In Truth and Method, Gadamer tries to show that the understanding of art is scientific (wissenscaftlich). But even though the understanding of art is a kind of science, it is different from natural sciences. As objects of human sciences (Geisteswissenschaft), works of art should be dealt differently than in dealing with theobjects of natural sciences. But if the understanding of art is somewhat scientific, it means that in artistic understanding there is a claim to truth which is different from such (...) a claim as in the natural sciences. Then how can this truth be assured? The task of assuring truth in art understanding can be achieved by the hermeneutical circle. Thus, we investigated the role and significance of the hermeneutical circle in scientific understanding of art. (shrink)

The lecture is an argument for a marriage of theory and experience. It contains something old, something new, something borrowed and something true. The argument is that the dichotomy between science and art, between theory and experience is resolved and the components unified when the role of consensus in the acceptance of theory and the conception of experience is made clear. Moreover, the unification achieved brings with it a method for unifying the empiricism of Moritz Schlick1 with the consensualism of (...) Otto Neurath.2 In earlier work, I developed a mathematical model of consensus with Carl Wagner. That work concerned the aggregation of probabilities by weights of respect assigned by members of a community to each other that converged toward a consensual probability. The convergence depended on connectedness among the members of the group in terms of positive weights. We thought of the probabilities as probabilities of scientific theories or hypotheses. The process converging toward consensus was mathematically equivalent to finding consensual weights to be assigned to members of the group that could be used as a measure of competence and expertise. The consensual weights can be applied to find consensus concerning factors other than probabilities. The use of probabilities was in fact an incidental, though formally well articulated, application of the underlying aggregation of weights to obtain convergence toward consensual weights. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature and to assert (...) that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (shrink)

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

Summary Historical scholars have recently turned their attention to local communities, resulting in a lively debate about the role of regions and provinces in Western Europe. This has quite predictably led many to question this resurgence of local identities in order to discover the cultural roots and the geographical boundaries of these identities and their interaction with the formation of nation-states in the literary, artistic and political practices of the past two centuries. This article provides an introduction to one specific (...) transnational intellectual network, the Guild of Saint Thomas and Saint Luke, which in the latter half of the nineteenth century served as a forum for the different local identities which were influential in the Gothic (and Catholic) Revival of the Low Countries. The interaction among the most influential members during the annual excursions of the Guild and the choice for the locations of these meetings resulted in different ideological discourses about the position and the borders of ‘Christian art’ in the Low Countries. Due to both internal and external influences these discourses very soon integrated into the national frame, making the definition of a potentially common style for the whole area impossible. The analysis is based on existing literature on regionalism and the Neo-Gothic Revival, and on archive material concerning the first meetings of the Guild. The above-mentioned observations offer the opportunity to underline the peculiarity of transnational permanent networks composed by a fluctuating number of participants and to stimulate debate about the applicability of this example to other geo-cultural contexts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature and to assert (...) that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (shrink)

In the faculty of arts at the University of Padua in the years around 1600 professors debated the reliability of astrology, the existence of occult celestial influences, and the idea that celestial heat is present in living bodies. From the 1570s to the 1620s many professors in the faculty of arts pushed back against astrology and Jean Fernel's theories surrounding astral body. Girolamo Mercuriale, Alessandro Massaria and Eustachio Rudio thought that some forms of astral causation and Fernel's ideas were incompatible (...) with their observations of disease, Aristotle's philosophy and Hippocratic theories. Later, Santorio Santorio and Cesare Cremonini, who were allied to the political circle of Paolo Sarpi, polemicized against astrology. Their writings show that at Padua medical theory was linked to Aristotelian cosmology, which emphasized the incommensurability between celestial and terrestrial elements. Their rejection of astrology, however, did not lead to the complete marginalization of astrology at Padua. By the middle of the 1620s, as the political climate changed in Venice, the University of Padua hired professors who promoted astrology and Fernel's theories about the celestial nature of innate heat. The diversity of opinions about astrology reflected Venice's divided politics and multiple approaches to interpreting Aristotle and other authorities. (shrink)

Imagery Rehearsal Therapy is effective for trauma-related nightmares and is also a challenge to patients in finding access to their traumatic memories, because these are saved in non-verbal, visual, or audiovisual language. Art therapy is an experiential treatment that addresses images rather than words. This study investigates the possibility of an IRT-AT combination. Systematic literature review and field research was conducted, and the integration of theoretical and practice-based knowledge resulted in a framework for Imagery Rehearsal-based Art Therapy. The added value (...) of AT in IRT appears to be more readily gaining access to traumatic experiences, living through feelings, and breaking through avoidance. Exposure and re-scripting take place more indirectly, experientially and sometimes in a playlike manner using art assignments and materials. In the artwork, imagination, play and fantasy offer creative space to stop the vicious circle of nightmares by changing theme, story line, ending, or any part of the dream into a more positive and acceptable one. IR-AT emerges as a promising method for treatment, and could be especially useful for patients who benefit least from verbal exposure techniques. This description of IR-AT offers a base for further research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Dark Arts of Politics:Aesthetics and Engineering in Nazism and FascismJonathan AllenThe Cult of Art in Nazi Germany, by Eric Michaud, translated by Janet Lloyd. Stanford: Stanford University Press, 2004, 271 pp.Building Fascism, Communism, and Liberal Democracy: Gaetano Ciocca—Architect, Inventor, Farmer, Writer, Engineer, by Jeffrey T. Schnapp. Stanford: Stanford University Press, 2004, 291 pp.Despite their obvious centrality to the history of the twentieth century, sixty years after the defeat (...) of the Axis powers fascism and Nazism remain elusive phenomena, hard to define with any real clarity. Scholars wrangle not only over the identification of their central characteristics but also over whether the similarities between fascism and Nazism are close enough to justify considering them as parts of a single category. A growing number of studies, however, ranging from general histories such as Norman Davies's Europe: A History and Mark Mazower's Dark Continent: Europe's Twentieth Century, to more specialized works such as Zeev Sternhell's Neither Left Nor Right and Robert Paxton's fine The Anatomy of Fascism, argue the case for treating fascism and Nazism together.1 A mark of all of these books is their willingness to give serious attention to fascist ideologies and to the interactions between these ideologies and fascist practice and culture. This interest, in turn, makes it necessary to examine anew broader questions about the relations between fascism and the circumstances and attitudes of modern life.The two works under consideration here—The Cult of Art in Nazi Germany, by Eric Michaud, and Building Fascism, Communism, and Liberal Democracy, by Jeffrey T. Schnapp—share the growing concern to take seriously fascist ideology and culture as essential to an understanding of the movement. Michaud sets out to present an analysis of Nazi myth, which he argues was constructed with reference to two models: art and Christianity (xii). His immensely erudite study relates Nazi conceptions of the leader to Romantic views of genius and Christian doctrines concerning the role of the Savior. This allows him to present a distinctive view of Nazi ideology, one that relates it to themes and debates that have figured prominently in the history of European culture and belief. [End Page 113]Schnapp, on the other hand, focuses on the career of a single man—Gaetano Ciocca. Though Ciocca is now an obscure figure, unlikely to be familiar even to most students of fascism, Schnapp argues that his career deserves attention for several reasons. In the first place, he "strove to translate a fascist politics into the language of modern technics in the domains of architecture, urbanism, theater design, animal husbandry, drainage and transportation systems" (7). What is more, Ciocca was no power-hungry opportunist but rather a committed and reflective intellectual, who spent much of his time writing books and articles aimed at explaining and justifying his various projects to a general audience. Last but not least, though Ciocca's passionate commitment to fascism cooled as World War II wore on, this had no visible effect on his engineering projects. In the aftermath of the war, Ciocca presented himself as a nonpolitical "rebuilder" concerned to provide for popular need. In this guise, he served Italy's postwar liberal democracy as enthusiastically as he had previously devoted his projects to the cause of fascism. Ciocca thus presents us with an intriguing puzzle: a committed and reflective fascist intellectual—no Eichmann, Schnapp insists—who was nevertheless able to function equally effectively after the demise of the fascist regime. Schnapp argues that Ciocca's career forces us to examine with care the complex relations between technologies and political ideologies. In fact, I think it compels us to consider more general questions about the extent to which Ciocca's conception of himself as a modernizing technocrat could be equally at home in the political contexts of fascism and a certain kind of elite-centered liberal democracy. Schnapp hints at this issue at several moments but does not address it in a sustained way.Though there have been some notable exceptions, most studies of Nazism in particular have tended to gravitate toward one of two explanatory options. The first, more common in philosophical circles, has been to view... (shrink)

