Baars (1988, 1997) has proposed a psychological theory of consciousness, called global workspace theory. The present study describes a software agent implementation of that theory, called ''Conscious'' Mattie (CMattie). CMattie operates in a clerical domain from within a UNIX operating system, sending messages and interpreting messages in natural language that organize seminars at a university. CMattie fleshes out global workspace theory with a detailed computational model that integrates contemporary architectures in cognitive science and artificial intelligence. Baars (1997) lists the psychological (...) ''facts that any complete theory of consciousness must explain'' in his appendix to In the Theater of Consciousness; global workspace theory was designed to explain these ''facts.'' The present article discusses how the design of CMattie accounts for these facts and thereby the extent to which it implements global workspace theory. (shrink)

In this review we deal with open quantum systems within the Bohmian mechanics framework which has the advantage to provide a clear picture of quantum phenomena in terms of trajectories, originally in configuration space. The gradual decoherence process is studied from linear and nonlinear Schrödinger equations through Bohmian trajectories as well as by using the so-called quantum-classical transition differential equation through scaled trajectories. This transition is governed by a continuous parameter, the transition parameter, covering these two extreme open dynamical regimes. (...) Thus, two sources of decoherence of different nature are going to be considered. Several examples will be presented and discussed in order to illustrate the corresponding theory behind each case, namely: the so-called Brownian–Bohmian motion leading to quantum diffusion coefficients, dissipative diffraction in time, dissipative tunnelling for a parabolic barrier under the presence of an electric field and stochastic early arrivals for the same type of barrier. In order to simplify the notations and physical discussion, the theoretical developments will be carried out in one dimension throughout all this wok. One of the main goals is to analyze the gradual decoherence process existing in these open dynamical regimes in terms of trajectories, leading to a more intuitive way of understanding the underlying physics in order to gain new insights. (shrink)

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social and political (...) philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art (...) or art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Speight has recently raised the question, which he himself leaves unanswered, how naturalism relates to spirit in Hegel’s philosophy of art. ‘Naturalism’ denotes an explanation that invokes aspects of nature that are (allegedly) irreducible or resistant to thought. I call nature ‘stubborn’ insofar as it evinces resistance to its being formed by thought and hence to its being united with it. This paper argues that §§556, 558 and 560 of Hegel’s Encyclopedia answer Speight’s question by specifying three elements (...) of nature that, first, are present in art and, second, are resistant to thought. These are materiality, natural form, and genius. They exhibit nature’s stubbornness in art. This stubbornness, I argue, is what justifies Hegel’s claim that art is absolute spirt only implicitly (§556), which leads to the claim that art needs to be superseded by religion and philosophy. In this way, Speight’s question receives a precise answer. (shrink)

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

An attempt to explain the theory behind medieval European and Asiatic art, especially art in India.

An attempt to explain the theory behind medieval European and Asiatic art, especially art in India.

El que en el presente libro se confronten "lenguaje" e "historia" pretende indicar que una parte especial de los que hemos sido se hace presente como "lenguaje"; pero, además, según se analiza en sus páginas, la función del historiador tuvo, en principio, algo elemental y simple. La misma etimología de la palabra significa alguien a quien se le pide consejo sobre un hecho porque "él vio lo que pasó". Al decir lo que ve, lo que interpreta, el historiador compromete la (...) veracidad de su propio ser. Colección Clásicos - Dykinson (títulos publicados)?Serie estudios?? - Sobre la democracia ateniense. Luis Gil Fernández. - Derecho natural y dignidad humana. Ernst Bloch. - Alejo Carpentier. Poética del Mediterráneo Caribe. Inmaculada López Calahorro. - P. Szondi. Teoría del drama moderno. Ensayo sobre lo trágico. - El concepto poíesis en la filosofía griega. Emilio Lledó. - Lenguaje e historia. Emilio Lledó.?Serie textos? - Heródoto. Historia. Libro I. Ed. bilingüe de J. M. Floristán. - Sófocles. Electra. Ed. bilingüe de Luis Gil Fernández. - Platón. Fedro. Ed. bilingüe de Luis Gil Fernández. - Aristóteles. Poética. Ed. bilingüe de Paloma Ortiz García. - Horacio. Arte poética. Ed. bilingüe de Luis Gil Fernández. - Boileau. El arte poética y otras sátiras. Ed. bilingüe de Alberto Torrego Salcedo. - Lezama Lima. Escritos de Estética. Ed. de Pedro Aullón de Haro. - República poética. Textos programáticos de la literatura española (siglos XVIII y XIX). Ed. de Germán Garrido Miñambres. (shrink)

