Art history, aesthetics, and visual studies today find themselves in contested new philosophical and institutional circumstances. This fascinating and challenging volume explores the connections and differences among these three methods of investigating visual representation. What are the dominant aesthetic assumptions underlying art historical inquiry? How have these assumptions been challenged by visual studies? Are questions of quality, form, content, meaning, and spectatorship culturally specific? Can we still define the parameters of what should properly constitute the objects of the history of (...) art? Fifteen distinguished scholars answer these and other questions, critically examining the relationships among these three scholarly fields from their founding moments through their contemporary practices. (shrink)

The rest of this essay will contribute to the subversion of that distinction in the history of art, with the awareness that this would no longer be a timely issue in any other historical discipline. I engage in this task because of my sense that critical attention to the formal or rhetorical resonances between objects and the histories of art that inscribe them might provide an answer for the kind of historiographic experimentation that Burke and White have obliquely urged upon (...) the historical profession in general.To be fair, the history of art is not exclusively what it once was: the conservator of elite objects and the preserver of a certain canon of values. A variety of critical challenges to this traditional role have animated the discipline during the last two decades, from the revisionism of feminist and Marxist readings to the interpretive paradigms of semiotics and psychoanalysis, and yet one certainly needs to acknowledge that, for the most part, these challenges have originated outside the confines of art history proper.The metahistorical task of discovering some theme or issue shared by this plurality of re-visions need not necessarily prove unilluminating. The concentration on the gaze as an interpretive principle cuts across a wide sampling of recent theoretical perspectives. Paintings are, after all, meant to be looked at, so it should come as no surprise that the investigation of who or what is presumed to be doing the looking is now viewed as a critically unsettling issue in post-structuralist writings on art. Michael Ann Holly is associate professor and chair of the department of art and art history at the University of Rochester. She is the author of Panofsky and the Foundations of Art History and co-editor, with Norman Bryson and Keith Moxey, of Visual Theory. (shrink)

In a recent series of lectures delivered at the Institute of Fine Arts and the Frick Collection, Michael Ann Holly highlighted a moment in the 1950s when, she argues, art history made a pivotal choice, opting to follow Erwin Panofsky’s iconographic system of interpretation, based in a neo-Kantian historical distance, rather than Hans-Georg Gadamer’s theory of immediacy of experience.1 The dichotomy between visual experience and contextualization that Holly implicitly posits in her lecture suggests a long-standing tension in (...) the historiography of art history. Holly’s argument that Gadamer is a forgotten founder figure for the discipline of art history is a compelling one, not only for art history but, as I... (shrink)

This is a peer reviewed chapter in the book The Persistence of Taste: Art, Museums and Everyday Life After Bourdieu, an interdisciplinary analysis of taste in the wake of Pierre Bourdieu’s sociology. The chapter, ‘The configurational encounter and the problematic of beholding’, is in Part I of the book, entitled ‘Taste and Art’. Engaging the aesthetics of reception as its field of inquiry, the chapter draws upon the literary theorist Wolfgang Iser’s notion of the ‘blank’ as a staged suspension of (...) connectivity, arguing for a reassignment of the aesthetic in terms of a ‘configurational encounter’ that problematizes the work/beholder relation. This constitutes a rare attempt to apply reception aesthetics to contemporary art, a ‘gap’ first highlighted by the art historian Michael Ann Holly in her 2002 article ‘Reciprocity and Reception Theory’, published in A Companion to Art Theory. Utilising concrete examples of practice, the chapter asks whether the shift towards inter- or transmedia art practices, characterising postconceptual art, renders Bourdieu’s characterisation of the ‘autonomous’ artwork superfluous to the contemporary situation, and whether the kinds of judgments of taste associated with the acquisition of cultural capital are no longer relevant. The chapter argues that in revealing material processes, rules, instructions or appropriations – and/or its situated reception and apparatus of display – the configurational encounter problematizes the beholder’s bodily and ideological orientation toward an artwork, revealing our embodied dispositions or ‘habitus’. This counters philosopher Peter Osborne’s suggestion that a change in art’s ‘ontology’ post 1960s renders questions of aesthetics obsolete and reconceives the aesthetic as emerging from the oscillation of spatial and ideational perspective switches resulting from a calculated problematizing of the beholder’s position-taking. (shrink)

