Online research in philosophy

Différend: A case of conflict between (at least) two parties, that cannot be equitably resolved for lack of a rule of judgment applicable to both arguments. . . . A wrong results from the fact that the rules of the genre of discourse by which one judges are not those of the judged genre or genres of discourse. This paper looks at the State of Wisconsin Department of Public Instruction (DPI) Guidelines for Music Teacher Education, a governmentally defined technology of (...) accountability for preservice teacher education.1 In this investigation I draw upon Jean-François Lyotard’s2 analysis of différends to frame the conflict between the state-authorized technologies for accountability (DPI Guidelines) and .. (shrink)

Beginning in the late 1990s we became convinced that our undergraduate psychology students needed classroom experiences that set the conditions for them to become more engaged with beauty. We recognized the intrinsic importance of beauty to human psychological development, beyond any utilitarian concerns.1 But we also believed that there were important psychological benefits to be gained by becoming increasingly engaged with beauty. In this paper we briefly describe some of those benefits that have been documented in the psychological research literature (...) in the last decade. This paper primarily outlines a curricular recipe for infusing beauty into an Introduction to Psychology course at the undergraduate .. (shrink)

Far from restricting my access to things and to the world the body is my very means of entering into relation with all things. In the following work I explore teacher education performance art and examine what it means to be fully aware through the body rather than housed in a body.1 Developing this embodied awareness is important in teacher education because it expands the connections with others whom we teach, increases the sociocultural understandings that mature with reflection, and enables (...) the silent transformation that often occurs in relationships with the more-than-human Earth. In the following three performances, I begin by explaining the intentions and actions that crafted the performance ideas .. (shrink)

These are two very different books, but they both raise significant aesthetic issues that they do little to resolve. The fact that they are well directed on the main targets they select makes them useful, however, and we are now getting closer to an understanding of what an Arab aesthetics and art might be. Neither author tackles this topic with the necessary degree of concentration and we shall see what sorts of arguments might work here and what have up to (...) now made little progress. Admirers of the work of miriam cooke, of whom I am one, will on the whole be disappointed with her book here. It is slim not only in size but in the range of ideas it considers. It reads more like a travelogue of her period in .. (shrink)

At least some (perhaps the most serious) moral problems, public as well as private, concern the ways in which we should construe and specify the problems we face. The present paper, as the subtitle indicates, reexamines the conscience of Huckleberry Finn, which means both that I provide a close reading of key chapters of Mark Twain’s great novel and that I engage Jonathan Bennett’s well-known and oft-cited paper, “The Conscience of Huckleberry Finn.” Bennett tells us, early in his paper, that (...) an episode in chapter 16 of the novel “brilliantly illustrates how fiction can be instructive about real life.”1 I agree that fiction can teach us about life—though of course living beings must judge fiction’s .. (shrink)

My goal in this article is to provide support for the claim that moral flaws can be detrimental to an artwork's aesthetic value. I argue that moral flaws can become aesthetic flaws when they defeat the operation of good-making aesthetic properties. I do not defend a new theory of aesthetic properties or aesthetic value; instead, I attempt to show that on both the response-dependence and the supervenience account of aesthetic properties, moral flaws with an artwork are relevant to what aesthetic (...) properties obtain. I provide a description of the main features of both theories of aesthetic properties, and then explain how moral flaws can become aesthetic flaws on either account. I address several objections to moralism about art including the "moralistic fallacy.". (shrink)

Silos, mills, sheds, and refineries: Across most of Oklahoma’s gently rolling prairie countryside these artistically uninformed structures often provide the only vertical punctuation to a landscape otherwise made of mostly horizontal lines. One of the pleasures of teaching architecture here is to participate in the intellectual progress of students—many of whom hail from rural areas and have traveled little—as they eventually come to regard these structures with much the same admiration expressed for them some eighty years ago by Le Corbusier (...) in his rallying polemic against the arbitrariness of nineteenth-century architecture: Vers Une Architecture.1 Like Le Corbusier, many of my students would have their work .. (shrink)

