This volume comprises ten essays at the cutting edge of thinking about sculpture in philosophical terms, representing approaches to sculpture from the perspectives of both Anglo-American and European philosophy. Some of the essays are historically situated, while others are more straightforwardly conceptual.

"The eye that gathers impressions is no longer the eye that sees a depiction on a surface it becomes a hand, the ray of light becomes a finger, and the imagination becomes a form of immediate touching."-Johann Gottfried Herder Long recognized as one of the most important eighteenth-century works on aesthetics and the visual arts, Johann Gottfried Herder's Plastik (Sculpture, 1778) has never before appeared in a complete English translation. In this landmark essay, Herder combines rationalist and empiricist thought (...) with a wide range of sources-from the classics to Norse legend, Shakespeare to the Bible-to illuminate the ways we experience sculpture. Standing on the fault line between classicism and romanticism, Herder draws most of his examples from classical sculpture, while nevertheless insisting on the historicity of art and of the senses themselves. Through a detailed analysis of the differences between painting and sculpture, he develops a powerful critique of the dominance of vision both in the appreciation of art and in our everyday apprehension of the world around us. One of the key articulations of the aesthetics of Sturm und Drang, Sculpture is also important as an anticipation of subsequent developments in art theory. Jason Gaiger's translation of Sculpture includes an extensive introduction to Herder's thought, explanatory notes, and illustrations of all the sculptures discussed in the text. (shrink)

Sculpture has ancient origins and features prominently in virtually every art culture. In their introduction to this collective volume, the editors Kristin Gjes.

I present and analyze J.G. Herder’s aesthetics of sculpture, as an art form directed toward and appreciated by the sense of touch. I argue that Herder is unsuccessful in his attempt so to define sculpture, but his account is nonetheless fruitful, both in making salient and explaining signal aspects of sculptural appreciation and criticism and, more broadly and quite innovatively, in proposing an aesthetics of touch, even an embodied aesthetics.

What is distinctive about sculpture as an artform? I argue that it is related to the space around it as painting and the other pictorial arts are not. I expound and develop Langer's suggestive comments on this issue, before asking what the major strengths and weaknesses of that position might be.

Abstract The artwork of Joseph Beuys was provocative in his time. Although he was very successful on the international art scene and on the art market, the larger The public is still bewildered by his Fat Chair or his installations and his performances. The article shows the evolution of his artwork from classical materials (stone, steel) to soft materials (animals, products of animals) and further to his concept of “social sculpture” and to programmatic diagrams (with words and graphics). A (...) special point of interest is the transition towards language (phonic and conceptual), the philosophy of art exposed in his drawings, and diagrams and the relation between art and science in his artwork. (shrink)

This essay explores “sculptural plasticity” through neuronal matterings of the brainbody in philosophy, literature, and art. It focuses on Socrates’s cataleptic condition as evidenced in Plato’s Symposium, the plasticities at work in Jean-Paul Sartre’s Nausea, and morphogenetic acts of cell formation in the sculptural installation of Pierre Huyghe’s After ALife Ahead.

Is there anything significant in the fact that Aristotle, in explaining his conception of causation, takes the activity a sculptor as one of his key exemplars, his paradigm, if you like? In this paper, I am going to see if, in using Aristotle's account of causation, we can illuminate the nature of sculpture and the approach sculptors take to their art.

Comprised of 45 chapters, written especially for this volume by an international team of leading experts, The Routledge Companion to the Philosophies of Painting and Sculpture is the first handbook of its kind. The editors have organized the chapters helpfully across eight parts: I: Artforms II: History III: Questions of Form, Style, and Address IV: Art and Science V: Comparisons among the Arts VI: Questions of Value VII: Philosophers of Art VIII: Institutional Questions Individual topics include art and cognitive (...) science, evolutionary origins of art, art and perception, pictorial realism, artistic taste, style, issues of race and gender, art and religion, art and philosophy, and the end of art. The work of selected philosophers is also discussed, including Diderot, Hegel, Ruskin, Gombrich, Goodman, Wollheim, and Danto. With a volume introduction from the editors and comprehensively indexed, The Routledge Companion to the Philosophies of Painting and Sculpture serves as a point of entry to the subject for a broad range of students as well as an up-to-date reference for scholars in the field. (shrink)

