The universal social significance of the phenomena of artistic culture has its own specific features. Often it is something standing alone, an "exception to the rule," which nonetheless gives expression to some important tendency in the evolution of literature and art. This has been the case, in particular, with the works of Vladimir Vysotskii, who only a short time ago still seemed to some as some almost peripheral offshoot of the real artistic process, a kind of "nonsense," having no direct (...) bearing on the social problems and questions bothering us. In light of the lessons of truth, interpreted and experienced by the public under the impact of the recent party congress, the situation is literally changing before our very eyes. (shrink)

The goal of this paper is to argue that the Neptuno Alegórico and the Theatro de Virtudes Políticas, which were composed in 1680 by the Novohispanic philosophers Sor Juana Inés de la Cruz and Carlos de Sigüenza y Góngora to accompany respectively two arches erected to celebrate the entry of the Spanish viceroy to Mexico City, are notable not only as examples of panegyrical Baroque literature but also as philosophical texts aimed at moral exhortation. To be specific, I argue that (...) the Neptuno and the Theatro belong to a hybrid genre that I label ekphrastic moral mirrors. Ekphrastic moral mirrors, which make up a subset of the traditional specula principum, are characterized by offering moral exhortation and political advice to a prince indirectly, by means of an elaborate ekphrasis of a work of art (which, in the case of the Neptuno and the Theatro, were the two arches that they were respectively paired with). I also argue that the use of ekphrasis in a public setting enables the creation of a composite audience made up by various stakeholders with different interests that is intended to reflect and reinforce the creation of a unified political entity. (shrink)

The goal of this paper is to argue that the Neptuno Alegórico and the Theatro de Virtudes Políticas, which were composed in 1680 by the Novohispanic philosophers Sor Juana Inés de la Cruz and Carlos de Sigüenza y Góngora to accompany respectively two arches erected to celebrate the entry of the Spanish viceroy to Mexico City, are notable not only as examples of panegyrical Baroque literature but also as philosophical texts aimed at moral instruction. To be specific, I argue that (...) the Neptuno and the Theatro belong to a hybrid genre that I label ekphrastic moral mirrors. Ekphrastic moral mirrors, which constitute a subset of the traditional speculum principis, are characterized by offering moral instruction to a prince indirectly, by means of an elaborate ekphrasis of a work of art (which, in the case of the Neptuno and the Theatro, were the two arches that they were paired with). I also argue that, insofar as the Neptuno and the Theatro create different audiences that are mutually aware of each other in virtue of systematically relying on ekphrasis deployed in a public setting, they are potentially more effective for moral instruction than other traditional mirrors of princes. (shrink)

_Mirroring and Attunement_ offers a new approach to psychoanalysis, artistic creation and religion. Viewing these activities from a broadly relational perspective, Wright proposes that each provides a medium for creative dialogue: the artist discovers himself within his self-created forms, the religious person through an internal dialogue with ‘God’, and the analysand through the inter-subjective medium of the analysis. Building on the work of Winnicott, Stern and Langer, the author argues that each activity is rooted in the infant’s preverbal relationship with (...) the mother who ‘holds’ the emerging self in an ambience of mirroring forms, thereby providing a ‘place’ for the self to ‘be’. He suggests that the need for subjective reflection persists throughout the life cycle and that psychoanalysis, artistic creation and religion can be seen as cultural attempts to provide the self with resonant containment. They thus provide renewed opportunities for holding and emotional growth. _Mirroring and Attunement_ will provide essential reading for psychoanalysts, psychotherapists, and art therapists and be of interest to anyone working at the interface between psychoanalysis, art and religion. _ _. (shrink)

Baudelaire's art criticism in a generous paperback sampling. Included are reviews of the salons of 1845, 1846 and 1869, the essay "On the Essence of Laughter," and a study of Delacroix. Many of the art works mentioned in the text are pictured in the volume's 64 pages of illustrations.--V. C. C.

There are a variety of interpretations of Manet's Un Bar auxFolies Bergères, but there is no genuinely neutral standpoint from which to judge their seemingly opposed accounts. T. J. Clark's analysis involves placing the work in the context of critical commentary by the artist's contemporaries, and examining the exact place and role of the mirror. Just as Manet painted two versions of the picture, so Clark has published two analyses of it; and just as we can ask whether the artist (...) thus resolved the ambiguities of his first image, so an analogous question can be asked about Clark's commentaries. When we have two such pictures or texts, how do we understand their relationship? Perhaps the best way is to find a further commentary. A Lacanian interpretation is proposed. We may see in the picture a triangular structure of perception; between the gaze and the subject stands the screen on which the image is cast. This view, even more speculative than Clark's, offers a new suggestive way of grasping the relation between picture and texts interpreting it. (shrink)

Since 2016, my embodied avatar performance (EAP) has explored healing rituals and life review at the intersection of arts, health and virtual reality (VR) for a variety of individuals, including older adults and cancer patients. EAP established a format in which the avatar mirrors the participant’s behaviours and speech, facing them during the life review process. The aspect of mirroring and facing is crucial in EAP for facilitating engagement, embodiment and empathy and a symbiotic relationship between avatar and human. (...) This article outlines the symbiosis between humans and avatars within the EAP process, focusing on the interactions where participants face and mirror their avatars. The avatars are presented as if participants are looking into a mirror. As the avatars face the participants and mimic their movements, they create an illusion similar to seeing one’s reflection in a virtual setting. The article discusses a range of mirroring aspects, including virtual mirrors in VR, echoing techniques in drama and movement therapy, and broader concepts like empathy, embodiment, we-ness and the Korean emotional concept of Cheong. Early EAP avatars, especially in the case of technical failures, will be discussed as examples. (shrink)

