Search results for 'Biotechnology in art' (try it on Scholar)

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  1. George Gessert (2010). Green Light: Toward an Art of Evolution. Mit Press.score: 98.0
    Ch. 1. Divine plants and magical animals -- Ch. 2. Aesthetic effects of domestication -- Ch. 3. The rainforests of domestication -- Ch. 4. The rise of ornamental plants -- Ch. 5. Darwin's sublime -- Ch. 6. Playing God -- Ch. 7. Standards of excellence -- Ch. 8. Doubles -- Ch. 9. Kitsch plants -- Ch. 10. Bastard flowers -- Ch. 11. Biotechnology in the garden -- Ch. 12. Recent art involving DNA -- Ch. 13. Naming life -- Ch. (...)
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  2. Frederik le Roy (ed.) (2011). Tickle Your Catastrophe!: Imagining Catastrophe in Art, Architecture and Philosophy. Academia Press.score: 84.0
    A collection of essays that takes stock of the current impact of the image and imagination of the catastrophe in art, science and philosophy.
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  3. Eric R. Kandel (2011). The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain: From Vienna 1900 to the Present. Random House.score: 84.0
    A psychoanalytic psychology and art of unconscious emotion -- An inward turn : Vienna 1900 -- Exploring the truths hidden beneath the surface : origins of a scientific medicine -- Viennese artists, writers, and scientists meet in the Zuckerkandl Salon -- Exploring the brain beneath the skull : origins of a scientific psychiatry -- Exploring mind together with the brain : the development of a brain-based psychology -- Exploring mind apart from the brain : origins of a dynamic psychology -- (...)
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  4. Charles Bernheimer (2002). Decadent Subjects: The Idea of Decadence in Art, Literature, Philosophy, and Culture of the Fin De Siècle in Europe. Johns Hopkins University Press.score: 82.0
    Charles Bernheimer described decadence as a "stimulant that bends thought out of shape, deforming traditional conceptual molds." In this posthumously published work, Bernheimer succeeds in making a critical concept out of this perennially fashionable, rarely understood term. Decadent Subjects is a coherent and moving picture of fin de siècle decadence. Mature, ironic, iconoclastic, and thoughtful, this remarkable collection of essays shows the contradictions of the phenomenon, which is both a condition and a state of mind. In seeking to show why (...)
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  5. Mary Sanders Pollock & Catherine Rainwater (eds.) (2005). Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy, and Popular Culture. Palgrave Macmillan.score: 82.0
    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 (...)
     
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  6. Iain Boyd Whyte (ed.) (2010). Beyond the Finite: The Sublime in Art and Science. Oxford University Press.score: 70.0
    Science is continually faced with describing that which is beyond. This book, through contributions from nine prominent scholars, tackles that challenge.
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  7. George C. Schuetze (2005). Convergences in Music and Art: A Bibliographic Study. Harmonie Park Press.score: 67.0
    Artists inspired by music and musicians -- Composers inspired by art and artists -- Twin talents : artist-musicians and musician-artists -- Musicians pose for the artists : a history of portrait iconography.
     
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  8. C. E. Emmer (2008). Crowther and the Kantian Sublime in Art. In Valerio Rohden, Ricardo R. Terra & Guido A. de Almeida (eds.), Recht und Frieden in der Philosophie Kants: Akten des X. Internationalen Kant-Kongresses [Right and Peace in Kant's Philosophy: Proceedings of the 10th International Kant Congress] 5 vols. Walter de Gruyter.score: 65.0
    Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.
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  9. Edward Segel & Lera Boroditsky (2011). Grammar in Art. Frontiers in Psychology 1.score: 65.0
    Roman Jakobson (1959) reports: “The Russian painter Repin was baffled as to why Sin had been depicted as a woman by German artists: he did not realize that “sin” is feminine in German (die Sünde), but masculine in Russian (грех).” Does the grammatical gender of nouns in an artist’s native language indeed predict the gender of personifications in art? In this paper we analyzed works in the ARTstor database (a digital art library containing over a million images) to measure this (...)
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  10. James A. Leith & George Whalley (eds.) (1987). Symbols in Life and Art: The Royal Society of Canada Symposium in Memory of George Whalley. Published for the Royal Society of Canada by Mcgill-Queen's University Press.score: 64.0
    Printbegrænsninger: Der kan printes 10 sider ad gangen og max. 40 sider pr. session.
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  11. Frances S. Connelly (2012). The Grotesque in Western Art and Culture: The Image at Play. Cambridge University Press.score: 64.0
    Machine generated contents note: 1. Introduction: entering the Spielraum; 2. Improvisation I: grottesche; 3. Improvisation II: arabesques; 4. Subversion: the carnivalesque body; 5. Trauma: the failure of representation; 6. Revelation: profound play.
     