Among the casualties of the rush to relativism is a central tenet of classical thought: that great works of literature are great in and of themselves and not because of the needs and values of their time. This “canon-based view,” supply taken for granted by Johnson, Arnold, Pope, and Eliot, has long since been shown the door by views ranging from Marxism to today’s cultural studies. These views hold that the great works become great because of the values and concerns (...) of their own times, and they remain effectual, if they do, because of the ways they speak to their times’ concerns. There are no transhistorical values and concerns, though of course there is a past to culture and its works continue their indirect .. (shrink)

Eric Booth has completed the curriculum for today’s classical music performers in The Music Teaching Artist’s Bible: Becoming a Virtuoso Educator (2009). This book could handily serve as the text for a class designed to help music performance majors learn about the items that are usually ignored within today’s skill-based music performance degrees offered in most American universities and conservatories. Booth makes the case that many classically trained performing musicians unknowingly do more harm than good for their audiences and careers. (...) He repeatedly states that a better understanding of the issues addressed in his book will equal more gigs and employment for musicians while providing better experiences for .. (shrink)

Not so long ago the occasional story would be told in the news that someone with a fascination for all things medical had spent months or even years masquerading as a doctor in a large and anonymous hospital. No doubt the absence of such stories today is due to heightened security and vigilance, partly as a result of the realization among hospital staff that such individuals were indeed at large. No doubt too the number of such cases was due to (...) the opportunity afforded by the freedom of movement of professional staff and the size of the institution in question. For that reason, it is hard to imagine such opportunities existing elsewhere, then or now. Nonetheless, it may be heuristic to think of this situation .. (shrink)

Biography is an ancient literary genre. First of all—chronologically and logically it is a part of historiography. Whether we think of biography as more like history or more like fiction, what we want from it is a vivid sense of the person. The cover illustration of the fortieth anniversary edition of E. H. Carr’s What is History?1 is a close-up of an eye with fluffy white clouds against a blue iris and a dramatic black pupil in the center. Magritte called (...) this painting The False Mirror, an apt image for the untrustworthy nature of our perceptions of the world and, in its use here, for the uncertainties surrounding definitions of history in the past half century. Confusion has often accompanied .. (shrink)

The abilities to read, to write, and to compute are of crucial importance. Students who cannot read, write, or compute are in deep trouble. But important though these skills are, they do not encompass all of what people know or the ways in which what they know. An innovative literacy/theater project implemented in two sixth-grade classrooms of a high-poverty, urban, western Pennsylvania middle school was designed to help urban teachers address aliteracy by engaging their students in the discovery of three (...) young adult novels.1 The project was built on a partnership with a semiprofessional theater company that produced adaptations of the literature and designed instructional support materials to meet .. (shrink)

Grammar is a word associated with the rules that govern language and its related pedagogy for articulating types of declarative knowledge. It can also refer to the organizational structure of practices and their related forms of knowledge, as described here by Ludwig Wittgenstein: “Essence is expressed in grammar. . . . Grammar tells us what kind of object anything is. (Theology as grammar.)”1 Wittgenstein’s remark about theology can be generalized to visual art, and, by extension, to the grammatical structure of (...) art education. The grammar of creative practices is described by George Steiner as the “articulate organisation of perception, reflection and experience, the nerve structure of consciousness when .. (shrink)

Education and learning occur in various settings, some of which are more formally institutionalized than others. Even if it seems to have failed as a definition of art, awareness of art-world institutions has increased in the wake of George Dickie’s proposal that art enmeshes an artifact in a set of interlocking yet informally structured art-world systems, that is, “the art-world.”1 However, relatively little of that attention has fallen on the distinctively educative roles played by art-world institutions and those who act (...) on their behalf. This oversight is sometimes addressed when the topic is the art museum,2 but very little has been said about parallel issues concerning music, the concert hall, and what Virgil .. (shrink)

Meaningful interactions with works of art are often absent from education. Across the country, art museums are intent on changing this situation. But to incorporate art viewing1 into an educational milieu that does not value art, art museum educators are constantly forced to justify the educational value of their programs. One common argument to substantiate the worth of art viewing is that it promotes critical thinking. In fact, several museums across the United States assert that the goal of their education (...) programs is precisely to foster critical thinking in students.2 These assertions are aligned with a growing body of research that proves that encounters with works of art can help develop skills .. (shrink)

