This article aims to demonstrate how the aesthetical theory of Theodor Adorno represents the very nucleus of Adorno’s “sociological philosophy”. I show why artworks, thanks to the ontological and material elements that constitute them, are the privileged point to comprehend the factors at play in society. In order to achieve this, I investigate particularly the concept of form. With this, I underline how the character of “open form” of modern art claimed by Adorno, though being a manifestation of a contingent (...) historical moment, is able to deeply reflect the character of “openness” of reason, which thus conjugates with the proper function of philosophy. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the world (...) in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

This volume brings together essays by leading philosophers of art who consider what can be learned from the meaning of art about society, morality, and life in general. This subject inevitably leads to discussion of other issues. Is art distinct from life? Is a concern with art's messages consistent with an appropriately aesthetic appreciation of its works? Is there anything distinctive about the manner in which art communicates its messages, or about the messages it conveys? The topic of art's social (...) and moral importance has always been a central one in aesthetics. However, whereas Plato and Schiller, for instance, viewed art as intimately implicated in a person's moral and social education, modernist theories have argued for art's autonomy and separation from worldly matters. The essays presented here provide a contemporary perspective on this long-standing debate and reveal the recent revitalization of humanist concerns in describing art and its significance. Contributors are Stephen Davies, Susan L. Feagin, T. J. Diffey, Jenefer Robinson, Gregory Currie, Peter Lamarque, Jerrold Levinson, David Novitz, Ismay Barwell, Göran Hermerén, and Richard Shusterman. (shrink)

Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...) and belief, but they can also lead to a different common sense, a sensorium – a sensorial medium and an aesthetic mediation open to a new world and to new experiences. -/- By investigating mimetism as a fundamental and polymorphic aesthetic performance, this issue of «Aisthesis» aims to rethink the concept, value, and function of mimesis and its media in the context of camouflage, simulation, and dissimulation, where images do not reveal themselves as such, but are to be perceived unambiguously as what they are not – as hieroglyphs or puzzles. In the animal kingdom, as well as in war or in ordinary public life, camouflage consists in taking on the traits, colours, and shapes of a given form or environment. This is a twofold process: on the one hand, by blending two or more shapes in one, the camoufleur seeks to remain hidden and to mislead the others in order to keep a vital secret or an ephemeral whim; on the other hand, however, he/she aims to be recognized by a specific milieu or group, thus betraying a craving for communication and familiarity, as well as a need to convey an agreeable appearance and to share a way of life. (shrink)

Introduction -- The symbolic form of art -- Kant's theory of the mathematical sublime and the boundlessness of the symbolic form of art -- The classical sublimity of Judaism -- The classical form of art -- The original epic -- The ideal -- The transition to the revealed religion and the romantic form of art -- The revealed religion -- Representational thought and the romantic form of art -- Traces of left-hegelianism in Hegel's lectures on aesthetics -- The end of (...) mythology -- The significance of Kierkegaard's interpretation of Don Giovanni in relation to Hegel's theory of the end of art -- The end of art -- The opera as a modern art form -- Hegel and Lukács's on the possibility of a modern epic -- The problem of a modern epic -- The modern epic and history -- Civil society as the background to the modern epic -- Myth and society : a common theme in the thought of Hegel and Sorel -- Sorel's myth of the general strike -- Myth and modern ethical life. (shrink)

This collection of essays explores different perceptions of space, taking the reader on a journey from the inner space of the mind to the vacuum beyond Earth. Eight leading researchers span a broad range of fields, from the arts and humanities to the natural sciences. They consider topics ranging from human consciousness to virtual reality, architecture and politics. The essays are written in an accessible style for a general audience.

The Hague: the 'village' with court and government -- Dordrecht: the privileged city -- Haarlem: the frontier city of sand and wood -- Delft: the clean city -- Leiden: the old textile city with a new university -- Amsterdam: the city of wise merchants -- Utrecht: the bishop's city.

Even under many formally democratic regimes, large swaths of the citizenry experience alienation from states with uneven presence throughout the national territory. Addressing a gap in scholarship that has examined why rather than how states establish new modes of engagement with subaltern groups, this article documents concrete mechanisms by which the Brazilian state built new state-society relations through a particular cultural policy. By recognizing and funding artistic initiatives in underserved communities, the program aimed to expand their access to the state (...) and validate their role in the polity. On the basis of in-depth fieldwork in three Brazilian states, the article argues that new relations actually were forged through state-society encounters around the program’s administrative procedures. The surprising twist—that paperwork, as much as art, played a transformative role—sheds new light on bureaucracy as a point of contact with the state and offers new insights into the ways that cultural politics can shift. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker. 'Art and Postcapitalism' argues that art remains essential for thinking about the intersection of labour, capitalism and postcapitalism not insofar as it (...) merges work and pleasure but as an example of noncapitalist production. Reassessing the contemporary politics of work by revisiting debates about art, technology and in the nineteenth and twentieth century, Dave Beech challenges the aesthetics of labour in John Ruskin, William Morris and Oscar Wilde with a value theory of the supersession of capitalism that sheds light on the anti-work theory by Silvia Federici, Andre Gorz, Kathi Weeks and Maurizio Lazzarato, as well as the technological Cockayne of Srnicek and Williams and Paul Mason. Formulating a critique of contemporary postcapitalism, and developing a new understanding of art and labour within the political project of the supersession of value production, this book is essential for activists, scholars and anyone interested in the real and imagined escape routes from capitalism. (shrink)