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  12. Tere Vadén (2003). Rock the Boat: Localized Ethics, the Situated Self, and Particularism in Contemporary Art. Salon.score: 64.0
     
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  13. Gavin Keeney (2011). &Quot;else-Where&Quot;: Essays in Art, Architecture, and Cultural Production 2002-2011. Cambridge Scholars Publishing.score: 62.0
    “Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real (denoted over the course of the studies as the “Real-Irreal” or “Else-where”). While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational (...)
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  14. Servaas de V. van der Berg (2012). Towards Defending a Semantic Theory of Expression in Art: Revisiting Goodman. South African Journal of Philosophy 30 (3):600-612.score: 62.0
    Nelson Goodman’s attempt to analyse the expressiveness of artworks in semantic terms has been widely criticised. In this paper I try to show how the use of an adapted version of his concept of exemplification, as proposed by Mark Textor, can help to alleviate the worst problems with his theory of expression. More particularly I argue that the recognition of an intention, which is central to Textor’s account of exemplification, is also fundamental to our understanding of expressiveness in art. Moreover (...)
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  15. Matthew Lipman (1967/1966). What Happens in Art. New York, Appleton-Century-Crofts.score: 62.0
    Subsequently presented is a more detailed consideration of the notion of process , for we cannot understand what happens in art as a process unless we are ...
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  16. Kuisma Korhonen & Pajari Räsänen (eds.) (2010). The Event of Encounter in Art and Philosophy: Continental Perspectives. Gaudeamus.score: 62.0
     
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  17. Obidimma C. Ezezika, Jennifer Deadman & Abdallah S. Daar (2013). She Came, She Saw, She Sowed: Re-Negotiating Gender-Responsive Priorities for Effective Development of Agricultural Biotechnology in Sub-Saharan Africa. [REVIEW] Journal of Agricultural and Environmental Ethics 26 (2):461-471.score: 60.0
    In this paper, we argue for the importance of incorporating a gendered perspective for the effective development of sustainable agricultural biotechnology systems in sub-Saharan Africa. Priority setting for agricultural policy and project development requires attention to gender issues specific to the demands of agricultural biotechnology. This is essential for successfully addressing food security and poverty reduction in sub-Saharan Africa (SSA). There has been a great deal of debate and literature on the implications of gender in agricultural development and (...)
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  18. Benjamin M. Cole & Preeta M. Banerjee (2013). Morally Contentious Technology-Field Intersections: The Case of Biotechnology in the United States. [REVIEW] Journal of Business Ethics 115 (3):555-574.score: 60.0
    Technologies can be not only contentious—overthrowing existing ways of doing things—but also morally contentious—forcing deep reflection on personal values and societal norms. This article investigates that what may impede the acceptance of a technology and/or the development of the field that supports or exploits it, the lines between which often become blurred in the face of morally contentious content. Using a unique dataset with historically important timing—the United States Biotechnology Study fielded just 9 months after the public announcement of (...)
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  19. Edward Groth (2001). The Debate Over Food Biotechnology in the United States: Is a Societal Consensus Achievable? Science and Engineering Ethics 7 (3):327-346.score: 60.0
    Unless the public comes to agree that the benefits of food biotechnology are desirable and the associated risks are acceptable, our society may fail to realize much of the potential benefits. Three historical cases of major technological innovations whose benefits and risks were the subject of heated public controversy are examined, in search of lessons that may suggest a path toward consensus in the biotechnology debate. In each of the cases—water fluoridation, nuclear power and pesticides—proponents of the technology (...)
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  20. Monika Bakke (2010). Bio-Transfiguracje: Sztuka I Estetyka Posthumanizmu. Wydawn. Naukowe Uam.score: 60.0
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  21. Ananda Kentish Coomaraswamy (1995). The Transformation of Nature in Art. Sterling Publishers Pvt. Ltd..score: 60.0
    The theory of art in Asia.--Meister Eckhart's view of art.--Reactions to art in India.--Aesthetic of the Śukranītsāra.--Paroksa.--Ábhása.--Origin and use of images in India.--Notes.--Sanskrit glossary.--List of Chinese characters.--Bibliography (p. [235]-245).
     
