Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)
With _Relationscapes_, Erin Manning offers a new philosophy of movement challenging the idea that movement is simple displacement in space, knowable only in terms of the actual. Exploring the relation between sensation and thought through the prisms of dance, cinema, art, and new media, Manning argues for the intensity of movement. From this idea of intensity--the incipiency at the heart of movement--Manning develops the concept of preacceleration, which makes palpable how movement creates relational intervals out of which displacements take (...) form. Discussing her theory of incipient movement in terms of dance and relational movement, Manning describes choreographic practices that work to develop with a body in movement rather than simply stabilizing that body into patterns of displacement. She examines the movement-images of Leni Riefenstahl, Étienne-Jules Marey, and Norman McLaren, and explores the dot-paintings of contemporary Australian Aboriginal artists. Turning to language, Manning proposes a theory of prearticulation claiming that language's affective force depends on a concept of thought in motion. _Relationscapes_ takes a "Whiteheadian perspective," recognizing Whitehead's importance and his influence on process philosophers of the late twentieth century--Deleuze and Guattari in particular. It will be of special interest to scholars in new media, philosophy, dance studies, film theory, and art history. (shrink)
Prelude -- What moves as a body returns as a movement of thought -- Introduction: Events of relation : concepts in the making -- Incipient action : the dance of the not-yet -- The elasticity of the almost -- A mover's guide to standing still -- Taking the next step -- Dancing the technogenetic body -- Perceptions in folding -- Grace taking form : Marey's movement machines -- Animation's dance -- From biopolitics to the biogram, or, how Leni Riefenstahl moves (...) through fascism -- Of force fields and rhythm contours -- Relationscapes : how contemporary Aboriginal art moves beyond the map -- Constituting facts : Dorothy Napangardi dances the dreaming -- Cornering a beginning -- Conclusion: Propositions for thought in motion. (shrink)
This article focuses on the arguments that Arthur Danto has advanced for alleging that the developmental history of art is over. The author is skeptical of Danto's conclusion and maintains that Danto has failed to demonstrate that art history is necessarily closed. The author also contends that Danto's end-of-art thesis is better construed as a specimen of art criticism than as an example of the speculative philosophy of art history.
Explores painting as a form of communication through a language of aesthetics. Concludes that successful paintings teach viewers something about their own world, rather than about the ideas or the techniques of the artist, and that such learning should be effortless and intuitive. Annotation copyright by Book News, Inc., Portland, OR.
This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general introduction and the introductory essays for each selection, which make this volume an invaluable aid to the study of the powerful, recurrent ideas concerning art, beauty, critical method, and the nature of representation. Because this collection makes clear the ways in which the philosophy of art relates to and is (...) part of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism. (shrink)
ABSTRACTConcepts are traditionally pictured as discrete containers that bring together objects or qualities based on the possession of shared, uniform properties. This paper focuses on a contrasting notion of the concept which holds that concepts are defined by their capacity to reach out and connect with other concepts. Two theories in recent continental philosophy maintain this view: one from Ricoeur, the other from Deleuze and Guattari. Both are offered as attempts to bring art and philosophy into relation, but (...) they differ over how the process of connection is theorized. With Ricoeur, a concept is only a concept if it is inherently predisposed to connect with others, and open to being misapplied through metaphor, whereas, with Deleuze and Guattari, connection is left as the general notion of each and every concept being mutually consistent with other concepts, with the consistency attributed to the external action of “bridging.” The author demonstrates the impact of this difference on how the philosophers perceive the art–philosophy relation, and argues that Ricoeur is better placed to provide a theory of philosophical discourse that is open to the aesthetic. Ricoeur can show it through metaphor, while Deleuze and Guattari can only assert or state an art–philosophy relation through a series of technical claims. The significance of the showing–saying distinction is that it can demonstrate the depth with which conceptual connectivity is located within the philosophers’ respective ontologies, and can help to reveal the value of conceptual connectivity for that ontology. (shrink)
