Abstract

In his philosophy of nothingness, Kitar Nishida illuminates the matrix of transformation of the world ''from the Created to the Creating'' (tsukuru mono kara tsukurareta mono e) through shintai, or the body. In this matrix, shintai enters into the stage of an action-sensation continuum and emerges as the immaculate iconic tool of nothingness to create new figures as extended self. This idea of shintai has resonance with the development of postwar art in Japan. The ''Space of Transparency'' put forth by Ufan Lee, the leader of Monoha, is the principal example. This essay investigates Nishida's notion of shintai and its influence on Lee's theory of art.

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Additional Information

ISSN
1529-1898
Print ISSN
0031-8221
Pages
pp. 83-107
Launched on MUSE
2008-01-07
Open Access
No
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