Art is without doubt a powerful agent in determining how nature appears to us. Andrew Forge describes seeing tree leaves in sunlight, and ‘thinking Pissarro’. ‘I am wrapped round by Impressionism and the leaves look like brush strokes’. To Harold Osborne, once one has been impressed by Van Gogh's painting of certain objects, ‘it is difficult ever again to see the objects uninfluenced by Van Gogh's vision of them’.

Art is without doubt a powerful agent in determining how nature appears to us. Andrew Forge describes seeing tree leaves in sunlight, and ‘thinking Pissarro’. ‘I am wrapped round by Impressionism and the leaves look like brush strokes’. To Harold Osborne, once one has been impressed by Van Gogh's painting of certain objects, ‘it is difficult ever again to see the objects uninfluenced by Van Gogh's vision of them’.

Schelling is often thought to be a protean thinker whose work is difficult to approach or interpret. Devin Zane Shaw shows that the philosophy of art is the guiding thread to understanding Schelling's philosophical development from his early works in 1795-1796 through his theological turn in 1809-1810. -/- Schelling's philosophy of art is the 'keystone' of the system; it unifies his idea of freedom and his philosophy of nature. Schelling's idea of freedom is developed through a critique of the (...) formalism of Kant's and Fichte's practical philosophies, and his nature-philosophy is developed to show how subjectivity and objectivity emerge from a common source in nature. The philosophy of art plays a dual role in the system. First, Schelling argues that artistic activity produces through the artwork a sensible realization of the ideas of philosophy. Second, he argues that artistic production creates the possibility of a new mythology that can overcome the socio-political divisions that structure the relationships between individuals and society. Shaw's careful analysis shows how art, for Schelling, is the highest expression of human freedom. (shrink)

Contents Acknowledgements vii Illustrations ix Preface xi Further Bibliography of A.C. Crombie xiii 1 Designed in the Mind: Western visions of Science, Nature and Humankind 1 2 The Western Experience of Scientific Objectivity 13 3 Historical Perceptions of Medieval Science 31 4 Robert Grosseteste 39 5 Roger Bacon [with J.D. North] 51 6 Infinite Power and the Laws of Nature: A Medieval Speculation 67 7 Experimental Science and the Rational Artist in Early Modern Europe 89 8 Mathematics and (...) Platonism in the Sixteenth-Century Italian Universities and in Jesuit Educational Policy 115 9 Sources of Galileo Galilei’s Early Natural Philosophy 149 10 The Jesuits and Galileo’s Ideas of Science and of Nature [with A. Carugo] 165 11 Galileo and the Art of Rhetoric [with A. Carugo] 231 12 Galileo Galilei: A Philosophical Symbol 257 13 Alexandre Koyré and Great Britain: Galileo and Mersenne 263 14 Marin Mersenne and the Origins of Language 275 15 Le Corps à la Renaissance: Theories of Perceiver and Perceived in Hearing 291 16 Expectation, Modelling and Assent in the History of Optics: i, Alhazen and the Medieval Tradition; ii, Kepler and Descartes 301 17 Contingent Expectation and Uncertain Choice: Historical Contexts of Arguments from Probabilities 357 18 P.-L. Moreau de Maupertuis, F.R.S. : Précurseur du Transformisme 407 19 The Public and Private Faces of Charles Darwin 429 20 The Language of Science 439 21 Some Historical Questions about Disease 443 22 Historians and the Scientific Revolution 451 23 The Origins of Western Science 465 Appendix to Chapter 10: 479 Sources and Dates of Galileos Writings [with A. Carugo] Pietro Redondi, Galileo eretico [with A. Carugo] Mario Biagioli, Galileo, Courtier Corrections to Science, Optics and Music in Medieval and Early Modern Thought 495 Index 497. (shrink)