_Art and Mourning_ explores the relationship between creativity and the work of self-mourning in the lives of 20th century artists and thinkers. The role of artistic and creative endeavours is well-known within psychoanalytic circles in helping to heal in the face of personal loss, trauma, and mourning. In this book, Esther Dreifuss-Kattan, a psychoanalyst, art therapist and artist - analyses the work of major modernist and contemporary artists and thinkers through a psychoanalytic lens. In coming to terms with their own (...) mortality, figures like Albert Einstein, Louise Bourgeois, Paul Klee, Eva Hesse and others were able to access previously unknown reserves of creative energy in their late works, as well as a new healing experience of time outside of the continuous temporality of everyday life. Dreifuss-Kattan explores what we can learn about using the creative process to face and work through traumatic and painful experiences of loss._Art and Mourning _will inspire psychoanalysts and psychotherapists to understand the power of artistic expression in transforming loss and traumas into perseverance, survival and gain. Art and Mourning offers a new perspective on trauma and will appeal to psychoanalysts and psychotherapists, psychologists, clinical social workers and mental health workers, as well as artists and art historians. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art in Nature and Schools:Nils-UdoYoung Imm Kang Song (bio)IntroductionThe arts are an integral part of our culture, and they invite us to investigate, express ideas, and create aesthetically pleasing works. Of interest to educators is clear scholarship that links the arts to cognitive and intellectual development. The processes of creating art and viewing and interpreting art promote cognitive and skill development.1 Elliot Eisner, who has written extensively on this (...) topic, argues that "Artistic activity is a form of inquiry that depends on qualitative forms of intelligence."2 Eisner suggests that children can use art to question and reflect on sensory information from their daily lives, and from this reflection develop insight, awareness, and critical thinking skills.3 Expanding on this idea, many scholars suggest that sensory perceptions promote learning through reflection, thus affirming the link between sensory perception and cognitive processing.4 Greene also posits that the arts provide a reflective type of learning, in which students learn "new ways of seeing, hearing, feeling and moving."5 This expressiveness develops from the creative nature of art and its ability to encourage students to "[learn] to learn."6This article focuses on how the arts heighten cognitive experience through the use of natural materials and sites and the engagement with the natural world. The arts expose viewers to new ways of seeing, feeling, and thinking about nature; this can lead to greater awareness of and motivation to act on behalf of nature. Arts-based experiences "encourage contemplative, reflective thought, which can extend environmental awareness, an essential basis for environmental understanding."7 Sharpening sensory and perceptive [End Page 96] skills through observation and creation can offer children insights into the mystery and metaphor of nature.8 Such a powerful experience often fosters aesthetic sensitivity and can also motivate students to act. To assist in this process, teachers can offer a context of factual information, creative idea exploration, interdisciplinary tools, and a sense of social awareness.9Eisner notes that simple natural components, such as those encountered in viewing or creating ecological art, can be enormously powerful when considered from an aesthetic perspective.10 He writes,A tree, for example, can be viewed as an investment in the value of one's property, as a species of flora, as a source of shade, or an expressive form that provides a certain quality of experience when one looks through its leaves just before sunset. The tree's aesthetic features become salient when we choose to perceive the expressive features of the tree.11Greene reinforces the idea that aesthetic understanding can be deeply engaging to learners and can highlight things that had previously gone unnoticed, thus providing new insights in the life of the viewer.12 Viewers experience new connections, identify new patterns, and think in entirely different ways that break from a more constricted viewpoint. It is this kind of fresh thinking that is needed in the field of environmental education, and which ecological art may in fact provide. Click for larger view View full resolutionFigure 1.Nils-Udo, Circle of Calumet Bamboo, Calumet bamboo; 1990, Reunion, Indian Ocean. Photo by Nils-Udo.[End Page 97]In light of these ideas about aesthetics, ecology, and education, several questions are raised. How can an aesthetic experience with the works of an environmental artist lead children to take in more through their senses and to apply such radical openness in any subject that comes up for them? What really makes ecological artworks unique, not only as aesthetic experiences but as learning experiences? How can ecological art in educational settings inform, inspire, and engage students around environmental issues? In this article, I examine the artworks of Nils-Udo, a German artist, by looking at his art-making processes, intentions, and themes. Using illustrations of several of his major works situated in various natural environments, I consider how these artworks could initiate discussions and foster connections to classrooms while providing elementary and middle school students with the opportunities to view and ponder existing artworks, create their own natural artworks, and heighten their ecological awareness.The ArtistIn order to more deeply understand Nils-Udo's life and work, I interviewed... (shrink)

The question of how our conception of the world could differ so widely from the disclosed nature of the world will with perfect equanimity be relinquished to the physiology and history of the evolution of organisms and concepts.In an interview conducted by the Italian literary journal Alfabeta in April of 1987,1 Niklas Luhmann was asked if sociology, in particular its systems-theoretical variant, could replace the privileged position that art, religion, philosophy, and politics had lost, and provide an Archimedean point from (...) which to describe society as a whole. Luhmann responded that today it is no longer possible to imagine such an outside position for the observation of the whole, sociology being no exception. .. (shrink)

To investigate the phenomenon of patient–physician mistrust in China, a qualitative study involving 107 physicians, nurses and health officials in Guangdong Province, southern China, was conducted through semi-structured interviews and focus groups. In this paper we report the key findings of the empirical study and argue for the essential role of medical professionalism in rebuilding patient-physician trust. Health professionals are trapped in a vicious circle of mistrust. Mistrust leads to increased levels of fear and self-protection by doctors which exacerbate (...) difficulties in communication; in turn, this increases physician workloads, adding to a strong sense of injustice and victimization. These factors produce poorer healthcare outcomes and increasingly discontented and angry patients, escalate conflicts and disputes, and result in negative media coverage, all these ultimately contributing to even greater levels of mistrust. The vicious circle indicates not only the crisis of patient-physician relationship but the crisis of medicine as a profession and institution. Underlying the circle is the inherent conflict of interest in the healthcare system by which health professionals and hospitals have become profit-driven. This institutional conflict of interest seriously compromises the fundamental principle of medical professionalism—the primacy of patient welfare—as well as the traditional Chinese ideal of “medicine as the art of humanity”. Patient trust can be restored through rectifying this institutional conflict of interest and promoting medical professionalism via a series of recommended practical measures. (shrink)

