Art and Artworks

What does a sanctuary for Hawaiian crows have in common with a troop of robots programmed to perform the Maori haka, or recreations of World Heritage Sites built in Minecraft? They are all attempts to save things from loss, disappearance, or destruction. Every one of us is confronted by questions about what to save, whether we're considering old keepsakes, a family tradition, or a local park. What should we save and why? How and from what? By whom and for whom? (...) This book brings together insights from a wide range of contexts to help readers consider these questions for themselves. (shrink)

Mikkonen’s new book and his emphasis on understanding should be regarded as an important contribution to the contemporary debate on the cognitive value of literary narratives. As I shall argue, his notion of understanding can also help explain how literature is existentially valuable. In so doing, his account can support a radicalized contemporary neo-cognitivism according to which literature can affect us existentially and lead to a personal transformation.

How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in (...) person, for workshops, seminars and discussions. The aim was to find ways to create resilience and concrete actions on how to live through the change in culture, economy and the environment and to find concrete, hands-on methods to deal with the Anthropocene and the environmental crisis. As an outcome of this process, this publication takes a closer look at how we as practising artists, researchers and cultural actors can create elements for critical thinking and doing which can assist us in navigating the complexities of the present. -/- Edited for the State Of The Art Network by Erich Berger, Mari Keski-Korsu, Marietta Radomska and Line Thastum. -/- Produced and published by Bioart Society 2023. (shrink)

What determines whether an object is an artwork? In this paper I consider what I will call ‘social’ theories of art, according to which the arthood of objects depends in some way on the art-related social practices that we have. Though such a dependence claim is plausible in principle, social theories of art tend to unpack the determining link between artworks and social practices in terms of intentional relations between the objects in question and the people involved in the relevant (...) practices. This intentionalism has unappealing upshots. Drawing on two-dimensional approaches in social ontology, I show how social theories of art can be done differently, improving their prospects. (shrink)

Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...) artistic creation marks a new chapter in the narrative, which seems to have reached its end, or if it represents a significant rupture with past artistic traditions. (shrink)

The arrival of image-making generative artificial intelligence (AI) programs has been met with a broad rebuke: to many, it feels inherently wrong to regard images made using generative AI programs as artworks. I am skeptical of this sentiment, and in what follows I aim to demonstrate why. I suspect AI generated images can be considered artworks; more specifically, that generative AI programs are, in many cases, just another tool artists can use to realize their creative intent. I begin with an (...) overview of how generative AI programs, like OpenAI’s DALL-E 2, work. Then, leveraging work by Claire Anscomb, I argue that generative AI programs are a new technique of automatic image-making that affords creative agency to its users, thereby qualifying the images they create as artworks. Finally, I show many of the objections brought against AI artworks—including accusations of plagiarism and artistic devaluation—are due to the social backdrop in which we currently find them, rather than the technology itself. In the end, I aim to open the door to further aesthetic debate concerning AI generated images and art. (shrink)

L’article vise à retracer les relations entre les pratiques de l’architecture et les pratiques de l’archéologie, en accordant une importance particulière au rôle joué par les antiquités grecques dans la formation intellectuelle des archéologues et architectes du xixe siècle, d’une part, et à la signification du voyage en Grèce, d’autre part. L’article vise à répondre à la question de la spécificité du voyage en Grèce et de sa relation avec l’idée du « Grand tour » et du « retour en (...) Arcadie » des architectes et peintres. En parallèle, l’article explore les modalités par lesquelles les architectes-pensionnaires de la Villa Médicis à Rome s’approprièrent les découvertes archéologiques concernant les antiquités grecques, et l’impact des échanges des architectes-pensionnaires de la Villa Médicis à Rome avec les membres de l’École française d’Athènes sur leurs vues restaurées de monuments antiques grecs. Une attention particulière est accordée à l’analyse de l’osmose entre architecture et archéologie. La seconde moitié du xixe siècle constitue un moment où les échanges et la collaboration entre archéologues et architectes acquièrent une place dominante, et Athènes est l’endroit par excellence où la rencontre entre ces deux domaines porte ses fruits. Durant toute cette période, les collaborations entre archéologues et architectes travaillant sur des monuments antiques, à Athènes ou ailleurs en Grèce, deviennent très importantes. Ces collaborations ont fourni les fondations pour des ouvrages d’une importance majeure pour leurs deux champs respectifs, mais aussi pour l’histoire de l’art en général. (shrink)

The category within which an artwork is received affects its critical and aesthetic significance (Levinson 2011; Walton 1970).1 Yet, it is not always clear how.

