Art and Artworks

Edited by Nicholas Riggle (University of San Diego)
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  1. What to Save and Why: Authenticity, Identity, and the Ethics of Conservation.Erich Hatala Matthes - 2024 - New York: Oxford University Press USA.
    What does a sanctuary for Hawaiian crows have in common with a troop of robots programmed to perform the Maori haka, or recreations of World Heritage Sites built in Minecraft? They are all attempts to save things from loss, disappearance, or destruction. Every one of us is confronted by questions about what to save, whether we're considering old keepsakes, a family tradition, or a local park. What should we save and why? How and from what? By whom and for whom? (...)
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  2. Understanding as Transformative Activity: Radicalizing Neo-Cognitivism for Literary Narratives.Ingrid Vendrell Ferran - 2024 - Philosophia 52 (1):29-36.
    Mikkonen’s new book and his emphasis on understanding should be regarded as an important contribution to the contemporary debate on the cognitive value of literary narratives. As I shall argue, his notion of understanding can also help explain how literature is existentially valuable. In so doing, his account can support a radicalized contemporary neo-cognitivism according to which literature can affect us existentially and lead to a personal transformation.
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  3. State of the Art - Elements for Critical Thinking and Doing.Erich Berger, Mari Keski-Korsu, Marietta Radomska & Line Thastum (eds.) - 2023 - Helsinki: Bioart Society.
    How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in (...)
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  4. Two-Dimensional Theories of Art.Thomas N. P. A. Brouwer - 2022 - Thought: A Journal of Philosophy 11 (3):142-149.
    What determines whether an object is an artwork? In this paper I consider what I will call ‘social’ theories of art, according to which the arthood of objects depends in some way on the art-related social practices that we have. Though such a dependence claim is plausible in principle, social theories of art tend to unpack the determining link between artworks and social practices in terms of intentional relations between the objects in question and the people involved in the relevant (...)
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  5. Empathic Imaginings and Knowledge of What It Is Like in Aesthetic Cognitivism.Íngrid Vendrell Ferran - forthcoming - In Empathy and the Aesthetic Mind. Bloomsbury.
  6. Interpreting AI-Generated Art: Arthur Danto’s Perspective on Intention, Authorship, and Creative Traditions in the Age of Artificial Intelligence.Raquel Cascales - 2023 - Polish Journal of Aesthetics 71 (4):17-29.
    Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...)
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  7. How Do You Solve a Problem like DALL-E 2?Kathryn Wojtkiewicz - forthcoming - Journal of Aesthetics and Art Criticism.
    The arrival of image-making generative artificial intelligence (AI) programs has been met with a broad rebuke: to many, it feels inherently wrong to regard images made using generative AI programs as artworks. I am skeptical of this sentiment, and in what follows I aim to demonstrate why. I suspect AI generated images can be considered artworks; more specifically, that generative AI programs are, in many cases, just another tool artists can use to realize their creative intent. I begin with an (...)
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  8. Le voyage en Grèce des pensionnaires de la Villa Médicis au xixe siècle : la perception des monuments antiques entre architecture et archéologie.Marianna Charitonidou - 2021 - Anabases 34:147-165.
    L’article vise à retracer les relations entre les pratiques de l’architecture et les pratiques de l’archéologie, en accordant une importance particulière au rôle joué par les antiquités grecques dans la formation intellectuelle des archéologues et architectes du xixe siècle, d’une part, et à la signification du voyage en Grèce, d’autre part. L’article vise à répondre à la question de la spécificité du voyage en Grèce et de sa relation avec l’idée du « Grand tour » et du « retour en (...)
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  9. Hybridized, Influenced, or Evolved? A Typology to Aid the Categorization of New and Developing Arts.Claire Anscomb - 2023 - Journal of Aesthetics and Art Criticism 81 (3):317-329.
    The category within which an artwork is received affects its critical and aesthetic significance (Levinson 2011; Walton 1970).1 Yet, it is not always clear how.
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  10. Art by Proxy.Robert Yanal - 2023 - Journal of Aesthetics and Art Criticism 81 (3):341-347.
    Cultural theories of art were developed to account for the arthood of nonaesthetic and nonimitative artworks. Historical theories such as those proposed by Jerrold Levinson, James Carney, and Noël Carroll fail to account for the arthood of first art and ethnological objects, as does the disjunctive theory of Stephen Davies. An institutional (artworld-based) theory, such as George Dickie’s 1977 version, can account for the arthood of art made within the context of an artworld. But what of objects that are art (...)
