This essay revisits Meyer Schapiro’s critique of Heidegger’s interpretation of Van Gogh’s painting of a pair of shoes in order to raise the question of the dispute between art history and philosophy as a contest increasingly ceded to the claim of the expert and the hegemony of the museum as culture and as cult or coded signifier. Following a discussion of museum culture, I offer a hermeneutic and phenomenological reading of Heidegger’s ‘Origin of the Work of Art’ and (...) conclude by taking Heidegger’s discussion of the strife between earth and world to the site of the ancient temple of Apollo Epicurius at Bassae as an example of the insistent foreclosure of the ancient work of art and the conflicts of the pervasive efforts of modern conservation. (shrink)
This volume is a Festschrift dedicated to Charles Kahn comprised of more than 20 papers presented at the conference "Presocratics and Plato: Festschrift Symposium in Honor of Charles Kahn", 3-7 June 2009. The conference was held at the European CulturalCenter of Delphi, Greece, and was organized and sponsored by the HYELE Institute for Comparative Studies and Parmenides Publishing, with endorsement from the International Plato Society, and the Dean of the School of Arts and Sciences, University of Pennsylvania. (...) Contributors: Julia Annas - University of Arizona; Sarah Broadie - University of St. Andrews; Lesley Brown - University of Oxford; Tomás Calvo-Martínez - Universidad Complutense de Madrid; Diskin Clay - Duke University; John M. Dillon - Trinity College, Dublin; Dorothea Frede - Humbolt University, Berlin; Arnold Hermann - HYELE Institute for Comparative Studies; Carl A. Huffman - DePauw University; Enrique Hülsz Piccone - Universidad Nacional Autonoma de Mexico; D.M. Hutchinson - St. Olaf College; Paul Kalligas - National and Kapodistrian University, Athens; Vassilis Karasmanis - National Technical University, Athens; Aryeh Kosman - Haverford College; Anthony A. Long - University of California, Berkeley; Richard McKirahan - Pomona College; Susan Sauvé Meyer - University of Pennsylvania; Alexander P.D. Mourelatos - University of Texas at Austin; Satoshi Ogihara - Tohoku University, Japan; Richard Patterson - Emory University; Christopher J. Rowe - Durham University; David Sedley - University of Cambridge; Richard Sorabji - University of Oxford. (shrink)
The standing screens on the title is the oldest work extant of KANO Motonobu's work as folding screens of thick colored flowers and birds with golden background. This thesis designates that the scenery and the motif of the work are in correspondence with both descriptions of the scenery of Pure Land in several Buddhist scriptures and the design of actual gardens. Firstly, a peacock on the right hand screen is focused to indicate the bird connotes the elements of auspicious birds (...) in Buddhism, such as Mahamayuri and Kalavinka.Secondly, the elements of the scenery in the work, such as the four seasons at the same time ∼ the depiction of perpetuity ∼ and the existence of a pond, are identified with the description of Pure Land in Kwan-mu-liang-shou-ching and Ta-wuliang-shou-ching. These elements of the garden in the work are placed similarly to the Pure Land style gardens, which are illustrated in "Center and Surrounds of Kyoto" 's. In consideration of the above factors, the conclusion that, in the work, KANO Motonobu succeeded to portray the ideal garden by combining the scenery of Pure Land and that of actual gardens, is drawn. (shrink)
The article considers how the use of duplicates and the practice of photography interacted in museums of ethnography, contributing to the ambivalent framing of ethnographic objects as items that can be both scientific specimens and works of art. It focuses on the Musée d'ethnographie du Trocadéro in Paris and on the key period of its reorganization between 1928 and 1935, which was central to the institutionalization of French ethnology. By examining the place of duplicates in this museum, as well (...) as the major role attributed to photographs of objects and their materiality, the paper shows that these others of the ethnographic artefacts, often considered separately from their originals, still participated in the same project: the development of the museum and its growing cultural influence. While the duplicates positioned the museum in the various networks of the scientific community, the photographs appealed to the avant-garde, amateurs, African and Oceanian art dealers and the general public. (shrink)