Cultural theories of art were developed to account for the arthood of nonaesthetic and nonimitative artworks. Historical theories such as those proposed by Jerrold Levinson, James Carney, and Noël Carroll fail to account for the arthood of first art and ethnological objects, as does the disjunctive theory of Stephen Davies. An institutional (artworld-based) theory, such as George Dickie’s 1977 version, can account for the arthood of art made within the context of an artworld. But what of objects that are art (...) now but were not made in an artworld context? I add a supplement to Dickie’s institutional theory: the concept of art by proxy. (shrink)

This Article addresses the copyright regime of artistic works generated by artificial intelligence. I argue that the law of authorship as developed by courts, together with the Intellectual Property Clause in the U.S. Constitution, entails that, if anyone is entitled to copyright ownership of these works, it is the AI itself. Arguments advanced in the literature that programmers, developers, or similarly situated humans should own the copyright instead are rejected. However, I argue further that countervailing policy considerations suggest that AI-generated (...) works should remain in the public domain for the time being. In particular, the fundamental differences between AI-generated artworks and traditional artworks justify thinking of the former not as art, but rather as what I call ‘pseudo art.’ Considerations concerning the nature of pseudo art support the position of the U.S. Copyright Office, who has so far denied copyright protection to AI-generated material. (shrink)

This paper explores Moritz Geiger’s work on the role of emotions in aesthetic appreciation and shows its potential for contemporary research. Drawing on the main tenets of Geiger’s phenomenological aesthetics as an aesthetics of value, the paper begins by elaborating his model of aesthetic appreciation. I argue that, placed in the contemporary debate, his model is close to affective models which make affective states responsible for the apprehension of the aesthetic value of an artwork, though Geiger also makes important concessions (...) to the intellectualist. Indeed, like proponents of the affective model, Geiger argues that a work’s aesthetic values are extracted by means of an affective state though the affective state in question is neither an emotion nor a feeling but a “liking”. In fact, like the intellectualist, he considers that a focus on the emotions might on certain occasions interfere in the aesthetic appreciation of the artwork. Next, I reconstruct Geiger’s distinction between surface and depth effects in terms of a distinction between two types of emotional responses to artworks. It is argued that Geiger’s distinction offers a powerful tool to distinguish those emotions that are intrinsically related to aesthetic values from those that are not and that this distinction can be useful to understand how different kinds of emotions contribute to aesthetic appreciation. I proceed to examine the historical sources of Geiger’s distinction between surface and depth effects in Theodor Lipps’s aesthetics and compare Geiger’s account with the works of other early phenomenologists working on values. In the final part, I illustrate the place of Geiger’s model in the contemporary discussion by means of an example. (shrink)

This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the methodology developed (...) by Gottfried Boehm (2014) and Georges Didi-Huberman (2005, 2015, 2017, 2018) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology. (shrink)

The Shroud of Turin is a controversial linen cloth thought by some to be a medieval artifact and by others to be the burial cloth of Jesus of Nazareth. To better explain the reasons why reaching a consensus among experts seems highly unlikely, this paper focuses on the possible relationship between the Shroud of Turin and the Pray Codex, the first illuminated manuscript in Hungarian (c. 1192 – c. 1195). An analysis of the recent literature, including a qualitative survey, highlights (...) not only the variety but also the weakness of the reasoning processes of the scholars, from less complete and intuitive to extremely detailed and systematic approaches. A new methodological approach excludes the position according to which it is certain that the Turin shroud has no direct or indirect link with the Pray Codex. A better understanding of the historiographical criteria and of the Bayesian framework might constitute a precious basis for solving similar interdisciplinary disputes. (shrink)

The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...) folk songs, performers and ordinary folks have more power to change artworks. My preferred explanation of these facts is the created-abstract-simples view, according to which literary and musical works, unlike paintings and sculptures, are created abstract objects that have no parts. On this view, the way to change a literary or musical work is for an individual, empowered by social practices, to change rules about how a literary work should be published or a musical work should be performed. A. R. J. Fisher and Caterina Moruzzi object that the created-abstract-simples view doesn’t allow for literary and musical works to genuinely change, and Nemesio Garcia-Carríl Puy objects that the view doesn’t allow for these artworks to be repeatable. This paper clarifies the created-abstract-simples view and defends the view against these objections. -/- . (shrink)

Cinema and Death: on Image and Immortality (سینما و مرگ: درباره نامیرایی و تصویر / Sīnimā va marg : darbārah-ʼi nāmīrāyī va taṣvīr) is a Persian book on philosophy of film, written by Milad Roshani Payan. in February 2020, the book won the highest award in the most prestigious book award in Iran, called Iran's Book of the Year Awards, in dramatic arts category. The book is divided into six chapters, and in each chapter, the relationship between cinema and death (...) is examined. -/- . (shrink)

