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  1. Why Art is Never Representation - Even When It Represents.Derek Allan - manuscript
    The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".
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  2. Creation Ex Nihilo: André Malraux and the Concept of Artistic Creation.Derek Allan - manuscript
    One might naturally suppose that philosophers of art would take a strong interest in the idea of creation in the context of art. In fact, this has often not been the case. In analytic aesthetics, the issue tends to dwell on the sidelines and in continental aesthetics a shadow has sometimes been cast over the topic by the notion of the “death of the author” and by the claim, as Roland Barthes put it, that the author is only ever able (...)
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  3. Goya and the Dark Side of the Enlightenment.Derek Allan - manuscript
    Conventionally lauded as the luminous Age of Reason in which the fogs of religious superstition lifted to reveal a new world of tolerance and human dignity, the Enlightenment also possessed what one might term its “dark side”. A small number of writers and visual artists – such as Sade, Choderlos de Laclos (author of Les Liaisons dangereuses) and Francisco Goya – recognised that the newfound paths of Reason and empiricism could lead in unexpected directions and reveal aspects of human experience (...)
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  4. Literature and the Passing of Time: Reflecting on the Temporal Nature of Art.Derek Allan - manuscript
    The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.
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  5. Malraux, l’art et le temps : Un défi à l’esthétique traditionnelle.Derek Allan - 2018 - In Évelyne Lantonnet (ed.), Malraux et le temps, La Revue des lettres modernes. Série: André Malraux, n° 14,. Paris: Garnier. pp. 99-111.
    One of the most remarkable contributions André Malraux makes to the theory of art is his explanation of the relationship between art and time: his argument that art transcends time through a process of metamorphosis. This proposition, which replaces the traditional belief that art resists time because it is eternal or immortal, poses a major challenge to traditional aesthetics. This article examines the notion of metamorphosis and the challenge it represents.
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  6. Vanquishing Temporal Distance: Malraux, Art and Metamorphosis.Derek Allan - 2016 - Australian Journal of French Studies 53 (1-2):136-148.
    How does art – literature, visual art, or music – endure over time? What special power does it possess that enables it to “transcend” time – to overcome temporal distance and speak to us not just as evidence of times gone by, but as a living presence? The Renaissance, which discovered this transcendent power of art in the classical sculpture and literature it admired so strongly, concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – a belief (...)
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  7. The Death of Beauty: Goya's Etchings and Black Paintings Through the Eyes of André Malraux.Derek Allan - 2016 - History of European Ideas 42 (7):965-980.
    Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of the time. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a much deeper significance. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the European artistic tradition that began with the Renaissance, an essentially humanist tradition founded on (...)
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  8. Iconic Turn: A Plea for Three Turns of the Screw.Emmanuel Alloa - 2015 - Culture, Theory, and Critique 56 (3).
    In the early 1990s, W.J.T. Mitchell and Gottfried Boehm independently proclaimed that the humanities were witnessing a ‘pictorial’ or ‘iconic turn’. Twenty years later, we may wonder whether this announcement was describing an event that had already taken place or whether it was rather calling forth for it to happen. The contemporary world is, more than ever, determined by visual artefacts. Still, our conceptual arsenal, forged during centuries of logocentrism, still falls behind the complexity of pictorial meaning. The essay has (...)
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  9. Visual Studies in Byzantium. A Pictorial Turn Avant la Lettre.Emmanuel Alloa - 2013 - Journal of Visual Culture 12 (1):3-29.
    As Hegel once said, in Byzantium, between homoousis and homoiousis, the difference of one letter could decide the life and death of thousands. As this article seeks to argue, Byzantine thinking was not only attentive to conceptual differences, but also to iconic ones. The iconoclastic controversy (726-842 AD) arose from two different interpretations of the nature of images: whereas iconoclastic philosophy is based on the assumption of a fundamental 'iconic identity', iconophile philosophy defends the idea of'iconic difference'. And while the (...)