Plato’s distinction between appearance and reality which he attempts to demonstrate in his allegory of the cave established the conceptual framework for theories of knowledge for many centuries. The quest for certainty set us on the path to believing that reality is there to be discovered. We only have to open our eyes and minds. Yet a recurring question about the interface between culturally acquired concepts and objective sense perception remains a point of contention. Mischa Kuball’s Platon’s Mirror addresses this (...) question. Kuball’s Platon’s Mirror exhibited at Artspace Sydney during September 2011 is an intriguing exploration of the various layers involved in the process of meaning. Light is the metaphor. Light is filtered through a variety of devices to reveal disparate aspects of the one apparent object. The easy distinction between appearance and reality is deliberately thrown into disarray. Kuball provides a meditation on the blurring of reality and meaning which suggests a recurrent philosophical theme in Kuball’s oeuvre, the nature of meaning and value. (shrink)

A groundbreaking approach to martial arts combining Self-Image Psychology and Qigong. Martial arts teacher Phillip Starr draws on more than sixty years of experience to introduce the Mirror Image Technique--a method that recognizes the reinforcing nature of body and mind. Our self-image expresses in how we stand, move, and hold ourselves in the world; and in martial arts, the way we move reflects the way we think on the mat, in practice, and when sparring. Here, Starr pulls from Self-Image Psychology (...) and Qigong to offer readers a unique set of physical exercises that can be applied to any martial art tradition--as well as our personal lives. Like two mirrors facing each other, the physical body both reflects and changes the mind, and vice versa: our physical movements become more than just the consequence of our intentions or thoughts. As we adjust the way we move, we adjust the way we think: about ourselves, our lives, and our environments. Unlike other self-help books that consider the mind as the sole gateway to change, the Mirror Image Technique shows that cognitive transformation starts with the body. Starr takes readers through: Demonstrating key principles of Qigong with exercises like The Unbreakable Arm and The Unliftable Body Improving your stance Increasing your strike force Insights into the mindset for breaking boards (tameshiwari). Intended to enhance growth and personal development, the techniques in Martial Arts and the Mirror Image lead to a renewal of confidence and enthusiasm for one’s particular practice. (shrink)

Art forms tend to mirror themselves in each other. In order to understand literature and fine arts better, we often turn to music, speaking of the 'tone' in a book and of the 'rhythm' in a painting. In attempts to understand music better, we turn instead to the narrative arts, speaking of the 'story' of a musical piece. This book focuses on two examples of such conceptual mirror reflexivity: narrativity in jazz music and musicality in spoken theatre. These intermedial metaphors (...) are shown to be significant to the practice and reflection of performing artists through their ability to mediate holistic views of what is considered to be of crucial importance in artistic practice, analysis, and education. This exploration opens up possibilities for new theoretical and practical insights with regard to how the borderland between temporal art forms can be conceptualized. The book will be of interest not only to scholars of music and theatre, but also to those who work in the fields of aesthetics, intermedial studies, cognitive linguistics, arts theory, communication theory, and cultural studies. (shrink)

Through staged photographs in which she herself is often the lead actor or through appropriation of historical photographs, contemporary African American artist Carrie Mae Weems deconstructs the shaming of the black female body in American visual culture and offers counter-hegemonic images of black female beauty. The mirror has been foundational in Western theories of subjectivity and discussions of beauty. In the artworks I analyze in this article, Weems tactically employs the mirror to engage the topos of shame in order to (...) reject it as a way of seeing the self and to offer a new way of lovingly seeing the self. I use the work of Kelly Oliver, Helen Block Lewis, and bell hooks to articulate the relationships among the mirror, shame, and black female subjectivity in Weems's work. Weems's subjects often reckon with what Oliver calls “social melancholy” as they experience shame while standing before the mirror. However, Weems also shows that by looking again—a critical strategy I explain using Oliver's model of “the loving eye”—her subjects can use the mirror as a corrective to the social shaming gaze and make it a stage for establishing black female subjectivity, a gaze of self-love, and beauty. (shrink)

A groundbreaking approach to martial arts combining Self-Image Psychology and Qigong. Martial arts teacher Phillip Starr draws on more than sixty years of experience to introduce the Mirror Image Technique--a method that recognizes the reinforcing nature of body and mind. Our self-image expresses in how we stand, move, and hold ourselves in the world; and in martial arts, the way we move reflects the way we think on the mat, in practice, and when sparring. Here, Starr pulls from Self-Image Psychology (...) and Qigong to offer readers a unique set of physical exercises that can be applied to any martial art tradition--as well as our personal lives. Like two mirrors facing each other, the physical body both reflects and changes the mind, and vice versa: our physical movements become more than just the consequence of our intentions or thoughts. As we adjust the way we move, we adjust the way we think: about ourselves, our lives, and our environments. Unlike other self-help books that consider the mind as the sole gateway to change, the Mirror Image Technique shows that cognitive transformation starts with the body. Starr takes readers through: • Demonstrating key principles of Qigong with exercises like The Unbreakable Arm and The Unliftable Body • Improving your stance • Increasing your strike force • Insights into the mindset for breaking boards (tameshiwari). Intended to enhance growth and personal development, the techniques in Martial Arts and the Mirror Image lead to a renewal of confidence and enthusiasm for one’s particular practice. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

예술이 사회를 반영하고 비춘다는 예술이론은 현대 예술의 등장과 더불어 더 이상 지지될 수 없는 것처럼 여겨질 수 있다. 특히 현대 예술가들에서 현저한 기행적 행적이나 광인적 면모들을 생각해볼 때 사회를 올바르게 인식하고 판단하는 이성 능력이 결여된 광인들의 작업을 통해서 이러한 모방론은 견지될 수 없을 것 같다. 그러나 본 글은 모방론의 이데올로기적이고 교조적 측면에서 벗어나서 광기에 대한 프로이트나 푸코의 담론과 관련시켜 그것을 새롭게 해석하는데 그 목적이 있다. 현대예술과 관련하여 모방적 예술론을 폐기하거나 모방론에 근거하여 현대예술을 평가하는 태도에서 거리두기하기 위해서 매개적으로 중요하게 분석되고 있는 (...) 것은 데카르트적 코기토이다. 광인은 이러한 주체의 부정으로서 규정되기 때문에 이러한 근대주체의 상징적 구현으로서의 예술 개념과 양립불가능하나 현대 예술은 이 두 개념이 겹쳐지고 있기 때문이다. 따라서 광기와 예술의 상관성 문제는 근대 주체의 개념과 예술의 모방 개념 모두를 새롭게 할 수 있다. (shrink)