There is broad agreement in aesthetics that some artworks are greater than others despite bearing equivalent (or lesser) aesthetic value. One explanation of this difference in artistic value is that creation of the greater artwork represents a greater achievement. The aim of this article is to refine this explanation and to defend it against recent criticisms. First, I present a prima facie case in favor of the achievement explanation. Second, I draw on the history of photography to motivate three objections (...) to it: namely, that it wrongly excludes (1) lucky, (2) easy, and (3) failed creations from being artistically great. Third, I present my refined version of the achievement explanation and show how it avoids these objections. On my view, an artistic achievement consists in creating a work it would have been especially hard for comparable artists to create. Finally, I raise and address several additional objections. In responding to these objections, I argue, among other things, that my explanation of artistic value enhances our understanding of good-bad art: specifically, it allows us to see how good-bad art is artistically great despite being aesthetically flawed. (shrink)

This chapter presents the formalist account of the moral status of an artwork as an aesthetically significant and autonomous form, with due emphasis on the Anglo-American art-for-art’s-sake aesthetic, as it developed between 1870 and 1960. The author shows that the formalist art-is-above-morals approach is a substantive moral stance in itself. Formalist aesthetics is usually presented in the literature as evincing a purist indifference to ethics, construing moral properties as external to art, in opposition to the internal pure properties of art’s (...) composition. The chapter demonstrates that this is a misrepresentation of the complex formalist prescriptive idea of the relations between art and ethics. Through its autonomy and imperviousness to external co-opting—which is accomplished by due focus on aesthetic form—art on the formalist account is held to be a paradigm of the liberalist principles of individual freedom and self-fulfillment, thus an inherent means to the good. (shrink)

The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that the recent calls for slowing down the development of AI, as promoted by the technology industry, do not signify a shift towards reason and considerate economics. Instead, as these calls are firmly embedded in narratives where the power to decide for the majority of (...) humanity lies solely with the CEOs of AI companies, they are indicative of a relentless pursuit of economic interests. The technology industry has consistently downplayed criticism over the years. -/- While patterns of creative output can be replicated without a thorough understanding of underlying concepts, the editorial highlights the distinction between the current AI technology's reliance on extensive pre-existing human-generated data for pattern recognition and the performative process inherent in art practice. This performative process, as explored through the conceptual frameworks of creativity by Noam Chomsky, Charles Sanders Peirce, and Roger T. Ames and with reference to an earlier publication of the editorial's author, continually 'strives to extend itself towards the unknown.' -/- Following this introductory section, the editorial provides an overview of the ten articles featured in this issue of Technoetic Arts. The first four texts engage with emerging technologies from various perspectives in art and design. The subsequent six articles, part of a special section titled 'Perspectives from Chandigarh,' reflect a quest for meaningful existence within colonial, patriarchal, and biopolitical structures that frame everyday practices of exclusion and oppression. (shrink)

For roughly two centuries, there has been an ongoing rivalry between two views of art. On the one hand, there is the claim—sometimes heralded by the slogan ‘art.

This first-ever article of cultural criticism on the black female body was to prove germinal and continues to be widely referenced in scholarly and other works. Occasionally, controversial, it has been frequently anthologized, most recently in Amelia Jones, ed., The Feminism and Visual Cultural Reader, 2nd edition (Routledge, 2010). The first part of this article--delivered in a panel of the College Art Association early in 1992--was published in Afterimage 20:1 (Summer 1992). The revised version, including "Postscript," originally appeared in the (...) work cited here: Freueh, Langer and Raven, eds., New Feminist Criticism: Art, Identity, Action (1994). (shrink)

This revelatory study investigates how changing modes of representing the black female figure were foundational to the development of modern art. Posing Modernity examines the legacy of Edouard Manet's Olympia (1863), arguing that this radical painting marked a fitfully evolving shift toward modernist portrayals of the black figure as an active participant in everyday life rather than as an exotic "other." Denise Murrell explores the little-known interfaces between the avant-gardists of nineteenth-century Paris and the post-abolition community of free black Parisians. (...) She traces the impact of Manet's reconsideration of the black model into the twentieth century and across the Atlantic, where Henri Matisse visited Harlem jazz clubs and later produced transformative portraits of black dancers as icons of modern beauty. These and other works by the artist are set in dialogue with the urbane "New Negro" portraiture style with which Harlem Renaissance artists including Charles Alston and Laura Wheeler Waring defied racial stereotypes. The book concludes with a look at how Manet's and Matisse's depictions influenced Romare Bearden and continue to reverberate in the work of such global contemporary artists as Faith Ringgold, Aime Mpane, Maud Sulter, and Mickalene thomas, who draw on art history to explore its multiple voices. Featuring over 175 illustrations and profiles of several models, Posing Modernity illuminates long-obscured figures and proposes that a history of modernism cannot be complete until it examines the vital role of the black female muse within it. Published in association with the Miriam and Ira D. Wallach Art Gallery, Columbia University in the City of New York. Exhibition schedule: Wallach Art Gallery (10/24/2018-02/1019); Musee d'Orsay (3/26/2019-07/14/2019). (shrink)