Toward the end of “Of the Standard of Taste,” Hume summarizes what it means to be “a true judge in the finer arts.” He says: “Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice, can alone entitle critics to this valuable character.”1 Throughout the essay, he also claims that his position is commonsensical and naturalistic—that is, notwithstanding the diversity of opinion among critics, there is a “structure of the mind . . . (...) naturally calculated to give pleasure,”2 that the “general principles of taste are uniform in human nature,”3 that the foundation of good taste lies in “the common sentiments of human nature.”4 Hume is essentially right about .. (shrink)

For sensible men I prepare only three kraters: one for health (which they drink first), the second for love and pleasure, and the third for sleep. After the third one is drained, wise men go home. The fourth krater is not mine any more—it belongs to bad behaviour; the fifth is for shouting; the sixth is for rudeness and insults; the seventh is for fights; the eighth is for breaking the furniture; the ninth is for depression; the tenth is for (...) madness and unconsciousness. The collection Questions of Taste: The Philosophy of Wine, edited by Barry Smith, originated at a conference at London University in 2004.1 Smith writes that “it was the first ever conference on the philosophy of wine” (i). As Smith claims .. (shrink)

Theatrical improvisation is a joyful, creative, and playful activity of discovery and a spontaneous process. It seems to be the opposite of teaching, which requires proper planning and advance thinking and seems a very “serious business” that deals with values and knowledge. Improvisation is shaped by flexibility and by transformative and equal relations among the participants. In contrast, there is in education usually a very clear hierarchy of teacher and pupils, and the relationships are mostly managed in a one-way direction. (...) This seemingly reasonable comparison of opposites can be continued and developed. If we look beyond these superficial, stereotypical, and binary images of improvisation and teaching .. (shrink)

The work is divided into five chapters. The first, “Neglect of Everyday Aesthetics,” speaks of the fact that although the question of aesthetics has been enriched and enlarged by objects long ignored, with notable design, aesthetics is essentially a discourse on art. This is problematic in the sense that many implications of our aesthetic judgment escape all problematic reflexion if we stay centered on art. The aesthetic activity brings ethic choices (to prefer this or that type of environment) that are (...) not included in the artistic appreciation; the problematic of artistic creation does not take into consideration the ordinary creation, such as arranging a garden, a space, or a living space. The second chapter is .. (shrink)

The most important modes of film practice, in my view, are art-house cinema and the avant-garde, both of which contrast with the classical Hollywood mode of film practice. While the latter is characterized by its commercial imperative, corporate hierarchies, and a high degree of specialization as well as a division of labor, the avant-garde is an “artisanal” or “personal” mode. Avant-garde films tend to be made by individuals or very small groups of collaborators, financed either by the filmmakers alone or (...) in combination with private patronage and grants from arts institutions. Such films are usually distributed through film cooperatives and exhibited by film societies, museums, and universities. (Consequently .. (shrink)

Aestheticians have tended to focus their attention almost exclusively on high art, on museum painting and sculpture, classical music and literature, and architecture, leaving the popular arts to their colleagues in cultural studies. That seems a big mistake, for like it or not, popular movies and television attract enormous audiences everywhere, including very many people who take little interest in high art. This mass art creates stars, actors, and musicians who are so famous that everyone recognizes them. And celebrities such (...) as Princess Diana are also stars. Because stars straddle the boundary between politics and popular art, they deserve attention from our philosophers. Even if your favorite leisure reading .. (shrink)

The ultimate aim of artistic exploration is to explore the claim that objects are different from experience and beauty is just a by-product of the exploration. In other words, the truth in the eyes of each person may quite literarly not be the same. A typical example is that some art archaeologists attribute the artistic achievements of Vincent van Gogh and Paul Cezanne to their eye diseases.1 Saying this, however, is somewhat unreliable—just like we could not arbitrarily say that the (...) world in the eyes of animals, who have a completely different physciological and optic nerve structure, is quite diferent from that of humans. This indicates that differences in the visual apparatus influence the viewing body’s .. (shrink)