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  11. AI, Copyright, and Pseudo Art.Motoarca Ioan Radu - forthcoming - Yale Journal of Law and Technology.
    This Article addresses the copyright regime of artistic works generated by artificial intelligence. I argue that the law of authorship as developed by courts, together with the Intellectual Property Clause in the U.S. Constitution, entails that, if anyone is entitled to copyright ownership of these works, it is the AI itself. Arguments advanced in the literature that programmers, developers, or similarly situated humans should own the copyright instead are rejected. However, I argue further that countervailing policy considerations suggest that AI-generated (...)
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  12. Art, Affectivity, and Aesthetic Value: Geiger on the Role of Emotions in Aesthetic Appreciation.Íngrid Vendrell Ferran - 2023 - Journal of Aesthetics and Phenomenology 10 (2):143 - 159.
    This paper explores Moritz Geiger’s work on the role of emotions in aesthetic appreciation and shows its potential for contemporary research. Drawing on the main tenets of Geiger’s phenomenological aesthetics as an aesthetics of value, the paper begins by elaborating his model of aesthetic appreciation. I argue that, placed in the contemporary debate, his model is close to affective models which make affective states responsible for the apprehension of the aesthetic value of an artwork, though Geiger also makes important concessions (...)
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  13. Merging philosophical traditions for a new way to research music: On the ekphrastic description of musical experience.Andrzej Krawiec - 2024 - British Journal of Aesthetics 64 (1):107-125.
    This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the methodology developed (...)
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  14. The influence of the Pray Codex in the debate about the Shroud of Turin.Tristan Casabianca - 2023 - Sindon 7:26-34.
    The Shroud of Turin is a controversial linen cloth thought by some to be a medieval artifact and by others to be the burial cloth of Jesus of Nazareth. To better explain the reasons why reaching a consensus among experts seems highly unlikely, this paper focuses on the possible relationship between the Shroud of Turin and the Pray Codex, the first illuminated manuscript in Hungarian (c. 1192 – c. 1195). An analysis of the recent literature, including a qualitative survey, highlights (...)
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  15. How to Change an Artwork.David Friedell - 1966 - In Sidney Hook (ed.), Art and philosophy. [New York]: New York University Press.
    The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...)
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  16. Cinema and Death: on image and immortality.Milad Roshani Payan - 2018 - Tehran: Qoqnoos ltd.
    Cinema and Death: on Image and Immortality (سینما و مرگ: درباره نامیرایی و تصویر / Sīnimā va marg : darbārah-ʼi nāmīrāyī va taṣvīr) is a Persian book on philosophy of film, written by Milad Roshani Payan. in February 2020, the book won the highest award in the most prestigious book award in Iran, called Iran's Book of the Year Awards, in dramatic arts category. The book is divided into six chapters, and in each chapter, the relationship between cinema and death (...)
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  17. The comparative achievement explanation of artistic value.Ian D. Dunkle - 2023 - Southern Journal of Philosophy 61 (3):457-473.
    There is broad agreement in aesthetics that some artworks are greater than others despite bearing equivalent (or lesser) aesthetic value. One explanation of this difference in artistic value is that creation of the greater artwork represents a greater achievement. The aim of this article is to refine this explanation and to defend it against recent criticisms. First, I present a prima facie case in favor of the achievement explanation. Second, I draw on the history of photography to motivate three objections (...)
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  18. Art and Ethics: Formalism, in James Harold (ed.) The Oxford Handbook of Ethics and Art.Michalle Gal (ed.) - 2023 - London: Oxford University Press.
    This chapter presents the formalist account of the moral status of an artwork as an aesthetically significant and autonomous form, with due emphasis on the Anglo-American art-for-art’s-sake aesthetic, as it developed between 1870 and 1960. The author shows that the formalist art-is-above-morals approach is a substantive moral stance in itself. Formalist aesthetics is usually presented in the literature as evincing a purist indifference to ethics, construing moral properties as external to art, in opposition to the internal pure properties of art’s (...)
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  19. Turning queries into questions: For a plurality of perspectives in the age of AI and other frameworks with limited (mind)sets.Claudia Westermann & Tanu Gupta - 2023 - Technoetic Arts 21 (1):3-13.