The world is awash in bullshit, and we're drowning in it. Politicians are unconstrained by facts. Science is conducted by press release. Startup culture elevates bullshit to high art. These days, calling bullshit is a noble act. Based on Carl Bergstrom and Jevin West's popular course at the University of Washington, Calling Bullshit is a modern handbook to the art of skepticism. Bergstrom, a computational biologist, and West, an information scientist, catalogue bullshit in its many forms, explaining and offering readers (...) the tools to see through the obfuscations, deliberate and careless, that dominate every realm of our lives. They instruct readers to ask: Who is saying it? How do they know? What do they have to gain by persuading me? Are the numbers or results too good or too dramatic to be true? Is the claim comparing like with like or apples and oranges? Is it confirming your personal bias? In this lively guide to everything from misleading statistics to "fake news," Bergstrom and West help you recognize bullshit whenever and wherever you encounter it--in data, in conversation, even within yourself--and explain it to your crystal-loving aunt or casually racist uncle. Now more than ever, calling bullshit is crucial to a properly functioning community, whether it be a circle of friends, a network of academics, or the citizenry of a nation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Petrification of Cleopatra in Nineteenth Century Art MARGARET MALAMUD MARTHA MALAMUD What did Cleopatra look like? Was she a Roman, a Ptolemaic Greek, an Egyptian, an African? Was she a precocious child, a devastatingly beautiful seductress, an astute practitioner of imperial politics, a murderess, a longnosed blue-stocking? [Figure 1] Cleopatra is dead, but “Cleopatra ” exists in the eye of the beholder. What other human being has been (...) portrayed in such “infinite variety”? In her life, and even more in her afterlife, the protean queen of the Nile has, like a shaft of sunlight focused through a magnifying glass, clarified and set ablaze underlying ideologies and overt assertions of race and gender, manifested differently in disparate times and places. Here we consider two case studies of nineteenth century representations of Cleopatra in stone: William Wetmore Story’s Cleopatra (1860) and Edmonia Lewis’s The Death of Cleopatra (1876). [Figarion 28.1 spring/summer 2020 Figure 1: Bust of Cleopatra VII, 40–30 bce, Altes Museum, Berlin. 32 the petrification of cleopatra ure 2] Story, a wealthy and well-connected white expatriate living in Rome, gave the famous queen features that deviated from classicizing portrayals of the queen and struck critics as startling and original. American artist Edmonia Lewis, of Black West Indies / Ojibwa Native American descent, lived and worked in Rome, but as a poor, racially-mixed female artist she moved in quite different social circles than Story. Her decision to sculpt the Egyptian queen as a white woman Figure 2: William Wetmore Story, Cleopatra, 1858; this carving 1869, Metropolitan Museum of Art, New York. Margaret Malamud, Martha Malamud 33 dying in agony during the last moments of her suicide shocked and fascinated critics. Both works display a very different understanding of women, the Orient, the Classical past, and the exotic Black other. We understand and contextualize these strikingly different representations of Cleopatra by looking at the comments of contemporary writers and critics. Lewis and her Death of Cleopatra inspired the twenty-first century Black poet Tyehimba Jess, with whose poetic evocation of Lewis and her work we conclude. In the middle of the nineteenth century, when most portrayals were of Cleopatra as a classical Greek beauty, William Wetmore Story boldly gave the famous queen African features. Story, an American emigré artist and “cultural influencer,” was living in Rome on the eve of the American Civil War. While there, he sculpted Cleopatra, which he began in 1858, completed in 1860, and exhibited to great acclaim at the 1862 World Exposition in London. Story was from Boston, where abolitionist sentiments were prominent, and was well aware of racial politics in the United States. Concerned by British support for the American South, he wrote a series of letters from Rome to the British Daily News in December of 1861 in which he denounced the institution of slavery, explained why he was devoted to the Union, and urged British neutrality in the Civil War. His Cleopatra was a provocative abolitionist statement. From the late eighteenth century on, free African Americans faced two pressing tasks: to refute charges that they were racially inferior to white people and to insert themselves into the historical record. ManyAfrican Americans and their supporters argued that there was a clear connection between ancient Africa (Ethiopia and Egypt) and the classical world based on their reading of classical texts and late eighteenth and early nineteenth century world histories. Educated African Americans documented the debt of Greece and Rome to Egyptian civilization, and repeatedly pointed out that Egypt was a major source of the cultural achievements of Greco-Roman an- 34 the petrification of cleopatra tiquity.It was conventional wisdom that Egyptian civilization influenced Greece. What was new and controversial was the assertion of a racial connection between ancient Egyptians and modern African Americans. Abolitionists used this constructed racial history to argue that the magnificent civilization of ancient Egypt and its influences on Greek and Roman culture were proof that African Americans were not racially inferior and therefore fully worthy to be citizens with equal rights in the American Republic.1 By the 1860s it had become a commonplace in American abolitionist circles that antiquity ’s most famous queen was... (shrink)

Rudolf Steiner's vision of art, as with all forms of human expression, is that it should reflect our human experience of the Divine. This was not intended to suggest vague, mystical fantasy. As one of the few true initiates of the twentieth century, he was able to experience the realms from which humanity and all nature descend into temporal and spatial existence. He was able to speak with confidence of the qualitative and dynamic worlds of soul and spirit, from which (...) all the phenomena we experience spring, including our individual existence. The means by which the living nature of these realms can be expressed is not through rationally expressed concepts--which point only to the material, quantitative perceptions from which they are derived--but through the various forms and languages of art. Through art, human beings express the qualitative experiences of life. But Steiner goes even further. In the more recent history of art, especially that of the West, artistic expression has become less a product of spiritual inspiration and more the expression of personal experience, which is identified with materialistic existence. Naturalistic and realistic representations of the physical world are devoid of spiritual expression. As humanity has descended into a materialized, spiritually void experience of life, art has followed that trend. Today, it is little more than expressions of subjective, sensory views of the world. Modern nonrepresentational art, on the other hand, is an instinctive backlash against that trend, but does not get beyond personal expression. Contemporary art remains sadly isolated from the source of its own being: the world of soul and spirit. Steiner, however, attempts to unite personal human experience with the spiritual source of art, so that artists are spiritually conscious of the realm from which inspired expression descends into human existence. Such artists are neither isolated from the spirit, nor do they act as automatic mediumistic channels, but as a conscious and cooperative instruments of spirit. Human consciousness must come to truly sense some experience of spirit before real progress in art can occur, and this is what Steiner tries to help artists achieve in the lectures and writings collected in this volume. Some of the works in this collection have been unavailable in English for some time. Topics include the being of the arts; Goethe as the founder of a new science of aesthetics; technology and art; new millenniums; the purpose of modern art and architecture; living walls; glass windows; wall colors; moving the circle; the seven planetary symbols in the first Goetheanum; "The Group" statue; and color, faces, and physiognomy. (shrink)

This article is divided into two parts. In the first one, we will ask what place Ricœur reserves for art works within his philosophical path. We will try to show how this issue is only apparently minor and unimportant. In fact, the language of figurative art, totally other than the conceptual/argumentative language of the logos, is that which more than any other experience can allow philosophy to reflect on otherness, and to discover ‘itself as another.’ In the second part, starting (...) with this acquisition, we will ask ourselves what constitutes the singularity of artistic language and the particular communication specific to works of art. This will allow us to circle back to the initial question and ask ourselves, therefore, what figurative language can teach philosophical communication and what the arts can offer philosophy. (shrink)

