Gioia Kinzbruner
Academic Experience 1993-2010 Universidad Simón Bolívar, Caracas, Venezuela
2009 – 2010: Associate Professor, tenured
2005– 2009: Assistant Professor, tenured
2000– 2005: Instructor Professor
1993– 2000: Adjunct Professor
1992-1993 Universidad Nueva Esparta Caracas, Venezuela
Adjunct Professor
Administrative Assignments
2008 – 2010: Coordinator, General Education Curriculum
2005 – 2006: Chief, Fine Arts Section, Department of Architecture
2004: Advisor, Liberal Arts Curriculum
2002: Special advisor, “Magia del Arte” CommissionPresentations 2012: Derrida Today Conference, The Hidden Meaning of Painting
2009: Second Congress of Phenomenology and Hermeneutic, Andres Bello University, Santiago de Chile, Chile, work: Memory and Vision of Armando Reverón
2009: Sixth Latin American Forum Memory and Identity, Sign Interdisciplinary Center, Montevideo, Uruguay, work: To the memory of Armando Reverón
2007: Fourth Latin American Forum Memory and Identity, Sign Interdisciplinary Center, Montevideo, Uruguay, work: Body memory and technique in modern art
2005: Seminar: The text commentary discipline, Research Center and Psycoanalysis Studies, work: From Pictorial Discourse to Language Discourse
2005: Galilean Conferences, Simón Bolívar University, work: Relationships between creator activity and intellectual discourse
2004: Fifth International Aesthetic Seminar, Aesthetics Research Center of Mérida, Venezuela, work: The carnal Essence of Painting
Education
2012-2015 Notre Dame de Namur University, CA, USA
MA in Art Therapy, MFT, Thesis: Enhancement of Empathy among Children from different cultural backgrounds
2006–2007 Nottingham Trent University Nottingham, England
MA in Fine Arts - Project: “Reflections on water”
1995–2005 Universidad Simón Bolívar, Caracas, Venezuela
MA in Philosophy - Project: “The pictorial gesture in M.Heidegger and M. Merleau-Ponty”
1980–1987 Universidad Simón Bolívar Caracas, Venezuela
Architect - Major in Architectural Design. Project: “Institute for Visual Arts”
2009 – 2010: Associate Professor, tenured
2005– 2009: Assistant Professor, tenured
2000– 2005: Instructor Professor
1993– 2000: Adjunct Professor
1992-1993 Universidad Nueva Esparta Caracas, Venezuela
Adjunct Professor
Administrative Assignments
2008 – 2010: Coordinator, General Education Curriculum
2005 – 2006: Chief, Fine Arts Section, Department of Architecture
2004: Advisor, Liberal Arts Curriculum
2002: Special advisor, “Magia del Arte” CommissionPresentations 2012: Derrida Today Conference, The Hidden Meaning of Painting
2009: Second Congress of Phenomenology and Hermeneutic, Andres Bello University, Santiago de Chile, Chile, work: Memory and Vision of Armando Reverón
2009: Sixth Latin American Forum Memory and Identity, Sign Interdisciplinary Center, Montevideo, Uruguay, work: To the memory of Armando Reverón
2007: Fourth Latin American Forum Memory and Identity, Sign Interdisciplinary Center, Montevideo, Uruguay, work: Body memory and technique in modern art
2005: Seminar: The text commentary discipline, Research Center and Psycoanalysis Studies, work: From Pictorial Discourse to Language Discourse
2005: Galilean Conferences, Simón Bolívar University, work: Relationships between creator activity and intellectual discourse
2004: Fifth International Aesthetic Seminar, Aesthetics Research Center of Mérida, Venezuela, work: The carnal Essence of Painting
Education
2012-2015 Notre Dame de Namur University, CA, USA
MA in Art Therapy, MFT, Thesis: Enhancement of Empathy among Children from different cultural backgrounds
2006–2007 Nottingham Trent University Nottingham, England
MA in Fine Arts - Project: “Reflections on water”
1995–2005 Universidad Simón Bolívar, Caracas, Venezuela
MA in Philosophy - Project: “The pictorial gesture in M.Heidegger and M. Merleau-Ponty”
1980–1987 Universidad Simón Bolívar Caracas, Venezuela
Architect - Major in Architectural Design. Project: “Institute for Visual Arts”
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Papers by Gioia Kinzbruner
The primary object of this paper is to discuss the philosophical problems that arise once the presuppositions that support neuroaesthetics are recognized: The Technology Limitation, The Language of the Machine, The Ambiguity Problem, The Problem of Hermeneutics, The Aesthetic Problem, The Cultural Influence Problem, The Subject Problem, The Problem of Mind/Body Continuity, The Solipsism Problem, and The Problem of the Incommensurability of Beauty.
A second goal of this paper is to highlight the limitations of studying the aesthetic experience under the constraints of the rigors of science. When this is done, said study would be limited to show only results obtained from: observation, records, narrative, numbers, and casual or anticipated relationship under a hypothetical format, leaving aside relevant dimensions of the aesthetic experience. This demonstrates the need to allow the participation of other disciplines such as art and philosophy in the field of neuroaesthetics.
Abstract
The purpose of this paper is to analize how a work of art, in particular, abtract art, constitutes time. The following text begins approaching the problem using the arguments exposed by M. Heidegger to interpret time. As Heidegger says, time involved in contemplate works of art may be identified with “authentic” time, which has to be considered as the horizon of total comprehension of Dasein. This means that time “is” or “is temporalized itself” since Dasein conceived as that. More than a continuous register of clock-time, it is pass through a life history. Thus, relevance of work of art relays for Heidegger, in its role to iniciate time, as a way to stablish new conceptual frameworks and as an element that highlights a milestone on the stablishment.
Palabras clave: temporeidad, instauración, instante
The primary object of this paper is to discuss the philosophical problems that arise once the presuppositions that support neuroaesthetics are recognized: The Technology Limitation, The Language of the Machine, The Ambiguity Problem, The Problem of Hermeneutics, The Aesthetic Problem, The Cultural Influence Problem, The Subject Problem, The Problem of Mind/Body Continuity, The Solipsism Problem, and The Problem of the Incommensurability of Beauty.
A second goal of this paper is to highlight the limitations of studying the aesthetic experience under the constraints of the rigors of science. When this is done, said study would be limited to show only results obtained from: observation, records, narrative, numbers, and casual or anticipated relationship under a hypothetical format, leaving aside relevant dimensions of the aesthetic experience. This demonstrates the need to allow the participation of other disciplines such as art and philosophy in the field of neuroaesthetics.
Abstract
The purpose of this paper is to analize how a work of art, in particular, abtract art, constitutes time. The following text begins approaching the problem using the arguments exposed by M. Heidegger to interpret time. As Heidegger says, time involved in contemplate works of art may be identified with “authentic” time, which has to be considered as the horizon of total comprehension of Dasein. This means that time “is” or “is temporalized itself” since Dasein conceived as that. More than a continuous register of clock-time, it is pass through a life history. Thus, relevance of work of art relays for Heidegger, in its role to iniciate time, as a way to stablish new conceptual frameworks and as an element that highlights a milestone on the stablishment.
Palabras clave: temporeidad, instauración, instante
A second goal of this paper is to highlight the limitations of studying the aesthetic experience under the constraints of the rigors of science, showing how essential it is to allow the participation of other disciplines like art and philosophy in the Neuroaesthetic field.
A second goal of this paper is to highlight the limitations of studying the aesthetic experience under the constraints of the rigors of science, showing how essential it is to allow the participation of other disciplines like art and philosophy in the Neuroaesthetic field.