We humans have a formidable armamentarium of social display behaviours, including song-and-dance, the visual arts, and role-play. Of these, role-play is probably the crucial adaptation which makes us most different from other apes. Human childhood, a sheltered period of ‘extended irresponsibility’, allows us to develop our powers of make-believe and role-play, prerequisites for human cooperation, culture, and reflective consciousness. Social mirror theory, originating with Dilthey, Baldwin, Cooley and Mead, holds that there cannot be mirrors in the mind without (...) class='Hi'>mirrors in society. I will present evidence from the social and behavioural sciences to argue that self-awareness depends on social mirrors and shared experiential worlds. The dependence of reflectivity on shared experience requires some reframing of the ‘hard problem’, and suggests a non-trivial answer to the zombie question. (shrink)

Visiting a museum and seeing an original artwork can be a special experience. We use a survey and a set of hypothetical questions to explore how such experience would be affected by changes in how the artwork is seen. In a first study, participants imagined that they had travelled to see a painting that they particularly like. They discover that it is impossible to directly see the original painting. Three alternatives are offered: seeing an optical reflection (using a mirror), seeing (...) a video screening (a closed-circuit camera) or seeing a reproduction. In all cases it is made clear that the size, brightness, and resolution will match that of the original. In addition, these options could be within the same room as the original, in the room next door, or in a different building. Results show that physical distance did not affect significantly the responses. However, there was an overall preference for seeing a reproduction as opposed to an optical or digital image. Contrary to the idea that the original is always superior to a copy, many people felt that a direct view of a copy is a preferable experience than an indirect view. The second study was focused directly on the comparison between a mirror and a monitor. Here we highlighted the fact that for the mirror light coming from the mirror originated from the painting. Data were collected in Britain and in China. In both cases there was a clear preference for the mirror over the monitor. (shrink)

This article analyzes inscriptions cast on bronze mirrors of the Han dynasty to trace how the material property of brightness became emphatically aestheticized through an expressive rhetoric of radiance and brilliance, illumination and reflection. It argues that specular brightness as a defining feature of Han mirrors was exploited by artisans to attract potential buyers. In contrast to erudite philosophers who exclusively used the logograph ming 明 to modify the literary mirror in classical texts, artisans promoted their products by (...) featuring terms such as guang 光, zhao 昭, hui 輝, yao 耀, qing 清, and jiao 皎 in rhythmic proses of various lengths. Examining how artisans advertised their high-tin bronzes as embodiments of solar and lunar light, the study shows that specular brilliance was linked to a range of cosmetic, moral, and religious powers, from illuminating the individual and the physical world to revealing the invisible world, whether of human emotions or demons. The article further argues that the inscribed verses, while often formulaic and clichéd, were neither mere decorations nor generic blessings. In fact, they meaningfully structured and communicated a particular aesthetic appreciation shared by both Han artisans and users. This well-developed semantic fascination with specular brightness thus marks these metal discs as a distinctive genre of the decorative arts in early imperial China. (shrink)

By juxtaposing issues and problems, Donald Preziosi's latest collection of essays, In the Aftermath of Art , opens up multiple interpretive possibilities by bringing to the surface hidden resonances in the implications of each text. In re-reading his own writings, Preziosi opens up alternatives within contemporary discourses on art history and visual culture. A critical commentary by critic, historian, and theorist Johanne Lamoureux complements the author's own introduction, mirroring the multiple interpretations within the essays themselves.

"All life upon the stage"; the Theatrum Mundi. In this volume, a seventeenth century metaphor is revisited and is seen as applying to all art in all times. In the "magic mirror of art" the human being discerns the hidden spheres of human life and commemorates and celebrates its glorious victories and mourns its ignominious defeats. Let us rediscover Art as a witness to the human predicament as well as a celebrant of humanity's most sublime moments. This is the invitation (...) of this collection of studies by A-T. Tymieniecka, Hanna Scolnicov, Muella Erkilic, Matt Landrus, Patricia Trutty-Coohill, Monika Bakke, David Brubaker, Tammy Knipp, Howard Pearce, Ellen J. Burns, G. Backhaus, Ethan J. Leib, Lawrence Kimmel, Ingrid Scheibler, Gottfried Scholz, L.F. Werth, A. Carillo, M. Statkiewicz, K. O'Rourke, B. Meyler, H. Meltzer, Jiuan Heng, W.V. Davies. Art as mirror of life, human life as participating in a stage play, corresponds to the fervent search human being of the causes, reasons, puzzles of our existence which elude us in the concrete life. This XVII c. conception of Theatrum Mundi opens as this volume shows a fascinating field of investigation for our times. (shrink)

Current research in human–robot interaction often focuses on rendering communication between humans and robots more ‘natural’ by designing machines that appear and behave humanlike. Communication, in this human-centric approach, is often understood as a process of successfully transmitting information in the form of predefined messages and gestures. This article introduces an alternative arts-led, movement-centric approach, which embraces the differences of machinelike robotic artefacts and, instead, investigates how meaning is dynamically enacted in the encounter of humans and machines. Our design approach (...) revolves around a novel embodied mapping methodology, which serves to bridge between human–machine asymmetries and socioculturally situate abstract robotic artefacts. Building on concepts from performativity, material agency, enactive sense-making and kinaesthetic empathy, our Machine Movement Lab project opens up a performative-relational model of human–machine communication, where meaning is generated through relational dynamics in the interaction itself. (shrink)