The identification of a post-modern art requires the determination of its implicit patterns of signification, as is the case with the modern art’s patterns of signification. In fact, the mere formal and stylistic analyses are not able to distinguish the post-modern art from the modern art. Actually, the specificity of minimalist and post-minimalist sculpture is founded on a phenomenological interpretation of subjective aesthetic experience and on a phenomenological interpretation of significance. In other words, this phenomenological interpretation gives a positive content (...) to the concept of post-modern art. (shrink)
It is a philosophical commonplace to juxtapose logic and imagination, reason and sensibility, the concept and intuition, philosophy itself and art. Frequently these pairs are thought of as opposites, one mediated through abstract reflection, the other a more intimate participant in the given of concrete existence. Philosophy does not always come off uncriticized in this opposition. Its reflective, analytical impulse is often thought to abstract us, remove us from the concretely real. Art, by contrast, it is said, serves (...) to keep us closer to the particularities and richness of the concrete, and so to be justified in the greater immediacy of its appeal. (shrink)
Only what has no history is definable.He who fights with monsters should look to it that he himself does not become a monster. And when you gaze long into an abyss the abyss also gazes into you.We enter the silence, go inward, attend to feelings and to the inner cenote, the creative reservoir where earth, female, and water energies merge. Through our artworks we cross the border into other subjective levels of awareness, shift into different and new terrains of Mestizaje.Some (...) who engage in liberatory philosophy often desire to go beyond—beyond racism; beyond sexism; beyond colonialism; beyond moral hierarchies; beyond entrenched, static presuppositions and values; beyond the restrictions of languages, with their... (shrink)
What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a (...) wealth of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium. (shrink)
Created at the behest of the abbess Uta, it is not only one of the most beautiful of Ottonian manuscripts but also one of the most complex. The collection of liturgical readings is preceded by four full-page frontispieces illustrating the Hand of God, Uta dedicating the codex to the Virgin and Child, a Crucifixion, and Saint Erhard celebrating Mass. Four evangelist portraits accompany the readings from each Gospel. In this groundbreaking study, Adam Cohen provides comprehensive explications of the codex’s renowned (...) illuminations as well as the first thorough investigation of its historical context. Cohen shows that the lavish miniatures, among the most elaborate pictures of the Middle Ages, use figures, ornaments, Latin tituli, and geometric schemata to fashion visual exegeses of great range and complexity. Through consideration of questions of function, patronage, and program, Cohen also demonstrates that the codex commemorates the abbess Uta’s efforts to reform conventual life and education. _The Uta Codex _will be of interest to scholars of medieval art as well as those exploring questions of women, monastic culture, and intellectual life in the Middle Ages. (shrink)
Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts " and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms (...) on the borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts. (shrink)
_Imagination, Philosophy and the Arts_ is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. This collection of seventeen brand new essays critically examines just how and in what form the (...) notion of imagination illuminates fundamental problems in the philosophy of art. (shrink)
JPVA Journal of Philosophy and the Visual Arts No 6 Complexity Architecture / Art / Philosophy 'Beginning with complexity will involve working with the recognition that there has always been more than one. Here however this insistent "more than one" will be positioned beyond the scope of semantics; rather than complexity occurring within the range of meaning and taking the form of a generalised polysemy, it will be linked to the nature of the object and to its production. (...) Complexity, therefore, will be inextricably connected to the ontology of the object. What this means is that complexity, in resisting the hold of a semantic idealism on the one hand, and the attempt to give to it the position of being the basis of a new foundationalism on the other, becomes a way of thinking both the presence and the production of objects.' Andrew Benjamin The Journal of Philosophy and the Visual Arts has set new standards in its exploration of themes central to philosophy's relation to the visual arts, illuminating areas of art criticism, architecture, feminism as well as philosophy itself. Rather than simply reflecting current trends it provides a forum in which the real developments in the analysis of the visual arts and its larger cultural and political context can be presented. Articles by well known philosophers and theorists, as well as some lesser known, together with writings by artists and architects allow a strong interdisciplinary approach reflecting the Journal's roots in post-structural theory. Previous issues include: Philosophy & the Visual Arts (No 1) Philosophy & Architecture (No 2) Architecture, Space, Painting (No 3) The Body (No 4) Abstraction (No 5). (shrink)
Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let us (...) explore the differences between the arts. He presents five case studies, three from literature, two from music. With its combination of historical and analytic approaches this is a book for a wide range of readers in philosophy, literary studies, music, and non-academic readers with interests in the arts. (shrink)
_Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way (...) enriching the readers understanding of art theory as well as the appreciation of art. Unique features of the textbook are: * chapter summaries * summaries of major theories of art and suggested analyses of the important categories used when talking and thinking of art * annotated suggested readings at the ends of chapters. Also available in this series: _Epistemology_ Pb: 0-415-13043-3: £12.99 _Ethics_ Pb: 0-415-15625-4: £11.99 _Metaphysics_ Pb: 0-415-14034-X: £12.99 _Philosophy of Mind_ Pb: 0-415-13060-3: £11.99 _Philosophy of Religion_ Pb: 0-415-13214-2: £12.99. (shrink)
This Inspirational Guide To An Open, Critical Exchange Between India And The West Is Framed As A Tribute To Dr. Bettina Baumer, An Eminent Scholar Of Indology. Comprising 32 Essays, Segregated Into Three Sections Indian Philosophy And Spirituality, Indian Arts And Aesthetics, And Interreligious And Intercultural Dialogue.
Few today can escape exposure to mass art. Nevertheless, despite the fact that mass art provides the primary source of aesthetic experience for the majority of people, mass art is a topic that has been neglected by analytic philosophers of art. The Philosophy of Mass Art addresses that lacuna. It shows why philosophers have previously resisted and/or misunderstood mass art and it develops new frameworks for understanding mass art in relation to the emotions, morality, and ideology.
This book examines the little understood end-of-art theses of Hegel, Nietzsche, and Danto. The end-of-art claim is often associated with the end of a certain standard of taste or skill. However, at a deeper level, it relates to a transformation in how we philosophically understand our relation to the ‘world’. Hegel, Nietzsche, and Danto each strive philosophically to overcome Cartesian dualism, redrawing the traditional lines between mind and matter. Hegel sees the overcoming of the material in the ideal, Nietzsche levels (...) the two worlds into one, and Danto divides the world into representing and non-representing material. These attempts to overcome dualism necessitate notions of the self that differ significantly from traditional accounts; the redrawn boundaries show that art and philosophy grasp essential but different aspects of human existence. Neither perspective, however, fully grasps the duality. The appearance of art’s end occurs when one aspect is given priority: for Hegel and Danto, it is the essentialist lens of philosophy, and, in Nietzsche’s case, the transformative power of artistic creativity. Thus, the book makes the case that the end-of-art claim is avoided if a theory of art links the internal practice of artistic creation to all of art’s historical forms. (shrink)
A collaborative undertaking between an artist and a philosopher, this monograph attempts to deepen our understanding of "contemplative seeing" by addressing the works of Plato, Thoreau, Heidegger, and more. The authors explore what it means to "see" reality and contemplate how viewing reality philosophically and artfully is a form of spirituality. In this way, by developing a new conception of active visual engagement, the authors propose a way of seeing that unites both critical scrutiny and spiritual involvement, as opposed to (...) simple passive reception. (shrink)
In What Is Philosophy?, Gilles Deleuze and Félix Guattari distinguish the functions of philosophy, art and science. According to this distinction, the primary purpose of philosophy is to invent concepts, the purpose of art to bring forth percepts, or sensorial aggregates, and that of science to delineate functions. This article aims to show that these distinctions are not as clear-cut as they appear. Using Deleuze and Guattari’s proposition that ‘philosophy is the art of forming, inventing, and (...) fabricating concepts’ as a reference point, it suggests that the corresponding philosophical practice is intimately connected to art and science. Studying the conceptual drawings in Deleuze’s texts, the article situates his philosophy in the French tradition of epistemology. As a result, the conceptual work of this philosophy can be seen as intensively responding to the creative problems posed by the dynamics of science in contemporary societies. (shrink)
