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  1. How racial science shapes visual art: Review of Race is Everything, by David Bindman. [REVIEW]Raamy Majeed - forthcoming - Metascience:1-3.
  2. La Aracneida, Fernand Deligny y la tentativa de una filosofía gestual.Luis Guerra - 2024 - Arte Individuo y Sociedad 36:15-24.
    This article explores the work and thought of French pedagogue Fernand Deligny (1913-1996), focusing on his last project commonly referred to as the Tentative des Cévennes, developed between 1967-1996. From this experience that Deligny forged together with his collaborators, the article exposes the generation of a particular form of knowledge, a philosophy subordinated to a gestural solidarity network formed by human and non-human bodies, environments and situations, minimal gestures, everyday actions, and contingent events, visible only through a series of aesthetic (...)
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  3. بيداغوجيا القراءة بين الميتودولوجيا والبيبليوثرابيا.مولاي المصطفى البرجاوي - 2016 - Revue Brochures Educatives مجلة كراسات تربوية 1 (2):117-126.
    القراءة أكبر نعمة أنعم الله بها على عباده؛ إذ تمثل أول كلمة نزلت على حبيبنا المصطفى صلى الله عليه وسلم، وهي جملةٌ وجيزةٌ في لفظها، فسيحةٌ في مفهومها، قوله تعالى: ﴿ اقْرَأْ بِاسْمِ رَبِّكَ الَّذِي خَلَقَ ﴾ [العلق:1].بالإضافة إلى أن القراءة قناة مهمة للتواصل بين الأفراد والمجتمعات؛ فهي من العمليات الميتودولوجيا (المنهجية والمهارية)، التي تمكِّن الفرد من الحصول على المعرفة، كما تُسهِم في بناء شخصيته، وتدعيمِ الثقة فيه، وتنميته. كما أن القراءة أداة ووسيلة علاجية فعَّالة، يستخدمها الطبيب والاختصاصي النفسي والاجتماعي (...)
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  4. Ficta and Virtuality: An Ingardenian Ontology of Virtualized Ficta.Hicham Jakha - forthcoming - Rivista di Estetica:1-16.
    In my paper, I establish an Ingardenian phenomenological ontology of virtualized ficta, i.e., fictional entities introduced to virtual gaming. The first Section of my paper provides an ontology of virtualized ficta, focusing primarily on their ‘‘existential moments’’. But in order to have a firm grasp of the ontological aspects grounding the virtual work, it’s important to engage its strata. This is what I attempt to do in Section 1.2. Virtualized ficta’s intentional dependencies are strongly manifest in what I call the (...)
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  5. Frank Gehry’s non-trivial drawings as gestures: drawdlings and a kinaesthetic approach to architecture.Marianna Charitonidou - 2023 - Journal of Visual Art Practice 21 (2):147-174.
    Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and (...)
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  6. Interactive art as reflective experience: Imagineers and ultra-technologists as interaction designers.Marianna Charitonidou - 2020 - Visual Resources 36 (4):382-396.
    The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. Two (...)
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  7. Illuminated Mirrors and "No Rights".Gavin Keeney - 2023 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 36 (6):1-19.
    Illuminated Mirrors and “No Rights” concerns the peregrinations of El Greco, from Crete to Spain, and various influences acquired along the way. The primary argument is that El Greco suffered a double exile: 1/ voluntary exile from Crete; and 2/ involuntary exile from Renaissance art and its humanist biases. As such, much of the art-historical record is a confused and often-doctored record of El Greco’s manufactured persona—i.e., he is not assimilable to the usual categories of art and art history.
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  8. The Power of the Copy: Rethinking Replication Through the Cult Image.Maurizio Peleggi - 2022 - British Journal of Aesthetics 62 (3):339-351.
    The employment of digital technology in recent instances of artwork replication raises important questions about the perceptual and ontological distinction between original and copy, for the latter is purported to be even more authentic than an original that has undergone alterations. Such instances challenge not only Benjamin’s claim about the loss of aura but also Goodman’s distinction between autographic and allographic arts. The article proposes to rethink the original/copy dualism from the perspective of the cult image. In the devotional traditions (...)
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  9. Fantaisies architecturales chez Iakov Tchernikhov : surpasser la mimèsis à travers la phantasia comme agent du progrès.Marianna Charitonidou - 2021 - Nouvelle Revue d'Esthétique 27 (1):131-143.