According to Arthur Danto, the crisis of modern art is not the abandonment of representation, nor an attempt at intentional “uglification,” but a struggle to escape the aesthetic objectification of artworks.1 This attempt at escape has led modern artists to hold an indifferent attitude toward beauty, an attitude that has resulted in the readymade: in Duchamp’s famous urinal and snow shovel, and Warhol’s perhaps more famous soup can. Danto’s account of this crisis in art is plausible—for what is one to (...) say vis-à-vis the beauty of objects in art galleries whose twins reside in washrooms and cupboards?—and if accepted identifies a related crisis in philosophy. From Plato to Schopenhauer, philosophers have largely .. (shrink)

In 1984 the renowned biologist Edward O. Wilson wrote that we are human in good part because of the particular way we affiliate with other organisms. They are the matrix in which the human mind originated and is permanently rooted, and they offer the challenge and freedom innately sought. To the extent that each person can feel like a naturalist, the old excitement of the untrammeled world will be regained. I offer this as a formula of reenchantment to invigorate poetry (...) and myth: mysterious and little known organisms live within walking distance of where you sit. Splendor awaits in minute proportions.1 This poetical quote nicely captures the essence of Wilson’s biophilia hypothesis. While the notion .. (shrink)

A clear-cut concept of the aesthetic is elusive. Kant’s Critique of Judgment presents one of the more comprehensive aesthetic theories from which we can extract a set of features, some of which pertain to aesthetic experience and others to the logical structure of aesthetic judgment. When considered together, however, these features present a number of tensions and apparent contradictions. Kant’s own attempt to dissolve these apparent contradictions or dichotomies was not entirely satisfactory as it rested on a vague notion of (...) indeterminacy. He addressed the emerging tensions with his distinction between pure and dependent beauty, which is a distinction I believe a satisfactory theory of aesthetic judgment would .. (shrink)

J. L. Moreno (1889–1974), the founder of psychodrama, argued against legitimate theater, asserting it is a “rigid drama conserve,”1 a finished product of the preceding creative process. In particular, Moreno protested against the centripetal manner in which actors of legitimate theater assimilate a role from a written play: an external material, the written play, assimilates into the center, the actor. Moreno viewed such process as an imposition, for it is “not genuinely creative, but re-creative.”2 In line with this notion, Moreno (...) decisively distinguished between the rehearsed art of “dramaturgy” and the extemporaneous art of “creaturgy.”3 Moreno also dissented with the scarcity of spontaneity in Stanislavsky’s .. (shrink)

Perhaps more than any other type of artist, visual artists have the unfair impediment of being asked what their work means. The response to such an inane question is often a thinly veiled frustration at the spectator’s inability to tangle with what is present before him. It may be that our evolutionary reliance on sight informs all of our senses to the point that they no longer work together but operate under a sort of hierarchy. Our perception of reality is (...) to first see an object, then name it, touch it, hear it, smell it, and so on. Yet still, we remain unable to totally apprehend an artistic piece when it represents an object differently than what we expect. As viewers of art, we’ve come to accept a .. (shrink)

Two of the most influential works of the Western nineteenth century were completed in 1859: Charles Darwin’s The Origin of Species and Richard Wagner’s opera Tristan and Isolde. Although created within very different cultural traditions, these works show some striking similarities: both brought about a critical, long-lasting debate and caused conflicting reactions after their publications, and both had fundamental and compelling impact on their disciplines. The perspective discussed in this paper, however, is that both works address the notion of evolutionary (...) thought. In 2009 we could have thus celebrated a double anniversary: it was 150 years since the manifestation of the evolutionary idea in such different .. (shrink)

Much debated in the curriculum content of cultural studies, the subject of intentionality and interpretation has not been given as much attention in terms of teaching and learning in higher education (HE). Various modernist and postmodernist approaches differ considerably, and these inevitably inform lecturers’ notions, whether consciously or unconsciously. Of particular concern is how such ideas influence teaching, learning, and assessment in creative disciplines such as art, design, music, and creative writing. In this paper approaches to intentionality and interpretation in (...) a fine art studio practice (FASP) curriculum and the effects of imbalance in this relationship on students’ learning experiences .. (shrink)

Comparatively speaking, philosophy has not been especially long-winded in attempting to answer questions about what is funny and why we should think so. There is the standard debate of many centuries’ standing between superiority and incongruity accounts of humor, which for the most part attempt to identify the intentional objects of our amusement.1 There is the more recent debate about humor and morality, about whether jokes themselves may be regarded as immoral or about whether it can in certain circumstances be (...) wrong to laugh.2 There is even apparently some disagreement about whether amusement is an emotion proper or a different kind of psychological attitude altogether. While I have almost despite myself taken .. (shrink)

