In this chapter, the author begins with Arthur Danto's reflections upon art and evolution in his 1985 David and Marianne Mandel Lecture in Aesthetics presented at the Annual Meeting of the American Society for Aesthetics. “Primitive” artifacts influenced modernist artists because the “conceptual complexity and aesthetic subtlety” of such artifacts revealed to them artistic possibilities that transcended the “prevailing aesthetic canons” of late nineteenth‐century European art. Danto's argument has drawn widespread criticism, many of his critics, including Vogel herself, questioning the (...) role played in that argument by the anthropological thought experiment. Danto might be more sympathetic to Gell, who prefaces his own proposal by rebuking anthropologists of art for remaining in the thralls of a “reactionary” aesthetic conception of art. (shrink)

This essay develops an account of artistic creativity based on Martin Buber’s theory of dialogue. Crucially, Buber distinguishes between the It that is objectified in experience and use and the You whom we meet as a whole person in dialogical relationships. Buber’s emphasis on dialogue as the core of what it means to be human suggests that the human significance of art might also be in its dialogical potential. The problem, however, is that artists, psychologists, critics, and philosophers often treat (...) artistic creativity in objective terms and thus make any dialogical ontology of art implausible. To address this issue, the essay proposes a dialogical anthropology of art that acknowledges the objective conditions of art-making and locates the human significance of art in the non-objective interfaces it opens between the artist and his or her world. Such an account brings to light the ways in which art may invite people into “unfinalizable” dialogical relationships with the world they inhabit. (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)

In anthropology, works of art are used as sources of information rather than as expressive realities in their own right. In anthropology the work of art is treated more as a window than as a symbol; it is treated as a transparency rather than as a membrane having its own properties and qualities. For instance, it is usually in social science that art "reflects" life with more or less distortion. Yet no art can record anything it is not (...) actually programmed to register. This programming usually concerns very small sectors of all actuality, and it is limited by the figural traditions and by the technical resources of the artisans....Given my assumptions—that art does not "reflect" life; nor does it necessarily imitate nature; nor can it be explained away by texts or informants—given these assumptions, we are required to limit our notions about how much "information" the arts can convey. George Kubler is Robert Lehman Professor of the History of Art at Yale University. His publications include The Shape of Time: Remarks on the History of Things, Studies in Classic Maya Iconography, Portuguese Plain Architecture, 1526-1706 and The Art and Architecture of Ancient America: The Mexican, Maya, and Andean Peoples. (shrink)

Anthropology of the Brain In this unique exploration of the mysteries of the human brain, Roger Bartra shows that consciousness is a phenomenon that occurs not only in the mind but also in an external network, a symbolic system. He argues that the symbolic systems created by humans in art, language, in cooking or in dress, are the key to understanding human consciousness.

As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art or (...) art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The article assumes that the expression “comparative relativism”—the title of the Common Knowledge symposium in which the essay appears—is neither tautological nor oxymoronic. Rather, the author construes the term as an apt synthetic characterization of anthropology and illustrates that idea by means of four quotations, taken from authors as different as Richard Rorty and David Schneider, Marcel Mauss and Henri Michaux. The quotations can be said to “exemplify” anthropology in terms that are interestingly (and diversely) restrictive: some of (...) them amount to extrinsic negations of anthropology that would paralyze it; others suggest intrinsic negativities that would propel it. All of the passages chosen evoke the idea of belief, which is profoundly implicated, in all possible senses (and especially the worse ones), in the majority of arguments that connect the themes of anthropology, comparison, and relativism. (shrink)

According to a widespread view, Hegel holds that beauty cannot be found in the creatures and objects of the natural world, but is strictly limited to works of art. I argue in this paper that Hegel’s restriction of beauty to works of art is not as straightforward as it is often taken to be, by showing that the phenomenon of beauty has anthropological roots in Hegel. Juxtaposing the Lectures on Aesthetics with sections from Hegel’s Anthropology in the Encyclopedia of (...) Philosophical Sciences, I demonstrate that the living human individual has considerable aesthetic potential in Hegel’s view. According to the interpretation developed in the paper, Hegel holds that artistic beauty—at least in its classical form—is inspired by the beauty of the living human individual. This interpretation makes emerge a strong, ambitious conception of artistic beauty according to which beautiful art not only stands in continuity with human nature, but also makes normative claims pertaining to the living human individual. (shrink)