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  22. Alison Ross (2008). 'Art' in Nancy's 'First Philosophy': The Artwork and the Praxis of Sense Making. Research in Phenomenology 38 (1):18-40.score: 57.0
    For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder); second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. These two different (...)
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  23. Daniel L. Tate (2012). In the Fullness of Time: Gadamer on the Temporal Dimension of the Work of Art. Research in Phenomenology 42 (1):92-113.score: 57.0
    Abstract In Gadamer's later writings on art, his investigation into the being of the work exploits the temporal resonance of the concept of performative enactment ( Vollzug ), which displaces the priority of play ( Spiel ) in his earlier account. Drawing upon Heidegger, Gadamer deploys the concepts of tarrying ( Verweilen ) and the while ( die Weile ) to elucidate the temporality of the work of art as an event of being. On the one hand, tarrying describes the (...)
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  24. Berys Nigel Gaut & Paisley Livingston (eds.) (2003). The Creation of Art: New Essays in Philosophical Aesthetics. Cambridge University Press.score: 56.0
    Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this new collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas (...)
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  25. Herman Rapaport (1997). Is There Truth in Art? Cornell University Press.score: 56.0
    'Is There Truth in Art?' includes chapters on atonal music, environmental art, modern German and French poetry, contemporary French fiction, experimental French ...
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  26. Ernst van Alphen (2005). Art in Mind: How Contemporary Images Shape Thought. University of Chicago Press.score: 56.0
    Art has the power to affect our thinking, changing not only the way we view and interact with the world but also how we create it. In Art in Mind , Ernst van Alphen probes this idea of art as a commanding force with the capacity to shape our intellect and intervene in our lives. Rather than interpreting art as merely a reflection of our social experience or a product of history, van Alphen here argues that art is a historical (...)
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  27. Hub Zwart (2009). Biotechnology and Naturalness in the Genomics Era: Plotting a Timetable for the Biotechnology Debate. [REVIEW] Journal of Agricultural and Environmental Ethics 22 (6):505-529.score: 56.0
    Debates on the role of biotechnology in food production are beset with notorious ambiguities. This already applies to the term “biotechnology” itself. Does it refer to the use and modification of living organisms in general, or rather to a specific set of technologies developed quite recently in the form of bioengineering and genetic modification? No less ambiguous are discussions concerning the question to what extent biotechnology must be regarded as “unnatural.” In this article it will be argued (...)
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  28. John Beloff (1970). Creative Thinking in Art and in Science. British Journal of Aesthetics 10 (1):58-70.score: 56.0
    Two questions are examined (a) the differences between creative and uncreative individuals and (b) the differences between artists and scientists. It is concluded that while divergent thinking is a necessary feature of the creative process alike in art and in science the scientific intellect exemplifies more the convergent type. Contrary to what most authorities have said it is here argued that creativity depends more upon the presence of a certain inborn flair than upon personality dynamics.
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  29. Paul Macneill & Bronaċ Ferran (2011). Art and Bioethics: Shifts in Understanding Across Genres. [REVIEW] Journal of Bioethical Inquiry 8 (1):71-85.score: 56.0
    This paper describes and discusses overlapping interests and concerns of art and bioethics and suggests that bioethics would benefit from opening to contributions from the arts. There is a description of recent events in bioethics that have included art, and trends in art that relate to bioethics. The paper outlines art exhibits and performances within two major international bioethics congress programs alongside a discussion of the work of leading hybrid and bio artists who experiment with material (including their own bodies) (...)
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  30. Michael H. Mitias (ed.) (1985). Creativity in Art, Religion, and Culture. Distributed in the U.S.A. By Humanities Press.score: 56.0
    PREFACE It became clear to me in the past few years that any human quest or endeavor — whether it is in art, religion, business, politics, science, ...
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  31. Katherine Thomson (2002). Aesthetic and Ethical Mediocrity in Art. Philosophical Papers 31 (2):199-215.score: 56.0
    Abstract In this paper I suggest a way that an already promising view on ethical art criticism can account for the value of mediocre artworks which endorse morally commendable perspectives. In order for the view I call prescriptive ethicism to deal with such cases of critical ambivalence, it must take account of the interaction between moral content and form in art. Such interaction is seen in the way the aesthetic features of an artwork partly determine its moral value, or success (...)
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  32. Bruce Anderson (2011). The Evident Need for Specialization in Visual Art Studies. Journal of Macrodynamic Analysis 6.score: 56.0
    This paper is an attempt to identify a functional division of labour in art studies. To that end I have adopted the strategically minimalist approach advocated by Philip McShane in Method in Theology: Revisions and Implementations (2007).
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  33. Walter Carnielli (2004). Book Reviews: Claude P. Bruter (Editor), Mathematics in Art: Mathematical Visualization in Art and Education. Logic and Logical Philosophy 13:163-166.score: 56.0
    Claude P. Bruter (editor), Mathematics in Art: Mathematical Visualization inArt and Education, Springer Verlag, New York, 2002, pp. X + 337, ISBN 3-540-43422-4.
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  34. Marcia Landy (2003). Traveling in Film Theory, on Giuliana Bruno Atlas of Emotion: Journeys in Art, Architecture, and Film. Film-Philosophy 7 (6).score: 56.0
    Giuliana Bruno _Atlas of Emotion: Journeys in Art, Architecture, and Film_ London: Verso, 2002 ISBN 1859848028 484 pp.
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  35. Alexander Nehamas (2007). Only a Promise of Happiness: The Place of Beauty in a World of Art. Princeton University Press.score: 56.0
    Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness , Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and (...)
     