    L’article examine les « compositions » de Tchernikhov en liant sa recherche constante de nouvelles formes à la capacité de convertir les « fantaisies » en représentations. Contrairement à Aristote, qui conçoit la mimèsis comme l’équivalent de l’entreprise artistique, Tchernikhov perçoit ses « compositions » comme des actes de dépassement de la mimèsis par la phantasia. Les illustrations visionnaires de ses Fantaisies architecturales expriment son intention de remplacer les mots par des images graphiques. Son approche est fondée sur la croyance (...)
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  10. Titian: Love, Desire, Death. [REVIEW]Michael Newall & Eleen M. Deprez - 2021 - British Journal of Aesthetics 61 (4):589-593.
    We write this review not having been able to visit the exhibition. At first, we thought that would preclude us from being reviewers, but it turns out that there.
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  11. 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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  12. Pittura: A Gendered Template for Painting.Peg Weiser - 2023 - In The Routledge Companion to the Philosophies of Painting and Sculpture. pp. 322-336. Translated by Noel Carroll & Jonathan Gilmore.
    Why is painting unique among the visual arts? And why in the late sixteenth century did Cesare Ripa in his landmark Iconologia choose to create a distinctly female template for the act of painting? Moreover, why would a woman--Artemisia Gentileschi, among others--ever choose to paint herself as La Pittura (The Allegory of Painting)? This essay offers the thoughts of a painter-philosopher on the historic significance of the choice of topic, iconography, and gender of the most recognized allegory of Painting, namely (...)
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  13. 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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  14. Diffusing the Creator: Attributing Credit for Generative AI Outputs.Donal Khosrowi, Finola Finn & Elinor Clark - 2023 - Aies '23: Proceedings of the 2023 Aaai/Acm Conference on Ai, Ethics, and Society.
    The recent wave of generative AI (GAI) systems like Stable Diffusion that can produce images from human prompts raises controversial issues about creatorship, originality, creativity and copyright. This paper focuses on creatorship: who creates and should be credited with the outputs made with the help of GAI? Existing views on creatorship are mixed: some insist that GAI systems are mere tools, and human prompters are creators proper; others are more open to acknowledging more significant roles for GAI, but most conceive (...)
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  15. Iconoclasm, Speculative Realism, and Sympathetic Magic.Sara A. Rich & Sarah Bartholomew - 2023 - Journal of Aesthetics and Art Criticism 81 (2):188-200.
    In the current American iconoclash, certain monuments are subject to vandalism and municipal removal from their pedestals. Phrases such as “the erasure of history” and “damnatio memoriae” point to concerns that iconoclasm is an attempt to censor history or even remove certain individuals from public memory altogether. Because these phrases beckon the past, this wave of iconoclasm calls for a close examination of previous image-breaking to establish motives. Drawing first from art history, we analyze Byzantine iconoclasm and anxieties over the (...)
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  16. Artistic Exceptionalism and the Risks of Activist Art.Christopher Earley - 2023 - Journal of Aesthetics and Art Criticism 81 (2):141-152.
    Activist artists often face a difficult question: is striving to change the world undermined when pursued through difficult and experimental artistic means? Looking closely at Adrian Piper's 'Four Intruders plus Alarm Systems' (1980), I will consider why this is an important concern for activist art, and assess three different responses in relation to Piper’s work. What I call the conciliatory stance recommends that when activist artists encounter misunderstanding, they should downplay their experimental artistry in favor of fitting their work to (...)
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  17. 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. New York: 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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  18. 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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  19. Enhancing Artistic Presence through Contemplative Contextual Criticism.Peg Brand Weiser - 2006 - In Julien Robson (ed.), Presence. Louisville, KY: 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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  20. Gendered Bodies in Contemporary Chinese Art.Mary Bittner Wiseman - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 385-405.
    The idea of beauty in the West has often been connected with the idea of woman, whose beauty has been celebrated in sculptures of the nude since classical Greece and in paintings since the sixteenth century. the nude is not a genre in either traditional or contemporary Chinese art, however, and although there has been nakedness in the representations of the body in the contemporary art of China, its presence is marked by two characteristics that distance the Chinese naked body (...)
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  21. Beauty and the State: Female Bodies as State Apparatus and Recent Beauty Discourses in China.Eva Kit Wah Man - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 368-384.
    The global economy has an impact on female beauty today, regardless of the multicultural and historical factors in its formation and construction, resulting in monolithic crazes in women's fashion and appearance. but female beauty in china has been greatly contested with China's turbulent modern history, and this contestation deserves serious consideration, together with the politics by which the Chinese state apparatus has promoted and regulated female beauty. I argue that certain factors have been constant in contemporary discourses of female beauty. (...)