This paper deals with an approach to the integration of science (with technology and economics), ethics (with religion and mysticism), the arts (aesthetics) and Nature, in order to establish a world-view based on holistic, evolutionary ethics that could help with problem solving. The author suggests that this integration is possible with the aid of “Nature’s wisdom” which is mirrored in the macroscopic pattern of the ecosphere. The corresponding eco-principles represent the basis for unifying soft and hard sciences resulting (...) in “deep sciences”. Deduction and induction will remain the methodology for deep sciences and will include conventional experiments and aesthetic and sentient experiences. Perception becomes the decisive factor with the senses as operators for the building of consciousness through the subconscious. In this paper, an attempt at integrating the concepts of the “true”, the “right” and the “beautiful” with the aid of Nature’s wisdom is explained in more detail along with consequences. (shrink)

Este trabajo plantea, en primer lugar, una visión global acerca de la evolución de la representación de la naturaleza en la cultura artística visual europea del Alto Medievo. Resultado de la misma es la detección de una parálisis en la evolución estética de la representación de la naturaleza que sin embargo había pasado previamente por fases de esplendor decorativo y simbólico. A continuación se examinan diferentes propuestas historiográficas acerca de la evolución de la relación entre ser humano y naturaleza en (...) la Alta Edad Media y su posible contextualización con el cuadro evolutivo artístico trazado. Esa contextualización lleva finalmente a la búsqueda de una relación del fenómeno detectado con los fundamentos teológicos de la cultura monástica y sus planteamientos escatológicos. This paper first presents an overview about the evolution of the representation of nature in European artistic culture of the High Middle Ages. A result of this is the detection of a paralysis in the aesthetic evolution of nature in visual arts after previous phases of decorative and symbolic richness. Different historiographic proposals on the evolution of the relationship between man and nature in the Middle Ages show a possible contextualization with the artistic paralysis we have stated. That path leads to the search for a relation of the phenomenon detected with the theological foundations of the monastic culture and its eschatological discourses. (shrink)

How fixed are the happenings in Nature and how are they fixed? One - very orthodox - account teaches that the sciences offer general truths that we combine with local facts to derive our expectations about what will happen, either naturally or when we build a device to design, be it a laser, a washing machine, an anti-malarial bed net, or an auction for the airwavse. Nancy Cartwright offers a different picture, one in which neither we nor Nature (...) have such nice rules to go by. This volume includes her Paul Carus Lectures plus four additional papers that further develop some of the central ideas. Cartwright offers an original view on the age-old question of scientific realism in which our knowledge is genuine, yet our scientific principles are neither true nor false but are, rather, templates for building good models. (shrink)

Recent work in environmental ethics has seen a pragmatic turn that emphasises the importance of developing positive relationships with nature through practices involved in, for example, ecological restoration and community gardens. This article explores whether environmental and land art-making encourages positive aesthetic-moral relationships between nature and humans. It critically examines a particular type of aesthetic objection to these kinds of artworks and defends the work of Robert Smithson and Andy Goldsworthy, among others, against this charge. It is argued (...) that rather than constituting an 'aesthetic affront' to nature, some forms of environmental and land art show 'aesthetic regard' for nature. (shrink)

In this carefully constructed work, Dixon extends the study of art by defining a critical procedure for determining the relation between the work of art and the fundamental attitude of the artist toward himself and the world in which he lives. His specific concern is the relation between art and Christianity. Originally published in 1964. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that (...) were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value. (shrink)