The author has collaborated in research teams to visualize supercomputer simulations and real-time data. She describes these collaborative projects that employ advanced-technology graphics and novel digital displays that include large-format IMAX film, high-definition television productions, and a museum digital dome at the American Museum of Natural History. The popularity of these images and the function that they provide in popular culture are discussed. She also describes two key technologies that she was part of designing: IntelliBadge(tm), a real-time visualization (...) and ‘smart’ tracking system; and Virtual Director(tm), a virtual camera choreography and remote collaboration system. The process of data-visualization involves the mapping of data from numerical form into an iconic representational form in the attempt to provide humans with insight and understanding of a phenomenon. This is discussed in the context of metaphor, cognition, and postcolonial theory. Because data-visualizations carry the ‘weight of scientific accuracy and advanced technology’, most general audiences confuse these visualizations as ‘real’; however, it is argued that data-visualizations are models and metaphors, not reality. In metaphor theory, the mapping of attributes from one domain of information into another is how humans understand, create, and engender new meaning. Data mapping is correlated with this theory. The author explores how the use of mapping information is culturally contingent. In the spirit of scientific inquiry, she deconstructs the very professional activity for which she is most famous. (shrink)
In 1637 a Frenchman named Noël Duret published a book in Paris that referred to the heliocentric Copernican system. In 1660 an Ottoman scholar named Ibrahim Efendi al-Zigetvari Tezkireci translated the book into Arabic. For more than three centuries this manuscript was buried in an Ottoman archive in Istanbul until it resurfaced at the beginning of the 1990s. The discovery of the Arabic text has necessitated a re-evaluation of the history of early modern Arabic natural philosophy, one that takes into (...) account the intellectual context of Ibrahim Efendi and the overarching trends in the world of Sufi mysticism. These trends were reflected in art, literature, philosophy and natural philosophy. Using philological and cultural clues, as well as Ibrahim Efendi's own words, we can attempt deductions about why, how and for what purposes Ibrahim Efendi chose Duret's book for his project. (shrink)
Work on the counterculture of the 1960s era usually doesn't do a lot with the art that accompanied and enriched the cultural upheaval of the time. The counterculture was spectacularly visual, what with the flamboyant clothing and exultation of the body that were everywhere, and yes, there were some notable artists such as the whimsical Peter Max, but the great creativity that was so much the engine and product of the counterculture has rarely received its due. At the same (...) time, the fact that the rise of countercultural art had more than a little to do with moving the American art scene westward from New York has hardly been noted until now. As the editors write in their introduction, "The unfortunate fate of the... (shrink)
This paper argues that culture itself can be a weapon against the disentitled within cultures, and against members of other cultures; and when cultures are unjust and hegemonic, the theft of and destruction of elements of their culture can be a justifiable weapon of self-defense by the oppressed. This means that in at least some conflicts, those that are really insurgencies against oppression, such theft and destruction should not be seen as war crimes, but as legitimate military maneuvers. The paper (...) also argues that in general it is better for wars to be prosecuted by the theft and destruction of cultural property rather than by means of killing and debasing of lives, so that, again, these things should not be disincentivized by being classed as war crimes, but in fact should be the preferred methods of war. This makes it all the more problematic to have these things counted as war crimes when killing and rape are not. In the course of these arguments, the distinction is made between people and their culture; and the question is mooted whether the destruction of cultural artifacts is an evil, and if so, how great an evil. Finally, an argument is given against the view that it is wrong for art and culture experts to give assessments for the value of artifacts because this will be the enabling of the theft and destruction of artifacts and their cultures. If we do not place value on things, we cannot know what is most good and so most worth preserving in cultures and their artifacts. So we must carry on with judging, and then make sure we act to prevent the exploitation of the things we have rightly come to value. (shrink)
At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in the (...) more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)
By demonstrating that many of the concepts and styles associated with Modernism were actually derived directly from cultures such as Japan, China, Korea, India, Egypt, Assyria, West Africa, and the Pacific Islands, this book provides an entirely new way of looking at the evolution of Modernist art and literature in the West.