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  22. Orientalism Inside/Out: The Art of Soody Sharifi.Cynthia Freeland - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 347-367.
    "Orientalism" is a term made prominent by critic Edward Said in his 1978 book of that title. . . . Said specifically used the term to designate a field of self-constituted experts who proposed to explain the Orient to the West. . . . This essay explores the visual artwork of Soody Sharifi who left Iran before the Islamic Revolution of 1979, but returns to photograph women and girls. After a trip back to Iran in 1999, she began a self-portrait (...)
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  23. 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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  24. Worldwide Women.Eleanor Heartney - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 126-134.
    In a season rife with related events [i.e., 2007], the Brooklyn Museum's "Global Feminisms: New Directions in Contemporary Art" is an eagerly anticipated component of a nationwide reevaluation of feminist art. It takes its place alongside the presentation of "WACK! Art and the Feminist Revolution" at the Museum of Contemporary Art in Los Angeles, and the installation of Judy Chicago's The Dinner Party (1974-79) and opening of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, for which (...)
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  25. Queer Beauty: Winckelmann and Kant on the Vicissitudes of the Ideal.Whitney Davis - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 97-125.
    The history of modern and contemporary art provides many examples of the "queering" of cultural and social norms. It has been tempting to consider this process of subversion and transgression, or "outlaw representation", as well as related performances of "camp" or other gay inflections of the dominant forms of representation, to be the most creative mode of queer cultural production. Whether or not this is true in the history of later nineteenth- and twentieth-century art, we can identify a historical process (...)
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  26. Savages, Wild Men, Monstrous Races: The social Construction of Race in the Early Modern Era.Gregory Velazco Y. Trianosky - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 45-71.
    The modern conception of race is often thought by philosophers to have developed during the eighteenth and nineteenth centuries in response to a unique confluence of scientific, philosophical, and imperial forces; and in recent decades some impressive work has been done to excavate the details of its construction during this period. . . . I will argue, however, that an analysis of the visual images created by Europeans during the first half-century after 1492 reveals that the essential elements of the (...)
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  27. A Man Pretending to be a Woman: On Yasumasa Morimura's "Actresses".Kaori Chino - 2000 - In Peg Brand Weiser (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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  28. Ethnicity, Race, and Monstrosity: The Rhetorics of Horror and Humor.Noel Carroll - 2000 - In Peg Brand Weiser (ed.), Beauty Matters. Indiana University Press. pp. 37-56.
    In this essay, I am concerned with the representation of groups in popular culture. My interest has to do with the politics of representing people. The couplet beauty/nonbeauty (or, more specifically, beauty/ugliness) frequently figures importantly in the representation of groups, including most notably, for my purposes, ethnic and racial minorities. This couplet can be politically significant because beauty is often associated in our culture with moral goodness. . . . Thus, beauty and non beauty can serve as a basis for (...)
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  29. Leonardo da vinci and Creative Female Nature.Mary D. Garrard - 1995 - In Peg Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Penn State University Press. pp. 326-353.
    Possibly the most celebrated artist of all time, Leonardo da vinci has been examined from every conceivable perspective except a feminist one. A feminist perspective seeks, of course, not only to include women in history but also to expose gender-based conceptual biases that have distorted scholarship. Such a bias has led scholars to ignore an important dimension of Leonardo's art and thought: his unusual valorization of the feminine in a period when the female sex was disparaged, both socially and philosophically. (...)
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  30. Has Her(one's) Time Now Come?Anita Silvers - 1995 - In Peg Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Penn State University Press. pp. 279-304.
    Artemisia Gentileschi (c. 1593-1652) was well paid and highly thought of as a painter by some of the leading art patrons of the Europe of her time. In other words, in her own time she was a socially acceptable, successful artist. Yet, subsequently, the shadow of obscurity fell over her. Only about thirty paintings, from what must have been a much greater body of work, have been identified and attributed to her. Moreover, relatively little has been written about her, and (...)
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  31. Interweaving Feminist Frameworks.Beth Ann Dobie - 1995 - In Peg Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Penn State University Press. pp. 215-234.
    When interpreting works of art, there are many available le theoretical perspectives to which one can appeal. One factor that may influence the choice is what issues are present in the work on wishes to address. In discussing the artwork of Nancy Spiro, I shall illustrate how all three frameworks of sexual difference--experiential difference, positional difference in discourse, and difference as psychoanalysis--can be employed in critiquing works of art. After discussing Spero's work, I shall show how the perspectives can be (...)