This article proposes a direction—inspired by a reading of Heidegger’s reflections on sculpture— in which thinking enriched by artistic experience can unfold an alternative mode of being-in-the-world. Heidegger points out that, in contrast to a scientific understanding of space as an empty container, the special character of space in sculpture is characterized by a clearing-away (Räumen), which presupposes and points to an open, receptive attitude toward experience that is necessary for dwelling to take place. From Heidegger this article (...) proceeds to reflect on artworks by Eduardo Chillida and Janet Echelman. These offer concrete examples of how a thinking of sculpture can apply to different notions of place. While Chillida’s sculptures present a sense of place as rooted and embedded in the landscape, Echelman’s artworks explore an expanded notion of place through a multisensory sense of immersion. Applying Heidegger’s meditations on Räumen, it turns out that the differences between these artworks are of greatest significance in illustrating the breadth of the experiential space that they share: an openness to dwelling and a receptivity toward being-in-the-world. In this way, Heidegger’s reflections on sculpture are unfolded in a contemporary context and the potential of sculpture for a thinking of experience is established. (shrink)

For sociologists, interpretations of cultural objects, whether grouped into genres or taken individually, are intermediate steps toward understanding more fully the contexts in which they are produced. This does not deny the satisfaction implicit in grasping the significance of aspects of objects themselves; I hope that the analysis I have presented lends viewing the Sangatsu-dō sculptures a degree of comprehension, and pleasure, not present before. The ultimate test, however, and the justification for undertaking any sociological examination of cultural objects, is (...) the usefulness of the resulting account in confirming or rejecting ideas about the social conditions surrounding their production. The important question in judging the appropriateness of examining individual objects is therefore not whether sociologists (as opposed, for example, to art historians) ought to concern themselves with such analysis; it is whether such analyses increase the ability of objects to serve as evidence in investigations of interesting social phenomena. My goal is not therefore to supplant generic analysis with a focus on individual objects: it is as possible to fetishize the study of the object as it is to ignore its potential. In fact, it is most useful to see the two approaches as complementary, making possible fuller analyses than each can enable separately. We would do well to take more seriously the benefits of locating objects in the contexts in which people deal with them most commonly: as distinct elements in more inclusive fields, in which meaning and appeal are closely tied to difference. (shrink)

An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles (...) in what is represented and how it is represented, in part because we have bodily and emotional responses to the real possibilities the sculptural material creates for us. I discuss examples of contemporary artworks by Melvin Edwards, Kara Walker, Willie Cole, Marc Quinn, Ai Weiwei, Janine Antoni, El Anatsui, Zoe Leonard, and others. (shrink)

Heidegger’s paper ‘Art and Space’ (1969, Man and world 6. Bloomington: Indiana university Press) is the place where he gives his fullest discussion of a major art medium which is somewhat neglected in aesthetics, namely sculpture. The structure of argument in ‘Art and Space’ is cryptic even by Heidegger’s standards. The small amount of literature tends to focus on the paper’s role within Heidegger’s own oeuvre as an expression of changes in his understanding of space. This is ironic; for (...) Heidegger’s main thematic in the essay is the way in which space is overcome in the creation of sculpture. Of course, by virtue of its three-dimensional character, sculpture seems to be a spatial medium, par excellence. The counter-intuitive character of Heidegger’s position requires, accordingly, that his argumentative strategy be scrutinized very closely. In this paper, therefore, I will examine closely the structure of Heidegger’s argument, with the aim of understanding, rectifying, and then developing his most important insights. My ultimate aim is to show the subtle, but radical points which are at issue in Heidegger’s arguments, and to develop them much further in the clarification of sculpture’s key philosophical significance. (shrink)

The paper is on Katarzyna Kobro’s artistic achievements and theoretical writings which present the foreshadowing of a new understanding of the space, articulated later by philosophers. Her and her husband conception of avant-garde sculpture postulates new mechanisms of seeing reality. By eliminating borders between sculpture and space, Kobro initiated a true breakthrough in art. Her achievement should be recognized for its truly pioneering and visionary status. Kobro was one of the first artists who revealed the intimate relation between (...) art and its environment. (shrink)