"Presence" is a word that can function both as a descriptor of the uniqueness, identity, and strength of an(y) identifiable, individual work of art (as used in the phrase, its "artistic presence") and, more specifically, and with a capital P, the name of a year-long exhibit consisting of a series of artworks in a uniquely created architectural environment with the Speed Art Museum in Louisville, Kentucky. In addition, as well-known art theorist Donald Preziosi points out in his 2004 essay ["Art (...) and the Contemplation off Presence"] included in this publication, the term "presence" may also refer to the character of the artist that is embodied _in_ a physical work of art, whereby the _form_ of the work is "in some way a _figure_ of its truth--the truth or essence or being of the artist..." Indeed I would suggest an even stronger defense of the artist, what I call the Intentionality Thesis, which states: _The most important spokesperson capable of elucidating the meaning of a work of art is the artist_. The Intentionality Thesis is a substantive component of my recommendation for art viewers to practice what I call "contemplative contextual criticism" (CCC, for short). Such an emphasis on intentionality is often fraught with controversy, but the Intentionality Thesis can function (within the broader framework of one's CCC) as a fruitful interpretive tool that optimizes our actual experiences of art. -/- CCC is the deliberate cognitive analysis--the act of contemplation--of a work of art that enhances the potential of artistic presence; both of the work itself and the artist who created it. It is the process of studying a work of art in its full context... (shrink)

Art reconfigures experience. Art is a mentalized physical object. Danto remarks that art is embodied meaning. Hein says that feminist art chats on the edge. Our mental life is filled with meaning, but art opens the question of the meaning of experience. . . . Art, chatting on the edge of experience, nevertheless invites us to choose our stance in that world. I suggest that that is the beauty, or, at least the value, of art. The art experience presents us (...) with a sensory exemplar that can convey, and exhibits, content. The exhibited content of the mode of presentation of the exemplar suggests a reconfiguration of the content of experience outside of art as well as within. Art, then, is that part of experience that changes us to changing the content of our experience. My claim here is that feminist art provides us with a paradigm of what art does, and the tis why I admire it. (shrink)

Breda Beban's stunning two-screen video installation, The Most Beautiful Woman in Gucha, documents a mutually seductive encounter between a beautiful belly dancer and an inebriated young man at a Romany brass band festival in Serbia. . . . With The Most Beautiful Woman in Gucha, you can have your cake and eat it too, because this cake has a whole-grain antioxidant, omega-3 excellence running through it.

Beauty, disability, and gender crossing: The first two, though provocative, are not an altogether unexpected pair. Disability can be an object of beauty, as Anita Silvers has shown, just as it can be fetishized. Yet one more often thinks of beauty and disability as opposites. But what is gender crossing doing in this mix? Sometimes, apparently, when beauty is conjugated with disability in an atmosphere of glamour and celebrity, games with gender result. this is certainly the case with the representation (...) of the Mexican female artist Frida Kahlo, especially as seen in a book of paper dolls for children. (shrink)

Arthur Danto's The Abuse of Beauty: Aesthetics and the Concept of Art is Danto's most recent, through-written monograph on the philosophy of art. An obvious question occasioned by its publication is: what is it intended to add to Danto's previous treatises on the philosophy of art, such as The Transfiguration of the Commonplace and After the End of Art? The simple answer, of course, is beauty. But, why, one asks, does Danto need to address beauty? . . .Danto, it seems (...) to me, needs to come to terms with beauty as a matter of theoretical damage control. beauty, narrowly conceived, has the potential to threaten the generality of Danto's theory of art. Therefore, Danto needs, so to speak, to contain it. (shrink)