In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedAt the Eleventh Hour: The Biography of Swami Rama. By Pandit Rajmani Tigunait, Ph.D. Honesdale, Pennsylvania: Himalayan Institute Press, 2002. Pp. 427. Hardcover $18.95.Awakening and Insight: Zen Buddhism and Psychotherapy. Edited by Polly Young Eisendrath and Shoji Muramoto. Hove, England: Brunner-Routledge, 2002. Pp. xii + 275. Paper $24.95.Beyond Metaphysics Revisited: Krishnamurti and Western Philosophy. By J. Richard Wingerter. Lanham, Maryland: University Press of America, 2002. Pp. vii + (...) 391. Hardcover $71.00.Bhāmatī and Vivaraṇa Schools of Advaita Vedānta: A Critical Approach. By Pulasth Soobah Roodurmun, foreword by V. N. Jha, and edited by Kanshi Ram. New Delhi: Motilal Banarsidass Publishers, 2002. Pp. xv + 297. Price not given.A Bibliography of Ananda Kentish Coomaraswamy. By James S. Crouch. New Delhi: Indira Gandhi National Centre for the Arts and Manohar Publishers and Distributors, 2002. Pp. 430. Price not given.Crisis Theory and World Order: Heideggerian Reflections. By Norman K. Swazo. Albany: State University of New York Press, 2002. Pp. x + 289. Hardcover $78.50. Paper $26.95.Devotional Literature in South Asia: Current Research 1997-2000: Proceedings of the Eighth International Conference on Early Literature in New Indo-Aryan Languages, Leuven, 23-26 August 2000. Edited by Winand M. Callewaert and Dieter Taillieu. New Delhi: Manohar Publishers and Distributors, 2002. Pp. xxii + 324. Price not given.Dharma Bell and Dhāraṇī Pillar: Li Po's Buddhist Inscriptions. By Paul W. Kroll. Kyoto: Italian School of East Asian Studies, 2001. Pp. viii + 95. Price not given.Essays on the Moral Philosophy of Mengzi. Edited, with introduction, by Xiusheng Liu and Philip J. Ivanhoe. Indianapolis and Cambridge: Hackett Publishing Company, 2002. Pp. xiv + 249. Hardcover $39.95. Paper $16.95. Professional price $12.95.Ethical Questions: East and West. Edited by Bina Gupta. Lanham, Maryland: Rowman and Littlefield Publishers, 2002. Pp. vi + 279. Hardcover $70.00. Paper $26.95.Ethical Relativism and Universalism. By Saral Jhingran. New Delhi: Motilal Banarsidass Publishers, 2001. Pp. xiv + 385. Price not given.Genius-In Their Own Words: The Intellectual Journeys of Seven Great 20th Century [End Page 431] Thinkers. Edited and with introduction by David Ramsay Steele, foreword by Arthur C. Danto. Chicago and La Salle: Open Court, 2002. Pp. xxii + 366. Paper $24.95.The Hatha Yoga Pradipika. The original Sanskrit by Svatmarama, an English translation by Brian Dana Akers. Woodstock, New York: YogaVidya.com, 2002. Pp. xii + 115. Hardcover $19.95. Paper $11.95.Human Rights and Chinese Thought: A Cross-Cultural Inquiry. By Stephen C. Angle. New York: Cambridge University Press, 2002. Pp. xviii + 285. Hardcover $65.00. Paper $23.00.Indestructible Truth: The Living Spirituality of Tibetan Buddhism. By Reginald A. Ray. Boston and London: Shambhala Publications, 2002. Pp. x + 495. Paper $17.95.Introduction to Eastern Thought. By Marietta Stepaniants. Edited by James Behuniak and translated by Rommela Kohanovskaya. Lanham, Maryland: AltaMira Press, a division of Rowman and Littlefield Publishers, 2002. Pp. xiv + 293. Hardcover $69.00. Paper $24.95.Jainism and Ecology: Nonviolence in the Web of Life. Edited by Christopher Key Chapple. Cambridge: Harvard University Press for the Center for the Study of World Religions, 2002. Pp. xliv + 252. Hardcover $32.95. Paper $22.95.Mediating the Power of Buddhas: Ritual in the Mañjuśrīmūlakalpa. By Glenn Wallis. Albany: State University of New York Press, 2002. Pp. xiii + 263. Hardcover $86.50. Paper $29.95.Methodology in Religious Studies: The Interface with Women's Studies. Edited by Arvind Sharma. Albany: State University of New York Press, 2002. Pp. xi + 253. Hardcover $78.50. Paper $26.95.Persons and Valuable Worlds: A Global Philosophy. By Eliot Deutsch. Lanham, Maryland: Rowman and Littlefield Publishers, 2002. Pp. x + 309. Hardcover $80.00. Paper $34.95.Philosophy and Art in Gurdjieff's Beelzebub: A Modern Sufi Odyssey. By Anna T. Challenger. Amsterdam and New York: Editions Rodopi B.V., 2002. Pp. xi + 145. Paper EUR 27,00, U.S. $25.00.The Pratyabhijñā Philosophy. By G. V. Tagare. New Delhi: Motilal Banarsidass Publishers, 2002. Pp. xii + 165. Price not given.Reflections on Reality: The Three Natures and Non-Natures in the Mind-Only School: Dynamic Responses to ong-ka-a's The... (shrink)