Farah Nayeri addresses the difficult questions plaguing the art world, from the bad habits of Old Masters, to the current grappling with identity politics. For centuries, art censorship has been a top-down phenomenon--kings, popes, and one-party states decided what was considered obscene, blasphemous, or politically deviant in art. Today, censorship can also happen from the bottom-up, thanks to calls to action from organizers and social media campaigns. Artists and artworks are routinely taken to task for their insensitivity. In this new (...) world order, artists, critics, philanthropists, galleries and museums alike are recalibrating their efforts to increase the visibility of marginalized voices and respond to the people's demands for better ethics in art. But what should we, the people, do with this newfound power? With exclusive interviews with Nan Goldin, Sam Durant, Faith Ringgold, and others, Nayeri tackles wide-ranging issues including sex, religion, gender, ethics, animal rights, and race. By asking and answering questions such as: Who gets to make art and who owns it? How do we correct the inequities of the past? What does authenticity, exploitation, and appropriation mean in art?, Takedown provides the necessary tools to navigate the art world"--Publisher's description. (shrink)

Lewis Mumford was the author of more than thirty influential books, many of which expounded his views on the perils of urban sprawl and a society obsessed with technics. This text provides the essence of Mumford's views on the distinct yet interpenetrating roles of technology and the arts in modern culture.

The role of art in Marcuse’s work has often been neglected, misinterpreted or underplayed. His critics accused him of a religion of art and aesthetics that leads to an escape from politics and society. Yet, as this volume demonstrates, Marcuse analyzes culture and art in the context of how it produces forces of domination and resistance in society, and his writings on culture and art generate the possibility of liberation and radical social transformation. The material in this volume is a (...) rich collection of many of Marcuse’s published and unpublished writings, interviews and talks, including ‘Lyric Poetry after Auschwitz’, reflections on Proust, and Letters on Surrealism; a poem by Samuel Beckett for Marcuse’s eightieth birthday with exchange of letters; and many articles that explore the role of art in society and how it provides possibilities for liberation. This volume will be of interest to those new to Marcuse, generally acknowledged as a major figure in the intellectual and social milieus of the 1960s and 1970s, as well as to the specialist, giving access to a wealth of material from the Marcuse Archive in Frankfurt and his private collection in San Diego, some of it published here in English for the first time. A comprehensive introduction by Douglas Kellner reflects on the genesis, development, and tensions within Marcuse’s aesthetic, while an afterword by Gerhard Schweppenhäuser summarizes their relevance for the contemporary era. (shrink)