For the generation of feminists who emerged in the 1960s and 1970s, female beauty was suspect, for it simply pandered to male desire. And for the modernist artists of that period, beauty in art had long since been banished. but for Armitage's generation, already empowered by the political gains of feminism on the one hand, and engaged in a postmodernist challenge to the values of artistic modernism on the other, beauty in art and in the female body could once again (...) be appreciated. If Armitage was drawn, as a child, to the beauty and glamour of ballet, her own interventions into the history of the art form have given that beauty a new, more complex face. Her unabashed love of ballet's beauty (especially its female beauty) and its erotic display, combined with her intelligent interrogation of the grounds for that beauty, her historical references, and her witty irreverence, wickedly and triumphantly reclaim the art form for our post-feminist times. (shrink)

The "Actresses" series by Yasumasa Morimura brutally exposes the position, attitude, or stance we assume when we see this body of work. The viewer's one-sided gaze, inflicted upon the women Morimura has impersonated, is repelled and hurled back to the viewer as the point questions: "Who are you?" and "What is your position?" You yourself, not an abstract human being, are being interrogated here. It is easy to speak lofty ideas while casting ourselves as objective transparent beings: disappearing borders, the (...) self in flux, anti-essentialism. . . . However, it is not an abstract narrator who manipulates language but an actual you defined by your sex, gender, and sexuality who is being questioned in front of Morimura's "Actresses.". (shrink)

Beauty is a contested category today because we both long for and fear its seductions. The essays in this volume interrogate beauty in all its complexity. But whether they construe it as friend or foe, they make it clear that beauty, and our preoccupation with it, cannot be wished away. deeply embedded in that inchoate matter from which our judgments of value are formed, beauty is inseparable from all that is best and worst in human experience.

Originally published in bell hooks, Black Looks: Race and Representation (Boston: South End Press, 1992). Critical, interrogating black looks were mainly concerned with issues of race and racism, the way racial domination of blacks by whites overdetermined representation. They were rarely concerned with gender. As spectators, black men could repudiate the reproduction of racism in cinema and television, the negation of black presence, even as they could feel as though they were rebelling against white supremacy by daring to look, by (...) engaging phallocentric politics of spectatorship. Given the real-life public circumstances wherein black men were murdered/lynched for looking at white womanhood, where the black male gaze was always subject to control and/or punishment by the powerful white Other, the private realm of television screens or dark theaters could unleash the repressed gaze. There they cook "look" at white womanhood without a structure of domination overseeing the gaze, interpreting, and punishing. . . . This gendered relation to looking made the experience of the black male spectator radically different from that of the black female spectator. Major early black male independent filmmakers represented the black women in their films as objects of male gaze. Whether looking through the camera or as spectators watching films, whether mainstream cinema or "race" movies such as those made by Oscar Micheaux, the black male gaze had a different scope from that of the black female (p. 145). . . . Looking at films with an oppositional gaze, black women were able to critically assess the cinema's construction of white womanhood as object of phallocentric gaze and choose not to identify with either the victim or the perpetrator (pp. 149-150). (shrink)

At the heart of recent feminist theorizing about art is the claim that various forms of representation--painting, photography, film--assume a "male gaze." The notion of the gaze has both a literal and a figurative component. Narrowly construed, it refers to actual looking. Broadly, or more metaphorically, it refers to a way of thinking about, and acting in, the world. . . . In examining this key feminist notion more carefully, I shall make clear the intrinsic interest of this approach to (...) aesthetics and suggest why its concerns merit serious consideration. To this end, I investigate how gendered vision work in one specific representational practice: film. Film is a natural choice for such a study because it is a medium so fundamentally built around the activity of looking. It is also, not surprisingly, the medium where the male gaze has been most extensively discussed. The relationship of gender and cinematic vision is extremely complicated. A complete analysis of this topic would require several hundred pages. In what follows, I focus on two key claims: that in cinema the gaze is male, and that the cinematic text is a male text. I make clear how these claims should be understood and situate them philosophically. In confining myself to the core claims of this debate, I shall of necessity leave aside many important, but internal, issues in film theory. (shrink)