Purpose. Based on the anthropocentric approach to the analysis of visual self-presentations of Artemisia Gentileschi in paintings, to present the artwork as self-objectifications of the artist, which give rise to a new cultural reality and are at the same time a means of knowing the essence of man. Theoretical basis. The principles and methods of philosophical and anthropological research in combination with biographical, historical and comparative, iconographic, figurative and stylistic methods were used when writing the article. Among philosophical and anthropological (...) methods the principle of anthropological reduction was used, based on which the works by Artemisia Gentileschi were analyzed as her self-objectification, principle of extrapolation of a separate fact of the painter’s life and anthropological interpretation of art evolution, when an attempt is made to know their creator through a series of chronological consistent works as figurative objectification. The biographical method was used when working with data on the painter’s life, iconographic and figurative stylistic – when analyzing the art visuals: self-portraits, allegories and narrative paintings. The analytical work was carried out in stages as transition from an iconographic interpretation of paintings with gradual elimination of art and style characteristics as extra-anthropological cultural constants with subsequent anthropological reduction of cultural image. Originality consists in the author’s method of analyzing the works of visual art in terms of anthropocentric approach, as well as in considering the artwork by Artemisia Gentileschi as her self-objectification as such that give rise to a new cultural reality. Conclusions. The artworks by Artemisia Gentileschi in diachronic deployment can be seen as the painter’s self-objectification, which traces the evolution of self-expression from a person with traditional self-perception by social gender stereotypes to the phenomenon of personal life, which will determine further evolution of her self-identification and extirpation of sense of shame through virtual revenge, repentance, guilt, and formation of component of the painter’s identity as exemption from social gender prejudices and stereotypes on roles and standards of behavior socially assigned to women. (shrink)

In Marking Time, Paul Rabinow presents his most recent reflections on the anthropology of the contemporary. Drawing richly on the work of Michel Foucault, John Dewey, Niklas Luhmann, and, most interestingly, German painter Gerhard Richter, Rabinow offers a set of conceptual tools for scholars examining cutting-edge practices in the life sciences, security, new media and art practices, and other emergent phenomena. Taking up topics that include bioethics, anger and competition among molecular biologists, the lessons of the Drosophila genome, the (...) nature of ethnographic observation in radically new settings, and the moral landscape shared by scientists and anthropologists, Rabinow shows how anthropology remains relevant to contemporary debates. By turning abstract philosophical problems into real-world explorations and offering original insights, Marking Time is a landmark contribution to the continuing re-invention of anthropology and the human sciences. (shrink)

John Dewey puts aesthetic experience at the center of his reflection on art and beauty, reconsidering it dynamically. Nowadays, this view opened the path to somaesthetics, a term coined by Richard Shusterman, and aesthetic anthropology. Here, it is argued that the contribution of pragmatist aesthetics could be further developed by exploring its analogies with techno-aesthetics, a paradigm proposed by French philosopher Gilbert Simondon in the early 1980s. Art occupies accordingly a special place within the different forms of aesthetic experience, (...) being considered as a way of experimenting the impact of new technologies in the human experience. It is a process by which technologies create ‘devices’ for experimenting perception and reflection: namely, ways of reconstructing the nature of the human mind in-between body and technology, and by means of their interaction. Cinema reconsidered after Dewey’s fellow George H. Mead, offers an exemplary case as both artistic and technological devices. (shrink)