The aim of our study is to highlight the obvious similarities that exist between the organizational structures of the biological world, particularly in terms of the number and distribution of the petals on flower and the geometric configurations used by the great masters of European painting, both in the East but also in the West, in order to elaborate the compositional framework of paintings and icons. Taking into consideration the symbolic connotations concerning the field of biology, we chose as a (...) case study the Russian icon from the 14th century entitled “The Triumphal Entry of Jesus into Jerusalem”, exhibited and venerated across the orthodox world on Palm Sunday. Starting with the circle of the aureole of Jesus, we have marked the harmonic series of concentric circles that are distributed across the nodal points of some regular polygons with seven and nine sides, which make reference to the ergonomic formulas of distribution of the petals on a flower and highlight the fact that the beauty of the natural world was and still is the main source of inspiration in the world of arts. (shrink)

The article argues against various proposals to treat the term 'beauty' as standing for a single, generic concept of aesthetic value, which has application both to natural objects and to art. It argues that in Kant's aesthetic theory 'beauty' must be treated as ambiguous because in the case of art, but not in that of nature, part of beauty is the expession of aesthetic ideas. This gives rise to the dilemma: either beauty is always the ultimate aesthetic value of (...) any thing, in which case there is no single account of beauty to be had that covers both art and nature, or being beautiful is the same for both art and nature, but must constitute only part of the aesthetic value of art. It is argued that certain late twentieth century theories of beauty do not overcome this problem. (shrink)

At the centre of Kant’s “Critique of Aesthetic Judgment” lies a tantalising relation, the reciprocal semblance between nature and art, upon which the entire text pivots. With this thought, Kant suggests a critically licensed blurring of some of the defining presuppositions of critical philosophy and reconfigures the ancient problematic of mimesis. This paper will offer a sketch of how some of Kant’s key successors attempt to extend his project of ‘transcendental critique’ in the field of aesthetics by exposing and (...) challenging the residual pre-critical assumptions underpinning such a conception of the relation between nature and art. The possibility thereby arises of liberating critique from the restraints of the Kantian ‘as if’ without relapsing into a pre-critical naivety. In this respect the important notion of ‘auto-poiesis’, the indigenous artistic creativity of nature, will be considered in its phenomenological and materialist guises. (shrink)

Recent advances in out understanding of the cognitive neuroscience of perception have encouraged cognitive scientists and scientifically minded philosophers to turn their attention towards art and the problems of philosophical aesthetics. This cognitive turn does not represent an entirely novel paradigm in the study of art. Alexander Baumgarten originally introduced the term ‘aesthetics’ to refer to a science of perception. Artist’s formal methods are a means to cull the structural features necessary for constructing clear perceptual representations from the dense flux (...) of sensory information in conscious experience. therefore, he interpreted artist’s formal methods as tools for studying the structure of perception. Art was a field whose interests coincidentally overlapped with aesthetics. In what follows I examine three approaches to cognitive science and aesthetics that rest on a tacit assumption of Baumgarten’s program. I argue that whereas this new research can explain how viewers perceptually recover the content of artworks, it does not explain what makes those works aesthetically interesting. Therefore, the challenge for cognitive science and aesthetics is to tie the perceptual practices of artists and viewers to their more narrowly construed aesthetic, or artistic, practices. What is needed to establish this link is an interpretation of Baumgarten’s original definition of aesthetics that treats attention to the way the formal structure of an artwork works to convey its content as a source of aesthetic interest. Unfortunately this interpretation is not transparently established by explanations of the perceptual practices of artists and viewers. I conclude that it remains an open question whether this research can contribute to philosophical aesthetics. (shrink)