In his article, "The End of Aesthetic Experience" (1997) Richard Shusterman studies the contemporary fate of aesthetic experience, which has long been regarded as one of the core concepts of Western aesthetics till the last half century. It has then expanded into an umbrella concept for aesthetic notions such as the sublime and the picturesque. I agree with Shusterman that aesthetic experience has become the island of freedom, beauty, and idealistic meaning in an otherwise cold materialistic and law-determined world. My (...) paper starts from the main dimensions of aesthetic experience in the history of Western aesthetics as concluded by Shusterman. In terms of our experiential practices in the fragmentation of modern life and the disjointed sensationalism of the media, I also agree with Shusterman that people are losing the capacity for deep experience and feeling, especially when we are undergoing various extensive series of informational revolutions. My paper is also a response to Shusterman's claim that the concept of aesthetic experience is worth recalling, not for formal definition but for art's reorientation toward values and populations that could restore its vitality and sense of purpose. I mention the recent calls for values and life concerns in art in the Anglo-American aesthetics circles, which has also turned to the possible strength of aesthetic experience, claiming that "Aesthetics is the Mother of Ethics." Amidst the discourse is the review of John Dewey's notion of "aesthetic experience," which claims to support a transcultural view and common patterns, as the relationship is structured around human needs. A basic question posed in the article is whether this Deweyan notion still remains equally influential as in the past and whether it really provides a satisfying answer to the problem of art and value? The discussion will turn then to neo-Confucian aesthetic models for reference, and to point out some meaningful comparative revelations. (shrink)

The article examines the main ideological content of the work of the community of scientists and philosophers, which entered the history of philosophy under the name “The Vienna Circle”. Representatives of this association viewed their main methodological task in the logical analysis of the language of science in order to eliminate metaphysical – pseudoscientific – concepts. They investigated the structure of scientific theories, the functions of the theory – explanation and prediction, the processes of justification, confirmation and refutation of (...) theories. Their results were widely recognized, set down essential influence on scientific problems as well as style of philosophical and academic studies, and are still included in textbooks on the philosophy of science. The members of the Vienna Circle created the first holistic concept of science, which gave impetus to subsequent developments in the philosophy of science and served as example for the construction of similar concepts. The socio-ideological prerequisite of this philosophical movement was the task of creating a new scientific view of the world, opposing philosophical pessimism and anti-scientism. This worldview, however, was not naive-scientististic, but presented a synthetic project at the intersection of natural science, philosophy, art and social pedagogy. (shrink)

I will briefly discuss the history of research-related projects that Mark Burgin and I worked on together. I will then discuss our joint research related to the circle of sense and nonsense. One paper was entitled In a search for deeper meanings: navigating the circle of Sense and Nonsense and in turn articulating logical varieties as knowledge illuminators and the second was entitled In the Circle of Sense and Nonsense, Including A Mathematic Model of Meaning. This research (...) represents a bridge between the media arts and sciences (my artwork) as a means of embodying ideas exploring a particular approach to meaning production and related computation, as well as Burgin’s concepts related to logical varieties and mathematical models of meaning. I will refer to the full papers and links because they present a very robust and full articulation of the concepts discussed here. In this paper, I will briefly touch on the areas of research, supply short definitions, and refer to the relevant historical publications. (shrink)

The copious literature on the work of artist Robert Smithson has made very little of the many parallels between the inventor of earthworks and the nineteenth-century author of pataphysics, despite the established fact that the artist read and made notes from Alfred Jarry’s Dr. Faustroll (1898) while working on the Spiral Jetty in 1970, which undoubtedly influenced the subsequent Broken Circle &/ Spiral Hill (1971, Emmen). Given the insightful literature reassessing Jarry’s influence on twentieth-century artists including Marcel Duchamp, John (...) Cage and Rodney Graham, a consideration of Smithson’s spiral earthworks in connection with Jarry is long overdue. In contrast to prevailing art research practices today, Smithson’s work is much more aligned with the pataphysical pursuit of ‘imaginary solutions’ that examine ‘the laws governing exceptions’ and describe ‘a universe which can be – and perhaps should be – envisaged in place of the traditional one’. Art historian Jack Burnham’s interprets Smithson’s earthworks as a ‘time-bound web of man-nature interactions … didactic exercises … [that] show a desperate need for environmental sensibility’. In this respect, the work of both Jarry and Smithson can provide a useful corrective to an overly rationalistic approach to art research, offering the field – and contemporary art in general – potentially valuable tools for forms of practice that challenge rather than adopt conventional academic models and epistemological constructs. (shrink)

This article examines the early modern household's importance for producing experimental knowledge through an examination of the Halifax household of Margery and Henry Power. While Henry Power has been studied as a natural philosopher within the male-dominated intellectual circles of Cambridge and London, the epistemic labour of his wife, Margery Power, has hitherto been overlooked. From the 1650s, this couple worked in tandem to enhance their understanding of the vegetable world through various paper technologies, from books, paper slips and recipe (...) notebooks to Margery's drawing album and Henry's published Experimental Philosophy. Focusing on Margery's practice of hand-colouring flower books, her copied and original drawings of flowers and her experimental production of ink, we argue that Margery's sensibility towards colour was crucial to Henry's microscopic observations of plants. Even if Margery's sophisticated knowledge of plants never left the household, we argue that her contribution was nevertheless crucial to the observation and representation of plants within the community of experimental philosophy. In this way, our article highlights the importance of female artists within the history of scientific observation, the use of books and paperwork in the botanical disciplines, and the relationship between household science and experimental philosophy. (shrink)

The article is devoted to the exhibition and creative activities of representatives of the Juelan Society and figures of Soviet unofficial art – a comparative analysis allows us to see common points regarding the choice of artistic means and techniques, themes and motives, the fate of creative associations. The purpose of the article is to determine the similarities and differences of the process of the origin of unofficial art in China and Soviet Russia. The author's field of attention includes identifying (...) similarities in the choice of genre, composition, artistic means, as well as the semantic content of the images revealed in the works of artists. It is important for the disclosure of the topic to determine the features and common features in the organization of creative activity and communication between members of artistic associations. The study concluded that Chinese and Soviet figures of unofficial art rallied around small associations, "circles", clubs, societies, offering an alternative to the official and, from their point of view, regressive art view of independent creativity. The artists of the Juelan Society sought to instill a modernist vision in Chinese culture, and Soviet conformists decades later developed their own understanding of contemporary art. Their attempts had a strong influence on the work of Chinese painters of subsequent generations and became a phenomenon in the art of their countries, still have an impact on its development. Their ideas and creative findings are the sources of the processes that take place in the artistic worlds that cooperate in the field of culture of Russia and China. (shrink)

The author analyses the design of her collaborative animation about inattention blindness, the phenomenon of not being able to see things that are actually there, and compares it to related scientific research.1 The term was coined by Arien Mack and Irvin Rock in 1992. Stealing Attention, co-created by the author and neuroscientist Michael E. Goldberg, Director of the Mahoney Center for Brain and Behavior at Columbia University, explored inattention blindness. Animated images of hands playing the con game Three-Card Monte were (...) superimposed over images of antiquities stolen from Iraq. The flashing cards, yellow circles and stated instructions distracted the viewer from seeing the images of stolen antiquities, which disappeared from depicted shelves one by one over the time span of approximately three minutes. The author considers five questions: What is perceived without attention What does attention select Under what circumstances can attention be shifted Is an observer trained in art less likely to be distracted Can attention be trained. (shrink)