_The Arts and the Definition of the Human_ introduces a novel theory that our selves—our thoughts, perceptions, creativity, and other qualities that make us human—are determined by our place in history, and more particularly by our culture and language. Margolis rejects the idea that any concepts or truths remain fixed and objective through the flow of history and reveals that this theory of the human being as culturally determined and changing is necessary to make sense of art. He shows that (...) a painting, sculpture, or poem cannot have a single correct interpretation because our creation and perception of art will always be mitigated by our historical and cultural contexts. Calling upon philosophers ranging from Parmenides and Plato to Kant, Hegel, and Wittgenstein, art historians from Damisch to Elkins, artists from Van Eyck to Michelangelo to Wordsworth to Duchamp, Margolis creates a philosophy of art interwoven with his philosophical anthropology which pointedly challenges prevailing views of the fine arts and the nature of personhood. (shrink)

The definition of the human -- Perceiving paintings as paintings I -- Perceiving paintings as paintings II -- "One and only one correct interpretation" -- Toward a phenomenology of painting and literature -- "Seeing-in," "make-believe," transfiguration" : the perception of pictorial representation -- Beauty and truth and the passing of transcendental philosophy.

This paper examines explanations for human artistic behavior in two reductionist research programs, cognitive neuroscience and evolutionary psychology. Despite their different methodological outlooks, both approaches converge on an explanation of art production and appreciation as byproducts of normal perceptual and motivational cognitive skills that evolved in response to problems originally not related to art, such as the discrimination of salient visual stimuli and speech sounds. The explanatory power of this reductionist framework does not obviate the need for higher-level accounts of (...) art from the humanities, such as aesthetics, art history or anthropology of art. (shrink)

It is widely asserted that we are now living in a post-truth society. What that means, this book argues, is that the contemporary global world is thoroughly infested not only with trickster figures but an entire and operational trickster logic; or, that we now live in a Trickster Land - an argument advanced by the claim that in modernity liminality has become permanent; or that modern life is patently absurd. The first part of the book presents a series of 'guides' (...) to this condition, in the form of key thinkers and writers who can help us understand and navigate our Trickster Land. Such guides include Hermann Broch, Lewis Hyde, Roberto Calasso, Michel Serres, Sándor Márai, Colin Thubron, and Albert Camus. The second part goes on to discuss five main regions of Trickster Land: art, thought, the economy, politics, and society. This last, central chapter of the book contrasts trickster logic with the basic, foundational logic of social life, presented as gift-giving by Marcel Mauss and as sociability by Georg Simmel, and which is expressed here, combining Heraclitus and Plato with the Gospel of John, by three basic terms of ancient Greek culture, as arkhé charis logos: meaningful social life originally and in its essence is animated by the power of kind benevolence. This volume will appeal to scholars of social theory, anthropology and sociology with interests in political thought and contemporary culture. (shrink)