A new political practice, the ‘reason of state’, informed the ends and practices of natural study in the late sixteenth century. Informed by the study of the Roman historian Tacitus, political writers gathered ‘secrets of empire’ from both history and travel. Following the economic reorientation of ‘reason of state’ by Giovanni Botero (1544–1617), such secrets came to include bodies of useful particulars concerning nature and art collected by an expanding personnel of intelligencers. A comparison between various writers describing wide-scale (...) collections, such as Botero, Francis Bacon (1561–1626), Jakob Bornitz (1560–1625) and Matthias Bernegger (1582–1640), reveals that seventeenth-century natural intelligencers across Europe not only were analogous to political intelligencers, but also were sometimes one and the same. Those seeking political prudence cast themselves as miners, prying precious particulars from the recesses of history, experience and disparate disciplines, including mathematics, alchemy and natural philosophy. The seventeenth-century practice of combining searches for secrets of empire, nature and art contests a frequent historiographical divide between empirical science and Tacitism or reason of state. It also points to the ways political cunning shaped the management of information for both politics and the study of nature and art. (shrink)

THE NATURE OF ART is a collection of 29 seminal, historically-organized readings that are focused on a basic philosophical question: What is Art? Including writings from the Western tradition'both Continental and Analytic traditions'as well as non-Western, minority, and feminist writings, this volume provides students with a rich set of resources to explore this matter both broadly and deeply. Introductions to each reading situate the selection amidst each respective thinker's body of work and the greater philosophical context in which the (...) remarks arose. Reading questions accompany each selection, drawing students' attention to key points to be encountered. Hailed by reviewers and adopters for its clarity and rigor, Wartenberg's THE NATURE OF ART offers a lively and engaging introduction to the philosophy of art. (shrink)

Posthumanism has come to synthesize philosophical, literary, and artistic responses to the pressures of technology, globalization, and mass extinction in the Anthropocene. It asks what it can mean to be human in an increasingly more-than-human world that has lost faith in the ideal of humanism, the autonomous, rational subject, and it models generative alternatives cognizant of the demands of social and ecological justice. Posthumanism in Art and Science is an anthology of indispensable statements and artworks that provide an unprecedented mapping (...) of this intellectual and aesthetic shift in a global context. It extends across a broad range of fields such as art theory, media studies, continental philosophy, natural science, literary studies, aesthetics, psychoanalysis, environmental humanities, social and political theory, and animal studies. The reader features a diverse sampling of major thinkers including Donna Haraway, Rosi Braidotti, Michael Marder, Karen Barad, Alexander Weheliye, Jay Prosser, Anna Tsing, Graham Harman, Timothy Morton, N. Katherine Hayles, Jane Bennett, Bruno Latour, Francesca Ferrando, and Cary Wolfe, as well as innovative, acclaimed artists and curators such as Yvonne Rainer, Chus Martínez, William Wegman, Nandipha Mntambo, Cassils, Pauline Oliveros, Doo-sung Yoo, and Gavin Steingo. Their provocative and compelling works, including previously unpublished interviews and essays, speak to the ongoing conceptual and political challenge of posthuman theories in a time of unprecedented cultural and environmental crises. An essential primer and reference for educators, students, artists, and art enthusiasts, this volume offers a powerful framework for rethinking anthropocentric certitudes and reenvisioning equitable and sustainable futures. (shrink)

This book examines sustainability learning with children, art and water in the new material, posthuman turn. A query into how we might sustain (our) childhood natures, the spaces between bodies and places are examined ontologically in daily conversations. Regarding philosophy, art, water and her children, the author asks, how can I sustain waterways if I am not sustaining myself? Theoretically disruptive and playful, the book introduces a new philosophy that combines existing philosophies of the new material and posthuman kind. The (...) ecological sciences, and the arts, are drawn together / apart to help recognize sustainability in its emergent, relational form. All the while this book, as art, engages and flows over the reader - as such, reading it becomes a transformative, meditative experience. Daily rhythms of 'being-with' art, water and children take the reader beyond orientations of environmental education that focus on notions of lack and reduction. New possibilities for sustaining childhood natures - for what is becoming, and unbecoming - emerge here in the making processes of an academic, everyday life in early motherhood. (shrink)