This two‐part article examines the very limited engagement by philosophers with museums, and proposes analysis under six headings: cultural variety, taxonomy, and epistemology in Part I, and teleology, ethics, and therapeutics and aesthetics in Part II. The article establishes that fundamental categories of museums established in the 19th century – of art, of anthropology, of history, of natural history, of science and technology – still persist. Among them, it distinguishes between hegemonic and subaltern museums worldwide. It argues that relations (...) between hegemonic and subaltern museums are often agonistic, and are compromised by claims of universalism on the part of proponents of the former. The article observes that most discussion of museums focuses exclusively and misleadingly on their public exhibition function, and contends that scholarship – not exhibition – is central to all museums. However, that predominantly taxonomic scholarship, while innovative and central to a dominant epistemology based on the observation of tangible things in the 19th century, was compromised by the epistemic shift to abstraction and experimentation in the 20th, which resulted in a loss of initiative and authority. Although epistemological changes currently in progress favor a renewed attention to tangible things as complex matrices to which museums ought to contribute significantly, the fundamental taxonomy of museums by collection type is a clog on the ability of museum scholars to engage with and themselves produce big ideas. In order to function well as sites of scholarship in the future, museums will have to be far more adaptable and attentive to a wider range of things and ideas than their existing collection divisions permit. (shrink)
A volume dedicated to the achievements of Norwegian archaeologist Gutorm Gjessing (1906-1979). Contents: 1) Why a Circumpolar Reappraisal? An Introduction (Christer Westerdahl); 2) The Search for a Saami Past, and Some Reflections on the Gjessing Legacy (Noel D. Broadbent); 3) Shamanism and Material Culture in the Northern Circumpolar Area, brought to the fore by some newly discovered South-Saami Drums with Accessories in the Norwegian Mountains (Birgitta Berglund); 4) Northern Snow Patch Archaeology (Martin Callanan); 5) Surface Pressure Flaking in Northern Eurasia (...) at the Mesolithic-Neolithic transition-a technological virus? (Kim Darmark); 6) A Reappraisal of Circumpolar Microblade Technology (E. James Dixon); 7) Arctic Cultures and Global Theory: Historical Tracks Along the Circumpolar Road (William W. Fitzhugh); 8) Cross-cultural contacts between European whalers and Russian hunters (Louwrens Hacquebord and Ypie Aalders); 9) Interpreting bear imagery in the spirit of Gutorm Gjessing (Knut Helskog); 10) A Reapraisal of the Ainu Bear Festival (Takashi Irimoto); 11) Maritime Culture of the White Sea Littoral: Traditional Ships and Boats of Pomorye in the First Half of the 18th Century (Marek E. Jasinski & Oleg V. Ovsyannikov); 12) Major Changes in the Holocene Climate (Wibjorn Karlen); 13) On the Diffusion of the Bark Canoes, Skin Boats and Expanded Log Boats in the Eurasian North (Harri Luukkanen); 14) Early Spread of Pottery in Circumpolar Eurasia (Milton Nunez); 15) Feeding the Fire in the Circumpolar Hearths (Ulla Odgaard); 16) Archaeology as Social Anthropology (Knut Odner); 17) Potential Insights Cultural Material Conservation Can Contribute to Circumpolar Research Questions as Illustrated by Textile and Leather Artefacts Recovered from Archaeological Investigations of Two Russian Pomor Hunting Stations on Svalbard (Elizabeth E. Peacock); 18) Gutorm Gjessing and Norwegian Rock-Art (K. J. Sognnes); 19) Gjessing, Dialectics and the New Archaeology (Frans-Arne Stylegar); 20) Aesthetic Expressions in the Circumpolar North: Art Among Three Indigenous Peoples, the Ainu, the Netsilik, and the Sami (Tom G. Svensson); 21) Sea versus Land. An Arctic and Subarctic Cosmology? (Christer Westerdahl); 22) Ancient boats of the Sami in Fennoscandia. A brief survey with a focus on the inland environments, in particular those of the Forest Sami (Christer Westerdahl); 230 Visualizing Sami Waterscapes in Northern Norway from an Archaeological Perspective (Stephen Wickler); 24) A Reappraisal of Eurasian Shamanism: Continuity or Discontinuity of the Concept of Spiritual Beings (Takako Yamada); 25) Bibliography of Gutorm Gjessing. (shrink)