    The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that the recent calls for slowing down the development of AI, as promoted by the technology industry, do not signify a shift towards reason and considerate economics. Instead, as these calls are firmly embedded in narratives where the power to decide for the majority of (...)
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  20. Authority and Freedom: A Defense of Art.Noël Carroll - forthcoming - British Journal of Aesthetics:ayac070.
    For roughly two centuries, there has been an ongoing rivalry between two views of art. On the one hand, there is the claim—sometimes heralded by the slogan ‘art.
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  21. Olympia's Maid: Reclaiming Black Female Subjectivity.Lorraine O'Grady - 1994 - In Joanna Frueh, Cassandra L. Langer & Arlene Raven (eds.), New Feminist Criticism: Art, Identity, Action. Icon.
    This first-ever article of cultural criticism on the black female body was to prove germinal and continues to be widely referenced in scholarly and other works. Occasionally, controversial, it has been frequently anthologized, most recently in Amelia Jones, ed., The Feminism and Visual Cultural Reader, 2nd edition (Routledge, 2010). The first part of this article--delivered in a panel of the College Art Association early in 1992--was published in Afterimage 20:1 (Summer 1992). The revised version, including "Postscript," originally appeared in the (...)
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  22. Posing Modernity: The Black Model from Manet and Matisse to Today.Denise Murrell - 2018 - Yale University Press.
    This revelatory study investigates how changing modes of representing the black female figure were foundational to the development of modern art. Posing Modernity examines the legacy of Edouard Manet's Olympia (1863), arguing that this radical painting marked a fitfully evolving shift toward modernist portrayals of the black figure as an active participant in everyday life rather than as an exotic "other." Denise Murrell explores the little-known interfaces between the avant-gardists of nineteenth-century Paris and the post-abolition community of free black Parisians. (...)
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  23. Enhancing Artistic Presence through Contemplative Contextual Criticism.Peg Brand Weiser - 2006 - In Julien Robson (ed.), Presence. The Speed Art Museum. pp. 180-193.
    "Presence" is a word that can function both as a descriptor of the uniqueness, identity, and strength of an(y) identifiable, individual work of art (as used in the phrase, its "artistic presence") and, more specifically, and with a capital P, the name of a year-long exhibit consisting of a series of artworks in a uniquely created architectural environment with the Speed Art Museum in Louisville, Kentucky. In addition, as well-known art theorist Donald Preziosi points out in his 2004 essay ["Art (...)
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  24. Feminist Art, Content, and Beauty.Keith Lehrer - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 297-305.
    Art reconfigures experience. Art is a mentalized physical object. Danto remarks that art is embodied meaning. Hein says that feminist art chats on the edge. Our mental life is filled with meaning, but art opens the question of the meaning of experience. . . . Art, chatting on the edge of experience, nevertheless invites us to choose our stance in that world. I suggest that that is the beauty, or, at least the value, of art. The art experience presents us (...)
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  25. Seductive Shift: A Review of The Most Beautiful Woman in Gucha.Valerie Fuchs - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 293-296.
    Breda Beban's stunning two-screen video installation, The Most Beautiful Woman in Gucha, documents a mutually seductive encounter between a beautiful belly dancer and an inebriated young man at a Romany brass band festival in Serbia. . . . With The Most Beautiful Woman in Gucha, you can have your cake and eat it too, because this cake has a whole-grain antioxidant, omega-3 excellence running through it.
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  26. Beauty between Disability and Gender: Frida Kahlo in Paper Dolls.Fedwa Malti-Douglas - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 243-255.
    Beauty, disability, and gender crossing: The first two, though provocative, are not an altogether unexpected pair. Disability can be an object of beauty, as Anita Silvers has shown, just as it can be fetishized. Yet one more often thinks of beauty and disability as opposites. But what is gender crossing doing in this mix? Sometimes, apparently, when beauty is conjugated with disability in an atmosphere of glamour and celebrity, games with gender result. this is certainly the case with the representation (...)
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  27. Arthur Danto and the Problem of Beauty.Noel Carroll - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 29-44.
    Arthur Danto's The Abuse of Beauty: Aesthetics and the Concept of Art is Danto's most recent, through-written monograph on the philosophy of art. An obvious question occasioned by its publication is: what is it intended to add to Danto's previous treatises on the philosophy of art, such as The Transfiguration of the Commonplace and After the End of Art? The simple answer, of course, is beauty. But, why, one asks, does Danto need to address beauty? . . .Danto, it seems (...)