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  10. Bildwissenschaft in Byzanz. Ein iconic turn avant la lettre?Emmanuel Alloa - 2010 - Studia Philosophica: Jahrbuch Der Schweizerischen Philosoph Ischen Gesellschaft, Annuaire de la Société Suisse de Philosphie 69:11-36.
    As Hegel once said, in Byzantium, between homoousis and homoiousis, the difference of one letter could decide over the life and death of thousands. As the present essay would like to argue, Byzantine thinking was not only attentive to conceptual, but also to iconic differences. The iconoclastic controversy arose from two different interpretations of the nature of images: whereas iconoclastic philosophy is based on the assumption of a fundamental ‘iconic identity’, iconophile philosophy defends the idea of ‘iconic difference’. While the (...)
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  11. Changer de sens. Quelques effets du tournant iconique.Emmanuel Alloa - 2010 - Critique 758 (8):647-658.
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  12. The Madness of Sight.Emmanuel Alloa - 2007 - In Karin Leonhard & Silke Horstkotte (eds.), Seeing Perception. Cambridge Scholars Publishing: 40-59. pp. 40--59.
    Viewing Vermeer with Merleau-Ponty's eyes.
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  13. An Urban Carnival on the City Walls: The Visual Representation of Financial Power in European Street Art.Andrea Baldini - 2015 - Journal of Visual Culture 14 (2):246-252.
    By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...)
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  14. The Environment and the Arts.Arnold Berleant (ed.) - 2002 - Ashgate Press.
    The environment raises basic questions about many of the fundamental concepts and doctrines in aesthetics and the arts. Including new work by the leading international contributors to environmental aesthetics, this is the first book to deal with the relations between the arts and environment, directed towards a non-philosophical audience of practitioners and critics, as well as theorists. Introducing many for the basic ideas and issues in the theory of the arts, particularly as they bear on environment, this book addresses the (...)
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  15. Bernard Smith’s Formalesque and the End of the History of Art.J. Berryman - 2014 - Thesis Eleven 123 (1):3-16.
    he concept of the Formalesque preoccupied Bernard Smith during the last decades of his life. First propounded in Modernism's History (1998), the Formalesque is a proposed period style describing the art of the 20th century. Yet, despite his ambitions for the Formalesque as a new classification for modern art, the idea failed to appeal to academic art history. This paper does not attempt to salvage the Formalesque from art-historical obscurity. But it does argue Smith's work on this topic is relevant (...)
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  16. Lehmann, P. W., Roman Wall Paintings From Boscoreale in the Metropolitan Museum of Art; with an Appendix by H. Bloch. [REVIEW]Bieber Bieber - 1953 - Classical World: A Quarterly Journal on Antiquity 47:11.
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  17. The Contemporary Aristotelian Museum: Exploring the Museum as a Site of MacIntyre's Tradition‐Constituted Enquiry.Jenifer Booth - 2007 - Journal for Cultural Research 11 (2):141-159.
    The connection is made between the Royal Museum of Scotland and encyclopaedia, one of MacIntyre's three rival versions of moral enquiry. It is then asked how MacIntyre's other two methods, genealogy and tradition‐constituted enquiry, would function within a museum. It is proposed that the museum fulfils Haldane's criterion for tradition‐constituted enquiry in that it combines the immanence and open‐endedness of the methods of enquiry with transcendence in the objects of enquiry. The ethical judgments of the visitors constitute transcendent truth in (...)
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  18. Orbital Contour: Videos by Craig Dongoski.Paul Boshears - 2011 - Continent 1 (2):125-128.
    continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...)
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  19. We Are Again at the Very Beginning.Miro Brada - 2003 - Nove Slovo.
    About selected philosophical questions of the past and today, with Egon Bondy (1930-2007). In a reaction to his response, I'll add a redefinition of the existential view of decision that is incomplete, and an explanation why 'social science' can be mathematized. The article also include my other ideas which have been developed since 1995. The interview was published in Blisty and Nove Slovo (2003), and some experts were published in The Ice House, Holland Park, London (2013), and Parallax Art Fair (...)