I hope you will agree, however, that the purpose of the museum should ultimately be to teach the difference between pencils and works of art. What I have called the shrine was set up and visited by people who thought that they knew this difference. You approached the exhibits with an almost religious awe, an awe which certainly was sometimes misplaced but which secured concentration. Our egalitarian age wants to take the awe out of the museum. It should (...) be a friendly place, welcoming to everyone. Of course it should be. Nobody should feel afraid to enter it or for that matter be kept away by his inability to pay. But as far as I can see the real psychological problem here is how to lift the burden of fear, which is the fear of the outsider who feels he does not belong, without also killing what for want of a better word I must still call respect. Such respect seems to me inseparable from the thrill of genuine admiration which belongs to our enjoyment of art. This admiration is a precious heritage which is in danger of being killed with kindness. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His books include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, Norm and Form, Symbolic Images, The Heritage of Apelles, and In Search of Cultural History. He became a Fellow of the British Academy in 1960, a Commander of the British Empire in 1966, and was knighted in 1972. He is also a trustee of the British Museum and a foreign member of the American Academy of Arts and Sciences and of the American Philosophical Society. His contributions to Critical Inquiry include "Notes and Exchanges", "Standards of Truth: The Arrested Image and the Moving Eye", and, with Quentin Bell, "Canons and Values in the Visual Arts: A Correspondence". (shrink)
The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, uniquely combined art historian, philosopher, orientalist, linguist, and expositor in his person. His knowledge of the arts and handcrafts of the Orient was unexcelled and his numerous monographs on Oriental art either established or revolutionized entire fields. He was also a great Orientalist, with an almost unmatched understanding of traditional culture. He covered the philosophic and religious experience of the entire premodern world, east (...) and west, and for him primitive, medieval European, and classical Indian experiences of truth and art were only different dialects in a common language. Finally, Coomaraswamy was a provocative writer, whose erudition was expressed in a delightful, aphoristic style. The nine essays in this book are among his most stimulating. They discuss such matters as the true function of aesthetics in art, the importance of symbolism, and the importance of intellectual and philosophical background to the artist; they analyze the role of traditional culture in enriching art; they demonstrate that abstract art and primitive art, despite superficial resemblances, are completely divergent; and they deal with the common philosophy which pervades all great art, the nature of medieval art, folklore and modern art, the beauty inherent in mathematics, and the union of traditional symbolism and individual portraiture in premodern cultures. (shrink)
The paper discusses artworks and artefacts considered as both cultural heritage and meaningful tokens for personal self-identity. The arguments come mostly from phenomenological understanding of self-identity and art, but the terminological toolkit comes mostly from the Extended Mind Thesis. While many museologists and theorists of culture argue that objects presented in a particular social context can shape group identity, I believe in taking this question to a lower, personal level. In this paper, I argue that we build our self-identity (...) partially by anchoring our memories with significant art and heritage objects. I state that artworks, mediated by cultural context immersion of museums and galleries, serve as self-identity extensions. Since I find both selfidentity and art structured as sets of cultural meanings wrapped in material scaffoldings, I draw a relation between those two, showing the crucial meaning of material cultural objects for the formation of our self-identity. (shrink)
Die alphabetische Reihung der Autorennamen erweckt ein irreführendes Bild der einzelnen Kontributionen, zumal da ja auch kein Vorwort erscheint. Die wissenschaftliche Leitung und Letztverantwortung für den Band lag weiterhin bei N. Oikonomides, der nicht nur das Manuskript abschloss, sondern auch noch die Stellungnahmen der Begutachter auswerten konnte, Fahnen aber leider nicht mehr erleben durfte. Den größten Zeitaufwand investierte sicherlich J. Nesbitt, der ja für dieses Projekt in Dumbarton Oaks angestellt ist. E. McGeer dagegen ist zwar ein sigillographischer Hoffnungsträger in Amerika, (...) sein Beitrag zu diesem Band war aber noch eher bescheiden. (shrink)