_Rediscovering Aesthetics_ brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because it provides (...) a selection of significant but divergent positions. The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge. Contributors include: Claire Bishop, Diarmuid Costello, Paul Crowther, Arthur Danto, Nicholas Davey, Thierry de Duve, James Elkins, Francis Halsall, Michael Ann Holly, Julia Jansen, Michael Kelly, Robert Morris, Tony O'Connor, Peter Osborne, Adrian Piper, David Raskin, Carolee Schneemann, Richard Shiff, Wolfgang Welsch, and Richard Woodfield. (shrink)

Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology—his landmark American publication of 1939—contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 that (...) reach back, via a couple of major pieces on Alois Riegl, to the 1915 essay on Heinrich Wölfflin.3 Under the influence of his colleague at Hamburg Ernst Cassirer, the principal interpreter of Kant in the 1920s, Panofsky from 1915 on exhibits in his work ever more Kantian thinking and language.4 But Logos was not an art-historical review or one dedicated to aesthetics but a principal mainstream journal of the philosophy of culture. So ‘On the Problem of Describing and Interpreting Works of the Visual Arts’ has a good claim to be the culmination of Panofsky's philosophical thinking in his German period under the Weimar Republic. · 1. Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance , p. xv; hereafter abbreviated SI. See Panofsky, ‘Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst’, Logos 21 : 103–19; trans. Jaś Elsner and Katharina Lorenz under the title ‘On the Problem of Describing and Interpreting Works of the Visual Arts’, Critical Inquiry 38 : 467–82; hereafter abbreviated ‘P’.· 2. See the discussion in Carlo Ginzburg, ‘From Aby Warburg to E. H. Gombrich: A Problem of Method’, Myths, Emblems, Clues, trans. John and Anne C. Tedeschi , pp. 17–59, esp. pp. 36–41.· 3. See Panofsky, ‘Das Problem des Stils in der bildenden Kunst’, Deutschsprachige Aufsätze, ed. Karen Michels and Martin Warnke, 2 vols. , 2:1009–18; ‘Der Begriff des Kunstwollens’,Deutschsprachige Aufsätze, 2:1019–34, trans. Kenneth J. Northcott and Joel Snyder under the title ‘The Concept of Artistic Volition’, Critical Inquiry 8 : 17–33; and ‘Über das Verhältnis der Kunstgeschichte zur Kunsttheorie: Ein Beitrag zu der Erörterung über die Möglichkeit kunstwissenschaftlicher Grundbegriffe’, Deutschsprachige Aufsätze, 2: 1035–63, trans. Lorenz and Elsner under the title ‘On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art’, Critical Inquiry 35 : 43–71.· 4. On neo-Kantianism in pre-Nazi Germany, see Michael Friedman, A Parting of the Ways: Carnap, Cassirer, and Heidegger , pp. 25–37; Éric Dufour and T. Z. R. Créteil, ‘Le Statue du singulier: Kant et le néokantisme de l’École de Marbourg', Kantstudien 93 : 324–50; Edward Skidelsky, Ernst Cassirer: The Last Philosopher of Culture , pp. 22–51; and Peter E. Gordon, Continental Divide: Heidegger, Cassirer, Davos , pp. 52–86. Specifically on the Cassirerian Kantianism of Panofsky, see Michael Podro, The Critical Historians of Art , pp. 181–82; Michael Ann Holly, Panofsky and the Foundations of Art History , pp. 91–92, 147–52; Silvia Ferretti, Cassirer, Panofsky, and Warburg: Symbol, Art, and History, trans. Richard Pierce , pp. 174–77, 182–84; David Summers, ‘Meaning in the Visual Arts as a Humanistic Discipline’, in Meaning in the Visual Arts: Views from the Outside, ed. Irving Lavin , pp. 9–24; Mark A. Cheetham, Kant, Art, and Art History: Moments of Discipline , pp. 68–77; Paul Crowther, The Transhistorical Image: Philosophizing Art and Its History , pp. 70–73; Allister Neher, ‘“The Concept of Kunstwollen”, Neo-Kantianism, and Erwin Panofsky's Early Art Theoretical Essays', Word and Image 20 : 41–51; Georges Didi-Huberman,Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman , pp. 4–6, 90–138; and Lorenz and Elsner, ‘Translators’ Introduction', Critical Inquiry35 : 33–42, esp. pp. 38, 40–42. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns representing specific (...) temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (shrink)