Between the zone of certainty beyond all doubt and the zone of incomprehensible uncertainty, the sources of which are nothing but chance, we need to use solid results from a vast interdisciplinarity. We wish to give here a sense of the factors in play and the state of the debate and advance in the territory of how interdisciplinarity may help to solve problems which are common in many areas of knowledge. Chaos and complexity certainly put limits on what we can (...) know. High complexity, asymmetry and/or non-linearity are universal types of imprecision. Can hazard have purpose and direction?The idea is that the more effort we put into project design to cover as many details and possible consequences as possible we can grasp in our in-depth analysis aiming to create the project (in art or science or society), the greater the chances that the random occurrence of the unpredictable event will settle on the project's purpose and direction and not on contrary to them. There is no vicious circle here. This kind of method can explain many good results already obtained in such circumstances. Simplicity, beauty, rationalistic optimism, are features of unshakeable scientific results We may call this feature of scientific theory or art _uniqueness. _Uniqueness is strongly correlated with _essentialization. _Science is working in that sense: to simplify a phenomenon to its essence in order to study it easily without losing anything important in the analysis. That is _essentialization. _Why and how complex systems move to the edge of chaos? And what do they do to stay there? They are in constant struggle to create or keep order in complexity. That is the pattern of self-organization, the specific feature of human nature. That is why our action is meant to build resilience to deal better with unpredictable events and prevent the emergence of a critical threshold. Uncertainty, indeterminacy, randomness, and contradictions appear, not as non-essential substances of debate to be eliminated by explanation, but as everlasting ingredients of our conception of reality. There are compelling reasons to believe that it is impossible to make accurate, nontrivial predictions concerning human behavior. Logic and reason are and remain priority, but unpredictability forces us to imagination and creative thinking. Indeed we are confronted with a new human landscape. The anomalies become the new normal. (shrink)

Logical positivism had an important impact on the Danish intellectual climate before World War Two. During the thirties close relations were established between members of the Vienna Circle and philosophers and scientists in Copenhagen. This influence not only affected Danish philosophy and science; it also impinged on the cultural avant-garde and via them on the public debate concerning social and political reforms. Hand in hand with the positivistic ideas you find functionalism emerging as a new heretical language in art, (...) architecture, and design. Not surprisingly, you may say, since the logical positivists’ wishes of stripping philosophy of metaphysics is spiritually similar to the functionalists’ desire to get rid of symbols and ornaments. One event more than anything confirmed the connection between the Vienna Circle, Denmark, and the rest of the Nordic countries. For a short while Copenhagen became the centre for the Circle’s activities when in 1936 the 2nd Inter national Congress for the Unity of Science was held there between June 21 and 26. A photograph, taken during the conference, shows many of the participants sitting in the hall of Carlsberg’s honorary mansion where Niels Bohr was living at the time. Among the audience you find Otto Neurath , Carl Gustav Hempel and Karl Popper , but also some of the more prominent Danish scientists and scholars whose world views were congenial with the logical positivists. (shrink)

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy of art into (...) four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 112-118 [Access article in PDF] Hong Kong Art: Culture and Decolonization, by David Clarke. Durham, North Carolina: Duke University Press, 2002, 240 pp. Paper. The issue of identity is a "vicious" circle in relation to Hong Kong's return to China in 1997. The more one talks about it, the more it is to be talked about as if it is a (...) phenomenon at a very special moment. But isn't not talking about Hong Kong identity in a certain period of time also a "vicious" circle, in which the lack of noise invites further silence?David Clarke's Hong Kong Art is, in a sense, an initiation of Hong Kong art as a "vicious" circle. In this sense, a concrete affinity between a text and its subject matter is significantly established. This is one of the ideals, potentials, and powers of all books written for the sake of being read and having actual effect. In this respect, this "vicious" circle is not vicious in a negative sense. It is through such interactivities that a book establishes a positive link with its subject matter.Hong Kong Art investigates "a particular historical moment in which HongKong art came into its own" (p. 10) and dwells upon the "local-ness of recent Hong Kong art" (p. 8). Nevertheless, Clarke deliberately avoids introducing a chronological survey of "Hong Kong art history as a whole" (p. 10). His solid research draws on the colloquial meanings of Hong Kong art in connection with the dynamics among different languages (Cantonese, Mandarin, and English), local receptions of art as reflected in local media, as well as backgrounds of artists, artworks, and political and cultural developments, among others. All this is necessary for a book that examines theemergence of Hong Kong identity. This is the case especiallyas "[n]o adequate survey exists of Hong Kong art as a whole," albeit surveying Hong Kong art as a whole is not the book's objective. Clarke's meta-survey about surveys on Hong Kong art is given in an endnote, which I also quote here in a note for the reader's reference. "The present author's Art and Place: Essays on Art from a Hong KongPerspective (Hong Kong, 1996) attempts to give a picture of the Hong Kong art world in the period immediately prior to the one covered by this text, and includes [End Page 112] some discussion of art from earlier periods as well. Petra Hinterthür'sModern Art in Hong Kong (Hong Kong, 1985) attempts a brief survey, but is of course unable to throw light on more recent developments. A chronology of Hong Kong art development from 1922 to 1994 is given in Hong Kong Artists. Volume 1 (Hong Kong, 1995), pp. 21-32. A rather patchy and sometimes imprecise chronology of Hong Kong artistic events from 1967 to 1998 isgiven in Gao Minglu, ed., Inside Out: New Chinese Art (Berkeley, 1998), pp. 207-11. The latter chronology also covers political and other broader historical events of the period. A valuable resource (in Chinese) for research on the early period of Hong Kong art is provided by Edwin Lai and Jack Lee, 'A Chronology of Visual Arts Activities in Hong Kong, 1900-1930,' in Besides: A Journal of Art History and Criticism 1 (1997): 135-230" (p. 211).With regard to the book's "ideal" link with its subject matter, I will now discuss the book's actualization of what it sets out to examine. The inadequacy of surveys on Hong Kong art (whether or not as a whole) manifests the relative tranquility in acknowledging that Hong Kong art is distinct. In view of this, the book itself is an intervention that (further) actualizes what it talks about. This is the case particularly in light of its predecessors' "vicious" circle of "silence," let alone those simplifications reducing Hong Kong art to either a Westernized product or a Chinese branch.The "Introduction" of Hong Kong Art begins with a critique of Western art history practices such as Gardner's... (shrink)

The idea of the subject as a construct, of various external influences, was not new to the cultural and literary circles in the 1980s when DeLillo published White Noise. In the second half of the twentieth century, post-structuralist and postmodern theories unsettled the established ideas of the humanist tradition like the concept of the subject. The idea that the subject is constituted by external factors posed a challenge to the modernist notion of the subject as authentic and independent consciousness. Influenced (...) by post-structuralist and postmodern theories, novelists in post-war America, especially during and after the 1980s, portrayed their protagonists (the subjects) as textual constructs rather than authentic heroic figures we often find in modernists’ works of art. DeLillo engages with technological developments and sociocultural changes in post-war America and explores how such developments/changes influence an individual’s subjectivity. Critics have described Jack Gladney, the protagonist of White Noise, as a late-modernist displaced to negotiate the postmodern landscape. This study, which is purely of scholarly interest, attempts to show how Gladney vacillates between the notions of modernist authentic subject and the de-centred postmodern subject created textually. This article also attempts to explore how DeLillo’s fiction engages with the idea of the subject during the 1980s. (shrink)

In this multi-disciplinary volume, comprising the work of several established scholars from different countries, central concepts associated with the work of the Bakhtin Circle are interrogated in relation to intellectual history, language theory and an understanding of new media. The book will prove an important resource for those interested in the ideas of the Bakhtin Circle, but also for those attempting to develop a coherent theoretical approach to language in use and problems of meaning production in new media.