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  28. "A New Kind of Beauty": From Classicism to Karole Armitage's Early Ballets.Sally Banes - 2000 - In Peg Zeglin Brand (ed.), Beauty Matters. Indiana University Press. pp. 266-288.
    For the generation of feminists who emerged in the 1960s and 1970s, female beauty was suspect, for it simply pandered to male desire. And for the modernist artists of that period, beauty in art had long since been banished. but for Armitage's generation, already empowered by the political gains of feminism on the one hand, and engaged in a postmodernist challenge to the values of artistic modernism on the other, beauty in art and in the female body could once again (...)
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  29. A Man Pretending to be a Woman: On Yasumasa Morimura's "Actresses".Kaori Chino - 2000 - In Peg Zeglin Brand (ed.), Beauty Matters. Indiana University Press. pp. 252-265. Translated by Reiko Romii.
    The "Actresses" series by Yasumasa Morimura brutally exposes the position, attitude, or stance we assume when we see this body of work. The viewer's one-sided gaze, inflicted upon the women Morimura has impersonated, is repelled and hurled back to the viewer as the point questions: "Who are you?" and "What is your position?" You yourself, not an abstract human being, are being interrogated here. It is easy to speak lofty ideas while casting ourselves as objective transparent beings: disappearing borders, the (...)
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  30. Foreword: Cutting Two Ways with Beauty.Eleanor Heartney - 2000 - In Peg Zeglin Brand (ed.), Beauty Matters. Indiana University Press.
    Beauty is a contested category today because we both long for and fear its seductions. The essays in this volume interrogate beauty in all its complexity. But whether they construe it as friend or foe, they make it clear that beauty, and our preoccupation with it, cannot be wished away. deeply embedded in that inchoate matter from which our judgments of value are formed, beauty is inseparable from all that is best and worst in human experience.
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  31. The Oppositional Gaze: Black Female Spectators.Bell Hooks - 1995 - In Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Pennsylvania State University Press. pp. 142-159.
    Originally published in bell hooks, Black Looks: Race and Representation (Boston: South End Press, 1992). Critical, interrogating black looks were mainly concerned with issues of race and racism, the way racial domination of blacks by whites overdetermined representation. They were rarely concerned with gender. As spectators, black men could repudiate the reproduction of racism in cinema and television, the negation of black presence, even as they could feel as though they were rebelling against white supremacy by daring to look, by (...)
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  32. Foreword to Feminism and Tradition in Aesthetics.Arthur C. Danto - 1995 - In Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Pennsylvania State University Press.
  33. Oppressive Texts, Resisting Readers, and the Gendered Spectator; The "New" Aesthetics.Mary Devereaux - 1995 - In Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Pennsylvania State University Press. pp. 121-141.
    At the heart of recent feminist theorizing about art is the claim that various forms of representation--painting, photography, film--assume a "male gaze." The notion of the gaze has both a literal and a figurative component. Narrowly construed, it refers to actual looking. Broadly, or more metaphorically, it refers to a way of thinking about, and acting in, the world. . . . In examining this key feminist notion more carefully, I shall make clear the intrinsic interest of this approach to (...)
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  34. Conjuring Hands: The Art of Curious Women of Color.G. Wilson, J. Acuff & V. López - 2021 - Hypatia 36 (3):566-580.
    The verb “to conjure” is a complex one, for it includes in its standard definition a great range of possible actions or operations, not all of them equivalent, or even compatible. In its most common usage, “to conjure” means to perform an act of magic or to invoke a supernatural force, by casting a spell, say, or performing a particular ritual or rite. But “to conjure” is also to influence, to beg, to command or constrain, to charm, to bewitch, to (...)
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  35. Tra il foglio vuoto e lo schermo. Type e token alla prova dell’arte post-mediale.Francesco Ragazzi - 2020 - In Giovanni Argan, Maria Redaelli & Timonina Alexandra (eds.), Taking and Denying. Challenging Canons in Arts and Philosophy. Edizioni Ca' Foscari. pp. 277-299.
    What kind of entities are works of art from an ontological point of view? This question has become canonical in the framework of analytic philosophy. One way of answering the puzzle seemed to be conclusive. It is the hypothesis that all, or the majority of artworks can be identified with types embedded into tokens. To begin with, I will survey how the type-token distinction transitioned from semiotics to ontology. Secondly, I will consider how some contemporary art forms contributed to questioning (...)
