Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. Imagination, Philosophy and the Arts represents the work of fifteen young yet distinguished philosophers of art, who critically examine just how and in what form the notion of imagination illuminates fundamental problems in the philosophy of art. All new papers, a (...) strong collection on the imagination in philosophy, particularly in relation to literature and the visual arts. The book falls in three parts: emotional imagination, fiction-making imagination and sensory imagination. The volume opens up several new frontiers that will attract substantial interest in philosophers of art, as well as philosophers working on mental representation, emotion theory, perception and fiction. These papers make a large contribution to developing our understanding of 'imagination' in new directions and setting the research agenda for the next decade. (shrink)
The eighteenth and nineteenth centuries witnessed a change in the perception of the arts and of philosophy. In the arts this transition occurred around 1800, with, for instance, the breakdown of Vitruvianism in architecture, while in philosophy the foundationalism of which Descartes and Spinoza were paradigmatic representatives, which presumed that philosophy and the sciences possessed a method of ensuring the demonstration of truths, was undermined by the idea, asserted by Nietzsche and Wittgenstein, that there exist (...) alternative styles of enquiry among which a choice is open. The essays in this book examine the circumstances, features, and consequences of this historical transition, exploring in particular new aspects and instances of the inter-relatedness of content and its formal representation in both the arts and philosophy. (shrink)
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. (shrink)
Introduction. Activist philosophy and the occurrent arts -- The ether and your anger toward a speculative pragmatism -- The thinking-feeling of what happens putting the radical back in empiricism -- The diagram as technique of existence ovum of the universe segmented -- Arts of experience, politics of expression In four movements. First movement. To dance a storm -- Second movement. Life unlimited -- Third movement. The paradox of content -- Fourth movement. Composing the political.
Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let (...) us explore the differences between the arts. He presents five case studies, three from literature, two from music. With its combination of historical and analytic approaches this is a book for a wide range of readers in philosophy, literary studies, music, and non-academic readers with interests in the arts. (shrink)
At stake here are the political analyses of new modes of being in common that transcend national boundaries, the critique of the new forms of domination that accompany them, and the search for new emancipatory possibilities.
In this book Richard Eldridge presents a clear and compact survey of philosophical theories of the nature and significance of art. Drawing on materials from classical and contemporary philosophy as well as from literary theory and art criticism, he explores the representational, expressive, and formal dimensions of art, and he argues that works of art present their subject matter in ways that are of enduring cognitive, moral, and social interest. His discussion, illustrated with a wealth of examples, ranges over (...) topics such as beauty, originality, imagination, imitation, the ways in which we respond emotionally to art, and why we argue about which works are good. His accessible study will be invaluable to students and to all readers who are interested in the relation between thought and art. (shrink)
Introduction -- Ch. 1. The search for Proust's and Warhol's sources -- Ch. 2. Dramatically opposed styles of art making -- Ch. 3. Defining art -- Ch. 4. Elstir's studio/Warhol's factory -- Ch. 5. Queer art making -- Ch. 6. The value of art -- Ch. 7. Art fashion -- Acknowledgments -- Bibliography.
Most books on aesthetics tend to be either too theoretical for the arts or not theoretical enough for philosophy. This book strikes a new and better balance between these competing interests. By taking a normative question--why should we value the arts?--it manages to develop a genuinely philosophical understanding of art and its value while never losing sight of the poems, pictures and music which draw and sustain interest in the arts. In this new second edition, chapters (...) have been revised to include new material and also an added chapter about the subjectivity of aesthetic judgement, the importance of the artist's intention and the possibility of an aesthetic appreciation of nature. The book concludes with a critical survey of art theories and introduces some complex issues surrounding disputes between Marxism, structuralism and postmodernism. (shrink)
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)
Introduction -- Biographical details -- The nature of the philosophic enterprise: initial issues -- Contemporary scholarship on (African) arts -- Artistic expression in Africa -- Philosophy and artistic expression in Africa -- Arts, memory and identity -- Conclusion.