In recent years, the research field of the evolution of art has witnessed contributions from a wide range of disciplines across the "three cultures". In this thesis, I make both a critical review of existing explanations, and try to do elucidate the evolution of art by employing insights, methods and concepts from different disciplines. First, I critically evaluate the evidentiary criteria from standard evolutionary psychology some accounts employ to demonstrate that art qualifies as a human biological adaptation. I argue that (...) these criteria do not suffice to make that claim. Furthermore, I make the case for a cultural evolutionary approach to the arts. One commonly used evidentiary criterion for art as adaptation is the “tight fit” between artnbsp;human cognition, which is interpreted as suggesting that cognition has undergone selection to produce and appreciate art. However, disentangling cultural and genetic evolution allows formulating thenbsp;hypothesis that art has evolved culturally to match human cognition. Second, I observe that in ancient and modern hunter gatherer societies, artistic activities are virtually alwaysnbsp;with ritual. I discuss what this implies for the adaptive significance of art. Specifically, if the arts have culturally evolved in function of ritualistic purposes, their adaptive value has depended on the adaptiveness of ritual. Third, because architecture is characterized by the combination of utilitarian and aesthetic aspects, it is particularly interesting from an evolutionary perspective and therefore I devote special attention to it. Employing the cross-species comparative approach, I investigate two main purposes human architecture has in common with nonhuman animal constructions: protection andnbsp;Based on the phylogenetic approach I establish that protection may have been the primary function of building aptitudes in humannbsp;and that building was later co-opted for signaling purposes. Subsequently, I comparatively evaluate thenbsp;of signaling models in the cultural evolution of architectural aesthetics. Furthermore I combine insights from environmental psychology, niche construction and cultural evolution theory to develop the hypothesis that a function of religious monumental architecture may have been to support nbsp;or even to galvanize nbsp;social learning. Finally, I connect the account I developed to the cognitive science of religion. I complement the frequently held view that religious monumental architecture is a costly signal with the mechanism of sensory exploitation. I attempt to demonstrate that by exploiting thenbsp;response of awe in religious followers, religious monumental architecture promotes and regulates prosocial behavior and creates in them an openness to adopt supernatural beliefs. Fourth, I dealnbsp;the evolution of visual art, paying again special attention to cultural evolution andnbsp;explanatory value of sensory exploitation. I assert that the relatively late appearance of figurative art in the course of human evolution may be attributed to an increase in the number of social learning opportunities within and between human populations at that time. I support this assertion with archaeological data that indicate overall population growth and increased population densities at that time. These demographic changes, I argue, have allowed the retention and accumulation of innovations required for figurative art making. Contrary to previous accounts, I furthermore aim to show that this process doesnbsp;require figurative art to have served adaptive purposes. Employing sensory exploitation, I establish that figurative art could have evolved by exploiting pre-existing biases of evolved psychology. The dominant themes of upper Paleolithic and late stone age figurative art, animals and humans, seem to support this contention. Fifth, I present a number of experimental studies I conducted to verify whether contemporary art experts would have socially learned to resist exploitation of evolved psychology. One aspect ofrsquo;s exploitative power may be that it elicits aesthetic pleasure by pushing “pleasure buttons” that evolved for other purposes. Consequently, spectators may trade-off rewards from indulging in art and biological activities, resulting in less effort being allocated to reproduction. I contend that, while the generalnbsp; may indeed be exploited, experts, who are typically being exposed to high doses of art, may have socially learned to resist exploitation by selectively preferring art from prestigious art contexts. The latter would be in line with the claim that prestige bias may trump content biases of evolved psychology. The results of three experimental studies supportnbsp;contention. I find that laypeople's art appreciation is positively affected by a content bias for attractive faces, mediated by aesthetic pleasure, whereas experts' appreciation is positively affected by prestige and mediated by admiration for the artist. Moreover, experts confer lower appreciation to attractive compared to moderately attractive content, which is consistentnbsp;the contention that expertise and the use of prestige are associatednbsp;resistance against beautiful content that exploits evolved preferences. This research thus suggests that expertise moderates content and context biases, which may be of relevance to an ongoing debate about their relative importance as drivers of cultural evolution. In addition, this study provides a tentative but novel explanation for the fact, famously established by philosopher Arthur Danto, that beauty lost its central position in Western art during the 20th century. However my findings cannot exclude alternative explanations for the fact that art expert appreciation deviates from evolved aesthetic preferences. Further research may experimentally assess the role of prestige bias and resistance as drivers of this deviation versus other, previously suggested, potential processes. For example, preferences of experts may deviate on account of the fact that art serves as a badge of elite group membership and thus expert art appreciation as a means to distinguish oneself from the masses. Alternatively, art experts may seek intellectual challenges instead of pushing pleasure buttons. Future research may experimentally verify the respective roles of these different hypothesized mechanisms. In addition, it may be investigated how insights from sexual selection research may help elucidating the different processes at play in cultural evolution and particularly in the cultural evolution of art appreciation, given the commonalities between sexual selection and cultural selection models. (shrink)

The role of art in Marcuse’s work has often been neglected, misinterpreted or underplayed. His critics accused him of a religion of art and aesthetics that leads to an escape from politics and society. Yet, as this volume demonstrates, Marcuse analyzes culture and art in the context of how it produces forces of domination and resistance in society, and his writings on culture and art generate the possibility of liberation and radical social transformation. The material in this volume is a (...) rich collection of many of Marcuse’s published and unpublished writings, interviews and talks, including ‘Lyric Poetry after Auschwitz’, reflections on Proust, and Letters on Surrealism; a poem by Samuel Beckett for Marcuse’s eightieth birthday with exchange of letters; and many articles that explore the role of art in society and how it provides possibilities for liberation. This volume will be of interest to those new to Marcuse, generally acknowledged as a major figure in the intellectual and social milieus of the 1960s and 1970s, as well as to the specialist, giving access to a wealth of material from the Marcuse Archive in Frankfurt and his private collection in San Diego, some of it published here in English for the first time. A comprehensive introduction by Douglas Kellner reflects on the genesis, development, and tensions within Marcuse’s aesthetic, while an afterword by Gerhard Schweppenhäuser summarizes their relevance for the contemporary era. (shrink)