Notwithstanding Plato’s venerable opinion, many people nowadays claim either that mirrors are not pictures, or that, if they are such, they are just transparent pictures in Kendall Walton’s sense of a particular kind of picture. In this article, however, I want to argue that mirrors are bona fide pictures. For they are grasped via what, as I assume in the article, makes a picture a picture, that is, a representation with a figurative value, namely, a depiction; namely, a (...) certain seeing-in experience. This is the sui generis perceptual experience that Richard Wollheim originally appealed to. Once this experience is suitably reconceived, one can show how it successfully applies to mirrors as well, in order to prove that they are bona fide pictures. From an aesthetical point of view, this is an important result. For it shows that the class of pictures is broader than what people nowadays think and is closer to the original intuition sustaining Plato’s opinion. (shrink)

This paper deals with an approach to the integration of science (with technology and economics), ethics (with religion and mysticism), the arts (aesthetics) and Nature, in order to establish a world-view based on holistic, evolutionary ethics that could help with problem solving. The author suggests that this integration is possible with the aid of “Nature’s wisdom” which is mirrored in the macroscopic pattern of the ecosphere. The corresponding eco-principles represent the basis for unifying soft and hard sciences resulting in “deep (...) sciences”. Deduction and induction will remain the methodology for deep sciences and will include conventional experiments and aesthetic and sentient experiences. Perception becomes the decisive factor with the senses as operators for the building of consciousness through the subconscious. In this paper, an attempt at integrating the concepts of the “true”, the “right” and the “beautiful” with the aid of Nature’s wisdom is explained in more detail along with consequences. (shrink)

Indigenous-led activism against proposed oil pipelines has relied heavily on social media, as in the #NoDAPL campaign against the Dakota Access Pipeline. This paper explores affective engagement in online activism, including the Standing Rock ‘check-in’ campaign on Facebook. Moving beyond dichotomous understandings of embodied vs digital activism, Cannupa Hanska Luger’s Mirror Shields Project employs digital media in order to support direct action at Standing Rock. Patricia Clough draws a direct link between affect and technoscientific understandings of the body in her (...) concept of biomediated bodies. This helps explain how physical and digital activism are linked: the digital and the physical cannot be understood as independent of each other, since online engagement always has an embodied aspect as well. Luger’s Mirror Shields Project functions as a form of alterlife, in resistance to biopower, recognizing historical and ongoing harms while also creating new possibilities for resistance. (shrink)

The ability to look at one's face in the mirror and the ability to find one's self in the mirror are two quite different things. The former is a natural capacity that humans share with other animals; the latter is an acquired skill that only humans can master. The craft of mirror-gazing,despite its relevance to daily life is barely understood. An Anthropological Guide to the Art and Philosophy of Mirror Gazing provides a metaphysical manual to understand it. The book is (...) written from a cross-disciplinary and object-based perspective. The role of the mirror as a technology of self-objectification is explored through various case studies of cultures such as the Buryats of Eastern Mongolia. By using various anthropological examples, Koukouti and Malafouris survey and reflect on the structures and experiences of consciousness that underpin the specular image and the different meanings of the self. By combining metaphor, comparison and estrangement - where what was thought of as natural is seen as deliberately caused and altered - this book weaves together ethnographic description and philosophical analysis with empirical examples and experimental studies that allow the reader to think about the world and their subjectivity a bit differently. (shrink)

Art, Mimesis and the Avant-Garde explores the relationship between art and philosophy. Andrew Benjamin argues for a reworking of the task of philosophy in terms of the centrality of ontology. It is in relation to this centrality, understood through the differences between modes of being, that art, mimesis, and the avant-garde come to be presented. A fundamental part of this book is the original interpretations of important contemporary painters and their themes: Lucian Freud's self-portraits, Francis Bacon 's use of (...) class='Hi'>mirrors, R. B. Kitaj and Jewish identity, Anselm Kiefer and iconoclasm. Apart from painting, Benjamin considers architecture, literature, and the philosophical writings of Walter Benjamin and Descartes in elaborating the various aspects of ontological difference. Benjamin develops the theory of the avant-garde as a philosophical category rather than a historical marker, thus bringing the worlds of contemporary art criticism and contemporary philosophy closer together. (shrink)

In his late lectures at the Collège de France, Foucault underpins the pre-eminence of art as the modern site of parrhesia. He omits, however, the aesthetic question: how does parrhesia work through art? A compelling question, firstly, because “truth-telling” seems to be at odds with art as an imaginative process. Secondly, because parrhesia implies a transformation in the listener, while Foucault’s limited notion of discourse precludes transformation beyond discourse. This essay hypothesizes that parrhesiastic art effects a transformation in the imagination, (...) without dismissing this transformation as unreal. As Foucault’s utterances about the imagination are restricted to his earliest publications, this essay features a combined reading of Foucault’s early and late discussions of art. To further analyze the elusive role of the imagination in the late discussions, the essay employs the Deleuzian notion of “dramatization”, an epistemological method that draws on the imagination to escape representational thought. The essay thus aims to demonstrate that parrhesia mirrors the artwork in its intuitive and dynamic relation to truth. Subsequently, it argues that Foucault and Deleuze, respectively proceeding from a limited and an unlimited mode of thinking, come infinitely close in their thinking of art. (shrink)

An internationally funded project uses a computer system to bring dead philosophers of technology back to life (a more advanced technology from Be Right Back). The purpose of the project is to get the thinkers to interact and come up with solutions for our currently troubling relationship with technology. The participants in the conversation have been programmed to accurately represent a relevant thinker. The programming consisted of uploading the complete works of the thinker and they have viewed all episodes of (...) Black Mirror. (shrink)