The importance of an author can be evaluated by the extent to which his theoretical contribution transforms a certain area of knowledge: major researchers create new vistas. This certainly applies to Lev Vygotsky (1896–1934), one of the most brilliant authors of contemporary psychology. His work, owing to its originality, is of epistemological interest to several areas of knowledge. In fact, Vygotsky was at the center of a historical time of change in twentieth-century Russia, in which Mikhail Bakhtin, Roman Jakobson, Serguei (...) Eisenstein, Alexander Luria, and Yuri Lotman took part. Their theoretical proposals had repercussions in several areas of knowledge: in literature, semiotics, film, and .. (shrink)

One aspect of Richard Shusterman’s work is indicative of a broad movement to develop a robust philosophy of embodiment. Thinkers from diverse fields—such as feminism, pragmatism, and continental philosophy—have criticized Western philosophy’s suppression of embodiment and have gone on to suggest how the philosophy of the body can enrich our understanding of issues that arise within traditional fields such as ethics and aesthetics. Further, work in this area can provide novel insights into personal identity, gender, linguistics, and philosophy of mind. (...) Shusterman’s contribution to the field is somaesthetics, the critical and meliorative study of embodied experience that views the human body as a locus of .. (shrink)

Imagine that a performer is confronted with the following decision. After working on a piece for several weeks—practicing, analyzing, listening to various recordings, perhaps reading a bit about it—a performer comes to a crossroads. It seems to him that changing a few crucial interrelated passages can generate two very different performative interpretations. One makes the piece sound animated, lively, and interesting; the other makes the piece sound repetitive, flat, and perhaps even boring. While the performer can understand why one would (...) think that the piece ought to be performed in the manner that makes it sound lively and thinks that the score supports such an interpretation, the more he works on the piece .. (shrink)

The manner in which a person views the universe originates from her/his culture. If someone were asked of the predominant element found in every culture that has for centuries given people their perspective of the universe, certainly, the answer would be, Religion! The responsibility of generating and preserving the elements of one’s perspective of the universe has rested with religious institutions such as Methodist, Protestant, or Roman Catholic churches or spiritual leaders such as the Buddha. Whether the element is developed (...) through the teaching of the Holy Bible, Catechism, Vedas, or Koran, people in the universe, including the Garífuna-speaking people of Central America, have always felt the need to .. (shrink)

Philosophy is not a theory but an activity. My interest in aesthetic philosophy and performance theory has offered me the opportunity to engage with the recent work of political philosopher Charles Taylor and performance theorist Jill Dolan.2 As I read these studies, I see interesting and potentially useful contributions to be drawn from their philosophical investigations toward the beginning moments of a new philosophy of drama education that is rooted in the collective creation of socially imagined performative utopias. It is (...) through this process that I arrive at the understanding that the very nature of the dramatic education process embodies and defines socially committed moral values of active and .. (shrink)

Philosopher David E. W. Fenner walks a fine line. In Art in Context: Understanding Aesthetic Value, he attempts to throw out the dirty bathwater of formalism while leaving the baby, the work of art itself, unscathed. He defines formalism as the approach to art in which the viewer “restricts her attention to the formal properties of the object, properties that are accessible through the senses . . . in the object” (xv). Fenner is not interested in defining art, which is (...) the primary role of professional aesthetics, but experiencing it (1). And he argues, quite rightly, that formalism cannot account for the richness of aesthetic experience. Fenner accounts for this richness through “context,” by which he means “all .. (shrink)

In Schopenhauer’s view, the whole organic and inorganic world is ultimately governed by an insatiable, blind will. Life as a whole is purposeless: there is no ultimate goal or meaning, for the metaphysical will is only interested in manifesting itself in (or as) a myriad of phenomena, which we call the “world” or “life.” Human life, too, is nothing but an insignificant product or “objectivation” of the blind, unconscious will, and because our life is determined by willing (that is, by (...) needs, affects, urges, and desires), and since willing is characterized by lack, our life is essentially full of misery and suffering. We are constantly searching for objects that can satisfy our needs and desires; once we have .. (shrink)