In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedThe Ambitions of Curiosity: Understanding the World in Ancient Greece and China. By G.E.R. Lloyd. Cambridge: Cambridge University Press, 2002. Pp. xvi + 175. Price not given.The Art of the Han Essay: Wang Fu's Ch'ien-Fu Lun. By Anne Behnke Kinney. Tempe: Center for Asian Studies, Arizona State University, 1990. Pp. xi + 154. Paper $10.00.The Autobiography of Jamgön Kongtrul: A Gem of Many Colors. By Jamgön Kongtrul (...) Lodrön Thayé and translated by Richard Barron (Chökyi Nyima). Ithaca, New York: Snow Lion Publications, 2003. Pp. xxii + 549. Price not given.Awesome Nightfall: The Life, Times, and Poetry of Saigyō. By William R. LaFleur. Boston: Wisdom Publications, 2003. Pp. xiii + 173. Paper $14.95.Becoming the Compassion Buddha: Tantric Mahamudra for Everyday Life. By Lama Thubten Yeshe, edited by Robina Courtin, and foreword by Geshe Lhundub Sopa. Boston: Wisdom Publications, 2003. Pp. xi + 194. Paper $14.95.Between Two Worlds East and West: An Autobiography. By J. N. Mohanty. New Delhi: Oxford University Press, 2002. Pp. ix + 134. Hardcover RS 525.00.The Chinese Face of Jesus Christ. Edited by Roman Malek, S.V.D. Sankt Augustin, Germany: Institut Monumenta Serica and China-Zentrum; and Nettetal, Germany: Steyler Verlag, 2002. Pp. 391. EUR 40.00.Chinese Medicine in Contemporary China: Plurality and Synthesis. By Volker Scheid. Durham and London: Duke University Press, 2002. Pp. xiv + 407. Hardcover $69.95. Paper $23.95.Confucian Feminist: Memoirs of Zeng Baosun (1893-1978). Translated and adapted by Thomas L. Kennedy. Philadelphia: American Philosophical Society, 2002. Pp. xxi + 170. Price not given.Consciousness Studies: Cross-Cultural Perspectives. By K. Ramakrishna Rao. Jefferson (North Carolina) and London: McFarland and Company, 2002. Pp. 367. Hardcover $65.00.Constituting Communities: Theravāda Buddhism and the Religious Cultures of South and Southeast Asia. Edited by John Clifford Holt, Jacob N. Kinnard, and Jonathan S. Walters. Albany: State University of New York Press, 2003. Pp. viii + 224. Hardcover $65.50. Paper $21.95.Developments in Indian Philosophy from Eighteenth Century Onwards: Classical and Western. By Daya Krishna. Volume X Part 1 of History of Science, Philosophy and Culture in Indian Civilization, edited by D. P. Chattopadhyaya. New [End Page 110] Delhi: Centre for Studies in Civilizations, 2001. Pp. xxiii + 417. Hardcover RS 1200.East and West: Identità e dialogo interculturale. By Giangiorgio Pasqualotto. Venezia: Marsilo Editori, 2003. Pp. 210. EUR 16.00.Effortless Action: Wu-wei as Conceptual Metaphor and Spiritual Ideal in Early China. By Edward Slingerland. New York: Oxford University Press, 2003. Pp. xii + 352. Price not given.Encountering Kā lī: In the Margins, at the Center, in the West. Edited by Rachel Fell McDermott and Jeffrey J. Kripal. Berkeley and Los Angeles: University of California Press, 2003. Pp. xviii + 321. Hardcover $55.00, £37.95. Paper $21.95, £15.95.Encyclopedia of Chinese Philosophy. Edited by Antonio S. Cua. New York and London: Routledge, 2003. Pp. xx + 1020. Hardcover $150.00.Essays on Indian Philosophy. By J. N. Mohanty and edited by Purushottama Bilimoria. New Delhi: Oxford University Press, 2002. Pp. xxxvii + 347. Paper RS 525.00.Faith, Humor, and Paradox. By Ignacio L. Götz. Westport, Connecticut: Praeger Publishers, 2002. Pp. 136. Hardcover $61.95.Four Illusions: Candrakīrti's Advice for Travelers on the Bodhisattva Path. Translated by Karen C. Lang. New York: Oxford University Press, 2003. Pp. xv + 240. Price not given.The Great Awakening: A Buddhist Social Theory. By David R. Loy. Boston: Wisdom Publications, 2003. Pp. 223. Paper $16.95.The Hidden History of The Tibetan Book of the Dead. By Bryan J. Cuevas. New York: Oxford University Press, 2003. Pp. xi + 328. Price not given.Huang Di nei jing su wen: Nature, Knowledge, Imagery in an Ancient Chinese Medical Text. By Paul U. Unschuld. Berkeley and Los Angeles: University of California Press, 2003. Pp. xii + 520. Hardcover $75.00, £52.00.In Dewey's Wake: Unfinished Work of Pragmatic Reconstruction. Edited by William J. Gavin. Albany: State University of New York Press, 2003. Pp. vi + 249. Hardcover $71.50. Paper $23.95.Knowledge and Freedom in Indian Philosophy. By Tara Chatterjea. Lanham, Maryland: Lexington Books, 2002. Pp. xvi + 159. Hardcover... (shrink)
Art is saturated with cultural significance. Considering the full spectrum of ways in which art is colored by cultural associations raises a variety of difficult and fascinating philosophical questions. This curriculum guide focuses in particular on questions that arise when we consider art as a form of cultural heritage. Organized into four modules, readings explore core questions about art and ethics, aesthetic value, museum practice, and art practice. They are designed to be suitable for use in (...) an introduction to philosophy of art, as well as in more topically focused courses, particularly on topics concerning the ethics and politics of art. (shrink)