This paper explores and highlights the value given to craftsmanship or technê in the community of liefhebbers and artists associated with the pictures of collections genre. Taking as its case study a group of gallery interiors by the probable inventor and leading light of the genre, Frans II Francken, it places pictures of collections within the reform of attitudes towards manual dexterity and the mechanical arts that took place in the Early Modern period. Antwerp gallery interiors exemplify the intellectual metamorphosis (...) of the hand, urging us to see in them an appeal both to the senses and to the intellect, which are fused together by the skilled artist?s technical facility. (shrink)

Although primarily known as a portrait painter, Charles Willson Peale also possessed a profound interest in natural history. Indeed, Peale eventually founded the first natural history museum in the United States, and, during the end of the eighteenth century, he began to overlap his two great interests: art and nature. The event Peale chronicled in his 1804 painting The Exhumation of the Mastodon caused an extreme stir within the intellectual and religious circles of its time, and brought about, at the (...) very least, a serious questioning in the deeply held notion of the Great Chain of Being. Although now largely discredited, this religious conviction postulated two concepts that Peale’s Exhumation of the Mastodon seemingly contradicts. The first was the belief that no animals since creation had suffered the fate of extinction. The second was a lack of belief in geological time. Indeed, one Irish clergyman calculated the actual date of creation to 4004 BCE. In this paper, I explore Peale’s monumental painting, a work that is many things, a self-portrait and history painting among others. Indeed, in this painting, Peale was responding to science, religion, and their shifting positions within early-nineteenth-century America. When viewed together, Peale’s The Exhumation of the Mastodon is not merely a record of an event that occurred in New York during the early nineteenth century, and instead is a document of Peale and the interaction of science and religion in early-Federal America. (shrink)

I use the collection of “carnal ethnographies” of martial arts and combat sports assembled by Raul Sanchez and Dale Spencer under the title Fighting Scholars to spotlight the fruitfulness of deploying habitus as both empirical object (explanandum) and method of inquiry (modus cognitionis). The incarnate study of incarnation supports five propositions that clear up tenacious misconceptions about habitus and bolster Bourdieu’s dispositional theory of action: (1) far from being a “black box,” habitus is fully amenable to empirical inquiry; (2) the (...) distinction between primary (generic) and secondary (specific) habitus enables us to capture the malleability of dispositions; (3) habitus is composed of cognitive, conative and affective elements: categories, skills, and desires; (4) habitus allows us to turn carnality from problem to resource for the production of sociological knowledge; and (5) thus to realize that all social agents are, like martial artists, suffering beings collectively engaged in embodied activities staged inside circles of shared commitments. (shrink)

In this essay, the relation between art and religion is explored using the concepts experience and imagination as understood by the American philosopher John Dewey. In Dewey’s view, experience involves both the experiencer and the experienced: it is a phenomenon of the in-between. When we are really touched by what we meet in interacting with our physical and social surroundings, experience acquires an aesthetic quality that opens us to the value and the potential of what we perceive. We can see (...) the factual in light of the possible, thus enriching it with new layers of meaning. We experience this as resonance between us and the world. It is the work of the imagination. Due to their imaginative capacity, humans can aspire to a ‘good life’. This aspiration is discussed in terms of invitation and response. Can we experience ourselves as being invited to respond to this unruly world with attachment and care? Here art and religion come into play. Art is understood as the domain of the possible: it explores the world behind or beyond what we usually accept as fact. An aesthetic experience acquires religious quality when it evokes in us an ideal that guides our sense of self and world, stimulating us to realize our ideals in daily actions. If inspired by imagination, art and religion may evoke intense experiences of resonance and invite us to new ways of connecting and transformative action. This is explored with the help of a hermeneutical circle, a ‘cycle of imagination’. (shrink)

Art as a Singular Rule "Art has nothing to do with me. Or my family. Or anybody I know" Abstract - This paper will examine an unresolved tension inherent in the question of art and argue for the idea of a singular rule as a natural resolution. In so doing, the structure of a singular rule will be fully outlined and its paradoxical constitution will be resolved. The tension I mention above unfolds both as a matter of history and as (...) a product of analysis. The concept of imitation will be our introduction to a brief overview of a historical trajectory starting with Plato. Plato is notorious for having imposed one of the most humiliating verdicts ever on the Arts: Art is imitative he argued, it is the practice of reproducing illusions and is, therefore, both an inferior source of knowledge and an ethically corrupt activity. Then, the story continues, came Aristotle, the savior of the Arts: he suggested that since essence, form, is imbedded in reality, the artist who imitates essence performs the noble task of abstracting form from substance. Art could now proudly stand alongside other highly respectable branches of human activities, such as the sciences. With the dominance of Aristotle in Western culture, abstraction came to play a key role. Leaping forward to our time, it can be argued that in Modernism the move towards abstraction was pushed to breaking point - to the point where the object was dismissed and denied relevancy to the work of art. This will bring us to a discussion of Art as representation and subsequently, to the introduction of a line of philosophical reasoning that threatens the Arts. It will seem as if we are caught between two extremes: If we assume that art is representational, we open the door for the old Platonic criticism that art is merely imitative (of its object); If we return to abstractionism, we may be led along a path that does not stop short of renouncing the object altogether, i.e. nothing is asserted as standing to the work of art as an "object" or an outer aim; this leaves us on a suspiciously skeptical note concerning the purpose and aim of art - and it indeed echoes prevailing feelings of unrest and confusion concerning the arts, precisely the sort that the quote above indicates. This seems to entrap us in a vicious circle. However, drawing upon the philosophies of Kant, Wittgenstein, Goodman and the contemporary Czech philosopher and esthetician, Tomas Kulka, I suggest a way for resolving the dilemma. This is my analysis of singular rule. (shrink)

In this multi-disciplinary volume, comprising the work of several established scholars from different countries, central concepts associated with the work of the Bakhtin Circle are interrogated in relation to intellectual history, language theory and an understanding of new media. The book will prove an important resource for those interested in the ideas of the Bakhtin Circle, but also for those attempting to develop a coherent theoretical approach to language in use and problems of meaning production in new media.

In lieu of an abstract, here is a brief excerpt of the content:"An Option for Art But Not an Option for Life":Beauty as an Educational ImperativeJoe Winston (bio)IntroductionIn a recent meeting of the academic staff in the university department where I work, we were asked to state our current research interests. Responses progressed around the circle and everyone listened quietly and respectfully until I stated that my interest was beauty, to which there was general laughter—complicit, not derisory, as if (...) everyone laughing presumed it was a joke. In the same week, I heard a story from a colleague who works in another institution. She had been interviewing a prospective female candidate for their postgraduate teacher training course with a deputy principal from a local school. When it came to a decision, the latter had not been in favor of offering the young woman a place; she was "too beautiful," she thought, to the extent that she would "be a distraction" in the classroom.I offer these stories as illustrative of a fact little discussed—that beauty is a problem in educational discourse, seen as either wildly irrelevant or discordant with the job of teaching. Yet it was not always the case. Beauty has in the past been understood as one of the highest aims of education. For Schiller, it fulfilled a core human need, and he wrote in the second of his Letters on the Aesthetic Education of Man that "it is only through Beauty that man makes his way to Freedom."1 Matthew Arnold argued that it was in beauty that the "human race finds its ideal."2 Emerson saw beauty as "the form under which the intellect likes to study the world,"3 and Iris Murdoch argued that it should be at the base of any education in the virtues, citing Plato's argument that beauty is the one spiritual quality that we love by instinct.4 These figures could hardly be described as philosophical lightweights, yet their sentiments and the complex arguments through which they expressed [End Page 71] them have for years been neglected; only recently has this begun to change. Elaine Scarry, in particular, has written an influential book on the topic, taking up the argument of Iris Murdoch and developing a strong case for the educational power of beauty, allying it strikingly with an education in social justice.5 Two recent articles in this journal have also heralded a re-evaluation of beauty as a concept of profound significance for both the arts and education. Stuart Richmond sees in the development of our capacities to create and appreciate beauty "a way to bring us back into contact with what is sensual and intrinsically worthwhile,"6 and Howard Cannatella argues passionately "that something of the indelible quality of poiesis and delight in beauty should be the focus of specific educational concern, a factor at its core."7This article is an attempt to add further substance to the claim that-beauty should be one of our core educational values. In doing so, it develops the ideas that connect these perspectives: that beauty's power is instinctive, that it delights, that it is of deep human value. As do Murdoch and Scarry in their different ways, I will argue that beauty is powerfully formative and intrinsically associated with virtue, an idea developed in the final section of the article. First, however, I wish to consider what happened to beauty and why it became a neglected concept not only in education but also in the arts.What Happened to Beauty?Language and world refer to each other and presuppose each other for their mutual intelligibility. In this count, human learning becomes the process of aligning language and world.8In considering beauty, we begin inevitably with the word itself and with its usage. Like all evaluative concepts captured through language, beauty is a historical and cultural entity and, as such, it has both gathered and discarded meanings with the passage of time. Consequently, its nature is elusive and open to revision and debate. Is it characterized by perfect harmony and balance, as the classical world would have it, or by the soaring solidity of a medieval Gothic cathedral? Do we associate it with goodness... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.4 (2002) 547-548 [Access article in PDF] Book Review Kant, Art and Art History: Moments of Discipline Mark A. Cheetham. Kant, Art and Art History: Moments of Discipline. New York: Cambridge University Press, 2001. Pp. x + 222. Cloth, $55.00. Mark Cheetham's thorough and insightful new work investigates Kant's continuing influence on the visual arts, both in practice and as defined by the (...) academic discipline of art history. Cheetham argues that until now the art world and art history proper have suppressed the importance of Kant, treating him as an intrusive outsider. He explains that this marginalization may have come about as a consequence of tendencies within Kant's own [End Page 547] work that threaten either to abolish disciplinary boundaries or reestablish them under the protective umbrella of philosophy. His close readings of Kant, therefore, address the way the Kantian system is based on the maintenance of boundaries between the pure and the impure, and how Kant's work continues to restructure institutional boundaries for precisely these reasons. With regard to both art and art history, Cheetham writes, "Kant is a perpetual boarder and the architect of borders" (22). Cheetham builds his study on such insights, drawn from Kant's own discussion of the parergon, or the boundaries between the essential and the inessential. From beginning to end, the work is well-considered and thoughtful, not only as an exploration of disciplinary boundaries, but as a book that brings out a number of still under-researched themes in Kant's oeuvre.The work's first close readings examine Kant's reception among a circle of German-speaking artists and writers in Rome shortly after 1800, including the painter Jakob Asmus Carstens and the artist-turned-critic Carl Ludwig Fernow. This chapter calls attention to connections between abstract and specifically political freedoms in Kant's system, casting light on Napoleon's effect on Europe. Those principally interested in aesthetic questions, however, may find this part of the text to be somewhat less dynamic than its subsequent sections. The following chapter is more engaging, exploring some well-known moments in Kant's twentieth-century reception. Cheetham brings out the ways that Erwin Panofsky shared affinities with Kant insofar as one might take humanism to have been the latent driving force in their work. Cheetham's most interesting insights come from his contention that the writings of Paul Crowther attempted to preserve and protect a "pure" Kant for disciplinary reasons, and that he therefore strictly controlled Kant's influence in the area of art history. The work here points in the direction of a social-historical exploration of the University, and he could certainly have expanded this section to develop a more overarching critique of contemporary disciplinary boundaries. Cheetham's attempt to review Clement Greenberg's relationship to Kant's work is also stimulating, particularly the section in which he reads Greenberg's efforts to combat kitsch in relation to Kant's "What is Enlightenment?"In his most engaging chapter, Cheetham deals with the contemporary discourse around sublimity, analyzing the way both Derrida and Kant are obsessed with the legislation of borders. He makes a brief, though studied comparison between Kant and Derrida on the role and function of limits, and here makes it clear that he takes substantial distance from Derrida's own project. The book's high point is Cheetham's study of a landscape painting by Joseph Anton Koch. It may indeed leave some readers wishing that Cheetham had done more close readings of Romantic art. He then looks at some sublime tendencies in art today, and the means by which contemporary artists obscure both the standpoint of the observer and the boundaries surrounding art itself. In one section, he looks at the work of the collective known as General Idea and that of the artist Sheila Ayearst. This is fascinating material, although some may find his definition of the sublime to have been too broad. It is made to hold the bulk of contemporary art. Cheetham might have done... (shrink)

The Amsterdam theater society Nil Volentibus Arduum, which was founded in 1669 and remained active for some years, was not just a circle meeting regularly to discuss theater theory and practice, but was devoted to discussion of all the arts as well as language theory in relation to society. As far as the Amsterdam theater was concerned, its main purpose was to try to raise the level and provide more of a moral and socially improving direction to the stage. (...) Arguably, also, it had a certain impact on discussion and theorizing about late Dutch Golden Age painting. Two of its most active members, Lodewijk Meyer and Johannes Bouwmeester, were among the closest friends and allies of Spinoza. Opponents and detractors of the society took to associating it in the public mind with the “atheist” Spinoza. This article seeks to understand the theoretical concerns of the society and assess its relationship to its broader Dutch context and to Spinoza and Spinozism. (shrink)

This article represents the author’s reflections on the book by Karl Sigmund “Exact Thinking in Demented Times. The Vienna Circle and the Epic Quest for the Foundations of Science” and the fate of the Vienna Circle. Sigmund paints a vivid portrait of the Vienna Circle against the background of the difficult historical period in which its members lived and worked. The Vienna Circle established the tradition of liberating consciousness and science from metaphysics. But the participants of (...) the Vienna Circle and their entourage did not manage to get rid of the humanistic issues, despite the declaration of strict scientific character. The author of the article draws attention to the internal contradiction between strict scientific topics and the existential-humanistic perception of this topic by the Vienna Circle’s authors and their likeminded people, and by Sigmund himself. The author concludes that it was thanks to this contradiction the Vienna Circle became not only a stage in the development of philosophical science, but also had a broad cultural influence on art, politics, architecture, museums, etc. The historical and philosophical tradition connects the activities of the Vienna Circle with the beginning of the divergence between the philosophical scientific and humanistic traditions in the understanding of philosophy, and the controversy between R. Carnap and M. Heidegger is an important point in this process. But Sigmund’s book gives the impression that this is not the divergence strictly scientific and humanistic traditions, but the difference between two humanistic traditions, one of them tends to express its thoughts strictly analytically. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:George J. Leonard EMERSON, WHITMAN, AND CONCEPTUAL ART The widespread abandoning of the art object at the end of the 1960s was taken as something radically, even frighteningly, new, by critics and artists alike. Objects, concept artist Joseph Kosuth was asserting by 1969, are "irrelevant" to art. Though an artist might choose, as in the past, to "employ" objects, "all art is finally conceptual." In fact it was now (...) time that the object, nothing more than the "physical residue" of the artist's mental activity, was dispensed with.1 "We / open our eyes and ears seeing life / each day excellent as it is," John Cage chanted: "This / realization no longer needs art...."2 Aestheticians as disparate as Murray Krieger and Harold Rosenberg reacted to this "transfiguration of the commonplace," as Arthur Danto has called it. Danto has gained a wide scholarly audience for his ideas about the 1960s as "the end of art," or at least as the beginning of "post-historical art."3 We know from such works as Renato Poggioli's TL· T^ry oftL· Avant-Garde that, in this century, particular movements have routinely declared themselves to be art's climax.4 Critics like Jacques Barzun and artists like Amedee Ozenfant had been saying for years that art was exhausted. Yet conceptualism's attack on the object struck most critics as something both alarming and new: Irving Sandler wrote in a special edition of the College Art Association's Art Journal devoted to the problem that it demolished "every notion of what art should be,"5 and Murray Krieger feared that this "leap beyond Pop Art" would "complete the obliteration of the realm of art, its objects, its museums...."6 But the conceptualist attacks on the art object were, in fact, not new. One can find attacks as scathing in Emerson and Whitman; so scathing, that criticism has rarely taken them seriously. The attacks the concep297 298Philosophy and Literature tualists mounted in the 1960s were only the culmination ofan intellectual tendency which appeared throughout the West one hundred and sixty years before. It has long been a scholarly commonplace that after 1800 an "intellectual tendency"—as M. H. Abrams finallytermed it—extolling the possibilities of this world emerged in all parts of Western culture. When itappears in literature we nowusually call it, withAbrams, Natural Supernaturalism; or, with Harold Bloom, the "visionary company." Man, Wordsworth decreed, can and must learn to find "Paradise" in "the common day."7 Surprisingly litde work has been done on what happened when this intellectual tendency, Natural Supernaturalism, confronted the art object. Emerson and Whitman can stand for many who were necessarily ill at ease with the idea of art objects as elite objects superior to the common things it was their mission to extol. Wordsworth works before these two; Ruskin develops similar ideas into greater complexity; but since Emerson writes clear expository prose and avoids fanciful terminology, he makes a good place to enter this dark wood. Let us begin with some straightfor-ward, overdue interdisciplinary history, reading Emerson on the art object, noticing similar passages in Whitman, and noting where Emerson has reworked Hegel for his own ends. For Emerson objects are but thought's "inert effect," as for the concept artist Kosuth they would be but the "physical residue" of the artist's activity. Emerson and Kosuth, opposite Shakespeare, do not applaud the art process as the giving to an airy nothing a local habitation and a name; rather they disdain the stuff as petrifactions, as dead mud footprints left by living thoughts diat have raced away.8 In his essay "Circles," Emerson derides our admiration for a work of architecture, directing us to the "litde waving hand" that built it, for "that which builds is better than that which is built." By the same logic, the invisible thoughts which truly wrought the object were even better than the hand and "nimbler."9 When such passages are discussed at all, they are usually considered Platonic,10 but, in his essay "Art," Emerson envisions a use for art objects Plato would have blinked at. For the time being, art objects have a particular "office" to fill. That office, Emerson wrote in... (shrink)

How does aesthetic education begin and expand over time? David Hume’s idea of the narrow circle provides us with an answer when considering this question. He uses the narrow circle to explain how moral practices evolve, and by analogy, we can also use this conception to explain how aesthetic practices evolve. So I will first of all begin with a discussion of his essay “The Standard of Taste.”1 In this essay, Hume gives an excellent profile of the critic (...) who has the traits to generate the standard of taste: delicacy of taste or a delicate imagination; practice in a particular art; ability to make comparisons, free from prejudice; and good sense in exercising the former traits. He says that few are qualified... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Tolstoy’s Art and Thought, 1847–1880John GoodliffeTolstoy’s Art and Thought, 1847–1880, by Donna Tussing Orwin; viii & 296 pp. Princeton: Princeton University Press, 1993, $35.00.In the opening words of the introduction, “this book is an attempt to reconstruct the ideas that led Tolstoy to write the masterpieces of his youth and middle age” (p. 3). Covering the first three decades of Tolstoy’s creative life, it focuses first on his (...) “initial vision” in the 1850s, principally derived from Rousseau’s belief in the superiority of natural morality over the artificial values created by so-called civilization. Then, by way of an analysis of The Cossacks (1863), it seeks to show how Tolstoy came to see that “natural morality was not enough” (p. 96). So, in War and Peace, he tried to depict a world in which human beings were at one with nature, where everything, even war, was natural and part of God’s purpose, so that there was no dichotomy between what is natural and what is civilized. The key word for War and Peace is thus sopriaganie—“linkage.”By the 1870s, when Tolstoy was writing Anna Karenina, he no longer saw God as directly involved in human affairs. Now God was “farther away, but higher and more indubitable” (from a letter to the poet Fet). From this shift in thinking is derived the “drama” of Anna Karenina, as distinct from the “epic” oneness of War and Peace. Whereas in the latter work Tolstoy wanted to see all aspects of life, human or otherwise, in harmony, in Anna Karenina, partly under the baleful influence of Schopenhauer, he came to depict an essential disharmony in life, which he and Levin sought vainly to resolve. Having reached this impasse, Tolstoy abandoned fiction as a medium for his ideas and turned to direct expression of them in essays, tracts, and the like.In writing her book Orwin set herself the virtually impossible task of presenting Tolstoy’s work “as he may have understood it himself” (p. 5). She succeeds in this as well as may be reasonably expected, largely through a detailed analysis of the relevant works of fiction and by drawing on Tolstoy’s correspondence with, for example, N. N. Strakhov. This type of approach is a risky one, since it inevitably treats the fictional texts principally as vehicles for philosophy, when clearly they are much more than that. It is to her credit that, in spite of this, Orwin generally succeeds in her task, although her bias is evident in the bold statement that without “moral law,” Anna Karenina would be Dallas (p. 207)! The other risk is that of treating the fictional texts as though they are somehow separate from Tolstoy the human being, as opposed to Tolstoy the thinker. In her conclusion Orwin refers belatedly and almost incidentally to Tolstoy’s marriage, his family and his growing older. But these factors were surely more crucial for the development of his ideas than she seems to have allowed for; the optimism of War and Peace reflecting the harmony of the early years of his marriage and the darker notes of Anna [End Page 166] Karenina indicating growing disillusion as the relationship between him and his wife lost its early bloom and Tolstoy approached his fifties.Deserving of fuller treatment too were the currents of thought in Russian intellectual circles in the 1860s and 70s which formed an essential background for Tolstoy’s ideas. These too are accorded only quite brief mention. In fact, the commentary on the fictional works, impressive in its depth, tends to be almost too detailed, in places verging on the repetitious. The book could have been more satisfactory if the detailed textual commentary had been more concise and the broader considerations given more extensive analysis. But Orwin’s decision to use a comparatively narrow focus was clearly deliberate and, if we accept its limitations, we can still recognize the importance of her book for Tolstoy studies.John GoodliffeUniversity of Canterbury, New ZealandCopyright © 1995 The Johns Hopkins University Press... (shrink)