Mirrors for princes, in general, give advices to the rulers about the subtleties of political art. Another aim of these books is to define and explain the administration of the state and the duties of rulers based on experience. In consequence of this they reflect the practical ethics of the period in which they were written. As such, they resemble practical handbooks written for rulers. Another point regarding the mirrors for princes works in which the political understanding of (...) the era can be observed is that they generally use sacred texts in order to prove the political legitimacy or invalidity of the power, as well as the rightfulness or the unlawfulness of the claims to the throne. Evidences from the Qurʾān and the ḥadīth literature was almost always used to support such advocated opinions. In fact, during the Middle Ages when religion and politics were considered coupled, it was unthinkable that religious elements should not be included in the works of state administration. The important point here is that the verses and ḥadīths were sometimes removed from their contexts and interpreted and explained in a way to support the ideology of the author or the ruler whom the author presented his work. In this study, we will try to reveal the subjects in which the verses and ḥadīths used in the mirrors for princes, which is a genre that has emerged within the Islamic culture and civilization. Thus, we aim to prepare a background for the future studies, which will focus on a specific verse or ḥadīth.Summary: The first political splits in Islamic history occurred immediately after the death of prophet Muḥammad. These differences were resolved by the agreement of the majority of Muslims on Abu Bakr's name. Until the second half of the rule of the third caliph ʿUthmān, Muslims came together around the unifying power of the idea of conquest. Nevertheless, substantially as a result of economically based problems the period of tranquility in Islamic society came to an end and was replaced by disputes. Disputes turned into conflict and ultimately seperation fused with the massacre of ʿUthmān in the capital Medina turned into a big fire with the Battles of the Camel and Ṣiffīn, the emergence of Khārijīs, the formation of the Shia and the deepening of the intellectual divisions after the all of these. Islamic history has witnessed a clash of different religious views and beliefs. along with deepening of intellectual disagreements as a result of political debatesIn the Islamic political thought, especially the first two centuries process was formed around the views of the jurists, muḥaddiths and theologians. The first sources used by those who tried to justify their opinion in the differences of opinion experienced during this period were the Qurʾān and ḥadīth literature which Muslims accepted as the determining factor in all their acts. The views based on the Qur'an and the hadiths, which are the two main sources of Islamic religion, had been used to influence the people, legitimize the actions and refute the claims of the opponents. On the other hand the sort who gave direction to political thought changed and political thought adhered a new path with Turks and Persians served as bureaucrats and soldiers and took an active position in the state. Especially Persians carried the culture of advice to Islamic thought, which is the product of both Greek and Hind civilization. Such books had brought in the İslamic society with translation movements began in the Umayyad period and peaked with the Bayt al-Ḥikma in the Abbasid period. Together with these books, the ideas of these civilizations on ideal state administration, politics and morality were recognized by Muslim scholars.These type of works, which are famous in terms of Islamic thought as mirrors for princes, have been written by Muslim scholars since the middle of the eighth century. Mirrors for princes are political, moral and religious content books that gives the rulers practical advice to maintain their power in accordance with the religious orders and prohibitions, and to the consent of Allāh’s who grant them this authority and people which appointed for their administration. Mirrors for princes are mostly theoretical books since they are mostly focused on what should be. In addition, since they are written for names that currently hold power, they are centered on how the rulers can maintain and increase their power and with which practices the state will maintain its existence for a longer period. The basic point of political thought and political interpretation are concepts and definitions. When the concept meaning of a word is mentioned, it is generally considered that there is a general definition. However, the concepts reflect the meaning that the user assigns to him in the context of his thoughts, perceptions, criticisms, explanations and analyzes. Concepts such as fair, honest, brave, hero, beautiful, rich, good and clean express what the person imposes on the meaning. In other words, everyone’s experience determines the content of the concept so far. The meaning of the concepts varies with the age and its user of that concept. Even concepts such as justice, merit and consultation can change meaning in different periods and geographies. The concepts, which are often used to facilitate understanding, are sometimes used to judge, to mold or mislead the interlocutor. In this context, it is imperative to enter the mind of the user in order to make concept analysis.In Islamic civilization, the principles of management are explained with concepts. The idiosyncrasies that Muslims expect from an ideal ruler are defined as justice, consultation, merit, trust and legitimacy and a broad corpus has been written about the concepts related to the administration, especially those mentioned. One type of this corpus is mirrors for princes.In Islamic history, there are many Mirrors for princes who are written in different time periods by names coming from different geographies and different backgrounds. Although the advice given in Mirrors for princes indicate a great similarity to each other, the preferred arguments and examples in the foundation of the counsel are different. While the persons in active politics mostly based their opinions on political arguments, scholars with scientific tradition supported their advices with religious arguments.Verses are the leading religious elements highlighted in Mirrors for princes. While explaining the concepts and emphasizing the importance of the advices, many verses have been exploited. Some verses are used only by one author, while some verses are the subject of their work by many authors. In the same way, ḥadīths and the sentences accepted as ḥadīths were also used to reinforce the emphasis and meaning. At this point, sometimes the context of the verses and ḥadīths were not taken care of. In this study, we aim to address the use of religious elements.In the literature, different opinions have emerged about who is ülü’l-emr and the limits of obedience to ülü’l-emr that used describe the names of senior executives and leaders of society. The reason for the difference is that each sect or religious school provides an interpretation on the basis of grounding its own views in explaining the verse. Justice is the most emphasized concept among the advices given to the rulers in mirrors for princes. Justice, which is shown as the most important feature of a sovereign, has been regarded as extremely important for the state to existences until the Doomsday. In addition, justice has been described as the most important condition for the maintenance of the state/sovereign authority. Consultation was important to make the right decision.Verses and ḥadīths were used in the explanations about the personal characteristics of the sovereign. Some features such as being compassionate, keeping promise, controlling anger, patience, honesty, blessing, extravagance, self-esteem, break a promise, revoke a promise and arrogance have become the subject of politics. When the mirrors for princes are considered as a whole, it is seen that religion and state are considered as inseparable twin brothers, taken one step further the understanding that accepts religion and the world as brothers especially is a product of the old Persian tradition. In this understanding, religion was accepted as the root and was given the duty of its patronage to political authority. It is seen that in the Mirrors for princes verses and ḥadīths hold a significant amount. As the reason for this can be said that along with religion takes place on the basis of morality, the authors of the Mirrors for princes, which put deep meanings on the relationship between religion and the state in the period that we are dealing with, consider both institutions to be complementary and integrative. (shrink)