"The Traffic in Culture takes us along exciting new avenues in the investigation of art and society, global encounter, and the marketing of culture. These essays will become required reading to scholars in fields as diverse as art history, anthropology, sociology, and cultural studies."--Suzanne Preston Blier, Harvard University "These essays break new ground in charting out a critical ethnography of art. They address the complexities of cultural difference while ceasing to respect the boundary between 'Western' and 'non-Western' art which has (...) defined the scope of the anthropology of art for too long. This is contemporary critical anthropology at its best."--Nicholas Thomas, Australian National University. (shrink)

A collection of William Morris' letters and lectures on his home furnishings firm, stained glass, textiles, furnishing and decorating a house, printing, and art and society.

This book reconsiders the relationship between aesthetics and theological ethics. The primary question it seeks to answer is whether artistic creativity is a morally relevant activity. Drawing on the work of Jonathan Edwards and Thomas Aquinas, Choi argues that the arts are the cultural medium through which we can better understand what is morally possible, and that aesthetic objects can serve as snapshots of a particular community's perspectives on the good life. Art, in other words, offers glimpses not only into (...) competing moral visions within society but also the extent to which these contested moral views are understood. The arts, in Choi's view, provide a way of assessing the limits and possibilities of moral reasoning, the contextuality of moral discernment, and the need for moral thinking that is dialogical and dialectical. (shrink)

Will works of the imagination ever regain the power they once had to challenge and mould society and the individual? This was the question posed by Edgar Wind's influential Reith Lectures delivered in 1960 and later expanded into his book Art and Anarchy. The book examines the various forces that have fashioned the modern view of the art, from mechanization and fear of intellect to connoisseurship and--perhaps the fundamental weakness of our age--the dispassionate acceptance of art. In the course of (...) his discussion, Wind surveyed a wide range of topics in the history of painting, literature, music, and the plastic arts from the Renaissance to modern times. (shrink)

ABSTRACT This paper argues for the contemporary relevance of melancholy as something different than depression or a state of mental illness. Instead, through examples of a literary, philosophical, and artistic nature, it is shown that melancholy functions as a force-field – a topos where the finite and the infinite, the earthly and the heavenly, the physical and the spiritual come together and meet in huge tension. By means of an exploration of the historical notion of melancholy and a revisit of (...) Dürer’s Melencolia I (1514), coupled to a much more recent example, Lars von Trier’s film melancholia (DK/se/fr/de 2011), this paper shows how the melancholic motif continues to play an essential role in our contemporary society. The melancholic is described as a person who lives a life on the border: who intuits the point where two worlds meet and who longs for a revelation of the beyond – an apocalypse (literally: ‘an uncovering’). It is this longing – a nostalgia for being – that increasingly pervades our contemporary world, a world that represses the heterogeneous through numerous social and political conditions. The study of melancholy here undertaken therefore provides a valuable contribution to the understanding of melancholy in our (post-) modern time. (shrink)

These two short, influential books, which grew out of Dewey’s hands-on experience in administering the laboratory school at the University of Chicago, represent the earliest authoritative statement of his revolutionary emphasis on education as an experimental, child-centered process. In The School and Society, he declares that we must “make each one of our schools an embryonic community life, active with types of occupations that reflect the life of the larger society and permeated with the spirit of art, history, and science.” (...) In The Child and the Curriculum he stresses the importance of the curriculum as a means of determining the environment of the child, and allowing the teacher to guide children in asserting themselves, exercising their capacities, and fulfilling their own nature. 8 black-and-white illustrations. (shrink)

A key point of feminist moral philosophy is that social and political conditions continue to work against women’s ability to flourish as moral agents. By pointing to how violence against women undermines both autonomy and integrity I uncover a significant means through which women are undermined in society. My focus is on violence against women as a pervasive, inescapable social condition that women can counter through self-defence training.

Morris Grossman, the author of this captivating collection of essays Art and Morality: Essays in the Spirit of Santayana, was fond of quoting Santayana as saying, “when Peter tells you something about Paul you learn more about Peter than you do Paul.” This aphorism appears several times in this volume, and its emphatic repetition should clue us into Grossman’s approach to expository writing. While the book is ostensibly about figures from the history of philosophy and art in individual essays, its (...) real charm comes from getting a sense for Grossman’s intellectual temperament across the whole volume. One aspect of Grossman’s intellectual character which is favorably displayed portrayed in this book is his... (shrink)

CHAPTER ONE Plato IT is a mark of wisdom in Greek political thought that the form and content of education receive primary consideration from those who are ...