What, if anything, has art to do with the rest of our lives, and in particular with those ethical and political issues that matter to us most? Will art created today be likely to play a role in our lives as profound as that of the best art of the past? A Theory of Art shifts the focus of aesthetics from the traditional debate of "what is art?" to the engaging question of "what is art for?" Skillfully describing the social (...) and historical situation of art today, author Karol Berger argues that music exemplifies the current condition of art in a radical, acute, and revealing fashion. He also uniquely combines aesthetics with poetics and hermeneutics. Offering a careful synthesis of a wide breadth of scholarship from art history, musicology, literary studies, political philosophy, ethics, and metaphysics, and written in a clear, accessible style, this book will appeal to anyone with a serious interest in the arts. (shrink)
This paper represents a preliminary investigation relating Bernard Lonergan’s thought to health science and the healing arts. First, I provide background for basic elements of Lonergan’s theoretical terminology that I employ. As inquiry is the engine of Lonergan’s method, next I specify two questions that underlie medical insights and define several terms, including health, disease, and illness, in relation to these questions. Then I expand the frame of reference to include all disciplines involved in the cycle of clinical interaction (...) under the heading health science and the healing arts. Finally, I analyze the cycle of clinical interaction in terms of Lonergan’s cognitive theory. I compare and contrast my analysis, based on Lonergan, with that of Pellegrino, Thomasma and Sulmasy as I proceed. In closing, I comment briefly on the next stage of this project regarding Lonergan’s theory of the human good in relation to the practice of the healing arts. (shrink)
This collection of writings by Jean-Luc Nancy, the renowned French critic and poet, delves into the history of philosophy to locate a fundamentally poetic modus operandi there. The book represents a daring mixture of Nancy’s philosophical essays, writings about artworks, and artwork of his own. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of “making,” and outlines the tensions inherent in the faire, the “making” that characterizes the very process of production and thereby (...) the structure of poetry in all its forms. Nancy shows that this multiplication that belongs to the notion of art makes every single work communicate with every other, all material in the artwork appeal to some other material, and art the singular plural of a praxis of the finite imparting of an infinity which is actually there in every utterance. In the collection, Nancy engages with the work of, among others, François Martin, Maurice Blanchot, and On Kawara. (shrink)
The Consolations of Philosophy by Boethius, whose English translators include King Alfred, Geoffrey Chaucer, and Queen Elizabeth I, ranks among the most remarkable books to be written by a prisoner awaiting the execution of a tyrannical death sentence. Its interpretation is bound up with his other writings on mathematics and music, on Aristotelian and propositional logic, and on central themes of Christian dogma. -/- Chadwick begins by tracing the career of Boethius, a Roman rising to high office under the (...) Gothic King Theoderic the Great, and suggests that his death may be seen as a cruel by-product of Byzantine ambitions to restore Roman imperial rule after its elimination in the West in AD 476. Subsequent chapters examine in detail his educational programme in the liberal arts designed to avert a threatened collapse of culture and his ambition to translate into Latin everything he could find on Plato and Aristotle. -/- Boethius has been called `last of the Romans, first of the scholastics'. This book is the first major study in English of a writer who was of critical importance in the history of thought. (shrink)
The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies his (...) theory across the arts and to a variety of issues, demonstrating that it has far-reaching implications for our philosophical understanding of the nature of art.” - Stephen Davies, Associate Professor of Philosophy, University of Auckland.. (shrink)
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)
Nietzsche's writings have shaped much contemporary reflection on the relation between philosophy and art. This book brings together a number of distinguished contributors to examine his aesthetic account of the origins and ends of philosophy. They discuss the transformative power which Nietzsche ascribes to aesthetic activity, including his aesthetic justification of existence and its fusion of social and personal existence, and they investigate his experiments with an 'aesthetic politics' and a politicisation of aesthetics. Together their essays set out (...) the ground for future debate about the inter-relation between art, philosophy, and value. (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)
This collection brings together thirteen new essays by some of the most respected contemporary scholars of Schopenhauer's aesthetics from a wide spectrum of philosophical perspectives. The dynamics of the empirical will and Will as a thing-in-itself in the interplay of Schopenhauer's metaphysics and philosophy of fine art has important implications for the freedom, salvation, and tragic suffering of the artist, the representation of Platonic Ideas in art, and the role of artistic inspiration, emotion, and aesthetic pleasure in the beautiful (...) and sublime. These essays examine the unique theory Schopenhauer developed to explain the life and work of the artist, and the influence his aesthetic philosophy has had on subsequent artistic traditions in such diverse areas as music, painting, poetry, literature, and architecture. The authors present Schopenhauer's thought as a vital and enduring contribution to aesthetic theory, and to the idealist vision which continues to guide Romantic and neo-Romantic art. (shrink)
Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.