The verb “to conjure” is a complex one, for it includes in its standard definition a great range of possible actions or operations, not all of them equivalent, or even compatible. In its most common usage, “to conjure” means to perform an act of magic or to invoke a supernatural force, by casting a spell, say, or performing a particular ritual or rite. But “to conjure” is also to influence, to beg, to command or constrain, to charm, to bewitch, to (...) move or convey, to imagine, to visualize, to call to mind, or to remember. —Rachael DeLue 2012, para 1. When we create with our Brown hands, feminine energy, and full spirits, we conjure. To exist, survive, and thrive in these bodies is a continuous act of conjuring. Our walks conjure. Our smiles conjure. Our tears conjure. Our laughs conjure. Our words conjure. Our artworks are conjurings. We, a Black/Filipina-American woman, a Dominican-American, and a Black-American woman, are guided by our solidarity with one another and all other Black and Brown female identifying persons whose raced and gendered subjectivities exist both inside and outside of colonization, white supremacy, and patriarchy. We bring to life our colored imaginations and curiosities, and share them with the world. We are united by our need for safety, autonomy as beings, dissolution of trauma, and desire to ask, “What would happen if I…?” Imaginative, curious Women of Color (WoC) founded the underground railroad, guided captured Africans and Tainos to the mountains, ignited the Civil Rights Movement, organized laborers and immigrants, birthed the #BlackLivesMatter Movement, conceived the #MeToo Movement, and so much more. Like our kindred counterparts, we have an unrelenting urge to examine, question, wonder, desire, speak to, lead, be curious, and “conjure.” As practicing artists and art educators, our critical arts-based practices are grounded in intersectional feminisms like Womanism, Black Feminist Theory, and Chicana Feminist Theory, which allow us to do these very things. (shrink)

What kind of entities are works of art from an ontological point of view? This question has become canonical in the framework of analytic philosophy. One way of answering the puzzle seemed to be conclusive. It is the hypothesis that all, or the majority of artworks can be identified with types embedded into tokens. To begin with, I will survey how the type-token distinction transitioned from semiotics to ontology. Secondly, I will consider how some contemporary art forms contributed to questioning (...) this approach to the ontology of artworks. Lastly, I will suggest how the nature of types and tokens should be reassessed in order to properly describe artworks in their historical and socially construed nature. (shrink)

In 2017, the artist Dana Schutz presented her painting, Open Casket, at the Whitney Biennial. Both the painting and the painter were subsequently subjected to criticism from the art world. A central critique was that Schutz usurped the story of Emmett Till (the subject of Open Casket) and that, as a white woman, she had no right to do so. Much can—and has—been said on the appropriateness of Schutz's painting. In this article, I argue that Open Casket is a site (...) of oppression, an object that both reflects and reinforces dominant racial hierarchies. Specifically, I argue that Open Casket is a case of what Linda Alcoff calls “the problem of speaking for others”: when a member of a privileged social group speaks on the social experiences of an oppressed group, effectively silencing that group. I explore the moral and epistemic implications of Open Casket and related works and provide some reasons to think that socially privileged persons should not depict the experiences of socially oppressed persons—at least in many cases. I conclude by presenting some conditions under which it may be appropriate for privileged artists to speak for oppressed groups. (shrink)

The discourse of love, which is subjective, private, and instinctive, is also culturally constructed, public, and learned; it emphasizes the way in which the expression of reflexive feelings is bound up in wider historical narratives about bodies and interiority. In early modern medical texts, intense unfulfilled erotic desire is held to be a real and virulent disease: it is classified as a species of melancholy, with physical aetiologies and cures. This book analyses literary representations of lovesickness in relation to medical (...) ideas about desire and wider questions about gender and identity, exploring the different ways that desire is believed to take root in the body, how gender roles are encoded and contested in courtship, and the psychic pains and pleasures of frustrated passion. It considers the relationship between women's lovesickness and other female maladies (such as hysteria and green sickness), and asks whether women can suffer from intellectual forms of melancholy generally thought to be exclusively male. It also examines the ways in which Neoplatonism offers an alternative construction of love to that found in natural philosophy, inverting much of the medical advice for what is held to be healthy in romantic love and promoting a different hierarchical relationship between the sexes. Finally, this study considers how anxieties concerning love's ability to emasculate the male lover emerge indirectly in remedies for lovesickness, illuminating ideas about masculinity as well as some of the psychic contradictions of erotic desire. Authors considered include: Shakespeare, Beaumont and Fletcher, Thomas Middleton, John Ford, and William Davenant. (shrink)

I develop a phenomenological account of racialized encounters with works of art and film, wherein the racialized viewer feels cast as perpetually past, coming “too late” to intervene in the meaning of her own representation. This points to the distinctive role that the colonial past plays in mediating and constructing our self‐images. I draw on my experience of three exhibitions that take Muslims and/or Arabs as their subject matter and that ostensibly try to interrupt or subvert racialization while reproducing some (...) of its tropes. My examples are the Jean‐Joseph Benjamin‐Constant exhibition at the Montreal Museum of Fine Arts (2015), the exposition Welten der Muslime at the Ethnologisches Museum in Berlin (2011–2017), and a sculpture by Bob and Roberta Smith at the Leeds City Art Gallery, created in response to the imperial power painting, General Gordon's Last Stand, that is housed there. My interest is in how artworks contribute to the experience of being racialized in ways that not only amplify the circulation of images but also constitute difficult temporal relations to images. Drawing on Frantz Fanon's Black Skin, White Masks, I argue that such racialized images are temporally gluey, or stuck, so that we are weighted and bogged down by them. -/- This essay received Honorable Mention from the American Society for Aesthetics Feminist Caucus Committee as runner-up in the Feminist Research Essay prize in 2020. (shrink)