The main objective of this 2-week RCT study was to test the efficacy of the previously developed Noticing Nature Intervention to boost wellbeing during winter months. The NNI consists of noticing the everyday nature encountered in one’s daily routine and making note of what emotions are evoked. Community adults were randomly assigned to engage in the NNI or were assigned to one of two control conditions. Paired t-tests revealed significant increases pre- to post-intervention in the NNI group for positive affect, (...) elevation, nature connectedness, and hope agency, and a marginally significant increase in transcendent connectedness. No significant pre-post difference emerged for any aspect of wellbeing in the control conditions. Analysis of qualitative findings revealed that negative emotion themes were 2.13 times more likely to be associated with built photos than with nature photos. Feelings of peace, awe, happiness, humbleness, and hope were more likely to be associated with nature photos, while feelings of annoyance, loneliness, curiosity, uncertainty, anger, yearning, and comfortableness were more likely to be associated with built photos. Overall, results indicated that engaging in the NNI can provide a wellbeing boost, even in the cold of winter. This study is the first to test any nature-based wellbeing intervention during colder, winter months, and to directly assess the impact of a nature-based wellbeing intervention on levels of hope. (shrink)

This target article presents a theory of human cultural learning. Cultural learning is identified with those instances of social learning in which intersubjectivity or perspective-taking plays a vital role, both in the original learning process and in the resulting cognitive product. Cultural learning manifests itself in three forms during human ontogeny: imitative learning, instructed learning, and collaborative learning – in that order. Evidence is provided that this progression arises from the developmental ordering of the underlying social-cognitive concepts and processes involved. (...) Imitative learning relies on a concept of intentional agent and involves simple perspective-taking. Instructed learning relies on a concept of mental agent and involves alternating/coordinated perspective-taking (intersubjectivity). Collaborative learning relies on a concept of reflective agent and involves integrated perspective-taking (reflective intersubjectivity). A comparison of normal children, autistic children and wild and enculturated chimpanzees provides further evidence for these correlations between social cognition and cultural learning. Cultural learning is a uniquely human form of social learning that allows for a fidelity of transmission of behaviors and information among conspecifics not possible in other forms of social learning, thereby providing the psychological basis for cultural evolution. (shrink)

This handbook presents a comprehensive introduction to the core areas of philosophy of education combined with an up-to-date selection of the central themes. It includes 95 newly commissioned articles that focus on and advance key arguments; each essay incorporates essential background material serving to clarify the history and logic of the relevant topic, examining the status quo of the discipline with respect to the topic, and discussing the possible futures of the field. The book provides a state-of-the-art overview of philosophy (...) of education, covering a range of topics: Voices from the present and the past deals with 36 major figures that philosophers of education rely on; Schools of thought addresses 14 stances including Eastern, Indigenous, and African philosophies of education as well as religiously inspired philosophies of education such as Jewish and Islamic; Revisiting enduring educational debates scrutinizes 25 issues heavily debated in the past and the present, for example care and justice, democracy, and the curriculum; New areas and developments addresses 17 emerging issues that have garnered considerable attention like neuroscience, videogames, and radicalization. The collection is relevant for lecturers teaching undergraduate and graduate courses in philosophy of education as well as for colleagues in teacher training. Moreover, it helps junior researchers in philosophy of education to situate the problems they are addressing within the wider field of philosophy of education and offers a valuable update for experienced scholars dealing with issues in the sub-discipline. Combined with different conceptions of the purpose of philosophy, it discusses various aspects, using diverse perspectives to do so. Contributing Editors: Section 1: Voices from the Present and the Past: Nuraan Davids Section 2: Schools of Thought: Christiane Thompson and Joris Vlieghe Section 3: Revisiting Enduring Debates: Ann Chinnery, Naomi Hodgson, and Viktor Johansson Section 4: New Areas and Developments: Kai Horsthemke, Dirk Willem Postma, and Claudia Ruitenberg. (shrink)