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  20. The Routledge Companion to Comics.F. Bramlett, R. Cook & A. Meskin (eds.) - forthcoming - Routledge.
    This cutting-edge handbook brings together an international roster of scholars to examine many facets of comics and graphic novels. Contributor essays provide authoritative, up-to-date overviewsof the major topics and questions within comic studies, offering readers a truly global approach to understanding the field.
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  21. Corpo e spazio. A partire da Francesca Woodman.Francesca Brencio (ed.) - 2014
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  22. Reflexivity Imagined as Art Practise.Donald Brierley - 2015 - Dissertation, Usyd
    A consideration of the relationship between conscious self-aware systems and art. I introduce my art practice and demonstrate the connections language has to self-conscious reflexivity. The document of research can be considered part of a creative practice that also uses language as a material. The specialist use and subversive manipulation of information in science and art as practiced in the service of culture are discussed to show how this informed the creation of Access Restricted-Operational Reasons as a response to my (...)
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  23. Empathy, Engagement, Entrainment: The Interaction Dynamics of Aesthetic Experience.Ingar Brinck - 2017 - Cognitive Processing:1-10.
    A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of (...)
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  24. Situated Cognition, Dynamic Systems, and Art: On Artistic Creativity and Aesthetic Experience.Ingar Brinck - 2007 - Janus Head 9 (2):407-431.
    It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist’s work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global, socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic (...)
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  25. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...)
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  26. Exploring Techno-Spirituality: Design Strategies for Transcendent User Experiences.Elizabeth Buie - 2018 - Dissertation, University of Newcastle
    This thesis presents a study of transcendent experiences — experiences of connection with something greater than oneself — focusing on what they are, how artefacts support them, and how design can contribute to that support. People often find such experiences transformative, and artefacts do support them — but the literature rarely addresses designing artefact support for TXs. This thesis provides a step toward filling that gap. The first phase of research involved the conduct and analysis of 24 interviews with adults (...)
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  27. When Windmills Turn Into Giants.Erik Champion - 2007 - Techné: Research in Philosophy and Technology 10 (3):1-16.
    While many papers may claim that virtual environments have much to gain from architectural and urban planning theory, few seem to specify in any verifiable or falsifiable way, how notions of place and interaction are best combined and developed for specific needs. The following is an attempt to summarize a theory of place for virtual environments and explain both the shortcomings and the advantages of this theory.
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  28. Christopher Marlowe's Edward The Second-A Critical Evaluation, The Way I Do.Rituparna Ray Chaudhuri - 2016 - @Article{Chaudhuri2016christopher, Title={Christopher Marlowe's Edward The Second-A Critical Evaluation, The Way I Do.}, Author={Chaudhuri, Rituparna Ray}, Year={2016}.
    “Marlowe wrote Edward The Second in 1590. He found a suitable tragic theme in the Holinshed’s account of Edward II’s reign though it was not a promising dramatic material from the chronological point of view as the events were disjointed and uninspiring disastrous. Improper coordinates of the sources has left its mark on Marlowe’s play, nevertheless, this is his most finished and satisfactory of plays…Edward The Second can surely be regarded as Marlowe’s finest technical achievement.” (Edited, Dr. S. Sen…)[http://philpapers.org/profile/112741].
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  29. Foreword.Pietro Conte, Filippo Fimiani & Michel Weemans - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):3-6.
    Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...)
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  30. Beyond Ghost in the (Human) Shell.Austin Corbett - 2008 - Journal of Evolution and Technology 20 (1):43-50.
    The cyborg inscribes itself nearly everywhere, forcing us to re-examine discourses of humanity, modernity, Japan, and technology. I will trace the early history of the cyborg, from its hidden roots and precursors in fin de siècle Gothic fiction to its fully formed conception in 1990s science fiction and Donna Haraway’s Cyborg Manifesto. I will then move beyond the well-known cyborg genealogy to delve into contemporary portrayals that radically expand the cyborg’s political potential, and posthuman role, through an analysis of Kenji (...)