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  36. Open Casket and the Art World: A Cautionary Tale.Katherine Tullmann - 2022 - Hypatia 37 (1):27-42.
    In 2017, the artist Dana Schutz presented her painting, Open Casket, at the Whitney Biennial. Both the painting and the painter were subsequently subjected to criticism from the art world. A central critique was that Schutz usurped the story of Emmett Till (the subject of Open Casket) and that, as a white woman, she had no right to do so. Much can—and has—been said on the appropriateness of Schutz's painting. In this article, I argue that Open Casket is a site (...)
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  37. Lovesickness and Gender in Early Modern Literature.Lesel D. Dawson - 2008 - Oxford University Press.
    The discourse of love, which is subjective, private, and instinctive, is also culturally constructed, public, and learned; it emphasizes the way in which the expression of reflexive feelings is bound up in wider historical narratives about bodies and interiority. In early modern medical texts, intense unfulfilled erotic desire is held to be a real and virulent disease: it is classified as a species of melancholy, with physical aetiologies and cures. This book analyses literary representations of lovesickness in relation to medical (...)
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  38. Glued to the Image: A Critical Phenomenology of Radicalization through Works of Art.Alia Al-Saji - 2019 - Journal of Aesthetics and Art Criticism 77 (4):475-488.
    I develop a phenomenological account of racialized encounters with works of art and film, wherein the racialized viewer feels cast as perpetually past, coming “too late” to intervene in the meaning of her own representation. This points to the distinctive role that the colonial past plays in mediating and constructing our self‐images. I draw on my experience of three exhibitions that take Muslims and/or Arabs as their subject matter and that ostensibly try to interrupt or subvert racialization while reproducing some (...)
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  39. Out of Order, Out of Sight: Selected Writings in Meta-Art and Art Criticism 1968-1992.Adrian S. Piper - 1996 - Cambridge, MA: MIT Press.
    Adrian Piper joins the ranks of writer-artists who have provided much of the basic and most reliable literature on modern and contemporary art. Out of Order, Out of Sight is an artistic and intellectual autobiography and an (occasionally scathing) commentary on mainstream art, art criticism, and American culture of the last twenty-five years. Piper is an internationally recognized conceptual artist and the only African American in the early conceptual art movement of the 1960s. The writings in Out of Order, Out (...)
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  40. From the Crooked Timber of Humanity, Beautiful Things Can Be Made.Anita Silvers - 2000 - In Peg Zeglin Brand (ed.), Beauty Matters. Indiana University Press. pp. 197-221.
    Why is it commonplace for us to contemplate distorted depictions of faces with eagerness and enjoyment, but to be repelled by real people whose physiognomies resemble the depicted ones? More generally, what makes perceiving pictured physically anomalous individuals so different from perceiving physically anomalous people themselves? . . . I will suggest how we can theorize human beauty, as we do beauty in art, so as to savor, rather than rebuff, novelty, disproportionateness, and even crookedness in the human shape. For (...)
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  41. Forgetful and Drowsy: The Affective Atmospheres in Contemporary Latvian Photography.Jana Kukaine & Janis Taurens - 2023 - Polish Journal of Aesthetics 68:57-74.
    In the article, we advance the notion of an affective atmosphere for analyzing the works of art by two contemporary Latvian photographers—Aija Bley (b. 1967) and Arnis Balčus (b. 1978). The spatial relations of bodies and environments and the photographed sub- jects’ facial expressions and postures negotiate a sense of postsocialist affectivity that we describe as forgetful and drowsy. In the selected images, the affective atmospheres enact the ambiguities of the Soviet legacies, along with the challenges of neoliberal rationality affecting (...)
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  42. La création artistique, pensée et acte.Dominique Berthet - 2023 - Hal Open Science.
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  43. O gesto inaugural da arte (e uma visão da época) pelas mãos de Sulawesi.Gabriel Herkenhoff Coelho Moura - unknown
    ENSAIO DISPONIBILIZADO NA REVISTA GUARU (2021): A luz adentra as cavernas e mostra imagens nas pedras. A mera aparência, quimera. Vemos no fundo perfis da verdadeira experiência da necessidade da caça em uma natureza vivida na nudez de seus ciclos e humores, sem controle. Nossos olhos aterram-se em javalis, búfalos-anões, bisões, cavalos, humanos-bichos, contornos de mãos – rastros de animais mágicos cujo vigor permanece nos traços gravados em pigmentos pretos e avermelhados. Temos diante de nós a descoberta de uma forma (...)