Blumenberg‘s phenomenological anthropology replaces the traditional question: What is the human being? with the following question: How is being human even possible? This question expresses a great mistrust over the ability of copying with human life. According to Blumenberg, man can survive only when he keeps distance from the threatening world in a literal as well as metaphorical sense. As an upright animal, who sees and can be seen, he can experience being hunted but also being the hunter in (...) order to bring himself into safety from what threatens him as well as succeeding in hunting. In a metaphorical sense, man takes distance from the almighty reality through myths, religion, science, technology, art, resp . culture as reliable ways to cope with anxiety and threats in this, for him, dangerous and nameless world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 105-112 [Access article in PDF] Philosophy of Art Today:Calling Frameworks into QuestionBeyond Aesthetics: Philosophical Essays, by Noël Carroll. Cambridge: Cambridge University Press, 2001, 450 pp., $29.00. Merit: Aesthetic And Ethical, by Marcia Eaton. Oxford University Press, 2001, 252 pp., $52.00. But Is It Art? by Cynthia Freeland. Oxford University Press, 2001, 231 pp., $11.95. In his magisterial study of modern aesthetics, The (...) Theory of the Arts, Francis Sparshott observed that while "normal science" is what T.S. Kuhn called "hackwork" because it is carried out within a framework it never calls into question, there is — in that same sense — no such thing as "normal art" (Princeton: Princeton University Press, 1982). The twenty years since thepublication of Sparshott's book have done nothing but underscore this point. No theme in the arts has been more prominent than the challenging of existing frameworks. Equally, no project in the philosophy of art has proven more important than the remapping and expanding of prior conceptual boundaries. In both the arts and the philosophy of art, the new norm is the foreswearing of the normal. And just as contemporary art challenges the concept we have of art itself, contemporary aesthetics challenges the traditional notion we have of aesthetics. Of late, this challenge has been vigorous, persistent, heated. Yet, although it has produced some affronts to establishedsensibilities, it has not led to the wholesale undoing of prior advances in aesthetic theory, as many had feared.It is this development, rather than any particular movement or advance within the field, that stands out as the distinguishing characteristic of aesthetics today. Similar assaults on basic assumptions, disciplinary borders, and theoretical frameworks have raged in neighboring academic domains where they have inspired debilitating internecine conflict and conceptual disarray. Postmodernist attacks on the very possibility of theoretical coherence have been the most notorious, but far from the exclusive, examples of effects of this sort. Similar skeptical developments have proven corrosive in disciplines from anthropology to theology. Yet the field of aesthetics has generally welcomed framework challenge. It has not been driven by it into warring camps, and has taken this challenge as a positive contribution to the field's strength and importance.Three excellent recent works illustrate different ways in which the a-normality of contemporary aesthetics is being played out, and demonstrate [End Page 105] why it is both constructive and worthwhile. Cynthia Freeland's But Is It Art? is presented as an introduction to art theory, but it is really a provocative analysis of ways in which the visual arts have blown out their parameters and the demands this development places on intelligent response. Noël Carroll's Beyond Aesthetics takes as its theme the idea that, to make proper sense of the present world of aesthetic phenomena, we must "reach beyond aesthetic theories of art and their various prohibitions." And Marcia Eaton's Merit, Aesthetic and Ethical argues that the truly important issues we encounter in making sense of aesthetic experience require an integration of normative considerations formerly thought of as discretely ethical or aesthetic. Each of these works looks at the ways art and aesthetics have forced us to think differently about both of them, due to the way each has recently evolved. Yet none of them takes the radical view that all of what happened before is rendered insignificant by the revolutionary novelty of current work. Instead, these works are syncretic in just the way that contemporary philosophy of art is syncretic; they show how apparent discontinuities can be squared with the general thrust of the best historical work.The picture that emerges from these (as well as many other recent works) is this: Aesthetics today is a discipline pleased both to rethink its own basic concepts and to examine its connections to a variety of regions of concern not traditionally regarded as its province. A century ago, aestheticians were content to think of themselves as custodians of grand and noble values — principally the values of beauty and... (shrink)

Adapting critical methods from such wide-ranging fields as anthropology, linguistics, philosophy, biology, and other sciences, Schapiro appraises fundamental semantic terms such as "organic style," "pictorial style", "field and vehicle," and "form and content"; he elucidates eclipsed intent in a well-known text by Freud on Leonardo da Vinci, in another by Heidegger on Vincent van Gogh.

Primarily because of recent studies , there has been a revaluation of Kierkegaard’s view of art and the aesthetic. This article distinguishes between the ethical aesthetics of the pseudonym B in Either/Or and Kierkegaard’s theological aesthetics. It will show that, while imagination and appropriation are core concepts in both forms of aesthetics, that Kierkegaard’s view of radical transcendence – the qualitative distinction between God and human beings – is the norm only for his theological aesthetics. As a central anthropological category, (...) imagination ensures the necessary condition that art is important regardless of the stage of life . Kierkegaard is not an iconoclast; it is not the image that is at issue but the use to which it is put . Hermeneutically, the relationship between the work of art and the public has to do with appropriation, with response. Radical transcendence is the norm for the use of the imagination and art in the Christian religion and also determines indirect communication by connecting it to Christology. (shrink)