Men Brayut is one of the interesting stories of Balinese people since ancient times until present that acts as a source of inspiration in art. This study aimed creating and describing the ceramic sculptures inspired by the Men Brayut story. This research uses qualitative descriptive approach in which the researcher becomes the main instrument. Data collection by observation and documentation. This statue was made using SP Gustami's creation method namely exploration, improvisation and embodiment. The results show that the creation process (...) of ceramic sculpture featuring Brayut image can be separated into two, they are the process of making the main character of Men Brayut and the process of making Brayut‟s children as an ornamental media that can show the image of Brayut on the sculpture. The creation this sculpture was started from the bottom using the combined technique of slab, pinching, and coil. Based on its function, the creation of this statue is functioned as the ornamentation and the practice as well as the ornamentation. This work implemented the green, blue and brown glazes with the combustion tempera-ture was 1200°C. Some of the created works were titled to Joy, Fatigue, Affection, and Affection 2. (shrink)

In his writings on the gaze and the body in Being and Nothingness , Jean-Paul Sartre describes the ways in which bodies are exposed and vulnerable to the anonymous gaze of the other, and how they in the midst of their vulnerability depend entirely on being seen by the gaze for their meaning and their very being. Although it sometimes appears as quite depressingly restrictive, Sartre’s analysis of the gaze and his account of the body offer rich and important resources (...) for recognizing the force of objectifying categories and meanings in the constitution of identities. This article suggests that Sartre’s almost remorseless descriptions of how the body is molded by the gaze of the other provide a productive point of departure for understanding the becoming of singular identities, as they are lived on the margins and in the intersections of established categories which determine them in often oppressive ways. Being marked by difference, whether sexual, ethnic, racial, or other, is in many ways being trapped by the objectifying gaze of the other in such a way that the ability to return the gaze and claim a subject position is deeply circumscribed. The article gives an account of Sartre’s analysis of the phenomenon of the gaze as the force which objectifies me before the other and of his description of the body as it is subjectively experienced as objectified. This “third ontological dimension of the body” captures the tensions inherent in subjectivity and brings to light its perpetual exposure to its own unknown exterior as it is seen and constituted by the other. (shrink)

In this article, I consider the relevance of Bergson's theory of durée for an understanding of sculpture by focusing on the work of three canonical artists in the history of twentieth-century modernism: the French Cubist Raymond Duchamp-Villon, the Italian Futurist Umberto Boccioni, and the London-based Vorticist Henri Gaudier-Brzeska. While these sculptors produced widely divergent aesthetic forms, I argue that they all endorsed Bergson's notion of durée as a spontaneous process of qualitative differentiation. These artists reconfigured their medium in terms (...) of Bergson's process philosophy, whether in the guise of an artists? generative imagination (Duchamp-Villon), representations of the human body as a living center of indetermination (Boccioni), or the act of direct carving as an intuitive response to a sculptor's chosen material (Gaudier-Brzeska). These Bergsonian paradigms enable us to reassess Jack Burnham's evaluation of Bergson's impact in his seminal text Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century (1968). Finally, by drawing on recent discussions of cybernetic and new media art, I will highlight the limitations of Burnham's categorical dismissal of Bergsonism as an outmoded metaphysics, irrelevant to newer conceptions of ?sculpture as system.? (shrink)

This chapter examines the sculptural aesthetics of Johann Herder and Chinese Daoism. Herder’s thesis that sculpture presents “forms in which the living soul animates the entire body” might have changed the way Europeans viewed the plastic arts, but Daoism had already discovered this “truth” two millennia earlier. What is common to both Herder and Daoism is the argument that sight inherently falls short when it comes to knowing the possibility of human experience. As sight lacks the tactile sensation of (...) touch, and sculpture is an artform created by the hands, it falls to spirit to convey what our eyes cannot feel and our hands cannot see. What the sculptor shapes is thus not the human imagination but the spirit of Nature, a shaping that in reality never departs from the hidden ground of the soul. (shrink)