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  32. 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. Venice: 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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  33. Bodies in China: Philosophy, Aesthetics, Gender, and Politics.Eva Kit Wah Man - 2017 - SUNY Press.
    Bodies in China uses Chinese philosophy to reframe Western scholarship on gender, body, and aesthetics. Does Confucianism rule out the capacity of women as moral subjects and hence as aesthetic subjects? Do forms of Chinese philosophy contribute or correspond to patriarchal Confucian culture? Can Chinese philosophy provide alternative perspectives for Western feminist scholars? The first section considers theoretical and philosophical discussions of Western traditions and how the ideas offered by Confucians and Daoists can provide alternative body ontologies for critical feminist (...)
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  34. Black Holes: Artistic metaphors for the contemporaneity.Gustavo Ruiz da Silva & Gustavo Ottero Gabetti - 2023 - Unigou Remote 2023.
    This paper investigates the cultural significance of black holes and suns as metaphors in continental European literature and art, drawing on theoretical insights from French continental authors such as Jean-François Lyotard and Ray Brassier. Lyotard suggests that black holes signify the ultimate form of the sublime, representing the displacement of humanity and our unease with our place in the cosmos. On the other hand, Brassier views black holes as a consequence of the entropic dissolution of matter, reflecting physical reality's indifference (...)
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  35. 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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  36. A real eye opener. La fotografía de Vivian Maier.Pablo Pavesi - 2017 - Boletín de Estética 13 (40):61-75.
    Vivian Maier’s street photography shows us a sudden transfiguration of reality, by which persons, scenes and things become faerical (neologism that also receives one of the senses of the French féerie , a play where supernatural, or, in this case, also infranatural creatures appear). We propose that this transfiguration is an apparition – a faerical epiphany (always earthy and fleshy) that follows two ways, one sunny and luminous, the other obscure and subterranean. We will examine Maier’s body, reflected in her (...)
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  37. Ikonologie der Gegenwart (Gottfried Boehm & Horst Bredekamp). [REVIEW]Silvia Seja - 2010 - Rezensionen:Kommunikation:Medien.
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  38. Aesthetics: 50 Puzzles, Paradoxes, and Thought Experiments.Michel-Antoine Xhignesse - 2023 - New York: Routledge.
    Aesthetics: 50 Puzzles, Paradoxes, and Thought Experiments is a teaching-focused resource, which highlights the contributions that imaginative scenarios—paradoxes, puzzles, and thought experiments alike—have made to the development of contemporary analytic aesthetics. The book is divided into sections pertaining to art-making, ontology, aesthetic judgements, appreciation and interpretation, and ethics and value, and offers an accessible summary of ten debates falling under each section. -/- Each entry also features a detailed annotated bibliography, making it an ideal companion for courses surveying a broad (...)
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  39. Why Joseph Margolis Has Never Been an Analytic Philosopher of Art.Roberta Dreon & Francesco Ragazzi - 2022 - JOLMA - The Journal for the Philosophy of Language, Mind, and the Arts 3 (2):333-364.
    In this paper, we support a continuistic reading of Joseph Margolis' philosophy, defending the claim that in the 1970s, Margolis tackled the issues suggested by the analytic philosophy of art from an original theoretical perspective and through conceptual tools exceeding the analytical framework. Later that perspective turned out to be a radically pragmatist one, in which explicitly tolerant realistic claims and non-reductive naturalism converged with radical historicism and contextualism. We will endorse this thesis by focusing on two important concepts appearing (...)
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  40. Value of Art.Harry Drummond - 2023 - Internet Encyclopedia of Philosophy.
    The Value of Art Philosophical discourse concerning the value of art is a discourse concerning what makes an artwork valuable qua its being an artwork. Whereas the concern of the critic is what makes the artwork a good artwork, the question for the aesthetician is why it is a good artwork. When we refer to … Continue reading Value of Art →.
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  41. How Museums and Arts Institutions Can Deal with the Problem of Immoral Artists: A Response to Willard.Erich Hatala Matthes - 2022 - British Journal of Aesthetics 62 (4):559-566.
    In this essay, I respond to Mary Beth Willard's commentary on Drawing the Line. I focus on responding to a number of questions and objections that Willard poses concerning the role of arts institutions in addressing the problem of immoral artists. Focusing on the case of museums in particular, I defend the idea that they can exercise their power to play a productive and important role in societal conversations about moral criticism of artists.