Večina slikovnih koncepcij boleha za tem, da začenjajo previsoko, namreč na ravni slikovnih del in slikovnih medijev. Zaradi tega pri doživljanju slike nismo pozorni na razpoke in brezna. Ta očitek zadeva tako filozofske teorije slike kot tudi umetnostno teorijo, umetnostno zgodovino in muzejsko prakso, ki se ne zna več čuditi temu, da obstaja nekaj takega kot slike. Naslednji razmisleki se vrtijo okoli geneze slike, ki omogoča vdor v zaprtost nekega v lepi ali nič več lepi videz ujetega estetskega sveta, tako (...) da se sprostijo tako pred- kot tudi post-estetski motivi umetnosti. Umetnost terja genealogijo, ki bo enakovredna Nietzschejevi genealogiji morale ali Husserlovi genealogiji logike.The majority of pictorial conceptions are troubled by starting from too high a level, namely from the level of fine-art works and fine-art media. This is why we are likely to fail to notice crevices and chasms. This reproach is directed both at philosophical theories of the painting and at art theory, art history and museum practice, which is no longer able to express wonder at the sheer existence of the painting. The following reflections tackle the issue of the genesis of the painting, which enables us to penetrate into the closed sphere of the aesthetic world as caught in the beautiful, or no longer beautiful, appearance, and thereby sets free pre- as well as post-aesthetical motives of art. Art demands a genealogy on an equal stand with Nietzsche’s genealogy of morality or Husserl’s genealogy of logic. (shrink)

Introduction. Dying to see -- The anthropomorphic image : negotiations of space between body and landscape -- The imperfect replica : departures and arrivals from Naples to Nagasaki -- The visionary image : the return of the image from Brazil to Rome -- The utopic image : unsettling circuits between Chile and Rome -- Epilogue : The proliferation of the body : Francis Xavier in Goa.

Observational drawing provides a means of focusing on anomalous infant bodies. Time required by drawing connects the artist to the humanity of the subjects rather than to the deformities that make them, initially, frightening.

In lieu of an abstract, here is a brief excerpt of the content:A Still Life Is Really a Moving LifeThe Role of Mirror Neurons and Empathy in Animating Aesthetic ResponseCarol S. Jeffers (bio)IntroductionIn the Western aesthetic canon, the still life enjoys a certain prestige; its place in the museum and on the pages of the art history text is secure. Art aficionados who appreciate the character of Cezanne's apples help to ensure the lofty standing of the still life, as do (...) students who admire the dewdrops still glistening on flowers picked and painted in the nineteenth century. For some students, however, it is difficult to understand such veneration. Despite the coaxing of dedicated art or museum educators, these students find apples nestled among drapery folds or translucent petals in a spring bouquet to be "boring." No matter how compelling the apples, how exquisitely rendered the blossoms, the still life is much too static, offering little more than the lifelessness of inanimate objects.In my experience, even the most unappreciative of students can be persuaded to take a closer look at the inanimate—not by me or any strategies I may have devised but rather by classmates who have chosen still life paintings to serve as their personal metaphors. When shared during the courses I teach, these still lifes and their depicted objects acquire special meanings that are uniquely associated with the individual students who chose them. Reflecting on these class presentations, converted students offered these thoughts: "I related myself with the metaphors and the way my classmates felt"; and "What really stayed with me were the stories and the way my classmates connected with their paintings—how they connected to the art emotionally." Still another wrote: "I really liked the way their presentations went because I got to know [my classmates] a little bit more." Through these connections to still life and other genres, students explored [End Page 31] their concepts of self within a community of others and began to experience the power of empathy.Empathy, typically defined as "the intellectual or emotional identification with another,"1 is a human capacity that, according to the noted neuroscientist Vittorio Gallese, allows us to understand the world of objects as well as the world of others.2 With the recent discovery of the mirror neuron system in the human brain, Gallese and other investigators around the world have identified the neurological basis of empathy.3 Subsequent studies of the remarkable properties of mirror neurons have yielded potent new understandings of the connections between empathy, objects of art and material culture, and intrapersonal relationships among human beings. Interestingly, these twenty-first-century findings tend to confirm a nineteenth-century connection between aesthetics and empathy, or more precisely, Einfuhlung ("in-feeling," or "feeling into"), a term coined by the philosopher Robert Vischer in 1873 to describe the projection of human feeling onto art objects.4 As Vischer himself described this phenomenon, "I transport myself into the inner being of an object and explore its formal character from within, as it were."5These insights, whether gained through the use of state-of-the-art brain imaging technologies or dusty volumes in a German library, have led Gallese to consider some interesting implications, such as, for example, those involving the still life—its bottles, apples, even its brushstrokes—and to claim that "a still life is really a moving life" when understood from the perspective of neuroscience.6 To explore this claim and its relevance to classroom and museum practices, this article examines the relationship between mirror neurons, empathy, and aesthetic response as it developed among preservice teachers who presented metaphorical works of art in two teacher education courses. A brief synopsis of research results highlighting the workings of the mirroring mechanism is presented and then applied to two student presentations: one given by Molly about Cezanne's Still Life with Apples (1893-94) and the other by Deborah about Fantin-Latour's White and Pink Mallows in a Vase (1895). The stories told by Molly, Deborah, and their classmates allow additional insights with implications for art and museum education.Mirror Neurons: Some Research ResultsSome fifteen years ago, what Gallese characterizes as a "strange class" of neurons was discovered, first... (shrink)

ABSTRACTHow can violence as evil be represented in art and what do works of art evoke in the viewer? Two closely related questions on the representation of violence as evil are discussed. The first is whether there is an ethical limit to the representation of evil, that is, the issue posed with respect to the possibility of Holocaust art. Works by Anselm Kiefer are compared to Holocaust art in the exhibition Mirroring Evil: Nazi Imagery /Recent Art. The second question concerns (...) the difference between art and life with respect to the representation of evil. Bin Laden’s live image of 9/11 is compared to Richter’s painting September. The former is life as a reality show; Bin Laden’s image can petrify the viewer. The latter is art, and Richter’s style of blurred realism distances the viewer from the event so that he can arrive at a moral and political position regarding terrorism. (shrink)

