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). (shrink)
Philosophy of Art is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It aims to introduce the techniques of analytic philosophy in addition to a selection of the major topics in this field of inquiry. These include the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art, as well as historical approaches to the nature of art. Throughout the book, abstract philosophical theories are illustrated by examples of (...) both traditional and contemporary art, thereby enriching the readers understanding of art theory as well as the appreciation of art. (shrink)
Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, and (...) especially commissioned for the volume. Lively debate format sharply defines the issues, and paves the way for further discussion. Will serve as an accessible introduction to the major topics in aesthetics, while also capturing the imagination of professional philosophers. (shrink)
Abstract In this essay I trace the role of history in the philosophy of art from the early twentieth century to the present, beginning with the rejection of history by formalists like Clive Bell. I then attempt to show how the arguments of people like Morris Weitz and Arthur Danto led to a re-appreciation of history by philosophers of art such as Richard Wollheim, Jerrold Levinson, Robert Stecker and others.
Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in (...) a variety of ways--through personal experience, natural history, cultural studies, philosophical inquiry, art history, literary analysis, film studies, and theoretical imagining, and through a combination of these trains of thought. The essays expose weaknesses in western epistemological frames of reference that for centuries have limited our views and, thus, our experiences of animal being, including our own. (shrink)
The most cursory look at video games raises several interesting issues that have yet to receive any consideration in the philosophy of art, such as: Are videogames art and, if so, what kind of art are they? Are they more closely related to film, or are they similar to performance arts, such as dance? Perhaps they are more akin to competitive sports and games like diving and chess? Can we even define “video game” or “game”? We often say that (...) video games are interactive, but what is interactivity and what are the effects of interactivity on eliciting emotional responses from players? (shrink)
Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical elements (...) in Danto's new- Hegelian art theory. In a provocative encounter, they employ themes from Kantian aesthetics to elucidate the continuing persistence of taste in shaping even this most sophisticated philosophy of art. (shrink)
Le;opold Se;dar Senghor (1906–2001) was a Senegalese poet and philosopher who in 1960 also became the first president of the Republic of Senegal. In African Art as Philosophy , Souleymane Bachir Diagne takes a unique approach to reading Senghor’s influential works, taking as the starting point for his analysis Henri Bergson’s idea that in order to understand philosophers one must find the initial intuition from which every aspect of their work develops. In the case of Senghor, Diagne argues that (...) his primordial intuition is that African art is a philosophy. _ To further this point, Diagne looks at what Senghor called the “1889 Revolution,” and the influential writers and publications of that time—specifically, Nietzsche and Rimbaud, as well as Bergson’s Essay on the Immediate Data of Consciousness. The 1889 Revolution, Senghor claims, is what led him to the understanding of the “Vitalism” at the core of African religions and beliefs that found expression in the arts. _ This book offers a distinct, incisive look at an important figure in African literature and politics that will be welcomed by scholars in African Studies and philosophy. (shrink)
Machine generated contents note: -- Preface -- Acknowledgments -- Introduction, by Michael Weisberg and Jeffrey Kovac. -- 1 Trying to Understand, Making Bonds, by Roald Hoffmann -- Part 1: Chemical Reasoning and Explanation -- 2. Why Buy That Theory?, by Roald Hoffmann. -- 3. What Might Philosophy of Science Look Like If Chemists Built It?, by Roald Hoffmann -- 4. Unstable, by Roald Hoffmann -- 5. Nearly Circular Reasoning, by Roald Hoffmann -- 6. Ockham's Razor and Chemistry, by Roald (...) Hoffmann, Vladimir I. Minkin, and Barry K. Carpenter -- 7. Qualitative Thinking in the Age of Modern Computational Chemistry, or What Lionel Salem Knows, by Roald Hoffmann -- 8. Narrative, by Roald Hoffmann -- 9. Learning from Molecules in Distress, by Roald Hoffmann and Henning Hopf -- 10. Why Think Up New Molecules? by Roald Hoffmann -- 11. Protean, by Roald Hoffmann and Pierre Laszlo -- 12. How Should Chemists Think? by Roald Hoffmann -- Part 2: Writing and Communicating in Chemistry -- 13. Under the Surface of the Chemical Article, by Roald Hoffmann -- 14. Representation in Chemistry, by Roald Hoffmann and Pierre Laszlo -- 15.. The Say of Things, by Roald Hoffmann and Pierre Laszlo -- 16. How Symbolic and Iconic Languages Bridge the Two Worlds of the Chemist: A Case Study from Contemporary Bioorganic Chemistry, by Emily R. Grosholz and Roald Hoffmann -- 17 How Nice to Be an Outsider, by Roald Hoffmann -- 18. The Metaphor, Unchained, by Roald Hoffmann, -- Part 3: Art and Science -- 19. Art in Science? by Roald Hoffmann -- 20. Science and Crafts by Roald Hoffmann -- 21. Molecular Beauty, by Roald Hoffmann -- Part 4 Chemical Education -- 22. Teach to Search by Roald Hoffmann -- 23. Some Heretical Thoughts on What Our Students Are Telling Us, by Roald Hoffmann and Brian P. Coppola -- 24 Very Specific Teaching Strategies, and Why They Work, by Roald Hoffmann and Saundra Y. McGuire -- Part 5 Ethics in Science -- 25. Mind the Shade, by Roald Hoffmann -- 26. Science and Ethics: A Marriage of Necessity and Choice for this Millennium," by Roald Hoffmann -- 27. Honesty to the Singular Object, by Roald Hoffmann -- 28. The Material and Spiritual Rationales Are Inseparable, by Roald Hoffmann -- Index. (shrink)
v. 1. Description of the torso in the Belvedere in Rome, Essay on the capacity for the sentiment for the beautiful in art, Reflections on the painting and sculpture of the Greeks -- v. 2. The history of ancient art (vols. I, II) -- v. 3. The history of ancient art (vols. III, IV).
A challenger of traditions and boundaries A pivotal figure in 20th-century philosophy, Nelson Goodman has made seminal contributions to metaphysics, epistemology, aesthetics, and the philosophy of language, with surprising connections that cut across traditional boundaries. In the early 1950s, Goodman, Quine, and White published a series of papers that threatened to torpedo fundamental assumptions of traditional philosophy. They advocated repudiating analyticity, necessity, and prior assumptions. Some philosophers, realizing the seismic effects repudiation would cause, argued that philosophy (...) should retain the familiar framework. Others considered the arguments compelling, but despaired of doing philosophy without the framework. Goodman disagreed with both factions. Rather than regretting the loss of structure, he capitalized on the opportunities that arise when the strictures of tradition are loosened. (shrink)
Fifty years after his death, Walter Benjamin remains one of the great cultural critics of this century. Despite his renown, however, Benjamin's philosophical ideas remain elusive/m-/often considered a disaggregated set of thoughts not meant to cohere. This book provides a more systematic perspective on Benjamin, laying claim to his status as a philosopher and situating his work in the context of its time. Exploring Benjamin's theory of language, spoken and nonspoken, Rainer Rochlitz shows how Benjamin reconceptualized traditional ideas of language, (...) art, and history. Offering an expansive assessment of a unique twentieth-century thinker, this volume provides an indispensable guide for readers of Benjamin's recently released collected works. (shrink)
First published in 1916 in German, Rembrandt is one of Simmel's most important works. Is has never been translated into English--until now. Simmel attacks such questions as "What do we see in a work of Art?" and "What do Rembrandt's portraits tell us about human nature?" This is a major work by a major thinker concerning one of the world's most important painters.