Adrian Piper joins the ranks of writer-artists who have provided much of the basic and most reliable literature on modern and contemporary art. Out of Order, Out of Sight is an artistic and intellectual autobiography and an (occasionally scathing) commentary on mainstream art, art criticism, and American culture of the last twenty-five years. Piper is an internationally recognized conceptual artist and the only African American in the early conceptual art movement of the 1960s. The writings in Out of Order, Out (...) of Sight trace the development of her thinking about her artwork and the art world, and her evolving awareness of herself as a creative, racial, and gendered subject situated in an often limiting and always absurd cultural and social context. (shrink)

Why is it commonplace for us to contemplate distorted depictions of faces with eagerness and enjoyment, but to be repelled by real people whose physiognomies resemble the depicted ones? More generally, what makes perceiving pictured physically anomalous individuals so different from perceiving physically anomalous people themselves? . . . I will suggest how we can theorize human beauty, as we do beauty in art, so as to savor, rather than rebuff, novelty, disproportionateness, and even crookedness in the human shape. For (...) anomaly to present as originality rather than deviance requires a context in which we theorize the connectedness of successors with their heritage. (shrink)

In the article, we advance the notion of an affective atmosphere for analyzing the works of art by two contemporary Latvian photographers—Aija Bley (b. 1967) and Arnis Balčus (b. 1978). The spatial relations of bodies and environments and the photographed sub- jects’ facial expressions and postures negotiate a sense of postsocialist affectivity that we describe as forgetful and drowsy. In the selected images, the affective atmospheres enact the ambiguities of the Soviet legacies, along with the challenges of neoliberal rationality affecting (...) today’s Latvian society. . . By claiming that affective moods are conditioned by the relations of power (colonial pasts and neoliberal futures), we expand the idea of personal being political, offering this feminist mantra a visceral reading (p. 58). (shrink)

ENSAIO DISPONIBILIZADO NA REVISTA GUARU (2021): A luz adentra as cavernas e mostra imagens nas pedras. A mera aparência, quimera. Vemos no fundo perfis da verdadeira experiência da necessidade da caça em uma natureza vivida na nudez de seus ciclos e humores, sem controle. Nossos olhos aterram-se em javalis, búfalos-anões, bisões, cavalos, humanos-bichos, contornos de mãos – rastros de animais mágicos cujo vigor permanece nos traços gravados em pigmentos pretos e avermelhados. Temos diante de nós a descoberta de uma forma (...) de expressão a perdurar nas paredes que guardam o exercício nascido antes das coisas terem nomes, exercício agora chamado arte rupestre. No janeiro de um ano em que uma humanidade recolhida entre suas paredes finas experimenta a dureza de uma natureza alheia – a colocar no espelho a hostilidade secular a ela imposta –, tomamos ciência do encontro das mais antigas expressões figurativas produzidas por nossos antepassados em uma caverna na Indonésia. Em meio à perplexidade, apenas de posse de uma tecnologia que já não apazigua a ausência de controle, descobrimos na ilha de Sulawesi, na caverna de Leang Tedongnge, pinturas de cerca de 45 mil anos que fazem a história da arte deslocar-se e recuar. (shrink)

Is art epistemically valuable? Catherine Z. Elgin answers this question in the affirmative. She argues for the epistemic value of art on the basis of her innovative epistemological theory, in which the focus is shifted from knowledge and truth to a non-factive account of understanding. After an exposition and critique of her view, as she develops it in her most recent book “True Enough” (MIT-Press, 2017), I will build on some of her ideas in order to strengthen her account.

This chapter presents the meeting points and conflicts between Arthur Danto’s philosophy of art and George Dickie’s avowedly succeeding theory. Its focus is on the internalist-externalist debate on the ontology of the artwork as created and perceived within the artworld. It shows that both Danto and Dickie developed anti-formalist theories, that contributed to the demise of aesthetic modernism. Inverting the formalist distinction between internal and external properties of the artwork, they classified the sensuous properties of the artwork as secondary in (...) its essence and identity. Accordingly, Danto and Dickie’s definitions of art emerged from the challenge “to be consistent with art appearing in every possible way.” Both negated the Neo-Wittgensteinians’s proposal to forgo the project of defining art and found the then-new pluralism to be revealing of the essence of art, directing philosophy to art’s nonexhibited infrastructure – beyond the reach of the eye. Across from this, the chapter presents their opposing ideas as revealed through different analyses of the concept of the “artworld”: as an intellectual sphere by Danto versus an institutional one by Dickie. Danto’s internalist/intentionalist ontology begins with the mental and stretches to its embodying material. Opposing it, Dickie’s externalist ontology points to social practices as constituting the artwork, which is attributed with the status of “arthood” by agents in its social sphere. Accordingly, I claim, Danto’s ontology is more versatile than Dickie’s. -/- . (shrink)