This collection of essays on anthropological approaches to art and aesthetics is the first in its field to be published for some time. In recent years a number of new galleries of non-Western art have been opened, many exhibitions of non-Western art held, and new courses in the anthropology of art established. This collection is part of and complements these developments, contributing to the general resurgence of interest in what has been until recently a comparatively neglected field of academic (...) study and intellectual debate. Unlike many previous collections, the focus of this volume is resolutely anthropological. The contributors draw on contemporary anthropological theory and exchange, to deepen our understanding of particular aesthetic traditions in their socio-cultural and historical contexts. In addition, the cross-cultural applicability of the very concepts 'art' and 'aesthetics' is assessed. Each essay illustrates a specific approach and develops a particular argument. Many present new ethnography based on recent field research among Australian Aborigines, in New Guinea, Indonesia, Mexico, and elsewhere. Others draw on classic anthropological accounts of, for example, the Trobriand Islanders of Melanesia and the Nuer of the Southern Sudan, putting this material to new uses. Sir Raymond Firth's introductory overview of the history of the anthropological study of art makes this volume particularly useful for the non-specialist interested in learning what anthropology has to contribute to our understanding of art and aesthetics in general. With its wide geographical and cultural coverage and plentiful illustrations, many of which are in colour, Anthropology, Art, and Aesthetics will be a valuable resource for all serious students of the subject. (shrink)

Adapting critical methods from such wide-ranging fields as anthropology, linguistics, philosophy, biology, and other sciences, Schapiro appraises fundamental semantic terms such as "organic style," "pictorial style", "field and vehicle," and "form and content"; he elucidates eclipsed intent in a well-known text by Freud on Leonardo da Vinci, in another by Heidegger on Vincent van Gogh.

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

Combining anthropological descriptions with historical criticism, Cox situates the Zen arts within contemporary critical discourses.

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 (predominantly Western) and subaltern (minority or Indigenous) 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 (including Indigenous ideas incompatible with Western assumptions) than their existing collection divisions permit. (shrink)

It is obvious that the use of these various terms does not result in a miscellany of ideas such as it occurs in many New Age theories. In perennialists’ writings we have come to realize that this is not an attempt to mix traditions together, but is instead an attempt to utilize existing terminology when it is appropriate. The paper has focused at studying the anthropology of perfection in perennial philosophy. It has addressed issues such as the nature of (...) ‘self and the states of self-realization’, selfessness and selfi shness’, ‘the categories of man’, ‘the process of exaltation’, ‘attributes’, ‘qualities’, ‘rights and obligations of the superior man in traditional worldview. In various places of the paper we have resorted to artworks belonging to various traditions and different times to communicate the ideas and worldviews. They show how essential the role of artists and the art they produce is in keeping alive the reverence for perfection and continuity of tradition through their inspired imagination. The superior qualities are not necessarily those of rulers and conquerors. They are rather to be found in mythical heroes, prophets of God and sages of various traditions; those who, in Ghazali’s words, “possess inner vision”. Such individuals hold attributes of perfection; their bodies die, yet their characters live beyond time and space inspiring generations after generations. After all, to be a superior being means starting a never-ending journey of becoming. (shrink)

Alfred Gell puts forward a new anthropological theory of visual art, seen as a form of instrumental action: the making of things as a means of influencing the thoughts and actions of others. He shows how art objects embody complex intentionalities and mediate social agency, and he explores the psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions--European, Indian, Polynesian, Melanesian, and Australian. Art and Agency (...) was completed just before Alfred Gell's death at the age of 51 in January 1997. It embodies the intellectual bravura, lively wit, vigour, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation. (shrink)

We can see personhood as a philosophical and historical struggle between positive and negative forms of ‘being at one’, a struggle most succinctly described by Hölderlin, a central figure in Romanticism and in German idealism through his close friendship and collaboration with Schelling and Hegel. For Hölderlin, ‘Being at one is god-like and good, but human, too human, the mania / Which insists there is only the One, one country, one truth and one way’. This paper is an exploration of (...) a range of forms of aloneness, linked by the family resemblance of a number of such ‘solitude’ terms (loneliness, solitude, solitary, aloneness, lonesome, individual, atonement) to the idea of ‘oneness’. ‘Being at one’ was distinctively articulated in the Romantic period, in philosophy as well as in the arts. Based on this distinctiveness, this article presents an historical account of the developing philosophical anthropology of being at one, dividing the development of ‘being at one’ between the pre-Romantic, Romantic, and post-Romantic eras. (shrink)