Focusing on the corporate social responsibility (CSR) implementation process, we analyze how institutional complexity that arises from tensions between social and environmental elements and economic and technical concerns is managed by CSR managers. We further question how these micro-level processes interact with organizational-level processes over time. Our research is a 24-month qualitative process study in which we followed CSR managers. The study’s results allow us to distinguish between four strategies that CSR managers use to promote CSR implementation and to cope (...) with tensions. Our results further indicate that organizational characteristics influence the intensity with which these strategies are applied and that the intensity of strategy application affects organizational behavior in the course of time. Through the discussion of these findings, our study contributes to the research on micro-level processes that occur in response to complex institutional demands as well as to the development of a comprehensive, multilevel approach to CSR implementation. (shrink)

_A portion of the revenue from this book’s sales will be donated to Doctors Without Borders to assist the humanitarian work of nurses, doctors, and other health care providers in the fight against COVID-19 and beyond._ _Concepts and Cases in Nursing Ethics_ is an introduction to contemporary ethical issues in health care, designed especially for Canadian audiences. The book is organized around six key concepts: beneficence, autonomy, truth-telling, confidentiality, justice, and integrity. Each of these concepts is explained and discussed with (...) reference to professional and legal norms. The discussion is then supplemented by case studies that exemplify the relevant concepts and show how each applies in health care and nursing practice. This new fourth edition includes an added chapter on end-of-life issues, and it is revised throughout to reflect the latest developments on topics such as global health ethics, cultural competence, social media, and palliative sedation, as well as ethical issues relating to COVID-19. (shrink)

In this article, we reflect critically on how moral actions are categorised in some recent studies on moral spillovers. Based on classic concepts from moral philosophy, we present a framework to categorise moral actions. We argue that with a finer classification of moral values, associated behaviour is better understood, and this understanding helps to identify the conditions under which moral licensing takes place. We illustrate our argument with examples from the literature on pro-environmental behaviours. Moral spillovers are frequently studied in (...) this behavioural domain and to understand what causes their occurrence is highly (policy) relevant if we wish to promote sustainable behaviour. (shrink)

Environmental ethicists have been arguing for decades that swift action to protect our natural environment is morally paramount, and that our concern for the environment should go beyond its importance for human welfare. It might be thought that the widespread acceptance of moral anti-realism would undermine the aims of environmental ethicists. One reason is that recent empirical studies purport to show that moral realists are more likely to act on the basis of their ethical convictions than anti-realists. In addition, it (...) is sometimes argued that only moral realists can countenance the claim that nature is intrinsically valuable. Against this, we argue that the acceptance of moral anti-realism is no threat to the environmentalist cause. We argue, further, that the acceptance of moral realism is potentially an obstacle to delivering on a third core environmental ethicist demand: namely, that successful action on climate change and environmental destruction requires us to change some of our commonly-held ethical views and to achieve a workable consensus. (shrink)

This is a copy of the presentation given at the "Workshop on Agency and Distributed Cognition" at Macquarie University, March 2012. What is noteworthy about this piece of work is that (i) it is a very early foray into the pedagogy, ontology, and epistemology of virtual worlds (it's 2012, way before David Chalmers' book "Reality+" in 2022); and (ii) it was my first foray into "social epistemology" beyond the standard "S knows that p" epistemology, drawing on Vygotskian collaborative approaches to (...) learning and teaching, moving beyond analytic philosophy into educational research. Finally, (iii) there's a hyperlink to the actual virtual world in Unity3D created by a cross-disciplinary team of researchers from Sydney University and Macquarie University for the purposes of teaching scientific inquiry. (shrink)

