the sociocultural history of the island. Case studies
show what is at stake politically, historically, and socially in
artists endeavours to give shape to a sense of Taiwanese identity.
Despite the prevalence of artists engaged in social issues in today
s world and the undeniable contributions of artistic residency to
contemporary art practice, little literature or scholarly research
has been conducted on the practical, conceptual, and ideological
aspects of artist residency. Very often, it is perceived in very
narrow terms, overlooking explicit or hidden issues of localism,
nationalism and globalization. If artistic residence did indeed
emerge from the radical movements of the 1960s and 70s in the
Western world and especially Britain then this book argues that the
contemporary sociocultural context of Taiwan calls for redefined,
culturally-specific models of residency. The precarious
geo-political situation of Taiwan has made issues of cultural
identity tackled by artists and successive governments alike very
sensitive. A new genre of artistic residence in Taiwan would mean
that artists involved from whatever cultural background operate as
engaging interpreters; their roles would not be confined to
mirroring culture and society. These artists-in-residence would
contribute to cultural awakening by offering ways of negotiating
creatively with otherness, and this for the sake of a better social
life and shared identity."
Merleau-Ponty and Buddhism explores a new mode of philosophizing
through a comparative study of Maurice Merleau-Ponty's
phenomenology and philosophies of major Buddhist thinkers such as
Nagarjuna, Chinul, Dogen, Shinran, and Nishida Kitaro. Challenging
the dualistic paradigm of existing philosophical traditions,
Merleau-Ponty proposes a philosophy in which the traditional
opposites are encountered through mutual penetration. Likewise, a
Buddhist worldview is articulated in the theory of dependent
co-arising, or the middle path, which comprehends the world and
beings in the third space, where the subject and the object, or
eternalism and annihilation, exist independent of one another. The
thirteen essays in this volume explore this third space in their
discussions of Merleau-Ponty's concepts of the intentional arc, the
flesh of the world, and the chiasm of visibility in connection with
the Buddhist doctrine of no-self and the five aggregates, the
Tiantai Buddhist concept of threefold truth, Zen Buddhist huatou
meditation, the invocation of the Amida Buddha in True Pure Land
Buddhism, and Nishida's concept of basho.
Merleau-Ponty and Buddhism explores a new mode of philosophizing
through a comparative study of Maurice Merleau-Ponty's
phenomenology and philosophies of major Buddhist thinkers such as
Nagarjuna, Chinul, Dogen, Shinran, and Nishida Kitaro. Challenging
the dualistic paradigm of existing philosophical traditions,
Merleau-Ponty proposes a philosophy in which the traditional
opposites are encountered through mutual penetration. Likewise, a
Buddhist worldview is articulated in the theory of dependent
co-arising, or the middle path, which comprehends the world and
beings in the third space, where the subject and the object, or
eternalism and annihilation, exist independent of one another. The
thirteen essays in this volume explore this third space in their
discussions of Merleau-Ponty's concepts of the intentional arc, the
flesh of the world, and the chiasm of visibility in connection with
the Buddhist doctrine of no-self and the five aggregates, the
Tiantai Buddhist concept of threefold truth, Zen Buddhist huatou
meditation, the invocation of the Amida Buddha in True Pure Land
Buddhism, and Nishida's concept of basho. In his philosophical
project, Merleau-Ponty makes vigorous efforts to challenge the
boundaries that divide philosophy and non-philosophy, the East and
the West, experience and concepts, the subject and the object, and
body and mind. Combining the Eastern philosophical tradition of
Buddhism with Merleau-Ponty's phenomenology, Merleau-Ponty and
Buddhism offers an intercultural philosophy in which opposites
intermingle in a chiasmic relationship, and which brings new
understanding regarding the self and the self's relation with
others in a globalized and multicultural world.
Artistic residency has become widely adopted in Western countries
while only recently having become popular and well-supported within
Taiwan. This book explores the challenges that this form of art
practice faced in contemporary Taiwan from the revocation of
Martial Law in 1987 to the 2000s-arguably one of the most exciting
periods in the sociocultural history of the island. Case studies
show what is at stake politically, historically, and socially in
artists' endeavours to give shape to a sense of Taiwanese identity.
Despite the prevalence of artists engaged in social issues in
today's world and the undeniable contributions of artistic
residency to contemporary art practice, little literature or
scholarly research has been conducted on the practical, conceptual,
and ideological aspects of artist residency. Very often, it is
perceived in very narrow terms, overlooking explicit or hidden
issues of localism, nationalism and globalization. If artistic
residence did indeed emerge from the radical movements of the 1960s
and 70s in the Western world-and especially Britain-then this book
argues that the contemporary sociocultural context of Taiwan calls
for redefined, culturally-specific models of residency. The
precarious geo-political situation of Taiwan has made issues of
cultural identity-tackled by artists and successive governments
alike-very sensitive. A new genre of artistic residence in Taiwan
would mean that artists involved from whatever cultural background
operate as engaging interpreters; their roles would not be confined
to mirroring culture and society. These artists-in-residence would
contribute to cultural awakening by offering ways of negotiating
creatively with otherness, and this for the sake of a better social
life and shared identity.
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