At the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art, with particular reference to Hollywood and European cinema. Written in the essayist, speculative tradition of Walter Benjamin and Theodore Adorno, this study also includes analyses of several key films of the 1980s. Tracing the boundaries of such genres as film noir, science fiction and melodrama, it demonstrates how these genres were radically expanded by such filmmakers as Neil Jordan, Chris Merker and Georges (...) Franju. This work also reflects on kitsch, the star system, racial and gender stereotypes, and the nature of audience participation. While defining the conditions under which the symbiotic relationship between high and mass culture can be cross-fertilising, this study stresses their inevitably contradictory characteristics. (shrink)
This is a richly suggestive book but, like Immanuel Kant's own work, it is not easy to bring into focus. Its basic argument is "that aesthetic necessity is justified through the relation of fine art to morality" as a practical relation between subjects and not simply on epistemological grounds. The work has the distinctive merit of drawing heavily upon the total corpus of Kant's works, especially the more neglected works collected in English in On History which deal with the development (...) of culture. In the process, we get a view not only of fine art, but also of the unity of Kant's thought that extends significantly beyond the usual epistemological and/or moral foci and centers upon the historical development of culture. Of course, the center of Kemal's attention is the Critique of Aesthetic and Teleological Judgment, the expressed aim of which is to establish the unity of experience in face of the tension between the clockwork universe of the Critique of Pure Reason and the world of moral freedom focused by the Critique of Practical Reason. (shrink)
In 2006, David Carrier (Carrier, 2006, Museum Skepticism: A History of the Display of Art in Public Galleries. Durham: Duke University Press.) coined the term ‘museum skepticism’ to describe the idea that moving artworks into museum settings strips them of essential facets of their meaning; among art historians, this is better known as ‘decontextualization’, ‘denaturing’, or ‘museumization’. Although they do not usually name it directly, many contemporary debates in the philosophy of art are informed by an inclination (...) towards museum skepticism, from work on aesthetic cognitivism (Feagin, Susan, 1995, “Paintings and their places” Australasian Journal of Philosophy 73.2: 260-8.) and contextualism (Danto, Arthur C., 1988, “Artifact and Art”, in ART/ARTIFACT: African Art in Anthropological Collections. Exhibition Catalogue. New York: Center for African Art and Prestel Verlag, 18-32.) to cultural appropriation (Eaton, A. W. and Gaskell, Ivan, 2009, “Do subaltern artifacts belong in art museums?,” The Ethics of Cultural Appropriation, ed. James O. Young and Conrad Brunk, Oxford and Malden, Mass.: Wiley-Blackwell, 235-67), street art (Baldini, Andrea, 2016, “Street Art: A Reply to Riggle” Journal of Aesthetics and Art Criticism 74.2: 187-91), and the value of authenticity (Korsmeyer, Carolyn, 2016, “Real Old Things” British Journal of Aesthetics, 56.3: 219-31). The very first museum skeptic, however, was Antoine Chrysostôme Quatremère de Quincy (1755-1849). (shrink)
This paper discusses corporate entanglement, impactfulness and responsibility in the Anthropocene, amidst events and conditions that ‘uncontain’ time. It takes its direction of travel from artist Brian Jungen’s ‘Cetology’ (2002), a whalebone sculpture made out of cut-up plastic garden chairs, which conjoins the times of earth and world history, as it hangs in the air of the art gallery, ‘as if’ exhibited in the natural history museum. The paper relates ‘Cetology’s’ engagement with natural history, time, and commodification to matters (...) of corporate entanglement and responsibility within company law and governance. Problems with understanding the comparable imprint of large and multinational companies on matters, places, and communities are identified, after the domination of corporate legal frameworks over nature and the stability and perfection of economic incentives at law. The reading of this (critical-legal) situation is developed through theory and engagement with materialist and critical thinkers, who unite in their concern with distributed human–nature relations and the ‘concreteness’ that attends collisions in time, ruin and affect. Walter Benjamin and Theodor Adorno’s writings are central to this analysis, and strengthen the commentary on ‘natural history’ themes curated by Jungen. The paper contemplates how times’ uncontainment might invoke a change in expectation and method for the company law field, assigning contingency to the corporation and provoking a new mode of reflection about corporate entanglement and responsibility at law. (shrink)