The primary purpose of Institutional Review Boards (IRBs) is to protect the rights and welfare of human research participants. Evaluation and measurement of how IRBs satisfy this purpose and other important goals are open questions that demand empirical research. Research on IRBs, and the Human Research Protection Programs (HRPPs) of which they are often a part, is necessary to inform evidence-based practices, policies, and approaches to quality improvement in human research protections. However, to date, HRPP and IRB engagement in empirical (...) research about their own activities and performance has been limited. To promote engagement of HRPPs and IRBs in self-reflective research on HRPP and IRB quality and effectiveness, barriers to their participation need to be addressed. These include: extensive workloads, limited information technology systems, and few universally accepted or consistently measured metrics for HRPP/irb quality and effectiveness. Additionally, institutional leaders may have concerns about confidentiality. Professional norms around the value of participating in this type of research are lacking. Lastly, obtaining external funding for research on IRBs and HRPPs is challenging. As a group of HRPP professionals and researchers actively involved in a research consortium focused on IRB quality and effectiveness, we identify potential levers for supporting and encouraging HRPP and IRB engagement in research on quality and effectiveness. We maintain that this research should be informed by the core principles of patient- and community-engaged research, in which members and key stakeholders of the community to be studied are included as key informants and members of the research team. This ensures that relevant questions are asked and that data are interpreted to produce meaningful recommendations. As such, we offer several ways to increase the participation of HRPP professionals in research as participants, as data sharers, and as investigators. (shrink)

This paper reports on an ongoing ARC Discovery Project that is conducting design research into learning in collaborative virtual worlds (CVW).The paper will describe three design components of the project: (a) pedagogical design, (b)technical and graphics design, and (c) learning research design. The perspectives of each design team will be discussed and how the three teams worked together to produce the CVW. The development of productive failure learning activities for the CVW will be discussed and there will be an interactive (...) demonstration of the project's CVW. (shrink)

Concepts and Cases in Nursing Ethics is a case-based exploration of the core principles of health care ethics applied to nursing. The book is a collaboration between philosopher-ethicist Michael Yeo and nurse-ethicist and educators Anne Moorhouse, Pamela Khan, and Patricia Rodney. It thus combines philosophical and ethical analysis with extensive knowledge and experience in nursing and health care. The book is organized around six main concepts in health care ethics: beneficence, autonomy, truthfulness, confidentiality, justice, and integrity. A chapter is (...) devoted to the elucidation of each of these concepts. In each chapter, historical background and conceptual analysis are supplemented by case studies that exemplify issues and show how the concept applies in health care and nursing practice. In this new edition, the conceptual analysis throughout has been updated and reworked in view of changes in the health care system. In addition, there is a new chapter specifically devoted to recent developments affecting nursing and other health professions. Previous case studies have been modified and new ones added to address current and emerging issues. Although the text focuses mainly on the social and political situation of nursing, the analysis has relevance also for medicine and the allied health professions, and indeed for anyone working in the health system. (shrink)

Concepts and Cases in Nursing Ethics maps the ethical landscape of contemporary nursing. The book is the product of a collaboration between philosopher-ethicist Michael Yeo, nurse-ethicist Anne Moorhouse, and six representatives of various areas of professional nursing. It thus combines philosophical and ethical analysis with nursing knowledge and experience in a manner that is both understandable and relevant. The book is organized around six main concepts in nursing ethics: beneficence, autonomy, confidentiality, truth-telling, justice, and integrity. A chapter is devoted (...) to the elucidation of each of these concepts. In each chapter, historical background and conceptual analysis are supplemented by case studies that exemplify issues and show how the concept applies in nursing practice. In this new edition, the materials in each chapter have been updated to reflect recent developments in nursing and more generally in health care. In addition, a totally new chapter on ethical theory has been added. Complete with bibliographies and study questions for further analysis of cases, this book is ideally suited for textbook use. It will help both practitioners and students to deal better with the clinical problems and issues that are encountered in the field. However, it's simple prose and clear exposition of complex issues will make Concepts and Cases in Nursing Ethics attractive to anyone concerned about health care. (shrink)