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  44. Elgin on Science, Art and Understanding.Jochen Briesen - 2021 - Erkenntnis 88 (6):2651-2671.
    Is art epistemically valuable? Catherine Z. Elgin answers this question in the affirmative. She argues for the epistemic value of art on the basis of her innovative epistemological theory, in which the focus is shifted from knowledge and truth to a non-factive account of understanding. After an exposition and critique of her view, as she develops it in her most recent book “True Enough” (MIT-Press, 2017), I will build on some of her ideas in order to strengthen her account.
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  45. Danto and Dickie: Artworld and Institution.Michalle Gal - 2021 - In Lydia Goehr & Jonathan Gilmore (eds.), A Companion to Arthur C. Danto. Hoboken: Wiley. pp. 273–280.
    This chapter presents the meeting points and conflicts between Arthur Danto’s philosophy of art and George Dickie’s avowedly succeeding theory. Its focus is on the internalist-externalist debate on the ontology of the artwork as created and perceived within the artworld. It shows that both Danto and Dickie developed anti-formalist theories, that contributed to the demise of aesthetic modernism. Inverting the formalist distinction between internal and external properties of the artwork, they classified the sensuous properties of the artwork as secondary in (...)
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  46. Beyond the Sovereign Self: Aesthetic Autonomy from the Avant-Garde to Socially Engaged Art.Grant H. Kester - 2024 - Duke University Press.
    In _Beyond the Sovereign Self_ Grant H. Kester continues the critique of aesthetic autonomy begun in _The Sovereign Self_, showing how socially engaged art provides an alternative aesthetic with greater possibilities for critical practice. Instead of grounding art in its distance from the social, Kester shows how socially engaged art, developed in conjunction with forms of social or political resistance, encourages the creative capacity required for collective political transformation. Among others, Kester analyzes the work of conceptual artist Adrian Piper, experimental (...)
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  47. A restituição do espetáculo do mundo na arte: dimensões ontológicas da percepção, expressão e instituição nos ensaios de Merleau-Ponty sobre pintura.Gabriel Herkenhoff Coelho Moura - 2022 - Sofia 11 (2):p. 1-25.
    Ao longo da trajetória intelectual de Merleau-Ponty, as reflexões sobre arte cumprem um papel crucial em sua preocupação de restituir o espetáculo do mundo, através da volta ao brotamento do sentido do ser na experiência antepredicativa do ser humano dada na percepção. Um sinal disso é que, em cada um dos momentos de seu pensamento, ele escreveu um ensaio no qual o tema central é a contribuição da expressão artística para uma reflexão filosófica interessada na abertura humana corporal no mundo. (...)
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  48. Art Therapy and CBT-based clinical workshops to enhance resilience in children, families, and caregivers (2nd edition).David Tomasi, Alexis Bailey, Avni Mehta, Dhruv Shah & Katie Crouch - 2022 - Proceedings of the Vermont Academy of Arts and Sciences 2 (57).
    Background: This article examines the development of clinical interventions in the form of Art Therapy and Cognitive-behavior Therapy-based workshops for children, families, and caregivers. Objectives: To enhance resilience in the subject population and professional staff via the administration of psychoeducational and practical, skill-based creative activities, and subsequent surveys. Method: Clinical supervision of CBT-based psychoeducational and art therapy-based activities with professional caregivers and data collection. The project is structured on three main phases: a) Development of the theoretical framework and the practical (...)
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  49. Caminhos da razão. Estudos em homenagem a Guido Antônio de Almeida e Raul Ferreira Landim Filho.Edgar Marques, Ethel Rocha, Lia Levy, Marcos A. Gleizer & Luiz Carlos Pereira (eds.) - 2010 - Rio de Janeiro: Nau Editora.
    Coletânea de artigos em homenagem a Guido Antonio de Almeida e Raul Ferreira Landim Filho.
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  50. Emoções Musicais.Federico Lauria - 2023 - Compêndio Em Linha de Problemas de Filosofia Analítica, Ricardo Santos e David Yates (Eds.), Lisboa: Centro de Filosofia da Universidade de Lisboa.
    A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...)
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