3D digitization of social legacy has been utilized to safeguard data about colonial legacy items like design, craftsmanship, and trinkets. The 3-d unfolding of gadgets via improvements including elevated reality, augmented reality, and 3-d printing have affected the fields of expertise records and social legacy and features grow to be extra normal. However, concentrates on that go past the specialized parts of 3D innovation and treat such points as their importance for reclamation, protection, commitment, schooling, exploration, and morals scarcely exist. (...) The point of this paper is twofold: from one perspective, it expects to get a superior comprehension of the materialness of every innovation for various purposes gallery show, and, then again, it centers on the discernment of these innovations. This exploration was completed by joining a writing survey with quantitative and subjective investigations of the information procured through a study of SIX inquiries a. Given the analysis of this quantitative and personal information, we give a few measures to utilizing 3D digitized and printed multiplications to upgrade social encounters. The outcomes show the significance of cautiously planning 3D collaborations in the individual and social settings of end-clients and colonial establishments in a request to make genuine social encounters_._. (shrink)

An Introduction to the Philosophy of Art is a clear and compact survey of philosophical theories of the nature and value of art, including in its scope literature, painting, sculpture, music, dance, architecture, movies, conceptual art and performance art. This second edition incorporates significant new research on topics including pictorial depiction, musical expression, conceptual art, Hegel, and art and society. Drawing on classical and contemporary philosophy, literary theory and art criticism, Richard Eldridge explores the representational, formal and (...) expressive dimensions of art. He argues that the aesthetic and semantic density of the work, in inviting imaginative exploration, makes works of art cognitively, morally and socially important. This importance is further elaborated in discussions of artistic beauty, originality, imagination and criticism. His accessible study will be invaluable to students of philosophy of art and aesthetics. (shrink)

Description: Jain Philosophy : Historical Outline interprets the fundamentals of Jain philosophy from the viewpoint of their historical genesis and development and shows that the incipient stage of the Jain thought-complex agreed totally with the pythagorean approach to philosophy which was based on observed realities and was quite in harmony with the existing socio-political conditions of the time of Lord Mahavira while the sophisticated stage marked by the a priori doctrines and dogmas it had generated in course (...) of its development and by the traditionally floating ideas in regard to the belief in a eternal moral order in the universe, the law of karma, ignorance as the cause of bondage and knowledge as that of liberation, the efficacy of meditation, and so forth, was a persistent juxtaposition in the evolutionary stages of the former. Since no system of Indian philosophy allows a purely isolated treatment, a comparative study of all the philosophical systems has been made here to determine the real nature of the Jain standpoint with more emphasis on the original dynamism of Jainism which had contributed to the growth of various natural sciences, including those of biology and astronomy, on the total rejection of the concept of a supernatural agent in the form of God, on the theories of valid knowledge and on the unique logical system based on the principles of relativity. Contents Preface of the Second Edition Preface of the First Edition Chap. I : INTRODUCTION : 1. The Jains as they are 2. Researches on Jainism 3. Literary Sources 4. Archaeological Sources : Architecture and Sculpture 5. Archaeological Sources : The Epigraphs 6. Parsva and Mahavira 7. Ecclesiastical History Chap. II : THE INCIPIENT STAGE : 1. The Prehistory of Jainism 2. The Historical Background 3. Material Basis of the Great Intellectual Movement 4. The Conflicts in the History of Indian thought 5. Contemporary Philosophical Schools 6. Purana Kassapa 7. Pakudha Kaccayana 8. Makkhali Gosala 9. Sanjaya Belatthiputta 10. Ajita Kesakambalin 11. Social Experiences of Mahavira 12. The Social Basis of Jain Ethics Chap. III : THE SOPHISTICATED STAGE : 1. Jainism and Indian Philosophical Tradition 2. Jain Atheism 3. Jain Logic 4. Scientific Enquiries : Cosmology 5. Scientific Enquiries : Classification of Jiva 6. Scientific Enquiries : Biology, Physiology, Etc 7. Scientific Enquiries : Diseases and Medicines 8. Scientific Enquiries : Astronomy 9. Scientific Enquiries : Atomism 10. Jain Cosmography 11. The Unfounded Speculations and their Ethical Considerations 12. The Nine Fundamentals and the Doctrine of Karma 13. Classification of Karma and the Gunasthanas 14. A Review of the Jain Metaphysics 15. Theory of Knowledge 16. Psychological Ingredients 17. The Non-Absolutist Standpoint Chap. IV : A COMPARATIVE STUDY : 1. Jainism and Vedic Tradition 2. Jainism and Buddhism 3. Jainism and Ajivikism 4. Jainism and Materialism 5. Jainism and Samkhya 6. Jainism and Yoga 7. Jainism and Mimamsa 8. Jainism and Nyaya-Vaisesika 9. Jainism and Vedanta 10. A Subjectwise Comparative Study of the Systems. (shrink)