Debates over the 'end of art' have tended to obscure Hegel's work on the arts themselves. Benjamin Rutter opens this study with a defence of art's indispensability to Hegel's conception of modernity; he then seeks to reorient discussion toward the distinctive values of painting, poetry, and the novel. Working carefully through Hegel's four lecture series on aesthetics, he identifies the expressive possibilities particular to each medium. Thus, Dutch genre scenes animate the everyday with an appearance of vitality; metaphor frees (...) language from prose; and Goethe's lyrics revive the banal routines of love with imagination and wit. Rutter's important study reconstructs Hegel's view not only of modern art but of modern life and will appeal to philosophers, literary theorists, and art historians alike. (shrink)
Explanation and Value in the Arts offers penetrating studies by art historians, literary theorists, and philosophers, of issues central to explaining works of literature and painting. The first chapters look at the sources of interest in the fine arts and point to the intimate relation between aesthetic and other values. The next contributions develop the interaction between value and explanation in the study of the arts, including considerations of the nature of creativity and the principles for the (...) explanations of works. A final section takes up questions of the role of ideology and the determining role of power. (shrink)
It is widely agreed that the arts can give us some of the most valuable and profound experiences of which we are capable, yet the conceptions of experience to which epistemology has addressed itself during its long history have usually omitted experience of the arts. This has had harmful consequences, because it has led to theories of experience being accepted which would have been falsified by a consideration of experience of the arts. The error still occurs, and (...) there are important current examples of it: for instance, some widely held theories about the relationship between thought and language do not survive attempts to apply them to the thought-processes involved in composing a double fugue. (Published Online October 13 2005). (shrink)
The Demon said to the swordsman, "Fundamentally, man's mind is not without good. It is simply that from the moment he has life, he is always being brought up with perversity. Thus, having no idea that he has gotten used to being soaked in it, he harms his self-nature and falls into evil. Human desire is the root of this perversity." Woven deeply into the martial traditions and folklore of Japan, the fearsome Tengu dwell in the country's mountain forest. Mythical (...) half-man, half-bird creatures with long noses, Tengu have always inspired dread and awe, inhabiting a liminal world between the human and the demonic, and guarding the most hidden secrets of swordsmanship. In The Demon's Sermon on the Martial Arts, a translation of the 18th-century samurai classic by Issai Chozanshi, an anonymous swordsman journeys to the heart of Mt. Kurama, the traditional domain of these formidable beings. There he encounters a host of demon; through a series of discussions and often playful discourse, they reveal to him the very deepest principles of the martial arts, and show how the secrets of sword fighting impart the truths of life itself. The Demon's Sermon opens with The discourses, a collection of whimsical fables concerned with the theme of transformation-for Chozanshi a core phenomenon to the martial artist. Though ostensibly light and fanciful, these stories offer the attentive reader ideas that subvert perceived notions of conflict and the individual's relationship to the outside world. In the main body of work, The Sermon, Chozanshi demonstrates how transformation is fostered and nurtured through ch'i - the vital and fundamental energy that flows through all things, animate and inanimate, and the very bedrock of Chozanshi's themes and the martial arts themselves. This he does using the voice of the Tengu, and the reader is invited to eavesdrop with the swordsman on the demon's revelations of the deepest truths concerning ch'i, the principles of yin and yang, and how these forces shape our existence. In The Dispatch, the themes are brought to an elegant conclusion using the parable of an old and toothless cat who, like the demon, has mastered the art of acting by relying on nothing, and in so doing can defeat even the wiliest and most vicious of rats despite his advanced years. This is the first direct translation from the original text into English by William Scott Wilson, the renowned translator of Hagakure and The Book of Five Rings. It captures the tone and essence of this classic while still making it accessible and meaningful to today's reader. Chozanshi's deep understanding of Taoism, Buddhism, Confucianism, and Shinto, as well as his insight into the central role of ch'i in the universe, are all given thoughtful treatment in Wilson's introduction and extensive endnotes. A provocative book for the general reader, The Demon's Sermon will also prove an invaluable addition to the libraries of all those interested in the fundamental principles of the martial arts, and how those principles relate to our existence. (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)
Introduction. What are the arts and how do we respond to and evaluate them? -- Pictures : drawing, painting, printmaking, and photography -- Sculpture -- Architecture -- Music -- Literature -- Theatre -- Cinema -- Dance.
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.