In _Beyond the Sovereign Self_ Grant H. Kester continues the critique of aesthetic autonomy begun in _The Sovereign Self_, showing how socially engaged art provides an alternative aesthetic with greater possibilities for critical practice. Instead of grounding art in its distance from the social, Kester shows how socially engaged art, developed in conjunction with forms of social or political resistance, encourages the creative capacity required for collective political transformation. Among others, Kester analyzes the work of conceptual artist Adrian Piper, experimental (...) practices associated with the escrache tradition in Argentina, and indigenous Canadian artists such as Nadia Myer and Michèle Taïna Audette, showing how socially engaged art catalyzes forms of resistance that operate beyond the institutional art world. From the Americas and Europe to Iran and South Africa, Kester presents a historical genealogy of recent engaged art practices rooted in a deep history of cultural production, beginning with nineteenth-century political struggles and continuing into contemporary anticolonial resistance and other social movements. (shrink)

Ao longo da trajetória intelectual de Merleau-Ponty, as reflexões sobre arte cumprem um papel crucial em sua preocupação de restituir o espetáculo do mundo, através da volta ao brotamento do sentido do ser na experiência antepredicativa do ser humano dada na percepção. Um sinal disso é que, em cada um dos momentos de seu pensamento, ele escreveu um ensaio no qual o tema central é a contribuição da expressão artística para uma reflexão filosófica interessada na abertura humana corporal no mundo. (...) Este artigo tem como propósito realizar uma aproximação de tais ensaios – recorrendo a uma abordagem cronológica – com vistas a demarcar como eles auxiliam no reconhecimento de certas nuances e articulações de seu pensamento, enfatizando a constante ontológica presente em suas discussões sobre arte. Assim, o trabalho realiza uma visão horizontal sobre o percurso merleau-pontiano de pensamento – transitando da fenomenologia da percepção à ontologia da carne –, com incursões verticais sobre as relações entre percepção, expressão e instituição nos ensaios. A hipótese é que tais temas fornecem a base para a compreensão da arte como experiência de fundação do ser. (shrink)

Background: This article examines the development of clinical interventions in the form of Art Therapy and Cognitive-behavior Therapy-based workshops for children, families, and caregivers. Objectives: To enhance resilience in the subject population and professional staff via the administration of psychoeducational and practical, skill-based creative activities, and subsequent surveys. Method: Clinical supervision of CBT-based psychoeducational and art therapy-based activities with professional caregivers and data collection. The project is structured on three main phases: a) Development of the theoretical framework and the practical (...) application of concepts and skills in the workshop series; b) Conduction of two Workshops with caregiver staff at the selected Family Room with focus on provided education, support, and connection for parents and promoted physical, social, emotional and linguistic development in children; c) Examination of the results of staff-administered surveys and questionnaires pre- and post- sessions to monitor perceived experiential changes in theoretical background, learning perspectives, and practical application of the concepts discussed during each workshop. Results: The examination of the data collected suggested a strong support for the implementation of Art and CBT-based intervention in the given population, and the need for further education in the areas of Art Therapy and CBT-informed Psychotherapy for both professionals, children, and families. Keywords: Psychology, Psychiatry, Psychotherapy, Child Development, Human Growth, Art Therapy. (shrink)

Coletânea de artigos em homenagem a Guido Antonio de Almeida e Raul Ferreira Landim Filho.

A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...) valores (cognitivismo). Este artigo gira, sobretudo, em torno da apresentação crítica das várias respostas a este desafio ao cognitivismo. Apresenta, também, o paradoxo da música triste, isto é, a questão do motivo pelo qual apreciamos música triste. -/- Music can induce strong emotions. How are we to understand affective responses to music? This article presents the main philosophical puzzles pertaining to musical emotions. The chief problem concerns so-called "contagion": listeners perceive music as expressive of some emotion (say, sadness), and the music elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotion, according to which emotions are experiences of values (cognitivism). This article mostly revolves around the critical presentation of the various responses to this challenge to cognitivism. It also presents the paradox of sad music, i.e. the question of why we enjoy sad music. (shrink)