This is a broad-ranging and ambitious attempt to rethink aesthetic and literary studies in terms of an “anthropology” of symbolic media generally. Central to the author’s argument is the proposition that the idea of literature—at least as it has been understood in the West since the eighteenth century—as the paradigm for artistic experience is both limited and limiting. In its place, the author offers a more general theory of aesthetic experience appropriate to a wide range of media and geared (...) toward performativity and bodily experience. The author develops the idea of the “protoliterary” as a cultural-aesthetic discourse prior to and external to the “literary” as traditionally conceived in Western aesthetics. Manifestations of the protoliterary tend to occur within forms of multimedia theatricalization in which suggestive images of the body loom large. The appeal of the protoliterary lies in its ability to function on both cognitive and somatic levels, thereby neutralizing such distinctions as self/society and reality/fiction. The author’s argument is indebted to John Dewey’s belief in a basic human need for aesthetic experience, a need that can be met in a variety of ways, from tattoos and scarification, through sports, parades, and cosmetics, to literature, opera, and film. From this basis the book theorizes a history of the development of separate, hierarchical arts in the West while suggesting that independent histories of single arts and artistic experience are no longer desirable or even possible. Although the genesis of particular forms of media are inextricably linked to specific historical, sociological, and technological conditions, their potential functions and effects are not tied to those conditions, nor should they be. (shrink)

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

Researchers in the areas of prehistoric art, anthropology of art, psychology, philosophy, feminist art theory, histories of visual arts education, and the emerging field of neuroaesthetics have created new interest within education in the writings of John Dewey related to art and experiential learning as found in Art as Experience and Experience and Nature. Thus, another look at Dewey’s life experience and his philosophy of experiential art may bring renewed support for visual arts education in the twenty-first century. Dewey (...) has influenced the public education system through his philosophy of experience and his less well-known theory of aesthetics. The definition that Dewey provided for education centers on the.. (shrink)

In his different analyses of ancient Egypt, Hegel underscores the marked absence of writings by the Egyptians. Unlike the Chinese with the I Ching or the Shoo king, the Indians with the Ramayana and the Mahabharata, the Persians with the Avesta, the Jews with the Old Testament, and the Greeks with the poems of Homer and Hesiod, the Egyptians, despite their developed system of hieroglyphic writing, left behind no great canonical text. Instead, he claims, they left their mark by means (...) of the architecture and art. This paper explores Hegel’s analysis of the Egyptians’ obelisks, pyramids, sphinxes, etc. in order to understand why he believes that these are so important for understanding the Egyptian spirit. This analysis illustrates Hegel’s use of history and culture in the service of philosophical anthropology. (shrink)

In the paper I am concerned with various manifestations of aesthetic fear and anxiety, that is, fear and anxiety triggered by works of art, which I am discussing from aesthetic as well as anthropological perspectives. I am analysing the link between fear and pleasure in catharsis, in Edmund Burke’s notion of the sublime, and in reference to Goya’s Black Paintings and to Paul Virilio’s thought. Both aesthetic fear and aesthetic anxiety exist alongside other emotions, such as pity and sadness, and, (...) most notably, with pleasure which is autonomous or arises from the fascination with evil. (shrink)

This paper considers Joseph Margolis’ aesthetics as an insightful way to draw a critical balance on the whole venture of defining art, with a crucial reference to Wittgenstein’s legacy. The point of departure is Margolis’ claim that the whole definition debate began with a misinterpretation of Wittgenstein’s teaching, whose meaning would not consist in denying any definition of art, but rather in refuting the possibility of giving one only, clear and distinct as well as context-independent definition of it. The chapter (...) moves on to reconsider Margolis’ first definition of works of art as physically embodied and culturally emergent entities by focusing both on its significance within the analytic debate and on those features leading him beyond the question “What is art?”, towards a philosophy of culture and philosophical anthropology. To understand art, we need to address the question of the relation between a cultural form of life and the nature of persons or selves taking part in it. Hence, we are compelled to broaden the margins of the definition and the question arises of whether it is still worthwhile to speak of a philosophical definition of art beyond the everyday usage of the term “definition”. (shrink)

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)