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  36. Kristina Niedderer & Linden Reilly (2011). Research Practice in Art and Design: Experiential Knowledge and Organised Inquiry. Journal of Research Practice 6 (2):Article E2.score: 56.0
    Experiential knowledge is not often associated with research and organized inquiry, and even less often with the rigour of debating and honing research methods and methodology. However, many researchers in art and design and related fields perceive experiential knowledge or tacit knowledge as an integral part of their practice. The editorial article for the special issue on "Research Practice in Art and Design: Experiential Knowledge and Organised Inquiry" explores how research can recognise the relationship between creative practice, experience, and knowledge (...)
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  37. Leonard Shlain (1991/1993). Art & Physics: Parallel Visions in Space, Time, and Light. Quill/W. Morrow.score: 56.0
    Art interprets the visible world, physics charts its unseen workings--making the two realms seem completely opposed. But in Art & Physics, Leonard Shlain tracks their breakthroughs side by side throughout history to reveal an astonishing correlation of visions. From teh classical Greek sculptors to Andy Warhol and Jasper Johns, and from Aristotle to Einstein, aritsts have foreshadowed the discoveries of scientists, such as when Money and Cezanne intuited the coming upheaval in physics that Einstein would initiate. In this lively and (...)
     
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  38. Matthew Kieran (2010). The Vice of Snobbery: Aesthetic Knowledge, Justification and Virtue in Art Appreciation. Philosophical Quarterly 60 (239):243-263.score: 54.0
    Apparently snobbery undermines justification for and legitimacy of aesthetic claims. It is also pervasive in the aesthetic realm, much more so than we tend to presume. If these two claims are combined, a fundamental problem arises: we do not know whether or not we are justified in believing or making aesthetic claims. Addressing this new challenge requires an epistemological story which underpins when, where and why snobbish judgement is problematic, and how appreciative claims can survive. This leads towards a virtue-theoretic (...)
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  39. Matthew Kieran (ed.) (2006). Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell Pub..score: 54.0
    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 (...)
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  40. Noël Carroll (2010). Art in Three Dimensions. Oxford University Press.score: 54.0
    Art in Three Dimensions is a collection of essays by one of the most eminent figures in philosophy of art.
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  41. Jerrold Levinson (2006). Contemplating Art: Essays in Aesthetics. Oxford University Press.score: 54.0
    Contemplating Art is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. The twenty-four essays range over issues in general aesthetics and those relating to specific arts--in particular music, film, and literature. It will appeal not only to philosophers but also to musicologists, literary theorists, art critics, and reflective lovers of the arts.
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  42. Stephen Snyder (2010). Arthur Danto’s Andy Warhol: The Embodiment of Theory in Art and the Pragmatic Turn. Leitmotiv:135-151.score: 54.0
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...)
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  43. Nöel Carroll (2012). Art in an Expanded Field: Wittgenstein and Aesthetics. Nordic Journal of Aesthetics 42 (42):14-31.score: 54.0