Derek Matravers introduces students to the philosophy of art through a close examination of eight famous works of twentieth-century art. Each work has been selected in order to best illustrate and illuminate a particular problem in aesthetics. Each artwork forms a basis for a single chapter and readers are introduced to such issues as artistic value, intention, interpretation, and expression through a careful analysis of the artwork. Questions considered include what does art mean in contemporary art practice? Is the (...) artistic value of a painting the same as how much you like it? If a painting isn't of anything, then how do we understand it? Can art be immoral? By grounding abstract and theoretical discussion in real examples the book provides an excellent way into the subject for readers new to the philosophical dimension of art appreciation. (shrink)
The chief sources of aesthetic experience for most people around the world are now the mass broadcasting and recording technologies. Yet analytic aesthetics has had little to say about mass art. Recent accounts of art and the aesthetic, while accommodating the consensus concerning central cases, are largely propelled by problem cases drawn from the avant-garde, and one wonders what the effect will be of adding works of mass art to the equation. One also wonders whether making room for mass art (...) will put pressure on standard views about art and emotion, or the moral or political content of art. It’s time for a comprehensive and sensible philosophical examination of mass art, and this is what we have in Noël Carroll’s latest book. (shrink)
This article canvases some of the issues involved in the idea of form as a practice in Kant, Blumenberg and Foucault, and it also outlines the different contexts and approaches the individual papers collected in this Special Issue use to explore this idea.
First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" occupies the central position in (...) the book — thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study. (shrink)
In this article, first of all, I (hereafter: the writer) have presented an interpretation of aesthetic universality and it is argued that each definition of art has to admit the aesthetic universality. Next, the writer has argued that there is a relation between creativity and aesthetic universality, and it is claimed that there is the same aesthetic universality by the creative processes, products, and persons, both scientifically and philosophically; and so, the relation represents that aesthetic universality is true. Moreover, the (...) writer has applied the aesthetic universality by creativity to the philosophy of animal-made art. It is not only has been done by epistemic and conceptual arguments of contemporary philosophers but also the writer illustrates that first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one; secondly, the aesthetic universality is the criteria to know that animal-made art is impossible. Even though it is possible to make the human-made animal art through transplantation or chimera and it is clear that it would not be animal-made art. (shrink)
In seinem Beitrag Was bleibt von der Analytischen Philosophie? hat Peter Bieri all das aufgelistet, was ihm an der gegenwärtigen Analytischen Philosophie missfällt. In dieser Replik wird erstens die Geschichte der Analytischen Philosophie in Erinnerung gerufen. Zweitens wird in Auseinandersetzung mit Bieris Kritik folgendes Bild von Philosophie entworfen: Es gibt überdauernde philosophische Fragen, und Philosophie sollte nicht als ein essayistisches Unternehmen, sondern als der systematische Versuch verstanden werden, Antworten auf diese Fragen zu finden. Allerdings lassen sich philosophische Fragen niemals definitiv (...) beantworten; deshalb kann das Ziel nur sein, einen möglichst vollständigen Überblick über die verschiedenen Antworten zu geben und dabei zugleich klar zu machen, was für und was gegen diese Antworten spricht. (shrink)
*Winner of the American Society for Aesthetics 2019 Outstanding Monograph Prize* Until now, research on art schools has been largely occupied with the facts of particular schools and teachers. This book presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The first of these is essentially (...) an old approach: a training guided by the artistic values of a single artist-teacher. The second dates from the 1960s, and is based around the group crit, in which diverse voices contribute to an artist’s development. Understanding the underlying principles and possibilities of these two models, which sit together in an uneasy tension, gives new insights into the character of contemporary art school teaching, demonstrating how art schools shape art and artists, how they can be a potent engine of creativity in contemporary culture and how they contribute to artistic research. A Philosophy of the Art School draws on first-hand accounts of art school teaching, and is deeply informed by disciplines ranging from art history and art theory, to the philosophy of art, education and creativity. (shrink)
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