This is a comprehensive, integrated account of eighteenth and early nineteenth century German figurative aesthetics. The author focuses on the theologically-minded discourse on the visual arts that unfolded in Germany, circa 1754-1828, to critique the assumption that German romanticism and idealism pursued a formalist worship of beauty and of unbridled artistic autonomy. This book foregrounds what the author terms an "Aesthetics of Figurative Theo humanism". It begins with the sculptural aesthetics of Johann Joachim Winckelmann and Gottfried Herder before moving on (...) to Karl Philipp Moritz, Wilhelm Heinrich Wackenroder and Friedrich Schelling. The reader will discover how this aesthetic tradition, after an initial obsession with classical sculpture, chose painting as the medium more suited to the modern self's exploration of transcendence. This paradigm-shift is traced in the aesthetic discourse of Friedrich Schlegel and Georg Wilhelm Friedrich Hegel. In this work, the widespread prejudice that such aesthetics initiated a so-called "Modern Grand Narrative of the Arts" is deconstructed. One accusation directed at 18th century aesthetics has been that it realised into "Art" what had previously been a living, rich tissue of meaning: this work shows how Figurative Theo humanism's attention to aesthetic values was never detached from deeper theological and humanistic considerations. Furthermore, it argues that this aesthetic discourse never forgot that it emerged from modern disenchantment-far from occluding the dimension of secularization, it draws poignant meaning from it. Anyone with an interest in the current debates about the scope and nature of aesthetics (philosophers of art, theology, or religion) will find this book of great interest and assistance. (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)

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)

In this volume a group of distinguished aestheticians consider the distinctive ways painting, sculpture, music, poetry and the cinema approach their subject matter and add to our aesthetic understanding. In addition these are discussions of artistic value and artistic truth, of the value of performance and of the problem of fakes, all of which contribute to a volume which will be of interest both to aestheticians and philosophers more generally.

Découvrir la noblesse de l'odorat et apprendre à être un philosophe nez : tel est le but de ce livre, qui fait d'un sens négligé un objet de réflexion à part entière. L'entreprise de réhabilitation de la sensibilité olfactive passe par la remise en cause des préjugés sur l'odorat comme sa prétendue faiblesse, son caractère primitif, incommode ou immoral et par l'examen de la manière dont l'esprit nous vient aussi du nez. La démarche se fonde sur la découverte anthropologique du (...) rôle décisif des odeurs dans la constitution de la mémoire et de l'affectivité ainsi que dans la construction de l'identité et de l'altérité. Cette entreprise vise la promotion d'un véritable art olfactif qui dépasse le simple usage cosmétique des parfums et substitue " le sentir beau " au " sentir bon ". L'élaboration d'une esthétique olfactive repose en effet sur la recherche des expressions artistiques de l'odeur, aussi bien dans la littérature chez des auteurs comme Huysmans, Balzac et Proust, que dans la musique de Debussy, la peinture de Gauguin ou la sculpture de Rodin. Elle s'appuie également sur les tentatives historiques de création pure de parfums à travers la voie ancienne des fragrances au lapon ou les performances et les installations dans l'art contemporain. Exprimant l'idée dans l'odeur, cette esthétique olfactive sous-tend depuis longtemps la spéculation philosophique en offrant des modèles de pensée et d'appréhension subtile d'un réel invisible et volatil. Après Héraclite et Empédocle, Lucrèce, Condillac et Nietzsche incarnent cette figure du sagace qui flaire le parfum de la vérité ou du mensonge : preuve s'il en est que philosopher, c'est avoir du nez. (shrink)