    This article reviews the various ways in which the later writings of Ludwig Wittgenstein have been employed to address the question “What is Art?”. These include the family resemblance model, the cluster concept model and the form of life model. The article defends a version of the form of life approach. Also, addressed the charge that it would have been more profitable had aestheticians explored what Wittgenstein actually said about art instead of trying to extrapolate from his writings an approach (...)
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  44. Yve Lomax (2005). Sounding the Event: Escapades in Dialogue and Matters of Art, Nature and Time. I.B. Tauris.score: 54.0
    What constitutes an event? Propelled by this question, Sounding the Event encounters a variety of theories and a host of issues that have implications for not only conceptions of nature and becoming, subject and substance but also practices of time, art and photography. This book explores dialogue in its writing and as it encounters the philosophical utterances of Michel Serres, Isabelle Stengers, Alfred North Whitehead, Jean-Franbliogçois Lyotard, Maurice Blanchot, Gilles Deleuze and Fbliogelix Guattari, and Alain Badiou.
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  45. Julian Dodd (2013). Adventures in the Metaontology of Art: Local Descriptivism, Artefacts and Dreamcatchers. [REVIEW] Philosophical Studies 165 (3):1047-1068.score: 54.0
    Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...)
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  46. Elizabeth Grierson (2011). Art and Creativity in the Global Economies of Education. Educational Philosophy and Theory 43 (4):336-350.score: 54.0
    Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input-output, means-end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are raised, such as: (...)
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  47. David Kenneth Holt (2001). The Search for Aesthetic Meaning in the Visual Arts: The Need for the Aesthetic Tradition in Contemporary Art Theory and Education. Bergin & Garvey.score: 54.0
    Postmodern art theory is an anomaly in the history of art theory.
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  48. Haig Khatchadourian (1977). The Creative Process in Art. British Journal of Aesthetics 17 (3):230-241.score: 54.0
    The article maintains, By appeal to documentary evidence relating to the creative processes of various artists, That the two major rival theories of the creative process--The "teleological" and the "propulsive" ("non-Teleological") theories--Are inadequate. Rather than always being goal-Directed or always propulsive, Creative processes exhibit a wide range of patterns. Six of them are considered. They range from works "which have been created without any, Or with scarcely any, (1) "vision" of the work-To-Be created, Even of the vaguest or most general (...)
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  49. Phillip Prodger (2009). Darwin's Camera: Art and Photography in the Theory of Evolution. Oxford University Press.score: 54.0
    Darwin's art collection : the prints, drawings, and photographs Darwin collected in the 1860s and 70s -- Illustrations and illusion : strategies Darwin used in illustrating his books -- Art, experience, and observation : Darwin's knowledge of art history and use of illustration in his books -- Darwin and the passions : how passion manuals informed Darwin's research -- Photography and evolution meet : connections between photography and biology in the 1860s -- Method to their madness : how photography in (...)
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  50. Tine Wilde (2008). Remodel[L]Ing Reality. Wittgenstein's Uebersichtliche Darstellung & the Phenomenon of Installation in Visual Art. Dissertation, University of Amsterdamscore: 54.0
    Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of uebersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the uebersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the ambiguity of (...)
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