Opera is a performing art in which music plays the leading role, and the acting of singers has a synergistic effect with the music. The mirror neuron system represents the neurophysiological mechanism underlying the coupling of perception and action. Mirror neuron activity is modulated by the appropriateness of actions and clarity of intentions, as well as emotional expression and aesthetic values. Therefore, it would be reasonable to assume that an opera performance induces mirror neuron activity in the audience so that (...) the performer effectively shares an embodied performance with the audience. However, it is uncertain which aspect of opera performance induces mirror neuron activity. It is hypothesized that although auditory stimuli could induce mirror neuron activity, audiovisual perception of stage performance is the primary inducer of mirror neuron activity. To test this hypothesis, this study sought to correlate opera performance with brain activity as measured by electroencephalography in singers while watching an opera performance with sounds or while listening to an aria without visual stimulus. We detected mirror neuron activity by observing that the EEG power in the alpha frequency band was selectively decreased in the frontal-central-parietal area when watching an opera performance. In the auditory condition, however, the alpha-band power did not change relative to the resting condition. This study illustrates that the audiovisual perception of an opera performance engages the mirror neuron system in its audience. (shrink)

The way that Metaphysics as a Guide to Morals begins may seem perplexing since it does not state in a clear way what the aims and purposes of the book are, nor does it say anything about methodology. This chapter aims to show how this peculiar opening, rightly understood, functions as an entrance to an understanding of the book as a whole, and to make clear why the opening chapter’s focus on the concept of art is the right place to (...) start. Murdoch’s view of metaphysics is that we are always guided by a worldview, i.e. by unified images that are historical and changing. Art functions as a mirror of its time that help to bring the background of our lives and thoughts into view. (shrink)

There has long been a curious fascination with eyes and mirrors as evident throughout art, film, and literature. From fantastical characters who shoot lasers from their eyes to those whose memories are altered visually, the way in which a story portrays the function of the eyes demonstrates the way the storyteller imagines the character's relationship to the world. Is the character powerful or powerless? Does she impact her world or is she impacted by that world? The storyteller's portrayal of (...) vision answers those questions and reveals deeper assumptions about the individual and her ability to move within and to know her world. While eyes are associated with interacting with this world, mirrors are distinctly associated with interacting with some other world. Mirrors function as portals to other worlds, windows that glimpse an alternate reality, or harmful traps that hide sinister intentions. How an author portrays eyes reveals how she understands the world, while how she portrays mirrors reveals how she imagines the unknown. (shrink)

Analyzing Montaigne's triptych painting, “Of the Education of Children,” reveals a series of ever-morphing, Dorian Gray–like canvases that depict metaphor mutations through which Montaigne defined education by distinguishing between schooling a child into a learned man and educating him into an able, active, and gentle person. Montaigne used metaphor and metaphor clusters to image key points in his educational philosophy, advanced his argument by intertwining, transmuting, and inverting metaphors, and thereby drew and vividly painted his philosophy of how to educate (...) a person from cradle to coffin. Because the etymology and pronunciation of “essay” (from the French essai) support Montaigne's imaging and exploiting of this genre's creative potential, Virginia Worley begins by considering the term's etymology before positioning her analysis of Montaigne's work within metaphor research. She then examines the metaphors Montaigne used to paint the triptych word painting that embodies his philosophy of education: the meaning and value of educating in and for the art of living well. (shrink)

Arguments over the value of ‘extreme music’ and the use of highly controversial imagery within these genres have existed since its inception. Detractors claim that using extreme imagery such as fascist symbols, pornography and racially charged photographs inherently promotes the corrosive ideologies behind these images. Some purveyors of extreme music disagree, arguing that musicians use these images to explore humanity’s darker elements which, in turn, allow audiences to better understand these problematic aspects of modern society. When played out within underground (...) music communities, these arguments often devolve into name calling and accusations of censorship. However, by addressing extreme music on its own terms and critiquing the effectiveness of these genres, a more nuanced understanding of the issues intrinsically embedded within extreme music emerges. In this article, I employ this approach by exploring the music and imagery of power electronics band Whitehouse and argue that the ambiguous nature of their work partially mirrors the intention behind Paulo Freire’s concept of codifications. While this notion provides some defence for extreme music more broadly, the lack of venues that promote communal explorations of these images hinders the genre’s ability to achieve its own goals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Theoretical Remarks on Combined Creative and Scholarly PhD Degrees in the Visual ArtsJames Elkins (bio)The PhD in visual arts is inescapable: it is on the horizon. In just a few years, there will be a number of such programs in the United States, and if the trend mirrors the expansion of MFAs after the mid-1960s, then in a few decades the PhD will be the consensus "terminal" degree (...) for artists. Given that, it is pressing to consider how the degree might be theorized. In Australia and the United Kingdom, where the degrees already exist, their growth has been dictated in large measure by the existing educational structures and by the inevitable quest for funding. (In the United Kingdom, university departments get a disproportionate increase in their funding if they offer doctorate programs, and the same pattern occurs in state schools in America.) As a result, existing programs simply grow by exonomic necessity or opportunity, and so far they have not been well theorized apart from models already in use elsewhere in the university. Private universities and art schools in the United States are therefore well positioned to rethink the conceptual foundations of combined studio and scholarly PhDs, because they are largely freed of the temptation of increased funding and the obligation to fit the new programs into existing structures. In this essay, I propose eight configurations that such degrees might take. I close with three general observations about the future of such programs.Three pieces of background are necessary as introduction. First, the School of the Art Institute, Chicago, where I teach, is currently running an four-year undergraduate major in visual studies. Soon we will be expanding it into an MA and, in a few years, a PhD. At the BA level our program already has a large studio component. For that reason we have been looking at programs that offer comparable combinations of creative and scholarly work at the PhD level. Our own program, we hope, will be a place [End Page 22] where the possibilities of other programs can be kept open and continuously questioned.Second, this essay was originally a reader's report for a creative-arts PhD thesis called "Beyond the Surface: The Contemporary Experience of the Italian Renaissance," written by Jo-Anne Duggan for the University of Technology, Sydney. In fall 2003 Duggan was a candidate for the "DCA," Doctorate of Creative Arts." She is a photographer, and her special interest is photographing inside museums; her thesis explores the history and theory of that practice. The report I wrote for her was the basis of this essay, because I found that her thesis is a mixture of what I think are the eight principal possibilities for combining PhD-level scholarship and creative work.Third, this essay is the outgrowth of several colloquia that have been held at the College Art Association and at the Association of Independent Colleges of Art and Design/National Association of Schools of Art and Design (AICAD/NASAD) conferences (organizations of art school administrators). These ad hoc forums have been, so far, the only places where the new programs have been debated. I hope this essay can contribute to a more detailed discussion.Here are the eight configurations. The first five are (or will be) common, and the last two are rare but preferable.1. The thesis is art history, intended to inform the art practice. The most obvious relation between scholarship and creative work is that the former informs the latter. The artist positions her scholarship so that it supports her art practice. Within this possibility, perhaps the most common option would be to write an art historical thesis, covering the history of practices that lead up to the writer's own practice. Among the advantages would be that, in theory, the candidate would be able to go on to teach in a department of art history. In terms of her practice, the idea would be that historical knowledge strengthens art practice: a debatable point, if only because so many artists have done so well by ignoring or distorting the relevant history. In Canberra in summer 2003, I met a recent PhD whose thesis was on... (shrink)