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  42. Immoral Artists and Our Aesthetic Projects: A Commentary on Mary Beth Willard's Why It's OK to Enjoy the Work of Immoral Artists.Erich Hatala Matthes - 2022 - British Journal of Aesthetics 62 (4):517-525.
    This essay discusses Mary Beth Willard's _Why It's OK to Enjoy the Work of Immoral Artists_ and puts it into dialogue with my book _Drawing the Line._ In particular, I focus on the role of aesthetic projects in thinking about artistic immorality, and develop further thoughts on the public/private and individual/social distinctions with respect to our engagement with the arts.
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  43. A Critical Analysis of Alexis Alleyne-Caputo’s Photography.Matt LaVine - 2022 - Sugarcane Magazine.
    Alexis Alleyne-Caputo has a vision of what’s possible that we badly need in our white supremacist, patriarchal, capitalistic, colonial world. Brought together by years of lived experience and work as an interdisciplinary artist, anthropologist, educator, and researcher—it’s a vision of resistance, a vision of light, a vision of empowerment, a vision of collective consciousness. Hers is a way of focusing—an awareness—a recognition of possibilities for minds, bodies, and hearts to come together in new and uplifting ways that goes beyond the (...)
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  44. Deepfakes, shallow epistemic graves: On the epistemic robustness of photography and videos in the era of deepfakes.Paloma Atencia-Linares & Marc Artiga - 2022 - Synthese 200 (6):1–22.
    The recent proliferation of deepfakes and other digitally produced deceptive representations has revived the debate on the epistemic robustness of photography and other mechanically produced images. Authors such as Rini (2020) and Fallis (2021) claim that the proliferation of deepfakes pose a serious threat to the reliability and the epistemic value of photographs and videos. In particular, Fallis adopts a Skyrmsian account of how signals carry information (Skyrms, 2010) to argue that the existence of deepfakes significantly reduces the information that (...)
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  45. El espacio de la ficción es el tiempo del espectador: la reflexividad de la mirada a la cámara en 'Un verano con Mónica'.David Vázquez Couto - 2021 - Ars Longa. Cuadernos de Arte 30:309-323.
    Summer with Monika (Ingmar Bergman, 1952) was a point of reference for filmmakers searching new ways of filmmaking during the 1960s and 1970s because it anticipated the characteristic reflexivity of cinematic modernity because of the protagonist’s look at the camera. By unexpectedly bursting into the narrative, this gaze becomes a self-conscious strategy aimed at disarticulating not only the cinematic fiction, but also Monika’s fiction, which has symbolically appropriated the imaginary world projected by cinema.
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  46. Art and Learning: A Predictive Processing Proposal.Jacopo Frascaroli - 2022 - Dissertation, University of York
    This work investigates one of the most widespread yet elusive ideas about our experience of art: the idea that there is something cognitively valuable in engaging with great artworks, or, in other words, that we learn from them. This claim and the age-old controversy that surrounds it are reconsidered in light of the psychological and neuroscientific literature on learning, in one of the first systematic efforts to bridge the gap between philosophical and scientific inquiries on the topic. The work has (...)
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  47. Atmosphären gestalten. Feel the Space.Zhuofei Wang - 2018 - Design-Magazine Form 8:46-53.
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  48. Kreativität und Mimesis. Das Bildschaffen in interkultureller Perspektive.Zhuofei Wang - 2022 - Image. Zeitschrift für Interdisziplinäre Bildwissenschaft 36:102-111.
    As two concepts that are both distinct and intertwined, creativity and mimesis have their own history of development. In the visual arts, both refer primarily to the principles, methods, and procedures of image production. The production of images is neither entirely arbitrary nor entirely plannable, but has its own logic, which lies between work and reality, the inner world and the outer world as well as tradition and innovation. The relevant discourses are influenced by the respective cultural-historical frameworks. Due to (...)
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  49. VII—Reflecting, Registering, Recording and Representing: From Light Image to Photographic Picture.Dawn M. Wilson - 2022 - Proceedings of the Aristotelian Society 122 (2):141-164.
    Photography is valued as a medium for recording and visually reproducing features of the world. I seek to challenge the view that photography is fundamentally a recording process and that every photograph is a record—a view that I claim is based on a ‘single-stage’ misconception of the process. I propose an alternative, ‘multi-stage’ account in which I argue that causal registration of light is not equivalent to recording and reproducing an image. Intervention or non-intervention by photographers is more sophisticated than (...)
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  50. Image in the Making: Digital Innovation and the Visual Arts.Laure Blanc-Benon - forthcoming - Journal of Aesthetics and Art Criticism.
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