This paper, based on a talk given at the Art Gallery of New South Wales, is presented as an example of philosophy done in an art gallery. Its subject is Tom Roberts’ painting Holiday Sketch at Coogee (1888), and as well as responding directly to the painting in the environment of the gallery, it draws on the author's memories of seeing that painting in other times and places. It draws on these personal experiences to relate Roberts’ painting to a controversial (...) idea laid out by art historian Heinrich Wölfflin, and to more recent conventionalist and resemblance theories of pictorial representation. It finishes by affirming one of Roberts’ important achievements: his discarding of inherited European ways of picture‐making, and his place among the first generation of non‐indigenous artists to represent the real colours of the Australian landscape. (shrink)
This article proposes a sensory studies methodology for the interpretation of museum objects. The proposed method unfolds in two phases: virtual encounter via an on-line catalog and actual exposure in the context of a handling workshop. In addition to exploring the écart between image and object, the “Sensing Art and Artifacts” exercise articulates a framework for arriving at a multisensory, cross-cultural, interactive understanding of aesthetic value. The case studies presented here involve four objects from the collection of the (...) Hunterian Museum as sensed and interpreted by scholars of psychology, philosophy, sociology, and anthropology. It is proposed that aesthetic judgment in the expanded (cross-cultural) sense contemplated here involves apprehending the museum object through multiple sensory modalities in place of the conventional Western fixation on visible form. (shrink)
"All art should become science and all science art; poetry and philosophy should be made one." Friedrich Schlegel's words perfectly capture the project of the German Romantics, who believed that the aesthetic approaches of art and literature could reveal patterns and meaning in nature that couldn't be uncovered through rationalistic philosophy and science alone. In this wide-ranging work, Robert J. Richards shows how the Romantic conception of the world influenced (and was influenced by) both the lives of the people who (...) held it and the development of nineteenth-century science. Integrating Romantic literature, science, and philosophy with an intimate knowledge of the individuals involved—from Goethe and the brothers Schlegel to Humboldt and Friedrich and Caroline Schelling—Richards demonstrates how their tempestuous lives shaped their ideas as profoundly as their intellectual and cultural heritage. He focuses especially on how Romantic concepts of the self, as well as aesthetic and moral considerations—all tempered by personal relationships—altered scientific representations of nature. Although historians have long considered Romanticism at best a minor tributary to scientific thought, Richards moves it to the center of the main currents of nineteenth-century biology, culminating in the conception of nature that underlies Darwin's evolutionary theory. Uniting the personal and poetic aspects of philosophy and science in a way that the German Romantics themselves would have honored, The Romantic Conception of Life alters how we look at Romanticism and nineteenth-century biology. (shrink)
Since its foundation in the mid-nineteenth century, the University of Toronto has accumulated a substantial number of historically-significant scientific objects. As Canada’s largest research university, much of this material is of national significance. Despite numerous attempts since the late 1970s to establish a universal policy for the preservation and safeguarding of scientific apparatus, the survival of Toronto’s scientific material heritage has depended partly on the initiatives of dedicated individuals, partly on luck.The following examination seeks a comprehensive history of the material (...) culture of science at the University, focussing on scientific instrumentation and natural history collections. It examines the circumstances under which some material survives and traces efforts to develop a curated collection, concluding with some recent progress in acquiring storage and developing an online catalogue. It argues that early university science museums formed an important venue through which the University fulfilled its public function of studying the frontier and assisting the expansion of the colonies. The display and interpretation of scientific material culture had an important impact on the University’s early history. (shrink)