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  31. Letter to a Friend on Creative Thinking and Intuiiton (Art, Writing, Philosophy, Science).Ulrich de Balbian - manuscript
    -/- Letter to a friend : Creative Thinking and Intuition Letter to a friend about creative thinking and intuition (art, writing, philosophy, science, etc ) .
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  32. META-ART.Ulrich de Balbian - forthcoming - Academic publishers.
    Philosophy of art, reflective practice of art and painting, meta-philosophy, meta-philosophical methods.
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  33. The (Un)Importance of Art Theory -Aesthetics and Philosophy of Art And Art Speak and Artist's Statement Creating the Context to Interact with Your Art.Ulrich De Balbian - 2017 - Oxford: Academic Publishers.
    Has art theory any function and any importance? A function and importance for who? For the practising artist, theorists, writers on art? Art speak and its place in art theory, art criticism and artists’ statement. - Many tools to create an intersubjective and universal frame of reference to make sense of any art exist., for example art history, labels such as expressionism, impressionism, modern art, contemporary art, Fine art, Visual Arts, Northern Baroque Art, minimalist, post-minimalist, anti-art, anti-anti-art, New Aesthetics, new (...)
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  34. LIMITS OF HUMAN SENSES, Consciousness and Awareness.Ulrich De Balbian - 2017 - Oxford: Academic Publishers.
    LIMITS OF HUMAN SENSES, Consciousness and Awareness -/- ULRICH DE BALBIAN -/- Meta-Philosophy Research Center My art makes the invisible visible, limits of human awareness -/- 1 Human consciousness and awareness is restricted by stereotypes and notions that cause philosophers and artists to exist in the dark ages as far as their perception and understanding of human inner and outer senses are concerned. Humans perceive 7 colors of rainbows with 16 to 37 or more colors, that are perceived by other (...)
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  35. Neuroartes: artes para la salud.Luc Delannoy - 2015 - Revista Del Hospital de Vina Del Mar 2015 (71 (3)):111-117.
    We introduce Neuroartes as a biological humanism that concentrates on the development of social interventions. We review several connections between art and the human body, mainly the brain. We suggest art, painting in the present case, as a tool to work with the elderly with cognitive and/or motor impairment for the purpose of helping them with their subjectivity and autonomy.
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  36. Introduction: Genre Matters in Theory and Criticism.Garin Dowd - 2006 - In Garin Dowd, Lesley Stevenson & Jeremy Strong (eds.), Genre Matters. Intellect. pp. 11--27.
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  37. History of Computer Art.Thomas Dreher - 2014 - IASLonline.
    A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, virtual reality, evolutionary art (...)
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  38. Performance Art Nach 1945 Aktionstheater und Intermedia.Thomas Dreher - 2001 - Munich, Germany: Wilhelm Fink.
    The outline of the development of Performance Art features happenings in New York and Vienna in the sixties as well as body art and performances with closed circuits in the seventies (among others). Action Art, Environmental Theater and Intermedia are the terms defining the main characteristics of the works discussed. The research method is mainly based on Intertextuality (Mikhail Mikhailovich Bakhtin) and Systems Theory (Niklas Luhmann).
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  39. Konzeptuelle Kunst in Amerika Und England Zwischen 1963 Und 1976.Thomas Dreher - 1988 - Dissertation, Ludwig-Maximilians-Universität
    The core of the Conceptual artists (Mel Bochner, Sol LeWitt; the Siegelaub group with Robert Barry, Douglas Huebler, Joseph Kosuth, Lawrence Weiner; English and American members of Art & Language) is situated in the art context of the late sixties and the first half of the seventies. The self-positioning of the Conceptual artists within the art world in texts dealing with art theoretical as well as institutional problems is outlined, and selected works are interpreted.
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  40. Whitney Davis's General Theory of Visual Culture. [REVIEW]James Elkins - 2012 - College Art Association Books Reviews.
    This is a brief essay on Whitney Davis's book. A shorter version, edited down by the College Art Association, is on their online book reviews site (protected by a paywall).
