Online research in philosophy

Feminism compels us to reconceptualize aesthetic inquiries, as it erases the boundaries between the traditional realm of aesthetics-value judgments and personal pleasures-and the historical and social contexts that generate those judgments and pleasures. In the visual arts section of our annotated bibliography, we try to suggest the breadth of feminist interventions in the field of aesthetics in the past twenty years.

Deconstruction and the Visual Arts brings together a series of new essays by scholars of aesthetics, art history and criticism, film, television and architecture. Working with the ideas of French philosopher Jacques Derrida, the essays explore the full range of his analyses. They are modelled on the variety of critical approaches that he has encouraged, from critiques of the foundations of our thinking and disciplinary demarcation, to creative and experimental readings of visual 'texts'. Representing some of the most innovative thinking in the various arts disciplines, these contributions offer important challenges to existing disciplinary orthodoxies. Also included in this volume is a long interview with Derrida, published here for the first time.

Brindle, Meg and Constance DeVereaux, eds. The Arts Management Handbook: New Directions for Students and Practitioners. Armonk, New York: M.E. Sharpe, 2011.

JPVA Journal of Philosophy and the Visual Arts No 6 Complexity Architecture / Art / Philosophy 'Beginning with complexity will involve working with the recognition that there has always been more than one. Here however this insistent "more than one" will be positioned beyond the scope of semantics; rather than complexity occurring within the range of meaning and taking the form of a generalised polysemy, it will be linked to the nature of the object and to its production. Complexity, therefore, will be inextricably connected to the ontology of the object. What this means is that complexity, in resisting the hold of a semantic idealism on the one hand, and the attempt to give to it the position of being the basis of a new foundationalism on the other, becomes a way of thinking both the presence and the production of objects.' Andrew Benjamin The Journal of Philosophy and the Visual Arts has set new standards in its exploration of themes central to philosophy's relation to the visual arts, illuminating areas of art criticism, architecture, feminism as well as philosophy itself. Rather than simply reflecting current trends it provides a forum in which the real developments in the analysis of the visual arts and its larger cultural and political context can be presented. Articles by well known philosophers and theorists, as well as some lesser known, together with writings by artists and architects allow a strong interdisciplinary approach reflecting the Journal's roots in post-structural theory. Previous issues include: Philosophy & the Visual Arts (No 1) Philosophy & Architecture (No 2) Architecture, Space, Painting (No 3) The Body (No 4) Abstraction (No 5).

Pierre Bourdieu is now recognized as one of the key contemporary critics of culture and the visual arts. Art Rules analyses Bourdieu's work on the visual arts to provide the first overview of his theory of culture and aesthetics. Bourdieu's engagement with both postmodernism and the problem of aesthetics provides a new way of analyzing the visual arts. His interest is in how artistic fields function and the implications their processes have for art and artistic practice. Art Rules applies Bourdieu's theory of practice to the three fields of museums, photography and painting. These practical examples are used as a springboard to address visual arts in the 21st Century and to establish Bourdieu's rules of art.

This paper applies the Sonoma Model of Critical Thinking to visual arts in an educational setting. The analysis produces insights into the functioning of the model, insights into visual arts, and pragmaticconclusions regarding relationships among art historians, visual artists, and others. We summarize the Sonoma Model of critical thinking and apply it to thinking about art history and visual arts. We use these insights to apply the Sonoma Model to thinking critically about visual arts in an educational environment. One application of the model for visual artists and art historians is in appreciating these disciplines, something that is often lacking among and between them. We find further insight in the application of the elements of the model to themselves, and close with practical affective conclusions for applications of the model by faculty and administrators.

Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on the borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts.