The article explores Adorno’s understanding of fetishism and melancholy as immanent to the artwork’s autonomous structure. In order to understand the relation between them, the Freudian understanding of fetishism and melancholy has to be considered along with the more explicit reference to the Marxist concept of commodity fetishism. Analysing the implications of Adorno’s claim that commodity fetishism is at the origin of artistic autonomy, the article shows how it should be understood not only as a materialist (...) demystification but also as a reaffirmation of art’s apparent self-sufficiency and its capacity to resist the commodification of society. Nevertheless—the article claims—thas this is only possible if art’s fetishism is dialectically opposed to its melancholy, through which art establishes a relation to the heterogeneous element of the lost object produced by its autonomous form. (shrink)

Both Theodor Adorno and Walter Benjamin borrow from Freudian theory in their analyses of fetishism’s relation to the contemporary reception of cultural products. I will argue that both authors have confused the Marxian and Freudian theories of fetishism, resulting in mistaken conclusions about artistic reception. By disentangling the Marxian and Freudian elements in both authors’ positions, I want to show that 1) Adorno’s characterization of regressive listening implies, contrary to his intentions, that the current reception of artwork is (...) in fact antagonistic to fetishism, and that 2) his criticism of Benjamin’s optimism toward “reception in distraction” is nevertheless justified. If I am correct, it may be necessary to reassess Adorno’s demand for asceticism in advanced art. The current danger may not be “fetishism” at all, but rather the troublesome consequences of fetishism’s decline. (shrink)

This thesis is to make sure the art's political possibility especially in the age of the technological reproduction. Since Benjamin declared the death of the 'aura' in the modern art, the concept of the art has been criticized and changed, that of the simulacre which Plato had blamed in his 'republics' newly appeared passing through the post-modern application of Baudrillard. But the simulacre is not negative any more here, even though it was the side effect of the mimesis(the poetic process, (...) so long as it is not oblivious that simulacre is just the fake reality as Plato and Baudrillard said, it was different from the real. The artwork could not be free from the destiny of the dream, for it is available after awakening out of it. In the post-modernism the distinction between the dream and the real disappeared, which could be linked to understanding the fetishism of the technological reproduction widely spreading among the highly industrialized people. The semiology of Saussure could be borrowed to make people isolated of it awakened to the revolutionary subject. That is to say, if the simulacre is like the dreaming, to draw the social revolutionary possibility of it, they need to overcome these fetishism, that is, the learning that this dream is not the reality, and after that they can leap as another subject perceiving the power of that dream. According Freud, the dream is based on the unconscious process of the empty signs. And the teaching of 'the signs of the equivalent differences' in Saussure makes us free from the essentialism of the word(a sort of the fetishism), know that we are so much as the sign or the citizen empty in it, and so get to know that we need another signs, or neighbors even though, and for they are empty, too. The revolutionary subject is not based on the great individual subject but the empty(lost) 'us' that so need to associate each other. And the post-modern art, popular mass art can help us being social subjects. That is what Benjamin had dreamed in post-aura art through 'the artworks in the age of the technological reproduction'. (shrink)

Robert Bernasconi explores in the context of Heidegger's thought a number of questions of far-reaching concern: what is the role of literary examples within philosophy? Is art dead? What is the relation of art to nature? Is there a place for the idea of a "people" in art and literary theory, and in philosophy? Is the history of philosophy to be written as a narrative? What is the status of ethics within philosophy? What place does philosophy give to praxis? What (...) is the place today of the belief in the nobility of the philosophical life? What is the relation of politics to thought? Reflecting a dominant concern of recent Heidegger scholarship, the focal point of a number of the essays is the relation of Heidegger's own politics to his thought. In addition to this examination of what appears to compromise Heidegger's philosophy, Bernasconi explores its relation to the further possibilities which that thought has opened in the writings of Arendt, Gadamer, Levinas, and Derrida. (shrink)

This essay brings psychoanalytic theory on trauma together with film and television criticism on rape narrative in an analysis of Michael Coel’s 2020 series I May Destroy You. Beyond the limited carceral framework of the police procedural, which dislocates the act of violence from the survivor’s history and context, Coel’s polyvalent, looping narrative metabolizes rape television’s forms and genres in order to stage and restage both trauma and genre again and anew. Contesting common conceptions of vulnerability and susceptibility that prefigure (...) a violent breach of autonomy, Coel’s series and her interviews about it invite an ethics of looking that embraces a curiosity in the unknowable and untreatable kernel of subjective experience and defies and resists a policing of the survivor’s thoughts and emotions. By emphasizing and exploring what psychoanalysis calls the “afterwardness” of trauma, Coel foregrounds her main character’s subjectivity prior to her victimization, widens the sphere of consequence beyond the victim and criminal justice system to the survivor’s larger community, and entreats that community to preserve a space for her to look and look again at everything, without judgment. (shrink)

As an art theoretician, and as a father, I focus on the social and political consequences of Vanderbeeken’s postmodernist negative theology. I express doubts about the relevance of a poetics of catastrophe that conflates any possible alternative to the alleged technocracy under the sign of the simulacrum. To my opinion, the discourse about the virtual and the real are in a deadlock. Following the lead of American novelist Thomas Pynchon, I rephrase these critical doubts in Luddite terms: should we imagine (...) a counterattack as radical as the alleged dystopian nightmare dreamed up and sketched out by Vanderbeeken? I try to show that this line of thinking risks to result in a bold and speculative logic where ethical nuance collapses and, ultimately, the relationship between art, theory and the social culture is reduced to metaphorical analogy. To make this point I retake a critical, phenomenologically inspired reaction by Vivian Sobchack to Baudrillard’s account of Crash, J.G. Ballard’s controversial novel on techno-fetishism. My argument is that the scar that marks Sobchack’s ‘technobody’ might here stand for an alternative that approaches our technological condition not as a discursive machine but as a social pragmatics with deep ethical implications. (shrink)

Representing a new generation of theorists reaffirming the radical dimensions of art, Gail Day launches a bold critique of late twentieth-century art theory and its often reductive analysis of cultural objects. Exploring core debates in discourses on art, from the New Left to theories of "critical postmodernism" and beyond, Day counters the belief that recent tendencies in art fail to be adequately critical. She also challenges the political inertia that results from these conclusions. Day organizes her defense around critics who (...) have engaged substantively with emancipatory thought and social process: T. J. Clark, Manfredo Tafuri, Fredric Jameson, Benjamin H. D. Buchloh, and Hal Foster, among others. She maps the tension between radical dialectics and left nihilism and assesses the interpretation and internalization of negation in art theory. Chapters confront the claim that exchange and equivalence have subsumed the use value of cultural objects—and with it critical distance— and interrogate the proposition of completed nihilism and the metropolis put forward in the politics of Italian operaismo. Day covers the debates on symbol and allegory waged within the context of 1980s art and their relation to the writings of Walter Benjamin and Paul de Man. She also examines common conceptions of mediation, totality, negation, and the politics of anticipation. A necessary unsettling of received wisdoms, _Dialectical Passions_ recasts emancipatory reflection in aesthetics, art, and architecture. (shrink)

From Shakespeare to Beckett, the contradictory figure of the fool who possesses unexpected wisdom has been a popular and effective literary trope and rhetorical figure for centuries. Philosophy needs idiots too, argues Keston Sutherland in _Stupefaction_. This is a book about how idiots are created, how they are used, and the types of truth that depend on them. Sutherland examines how speculative and satirical descriptions of stupidity function in art and in argument. His examples include Alexander Pope’s dunce, Adorno’s philistine, (...) Wordsworth’s mechanical adopter of poetic diction, and phenomenologist Michel Henry’s drunkard who rides an escalator to nothingness. Sutherland also provides an important new account of the figure of the bourgeois in Marx and a powerfully original interpretation of commodity fetishism as a satire against bourgeois objectivity. This unusual analysis of the trope of the idiot will appeal to scholars of literature and philosophy alike. (shrink)

George Du Maurier’s best-selling novel, Trilby (1894), is as important because of its defiance of social and cultural norms as it is for its apparent compliance with them. Trilby is a fiction that, like its eponymous heroine, attempts to negotiate the perilously fine line between the highbrow and the lowbrow, or to put it another way, between fine art and political commentary on one side, and pornography and sensationalism on the other. This article examines the way that Du Maurier engages (...) his readership in this textual tease – his seduction of the reader – by suggesting the possibility of a peep show where everything that Victorian respectability abhors may be on display, and then his narratological dressing of the text, to ensure that where there is sexual non-conformity there is also moralism, and where there is social confrontation there is also historical distance. Understanding the textual appeal of Trilby as a character, the artist’s model who enchanted the fin-de-siècle reading public, is essential to appreciating how the discourses of pornography and fine art interact and have consequently evolved. This article therefore examines why Trilby succeeded with the Victorians where other, similarly sexually active heroines – such as Thomas Hardy’s Sue Bridehead – failed. Trilby the novel and Trilby the woman are both broken down by their author into manageable parts, a pornographic fetishistic technique that simultaneously eroticises, and makes more palatable, the textual and the physical bodies. (shrink)

Walter Benjamin's writings on the Paris shopping arcades and nineteenth- century urban industrial culture are frequently referenced in contemporary examinations of ‘modernity'. In current cultural studies Benjamin's investigation of the aesthetics of merchandise and his insights into the social fact of mass consumerism are repeatedly invoked. Indeed these investigations may be alluded to even more frequently than reference is made to Benjamin's once much reproduced essay ‘The Work of Art in the Age of Mechanical Reproduction'. A decade and a half (...) ago Benjamin's ‘Artwork’ essay was one of the most frequently cited essays in new art history and cultural studies academic textbooks. To put it crudely, a turnaround has occurred. In the 1970s academic attention spotlit Benjamin's materialist history of artistic production, distribution and reception as presented in the ‘Artwork’ essay and in ‘The Author as Producer’. The political events of 1968 had made Benjamin extremely readable. His thoughts discharged after some years delay. Most alluring to the German 68ers were the statements on political art and Benjamin's dissections of fascism. Also entrancing were Benjamin's analyses of experience. Benjamin wrote extensively, and from early on, about ways of expanding the conceptualisation of experience: sometimes philosophically - by means of Kant-critique, sometimes aesthetically — by a probing of surrealism and psychoanalysis, and sometimes practically – through experiments with hashish, which were later written up as protocols. John Berger's Ways of Seeing represented an original attempt to introduce Benjamin to an English audience, via the appropriately mass mediation of television. Benjamin was adopted as a leftist mascot, and a materialist who could recommend directions for art interpretation and more importantly, cultural practice. The approaches of the 1980s and 1990s, inflected by the priorities of feminist and postmodernist scholarship as they have loomed in cultural studies, art history and sociology, increasingly turned to those aspects of Benjamin's work that appear to illuminate a burgeoning interest in urbanism and consumerism. Interest has shifted away from cultural production and critique towards consumption and characterization. These days, Benjamin is regularly served up as one of the theorists who can vindicate a feel-good consumerism, lending a glamourizing and theoretical loftiness to the activity of shopping. Indeed, far from blasting the chimeras of commodity fetishism, Benjamin becomes the commodity's high-priest. (shrink)

If an artist sends a live peacock to an exhibition, is it art? 'What is art?' is a question many of us want answered but are too afraid to ask. It is the very question that Nigel Warburton demystifies in this brilliant and accessible little book. With the help of varied illustrations and photographs, from Cézanne and Francis Bacon to Andy Warhol and Damien Hirst, best-selling author Warburton brings a philosopher's eye to art in a refreshing jargon-free style. With customary (...) clarity, he explains art theories, that are much discussed but little understood, by thinkers such as Clive Bell, R.G Collingwood and Wittgenstein. He illuminates other perplexing problems in art, such as the artist's intention, representation and emotion. Drawing on photographs of Cindy Sherman and Tiananmen Square, Warburton shows that, if we are ever to answer the art question, we must consider each work of art on its own terms. A stimulating and handy guide through the art maze, The Art Question is essential reading for anyone interested in art, philosophy or those who simply like looking at and thinking about pictures. (shrink)

The struggle for domination clearly persists in The Homecoming as it does in almost all of Pinter’s works. Because of the vague atmosphere, enigmatic characters, and dark, tragicomic dialogue and action, a single decisive meaning for the play cannot be identified. Many character analyses have been carried out on the play, frequently focusing on Ruth and her decision at the end. Moreover, critics have sought to read the play in the light of psychoanalysis, centering on the characters’ past and complexes. (...) By adding a sociopolitical dimension to purely realistic or symbolic readings, this article attempts to analyze the relationships of domination and servitude between characters at the micro-level of the family structure through Marx’s notions of fetishism in relations between individuals, and commodity fetishism as expounded by Slavoj Žižek. With the help of Žižek’s ideas on ideology, a new layer of sociopolitical signification to the relationships held between characters is added, particularly that between Ruth and the men, which is seen as a parallel to the macro-level fetishized relationships in pre-capitalist societies and commodity fetishism in a capitalist one. (shrink)

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science as they (...) do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

This article draws on a five-year, multi-sited transnational research project on the global traffic in human organs, tissues, and body parts from the living as well as from the dead as a misrecognized form of human sacrifice. Capitalist expansion and the spread of advanced medical and surgical techniques and developments in biotechnology have incited new tastes and traffic in the skin, bones, blood, organs, tissues, marrow and reproductive and genetic marginalized other. Examples drawn from recent ethnographic research in Israel, the (...) Palestinian Authority and Turkey serve to cast light on the dark side of organs harvesting and transplantation. The article focuses on the dangers of the `fetishized kidney' for both sellers and buyers, for whom this new commodity has become an organ of opportunity and an organ of last resort. The bodily sacrifice is disguised as a donation, rendered invisible by its anonymity, and hidden under the medical rhetoric of `life saving' and `gift giving'. It suggests that the ultimate fetish as recognized long ago by Ivan Illich is the idea of `life' as object of manipulation. (shrink)

This paper examines a general political problem of how to balance the need for concentrated power in the hands of the state—which is needed for effective governance—against the egalitarian desire to equalize power. It distinguishes between ‘positive’ political power appropriately wielded by the state, and ‘negative’ power that individuals may use to protect their own activities and interests from excessive or illegitimate state action and argue for institutions and practices designed to equalize power by ‘leveling up’ the powerless to match (...) the strong. (shrink)

For Malraux, modernity in art is not only about modern art; it is also about the birth of what he aptly terms “the first universal world of art.” This event was a consequence of the process of metamorphosis which is central to Malraux’s account of the relationship between art and time. The article explains this event, noting also that modern aesthetics has not provided an explanation. (This is the English version of the final which will be in French.).

This article explores whether artificial intelligence (AI) can engage in the practice of law as an art of good and justice. It examines the historical and philosophical foundations of law as the art of promoting societal harmony and resolving moral dilemmas. The research employs critical and philosophical analysis methods integrating insights from legal scholars, ethicists, technologists, and policymakers. The study identifies AI’s potential to streamline legal processes, enhance access to justice, and reduce bias in decision-making. However, it also highlights ethical (...) challenges such as transparency, accountability, and the impact on the legal workforce. The article emphasises the importance of striking a balance between technological innovation and human values, advocating for proactive regulation and interdisciplinary cooperation to ensure the ethical development and implementation of AI in law. The results of the study highlight the transformative potential of AI in revolutionising legal practice, emphasising its capacity to streamline processes, improve access to justice, and mitigate bias. However, ethical considerations such as transparency, accountability, and the preservation of human judgment are crucial to ensuring that AI integration in law upholds fundamental principles of justice and fairness. (shrink)

This article critically examines current ways of justifying a place for the arts in general education and develops an alternative position. First, justifications relying on the positive non-artistic outcomes of art education are represented and problems exposed. Next, I discuss and criticise the position of John White, who takes the arts to promote self-knowledge, ethical contemplation and social cohesion. Then I develop a new account of artistic value based on the concept of fulfilment.

Philosophy & Social Criticism, Volume 48, Issue 7, Page 1035-1053, September 2022. The article aspires to cast light on aspects of the radical character of Walter Benjamin’s work, that, sadly, have not, to date, provoked much discussion in the literature on him. The main issue it elaborates is his dialectic between fetishized, reified social form, and content-essence, which forms the core of the concept of critique in his philosophy. In Benjamin’s case, the concept of illusion, or, as the notion is (...) described in his texts, of phantasmagoria, or of the image, holds a special gravity that comes to the fore if it is connected not only to commodity fetishism but also to the fetishism of social forms as a process, and the concept of cracks in capitalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Collecting: An Unruly Passion: Psychological PerspectivesKevin MelchionneCollecting: An Unruly Passion: Psychological Perspectives, by Werner Muensterberger; 295 pp. New York: Harcourt, Brace & Company, 1994, $29.95 cloth, $13.00 paper.Due to the growth of museum studies, collecting practices are receiving more attention these days. Muensterberger’s book is one of the more ambitious of recent studies in this area. He applies classical psychoanalytic concepts to collecting. Cultural theorists often say that (...) collecting is dominated by neurotic, fetishistic, compulsive, or obsessional desires. Muensterberger is firmly in this camp, and his performance confirms rather than dispels the misgivings that nonpsychoanalytic students of culture have often expressed about the psychoanalytic approach.The first two parts of the book are an exposition of the psychoanalytic view. The third treats several “case studies” of lunatic barons and desperate social climbers whose unbridled accumulation drove their families to ruin. The tales make for good reading. The final part of the book aims at a cultural history of [End Page 524] collecting. This section strays farthest from Muensterberger’s theoretical turf and suffers from a certain confusion of purpose. Much of it reads like a selection of case studies taken from the past rather than a history of collecting. In all, Muensterberger’s cultural history of collecting does not compare favorably with the extensive work in art history on the origins of the museum. I will limit my discussion to his psychoanalytic account of collecting.Muensterberger’s psychoanalysis is starkly classical: collecting is essentially a compensation for prior disappointment and an illusory comfort in the face of an uncertain future. Collecting serves this role particularly well, it seems, because its repetitive structure allows the individual to repeat the tension-reducing act of acquisition when the satisfaction induced by the previous act fades. The meaning of the process of collecting resides in the “momentary undoing of frustrating neediness but is felt as an experience of omnipotence. Like hunger, which must be sated, the obtainment of one more object does not bring an end to the longing. Instead, it is the recurrence of the experience that explains the collector’s mental attitude. The compelling concern to go in search, to discover, to add to one’s store, or holding, or harem, is not generated by conscious planning. Rather, every new addition, whether found, given, bought, discovered, or even stolen, bears the stamp of promise and magical compensation” (p. 13). In a similar vein, Muensterberger locates the origins of the urge to collect in the child’s reliance upon objects as “symbolic substitutes” for the parent. The acquisitive bent of the collector is derivative of the “grasping and clinging” of the infant (p. 18–19).If this sounds like your generic caricature of psychoanalysis, then you have the picture. Muensterberger makes an effort to distinguish his own perspective from a facile reductionism, whereby collecting is no more than the sign of a pathological state of mind. But this is exactly what he is doing. According to the author, collectibles are simply “narcissistic supplies” (p. 234). Speaking of the noted Italian collector, Mario Praz, Muensterberger writes: “the inanimate objects’ function is essentially compensatory... they are being used not only as an attempt to disguise old wounds but at the same time to serve as reminders of past injuries and humiliations” (p. 43).The idea that cultural practices like collecting serve in some way to compensate for the frailty of the human spirit is deeply attractive. If only through repetition, Muensterberger’s insistence upon the essentially compensatory nature of collecting (and for that matter, all culture) begins to make one wonder if the compensatory view of culture has not, through an excess of intellectual scruple, received too little recognition. Unfortunately, he pursues standard Freudian explanations with a relentlessness that sinks to self-caricature. In this respect, the book is a missed opportunity. It is plausible to suggest that collecting temporarily eases all sorts of psychological and existential tensions in adults though I doubt that it does this better than eating, sex, or yoga. [End Page 525]But it is not just his brand of psychoanalysis that is simplistic. Muensterberger defines collecting as the “selecting, gathering, and keeping of... (shrink)

In _The Enigma of Art. On the provenance of Artistic Creation_ Gino Zaccaria offers a meditation on art in light of its ancient Greek sense and of its task inaugurated by “artist-thinkers” like Cézanne, Boccioni and van Gogh.

Is there progress in art? The question is one which most people would answer vehemently in the negative without giving it much thought. And yet, how is one to account for changes in artistic style? And what is one to think about modern art, which still seems baffling to many in comparison with traditional figurative art? Suzi Gablik's challenging argument is that art, like science, has a history, order and structure which can be called progressive. Progress, however, is not a (...) question of moral or esthetic improvement but involves a cognitive 'growth' of artistic styles and is related to transformations in modes of thinking. The model used for the argument is based on principles of developmental psychology advanced by the famous and revolutionary Swiss experimental psychologist Jean Piaget. By demonstrating the way in which art is linked with the acquisition of stages of development: increasingly complex perceptual and logical structures lead to mental organizations which are increasingly dominated by scientific, rationalistic and conceptual modes of thinking in contrast to earlier more mystical ones. In this light, an attempt is made to explain the shift in art from figurative or iconic representation, where the image resembles the object to which it refers, towards non-representational art which is abstract and conceptual in organization. Three sections of illustrations demonstrate, through revealing juxtapositions, the course of artistic development from ancient and medieval times, through the Renaissance, to contemporary art. -- from dust jacket. (shrink)

Is there progress in art? The question is one which most people would answer vehemently in the negative without giving it much thought. And yet, how is one to account for changes in artistic style? And what is one to think about modern art, which still seems baffling to many in comparison with traditional figurative art? Suzi Gablik's challenging argument is that art, like science, has a history, order and structure which can be called progressive. Progress, however, is not a (...) question of moral or esthetic improvement but involves a cognitive 'growth' of artistic styles and is related to transformations in modes of thinking. The model used for the argument is based on principles of developmental psychology advanced by the famous and revolutionary Swiss experimental psychologist Jean Piaget. By demonstrating the way in which art is linked with the acquisition of stages of development: increasingly complex perceptual and logical structures lead to mental organizations which are increasingly dominated by scientific, rationalistic and conceptual modes of thinking in contrast to earlier more mystical ones. In this light, an attempt is made to explain the shift in art from figurative or iconic representation, where the image resembles the object to which it refers, towards non-representational art which is abstract and conceptual in organization. Three sections of illustrations demonstrate, through revealing juxtapositions, the course of artistic development from ancient and medieval times, through the Renaissance, to contemporary art. -- from dust jacket. (shrink)

My intention is to show that, starting from an empiricist philosophy of mind, it is possible to give a systematic account of aesthetic experience. I argue that empiricism involves a certain theory of meaning and truth; one problem is to show how this theory is compatible with the activity of aesthetic judgment. I investigate and reject two attempts to delimit the realm of the aesthetic: one in terms of the individuality of the aesthetic object, and the other in terms of (...) 'aesthetic properties'. I go on to argue that aesthetic descriptions must not be thought to ascribe properties to their objects, and I show how the suggestion that they are non-descriptive need not conflict with the empiricist view of meaning. The problem is then seen to lie with the analysis of the 'acceptance-conditions' of aesthetic descriptions. I counter certain idealist objections to this approach, and then present a theory of imagination, in terms of which the acceptance conditions of aesthetic judgments may be described. This theory attempts to explain how the element of thought in aesthetic appreciation may become inseparable from an experience of its object, and how the aesthetic emotions are both like and unlike their equivalents in life. The first part concludes with an analysis of the general conditions of aesthetic experience. I try to show that aesthetic experience can be described in terms of certain 'formal' properties, independently of its material object. In the second part I am concerned to show that this empiricist theory of aesthetics does not, like most empiricist theories, make nonsense of our appreciation of art. First, I attempt to show that 'understanding' art is not merely a cognitive process, but involves certain experiences that can be accounted for in terms of the previous theory. I then analyse the concepts of representation and expression, and in the course of this analysis I attempt to refute what I take to be the most serious rival analysis of our appreciation of art - the semantic theory. (shrink)

First collected in Italy in 1985, _Art's Claim to Truth_ is considered by many philosophers to be one of Gianni Vattimo's most important works. Newly revised for English readers, the book begins with a challenge to Plato, Aristotle, Kant, and Hegel, who viewed art as a metaphysical aspect of reality rather than a futuristic anticipation of it. Following Martin Heidegger's interpretation of the history of philosophy, Vattimo outlines the existential ontological conditions of aesthetics, paying particular attention to the works of (...) Kandinsky, which reaffirm the ontological implications of art. Vattimo then builds on Hans-Georg Gadamer's theory of aesthetics and provides an alternative to a rationalistic-positivistic criticism of art. This is the heart of Vattimo's argument, and with it he demonstrates how hermeneutical philosophy reaffirms art's ontological status and makes clear the importance of hermeneutics for aesthetic studies. In the book's final section, Vattimo articulates the consequences of reclaiming the ontological status of aesthetics without its metaphysical implications, holding Aristotle's concept of beauty responsible for the dissolution of metaphysics itself. In its direct engagement with the works of Gadamer, Heidegger, and Luigi Pareyson, _Art's Claim to Truth_ offers a better understanding of the work of Vattimo and a deeper knowledge of ontology, hermeneutics, and the philosophical examination of truth. (shrink)

When, in 1735, Alexander Gottlieb Baumgarten added a new discipline to the philosophical system, he not only founded modern aesthetics but also contributed to shaping the modern concept of art or 'fine art'. In The Founding of Aesthetics in the German Enlightenment, Stefanie Buchenau offers a rich analysis and reconstruction of the origins of this new discipline in its wider context of German Enlightenment philosophy. Present-day scholars commonly regard Baumgarten's views as an imperfect prefiguration of Kantian and post-Kantian aesthetics, but (...) Buchenau argues that Baumgarten defended a consistent and original project which must be viewed in the context of the modern debate on the art of invention. Her book offers new perspectives on Kantian aesthetics and beauty in art and science. (shrink)

An examination of the concept of illusion in the writings of Nietzsche, Benjamin, Castoriadis and the Situationists as viewed through the negative dialectics of Theodore Adorno.

In this essay, Enrique Dussel provides a textual “rereading” of Karl Marx’s theory of fetishism according to his scattered but significant comments on religion as they extend throughout the whole of his work. In Part I, “The Place of the Subject of Religion in the Whole Work of Marx,” Dussel demonstrates Marx’s differentiation between a critique of the essence of religion and its manifestations, arguing that there is a space in Marx for a anti-fetishized liberatory religion. In Part II, (...) “Toward a Theory of Fetishism in General,” he provides a methodological account of such a religion, as well as a panorama of the content of this essence of religion. These accounts provide the basis for more clearly identifying both religious fetishism and the fetishist character of capital. (shrink)

In this essay, Enrique Dussel provides a textual “rereading” of Karl Marx’s theory of fetishism according to his scattered but significantcomments on religion as they extend throughout the whole of his work. In Part I, “The Place of the Subject of Religion in the Whole Work of Marx,” Dussel demonstrates Marx’s differentiation between a critique of the essence of religion and its manifestations, arguing that there is a space in Marx for a anti-fetishized liberatory religion. In Part II, “Toward (...) a Theory of Fetishism in General,” he provides a methodological account of such a religion, as well as a panorama of the content of this essence of religion. These accounts provide the basis for more clearly identifying both religious fetishism and the fetishist character of capital. (shrink)

Saturn and Melancholy remains an iconic text in art history, intellectual history, and the study of culture, despite being long out of print in English. Rooted in the tradition established by Aby Warburg and the Warburg Library, this book has deeply influenced understandings of the interrelations between the humanities disciplines since its first publication in English in 1964. This new edition makes the original English text available for the first time in decades. Saturn and Melancholy offers an unparalleled inquiry into (...) the origin and development of the philosophical and medical theories on which the ancient conception of the temperaments was based and discusses their connections to astrological and religious ideas. It also traces representations of melancholy in literature and the arts up to the sixteenth century, culminating in a landmark analysis of Dürer's most famous engraving, Melencolia I. This edition features Raymond Klibansky's additional introduction and bibliographical amendments for the German edition, as well as translations of source material and 155 original illustrations. An essay on the complex publication history of this pathbreaking project - which almost did not see the light of day - covers more than eighty years, including its more recent heritage. Making new a classic book that has been out of print for over four decades, this expanded edition presents fresh insights about Saturn and Melancholy and its legacy as a precursor to modern interdisciplinary studies. (shrink)

Physicians, philosophers, and theologians consider how to address death and dying for a diverse population in a secularized century.Most of us are generally ill-equipped for dying. Today, we neither see death nor prepare for it. But this has not always been the case. In the early fifteenth century, the Roman Catholic Church published the Ars moriendi texts, which established prayers and practices for an art of dying. In the twenty-first century, physicians rely on procedures and protocols for the efficient management (...) of hospitalized patients. How can we recapture an art of dying that can facilitate our dying well? In this book, physicians, philosophers, and theologians attempt to articulate a bioethical framework for dying well in a secularized, diverse society.Contributors discuss such topics as the acceptance of human finitude; the role of hospice and palliative medicine; spiritual preparation for death; and the relationship between community, and individual autonomy. They also consider special cases, including children, elderly patients with dementia, and death in the early years of the AIDS epidemic, when doctors could do little more than accompany their patients in humble solidarity.These chapters make the case for a robust bioethics—one that could foster both the contemplation of finitude and the cultivation of community that would be necessary for a contemporary art of dying well.ContributorsJeffrey P. Bishop, Lisa Sowle Cahill, Daniel Callahan, Farr A. Curlin, Lydia S. Dugdale, Michelle Harrington, John Lantos, Stephen R. Latham, M. Therese Lysaught, Autumn Alcott Ridenour, Peter A. Selwyn, Daniel Sulmasy. (shrink)

Resumo: A fotografia, como ferramenta, apresenta principalmente a relação entre pessoas e objetos, por meio do uso de elementos artísticos, como luz, sombra e cor, nas imagens. A criação de fotografias é uma atividade que requer inspiração e habilidades. Isso exige que os fotógrafos observem e pensem cuidadosa e profundamente sobre a estrutura geral do trabalho, a fim de tirar boas fotos que sejam artísticas e bem pensadas. O desenvolvimento e a popularização da fotografia, na sociedade atual, não podem ser (...) subestimados por seu impacto na estética pública e no pensamento humanístico. Este artigo tem, como objetivo, analisar a conotação estética da fotografia chinesa e explorar seus padrões e valores estéticos. Os pensamentos filosóficos da fotografia chinesa são explorados, e suas reflexões e perspectivas sobre a vida e a sociedade são analisadas. A relação e a influência mútua, entre as conotações estéticas e os pensamentos filosóficos na fotografia chinesa, são exploradas, e sua importância e influência nos trabalhos fotográficos são analisadas, para que se possa entender e apreciar melhor a singularidade da fotografia chinesa. A fotografia chinesa é uma forma única e diversificada de expressão artística que reflete o rico patrimônio cultural e o desenvolvimento social da China. Ao enfatizar a harmonia, a integração de elementos de pintura, a narração de histórias e a apreciação da natureza, a fotografia chinesa proporciona uma experiência estética profunda e transmite significados mais profundos de unidade, tranquilidade e a relação entre as pessoas e o meio ambiente. (shrink)

Art history on the edge : iconology, media, and visual culture -- Four fundamental concepts of image science -- Image science -- Image X text -- Realism and the digital image -- Migrating images : totemism, fetishism, idolatry -- The future of the image : Rancière's road not taken -- World pictures : globalization and visual culture -- Media aesthetics -- There are no visual media -- Back to the drawing board : architecture, sculpture, and the digital image -- (...) Foundational sites and occupied spaces -- Border wars : translation and convergence in politics and media -- Art X environment -- The historical uncanny : phantoms, doubles, and repetition in the war on terror -- The spectacle today : a response to retort -- Coda : for a sweet science of images. (shrink)

In the summer of 1985 my children, Laura and Aurélien, then seven and five, knelt before a Barbie doll standing at the foot of a Ken doll on an imaginary cross. I remember vividly the scene because I took a picture of it. We were vacationing in Ticino and visiting the local churches, so I assumed that this play imitated the iconography to which they were being exposed. After reading Moshenska's Iconoclasm as Child's Play, however—whose cover shows “Josh McBig,” a (...) bearded version of Ken with outstretched arms and severed legs, photographed by the Jackson sisters as part of their “Doll Games” project—I have to wonder: was there not in this play an element of parody or blasphemy, of iconoclasm even, prompted perhaps by my working at the time on contemporary “vandalism”? Or, on the contrary, was there an element of devotion, of faith produced by mimicking the ritual? I am now faced with the conundrum of “the adult's imagination of the child's imagination,” to borrow a phrase (from Michael Taussig) that resonates through Moshenska's strange and fascinating book.Sometime in the 1530s, in Redcliffe Cross in Bristol, in the west of England, a preacher named Roger Edgeworth denounced what he regarded as a current upsurge of impiety and singled out as evidence that “many Images” taken from the dissolved monasteries “haue bene caryed abrod, and gyuen to children to playe wyth all,” so that when their parents ask them what it is that they are playing with, they make them laugh by answering: “I haue here myne ydoll.” “Ydoll” is a portmanteau word—as Lewis Carroll would have said—combining “doll” and “idol,” and Moshenska finds “scattered but definite evidence... that holy things were made into playthings with sufficient frequency for it to be considered an established and recognized part of iconoclastic practice in the early modern period.” He analyzes a few other examples, but Edgeworth's sermon supplies him with the primal scene of his book: he admits to “having been seduced by this passage..., caught up in its folds, brought back to it time and again,” so that Iconoclasm as Child's Play bears some structural resemblance to Henry James's novella The Turn of the Screw. Consistently—and at times obtrusively—self-reflective, it also wonders whether its approach can be regarded as “a kind of iconoclasm” or is intended “as a form of play”—lusus serius, naturally.Iconoclasm as Child's Play explores with great ingenuity the complex relationships between the Christian rite, iconoclasm, and child's play: a Byzantine empress enables her icons to survive the Quarrel of Images by calling them her “dolls”; Protestants trivialize the Roman Catholic ritual by comparing it to “trifles” and the “mere playing of children”; in The Praise of Folly, Erasmus embraces the “foolishness” of Christianity, centered on the figure of a broken body that renders attacks against its images and iconoclastic theory itself—as Bruno Latour has shown—deeply equivocal. A further turn of the screw takes place in the missionary and mercantile context of Malacca, where the Dutch settlers impute childishness both to the Portuguese Jesuits who preceded them and to the local religions. The notions of “fetish” and “fetishism,” as Moshenska shows, charge their targets with a misattribution to objects of agency, responsibility, and desires.The object of Moshenska's inquiry, which he claims less convincingly to include “art-things,” is “polysemic and polychronic,” and a leitmotif of the interpretations he proposes is the instability of the status and meaning of what is interpreted, be it a thing, an action, or a word. Among the many epistemic virtues he attributes to iconoclasm as child's play is the questioning of “the sharp... divisions between modern and premodern” implied by historical narratives such as Max Weber's account of the Reformation as the “expulsion of play” and “disenchantment” of the world. A long meditation on the temporality of play concludes by pointing out the “toy potential of all things” and referring to James Gibson's notion of “affordance.” Indeed, child's play, whatever adults want to do with it, often consists in multiplying and inventing affordances, and it is capable of turning not only “idols” into “dolls,” but also “dolls” into “idols.”. (shrink)

In these brief remarks I propose a reading of the “Fragment on Machines” in Marx's Grundrisse. This reading recognizes in the “Fragment” the central problematic of the Grundrisse's fundamental analyses of the relation between objectified labor and living labor, the meaning of this relationship within a comprehensive interpretation of the theory and, finally, the meaning of the contradiction within the relation itself which is essential for the comprehension and critique of the entire capitalist mode of production. Here this “Fragment” will (...) be analyzed from the viewpoint of the criticism of fetishism, thus indicating some of the Fragment's ambiguous elements. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 64-73 [Access article in PDF] Postmodern Approach to Art Appreciation for Integrated Study in Japan This essay aims to clarify the issues of art appreciation education in Japan, and to examine a viewpoint for considering the issues in relation to a "Period for Integrated Study" established in 2002. Though ideas of art educationhave expanded in recent years, we are facing the difficulty (...) of approximately |a 20% cut in the number of art classes offered in Japanese compulsory education. In addition to this, involvement of art with Integrated Study, a new attempt to transcend the conventional learning of subjects, has presented urgent issues in art education along with current educational reforms.Based on analyses of the developmental characteristics of Japanese students' aesthetic sensitivity, we consider the issues of art appreciation education, and present a vision for involvement of art appreciation with Integrated Study. For example, Japanese students show a keen interest in formal elements with an inclination for expressiveness as a legacy received from the study of modernism in art education. On the other hand, students also show weakness in skills in finding artistic contexts. This should be considered as the most important issue of art appreciation education in Japan. It is necessary to enhance students' viewing in relation to social and cultural contexts in order to address this issue. We propose that this can be achieved through Integrated Study. Art appreciation in Integrated Study should take a postmodern approach to Japanese art education, which now has a strong inclination toward modernism. Educational Reform and Integrated Study With a rapid decline in the number of children, a rapidly aging society, and the advent of computerization and globalization, we now face problems which cannot be solved by conventional systems presently in place in Japanese society. In order to address these problems, drastic reforms that also include educational reform must be undertaken. Specific reform in education [End Page 64] can be seen in changes in the Course of Study. The most notable feature in the latest revision of the Course of Study is the establishment of the Period for Integrated Study. Integrated Study was established as a new project for the most highly prioritized issue of how students can acquire the so-called "Zest for Living." 1 Integrated Study is a required subject, with 105 to 110 class hours/year in third grade and above in elementary school, and 70 to 130 class hours/year in junior high school. The Course of Study does not prescribe the contents in detail but the periods are organized and implemented by each school according to regions and schools. However, it is suggested that schools proceed with the study of international understanding, conversation in foreign languages, information, the environment, social welfare, and health in a comprehensive and interdisciplinary way. IntegratedStudy puts an emphasis on students' initiative in identifying issues forthemselves, and on the cultivation of their talent and ability to solve those issues. Based on students' own interests, great importance is placed on problem-solving, open-ended activities, and the cultivation of independent and creative attitudes. Unlike the conventional unilateral teaching of knowledge for subjects, Integrated Study's purpose is to shift the direction of education so students can learn and think for themselves. In addition, Integrated Study focuses on authentic way and develops the skills of collecting, investigating, and connecting information, and reporting, announcing, and discussing. 2On the other hand, in curricula for elementary and junior high schools, the hours of art classes were reduced so that Japanese art education was put in a more difficult situation compared to previous curricula. Respectivesubjects are designed for students to learn basic abilities for the development of Integrated Study. Therefore, while educational reform is underway in Japan, art education faces the problem of maintaining basic learning at the same level as previously, relating art to Integrated Study.Relations between Integrated Study and art education have been discussed in various ways. 3 Two general problems can be pointed out. One isour concern that the originality of art as... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 3-11 [Access article in PDF] A Historical Overview of Art Education in Japan Introduction The stage of art education in Japan that was given its form by "imports" from overseas — mainly Western countries — is now over. Recently, even at international art education conferences and similar venues, a wide range of dynamic presentations and speeches were heard representing Japan's unique perspective. (...) There is, however, a rather long and involved history leading up to this shift.In this essay, I present a general outline and an overview of art education in Japan, by looking back at the transitions this system of education has undergone. My hope is to increase understanding of the unique features of art education in Japan, examining the characteristics ofmodern art education, and determining the form that art education should take in the future. The Birth of Art Education: 1872-1910 Art education in Japan began in 1872 with the promulgation of the "Gakusei" as a formal system for school education. 1 It was in this same year that Germany introduced a similar system, an indication that Japan was more or less in step with advanced Western nations. Moreover, from the end of the Tokugawa shogunate through to the Meiji era (1868-1912), the seeds of Westernization had clearly taken root. Although the term "art education" is used, for many years the emphasis in art education was on drawing.The first curriculum was established at this time. In the context of art education, Kikagaku Keiga Taii [Introduction to Geometrical Line Drawing] (renamed Keiga the following month) was introduced as a compulsory subject in upper elementary grades (students 10 to 13 years of age) at ordinary elementary schools. Keiga referred to a method of copying pictures from a copybook using graph paper — a method that was extremely restrictive and emphasized practicality.By 1887, under the new government's policy, Westernization was being promoted in all aspects of society, including politics and culture. Art education was no exception, as Western style education began to focus on pencil drawings. During this period, a liberal system for issuing and selecting textbooks was in place, and a consequently a large number of art-related texts were issued. The first drawing textbook in Japan was Seiga Shinan [Guide to [End Page 3] Western Pictures] (1871), a translation of "The Illustrated Drawing Book" by English author Robert Scott Burn, with selected figure quotations from"The American Drawing-Book" by American author John G. Chapman. 2 In addition to these texts, many other books on drawing and the natural sciences were quoted. These textbooks adopted a pragmatic approach, using a "progressive method" in which students were taught to draw easy subjects and gradually moved to more difficult ones.The next significant change came in the form of calls for nationalism, as a reaction to the wave of Westernization early in the Meiji period. Educationalcircles underwent a shift toward nationalist education, and the art worldexperienced a resurgence in traditional Japanese art led by the American Ernest Fenollosa and Tenshin Okakura, among others. Reflecting this trend, a large number of brush painting textbooks were written, and an authorization system similar to the one currently in effect was adopted. The ZugaTorishirabe Gakari [the Committee for the Study of Drawing] was launched in 1885, and then reorganized in 1887, at which time it was renamed the Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). The education offered at this new institution placed a strong emphasis on purely Japanese elements.In 1903, the Elementary School Order was revised and government-designated textbooks were issued. This system remained in force from 1904 until 1947. The debate surrounding pencil drawing and brush painting continued, and two types of texts were issued — a Enpitsuga Tehon [pencil drawing copybook] and a Mohitsuga Tehon [brush painting copybook] — either of which could be used by the instructor. Both copybooks had similar configurations, with copying as the basic theme, and using a progressive study method. Drawing was still an optional subject in ordinary elementary schoolsat the... (shrink)

This article examines the symbolism contained in the works of Jianzhi art. As a simple folk art, papercutting in Jinzhou has its own aesthetic and educational style that penetrates the hearts of people and raises them to a higher spiritual level. Jianzhi can represent the spiritual worldview of a certain era in the region. Among the symbolic images, images of animals, plants, figures, objects, hieroglyphs and patterns were studied. Jianzhi's works of art are combinations of various patterns, shapes and motifs (...) that contain deep symbolism. The study of images and symbolic meanings will expand knowledge about the culture and customs of the region, as well as create opportunities for the preservation of this unique art form containing the intangible cultural heritage of China. The article concludes about the uniqueness of the stylistics and symbolism of this art direction in the described region. It is claimed that Jianzhi's works reflect the culture, customs and peculiarities of the Jinzhou district society. From the point of view of intangible cultural heritage, the art of paper cutting in Jinzhou is the artistic embodiment of the material and spiritual culture of the people. It is concluded that it is necessary to preserve this kind of art and the subsequent study of its symbolism in order to preserve the intangible national heritage of China. (shrink)

Bringing together Deleuze, Blanchot, and Foucault, this book provides a detailed and original exploration of the ideas that influenced Deleuze's thought leading up to and throughout his cinema volumes and, as a result, proposes a new definition of art. Examining Blanchot's suggestion that art and dream are "outside" of power, as imagination has neither reality nor truth, and Foucault's theory that power forms knowledge by valuing life, Eugene Brent Young relates these to both Deleuze's philosophy of time and his work (...) with Guattari on art. In doing so, he uses case studies from literature and popular film, including Kafka's Castle, Villeneuve's Arrival, and Kubrick's Eyes Wide Shut. Providing important new insights for those working in literary and cinematic studies, this book advances a new definition of art as that which reverses the realities and truths of power to express obscure ideas and values beyond both our exterior and interior worlds. (shrink)