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  41. Crowther and the Kantian Sublime in Art.C. E. Emmer - 2008 - In Valerio Rohden, Ricardo R. Terra & Guido A. de Almeida (eds.), Recht und Frieden in der Philosophie Kants: Akten des X. Internationalen Kant-Kongresses [Right and Peace in Kant's Philosophy: Proceedings of the 10th International Kant Congress] 5 vols. Walter de Gruyter.
    Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.
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  42. Representing Place. [REVIEW]C. E. Emmer - 2004 - Review of Metaphysics 57 (3):610-612.
  43. The Senses of the Sublime: Possibilities for a Non-Ocular Sublime in Kant's Critique of Judgment.C. E. Emmer - 2001 - In Volker Gerhardt, Rolf Horstmann & Ralph Schumacher (eds.), Kant und die Berliner Aufklärung: Akten des IX. Internationalen Kant-Kongresses, Vol. 3. Walter de Gruyter. pp. 512-519.
    It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.
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  44. Uncovering the Connection Between Artist and Audience: Viewing Painted Brushstrokes Evokes Corresponding Action Representations in the Observer.J. Eric T. Taylor, Jessica K. Witt & Phillip J. Grimaldi - 2012 - Cognition 125 (1):26-36.
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  45. Cultivating Perception: Phenomenological Encounters with Artworks.Helen A. Fielding - 2015 - Signs 40 (2):280-289.
    Phenomenally strong artworks have the potential to anchor us in reality and to cultivate our perception. For the most part, we barely notice the world around us, as we are too often elsewhere, texting, coordinating schedules, planning ahead, navigating what needs to be done. This is the level of our age that shapes the ways we encounter things and others. In such a world it is no wonder we no longer trust our senses. But as feminists have long argued, thinking (...)
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  46. Dwelling and Public Art: Serra and Bourgeois.Helen A. Fielding - 2015 - In Patricia M. Locke & Rachel McCann (eds.), Merleau-Ponty: Space, Place, Architecture. Athens: Ohio University Press. pp. 258-281.
    How do permanent artworks installed in public places shape the relations that take place around them? Drawing upon the works of Maurice Merleau-Ponty and Luce Irigaray I claim that two public artworks, Richard Serra’s Tilted Spheres (2002-2004) and a bronze casting of Louise Bourgeois’ Maman (1999) work to open up embodied being and to creatively transform reality. Serra’s work reveals an important aspect of public space, that of the space/time of the anonymous body, as well as the ways in which (...)
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  47. Filming Dance: Embodied Syntax in Sasha Waltz' S.Helen A. Fielding - 2015 - Paragraph 38 (1):69-85.
    This paper brings Merleau-Ponty’s phenomenological approach to Sasha Waltz’s dance film S, which focuses on the relation between sexuality and language. Maintaining that movement in cinema takes place in the viewers and not the film, the paper considers how the visual can be deepened to include the ways we move and are moved. Saussure’s insights into language are brought to the sensible, which is here understood in terms of divergences from norms. Though film would seem to privilege vision, viewing this (...)
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  48. Only noise if you can see.Fimiani Filippo - 2014 - Lebenswelt. Aesthetics and Philosophy of Experience 1 (4).
    What happens to critical and aesthetic discourse when a painter promises that he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the White cube of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a so-called (...)
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  49. Spectres of Dada: From Man Ray to Marker and Godard.R. Fotiade - unknown
    An analysis of early Dada experimental practice in photography and film with reference to Roland Barthes's _Camera lucida_ and Derrida's theory of spectrality. The chapter considers the legacy of Dada experiments with still and moving images in the work of post-war filmmakers such as Chris Marker and Jean-Luc Godard.
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  50. Stalling for Time.Gabriel Furmuzachi - manuscript
    Carel Fabritius left behind few but important works of art. We are concerned here with the View in Delft, and attempt to make two points about it. The first is that this small painting manages to break away from the classical perception of perspective, an endeavor informed mostly by new findings in the field of optics of the time. The second point, theoretically related to the first, stresses compositional elements that would bring View in Delft closer to a meditation on (...)
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1 — 50 / 171