Of all Wagner's operas, the Tetralogy has a special status. Indeed, beyond the myth related by the plot, the four operas it comprises also contain the presentation of a myth of the origin of music and the total work of art. The latter is based on an androgynous myth uniting poetry and music, seen respectively as the incarnation of male and female principles, symbolized by the different characters – Siegfried, Brünnhilde, Fafner, Mime – who are all tied up with androgyny. (...) The theme appears both in Wagner's theoretical writing penned around 1850 and between the lines of the libretto of the Ring, which concludes with the impossible reunification of the sexes on the Platonic model. Nevertheless, even if biological androgyny belongs to the world of utopia, the creative artist does have the opportunity to bring together the opera's two sexualized components, music and poetry, and thus produce the total work of art that Wagner aspired to. (shrink)

This paper explores an analogy between two approaches to teleology in nature and two theories of authorship. I argue that Spinoza’s attempt (as Kant criticizes it in the Third Critique) to explain all natural unity, and explain away apparent teleological unity, in terms of inhering in the same subject (God) or proceeding causally from God’s essence mirrors the view Proust lays out in the essay “Gustave Moreau” that the features of a work of art are unified in virtue of (...) occurring together in, and proceeding from the laws of, the artist’s inner soul. Meanwhile, the strategy Kant favors for understanding interdependent natural systems like organisms—provisionally considering them as purposively designed—resembles the one Alexander Nehamas recommends in “The Postulated Author” (1981) for interpreting a work of art: imagining the agent who could have intended all its features. I propose that this analogy sheds light on the unity of the two parts of the Third Critique by pointing to the similarity between interpreting beautiful objects and interpreting nature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.1 (2005) 77-92 [Access article in PDF] Art and the Teaching of Love Didier Maleuvre Art is rightly thought to be the domain of expression and illusion. It is expression because every work of art, however stone-faced or impersonal in aspect, is the product of human intention. And it is illusion because, however concrete, vivid, or raw, it holds up only images. These two (...) points — that art is expression and fiction — are deeply entrenched in the modern understanding of art. They are the twin pillars of our aesthetics.In the following I wish to argue that this focus on the expressive and the representative eclipse the most important dynamic of art — what I propose to call the communicative and the iconoclastic. By the former, I mean that art is primarily, not a subjectivity giving shape to a private vision, but a form of sanctifying the human conversation, that is, the encounter between subjectivities; by the latter, I mean to suggest that art is an image that paradoxically strives to go beyond the realm of images. On this account we will see that an image is artistic to the extent that it breaks through representation.Briefly put, art has a destination beyond itself. One should not imagine, as postmodernism ruled ex officio, that the essence of art is formal or social self-reflectivity. Certainly, self-mirroring occurs in art, but no more or less than in any act of intelligence. Moreover, it is not enough to affix tokens of self-consciousness onto an object to turn it into art. The aim of art is not art. Its destination is elsewhere; its aim is reality encountered and lived with.And the vehicle by which art travels into reality is not just skill, insight, knowledge, or intelligence. It is love. To defend these two propositions will be the gist of the following essay.The aim of education is rightly thought to be knowledge of the world. Knowledge, however, is of two kinds: one is concerned with storage of facts, the other with modes of relating to the world. The first is a technical pursuit; the second, moral practice. The sort of education fostered by art clearly belongs with the second sort. Art is less concerned with delivering [End Page 77] information about the world than teaching us about how to stand in relation to it, how to find our place in it, and live with it: through art we do not seek to master the world so much as become its denizens. It is a teaching of love. Art, Mind, and Reality Now, the idea that art is religious embrace of reality runs against a powerful philosophic doctrine: the idea, known as subjectivism — that the human mind is kept from reality by its own knowledge of reality. We perceive reality only through mental representations. I see a tree, I hear laughter, I taste tea. When my mind alights on these objects, they have already been retouched and recomposed by my senses. By the time I am aware of them, I have reordered the perceptual datum into the concepts of "tree," "laugher," "tea." So we really deal with conceptual images of things, even when those things fall on our head like rain, or trip us like an untied shoelace.Subjectivism takes art to be proof of its doctrine. No two artists have transposed the same landscape or object in exactly the same hues and forms. Monet may have wanted to put in his paintings only what the retina mirrored; still, in the end he painted like no other before him and an indisputable infusion of the Monet personality stamps his paintings. Likewise there is a Titian "take" on reality that is not Rubens's, a Constable way of painting gray watery skies that is not Corot's, or again a Twombly way of rendering the four seasons that is nothing like Vivaldi's. This, then, should be where art's commitment to reality expires — on the evidence that no two artworks have ever been able to... (shrink)