This book examines fundamental questions about funding for the arts: why should governments provide funding for the arts? What do the arts contribute to daily life? Do artists and their publics have a social responsibility? Challenging questionable assumptions about the state, the arts and a democratic society, Lambert Zuidervaart presents a vigorous case for government funding, based on crucial contributions the arts make to civil society. He argues that the arts contribute to democratic communication and a social economy, fostering the (...) critical and creative dialogue that a democratic society needs. Informed by the author's experience leading a non-profit arts organisation as well as his expertise in the arts, humanities and social sciences, this book proposes an entirely new conception of the public role of art with wide-ranging implications for education, politics and cultural policy. (shrink)

The fragility of democracy and the political aesthetics of public art -- Voices and places: the space of public art and Wodiczko's the homeless projection -- Democracy's "empty place": Rawls's political liberalism and Derrida's democracy to come -- Public art's "plain tablet": the political aesthetics of contemporary art -- Democracy and public art: Badiou and Ranciere -- The political aesthetics of Chicago's Millennium Park -- The political aesthetics of New York's National 9/11 Memorial -- Public (...) art as an act of citizenship -- Badiou on "being and the void.". (shrink)

The purpose of this article is threefold: to examine the elements of an artful apology; to sequence them in a comprehensive configuration; and to use the taxonomy for assessing the effect of public apologies. The model identifies seven sequential components of an apology: revelation, recognition, responsiveness, responsibility, remorse, restitution, and reform. Also included in the model are four deflective stratagems: dissociation, diminution, dispersion, and detachment. Analysis focuses on actual offense situations rather than artificial simulated settings. Specifically, the study examines (...) whether seven well-publicized apologies conform to the proposed construct. These public figures include Alec Baldwin, Lloyd Blankfein, Jamie Dimon, Gerald Levin, Iris Robinson, Tiger Woods, and Mark Zuckerberg. The article closes with suggestions to direct future research. (shrink)

The aesthetic and political sides of public art have recently been examined from different theoretical vantage points. Pragmatist accounts, however, have been largely absent from the discussion. This article develops a theory of public art on some central ideas of John Dewey's aesthetics and social philosophy. From a pragmatist perspective, the best cases of public art turn out to have high social significance, for they are means of promoting the sense of community, which Dewey saw as foundational (...) for well-functioning democracies. The Deweyan account of public art developed in this article is set against theories that explain its social value by public artworks’ ability to disrupt people's everyday routines and beliefs, as well as by the political alertness they often raise. Diana Boros's recent treatment of what she calls “visionary public art” serves as the main specimen of this approach. The Deweyan understanding of public art is illuminated and defended with the help of a reading of John Adams's On the Transmigration of Souls—a piece composed in memory of the victims of 9/11—that highlights its capacity to generate such communal experiences that have a fundamental role in Dewey's theory of democracy. (shrink)

How do permanent artworks installed in public places shape the relations that take place around them? Drawing upon the works of Maurice Merleau-Ponty and Luce Irigaray I claim that two public artworks, Richard Serra’s Tilted Spheres (2002-2004) and a bronze casting of Louise Bourgeois’ Maman (1999) work to open up embodied being and to creatively transform reality. Serra’s work reveals an important aspect of public space, that of the space/time of the anonymous body, as well as the (...) ways in which a shared and hence relational embodied perception is necessary for dwelling. Bourgeois’ Maman reveals possibilities for helping us to think out what it might mean to share the same world even as we dwell in different worlds, in a space/time that we cultivate as our own. (shrink)

The role and function of public art is currently undergoing some large-scale changes. Many new artworks which are situated within the already existing urban sphere, seem to be changing the definition of public art, each in their own way. Simultaneously, there exists a trend that endorses more traditional forms of public art. Juxtaposing and comparing the aesthetic implications of different types of artworks, it is possible to see how they contribute to the contemporary understanding of the urban (...) sphere. In this paper, I take a look at the explicit and implicit aesthetic values that these simultaneously existing contemporary forms of public art are based on. The cases selected for closer look are examples of prominent and recent works of public art from downtown Helsinki: He who Brings the Light by Pekka Kauhanen and Running Man by Nestori Syrjala. What space and what kind of position is subscribed to the perceiver by these very different types of yet equally established artworks? What kind of experiences and possibilities of participation do these works entail? The focus is on the undergoing redefinition of public art that revolves around these questions. (shrink)

In September 2017 Alexander Nehamas kindly accepted our invitation to have a meeting in Athens in order to discuss several issues of philosophical interest; with his latest publication On Friendship as a starting point we soon moved over to a multitude of topics Nehamas has so far dealt with. The whole conversation spirals around the probably most challenging and demanding issue as far as practical philosophy is concerned – yet one every moral agent needs to provide an adequate answer to (...) during his lifetime: Values. Do they exclusively belong to the domain of morality? Nehamas claims that “although moral values […] are important […], they are not the only values that determine whether a life is or is not worthwhile”. This view inevitably shifts the focus from individual values - even fundamental ones such as friendship, art and truth- to the real issue: What is a good life, after all? (shrink)

Can we speak about a specific real-virtual spatiality in the contexts offered by the post-desktop technological philosophy and practice? Does Augmented Reality have the potential to produce a different type of space in which private and public converge up to the point of their cross identification? More exactly, to create, what media theoretician Jenny Edbauer Rice names a “zone of public intimacy”? The goal of this essay is to explore the possible answers to these questions. At the core (...) of my analysis is the idea that the hybrid character of Augmented Reality is effected by two conditions. On the one hand, by the process of converging real and virtual spaces into a single – although discontinuous – “multimedia” space-image and, on the other, by the tensions existent between private perception and public engagement. My conclusion is that by creating a hybrid convergent space of inclusions and exchanges, AR raises not only the prospect of a new sensorium, but, what is more, it confirms the possibility of a distinct aesthetic paradigm as well as of a different way to articulate social relations. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the (...) public good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

This article is motivated by a reading of J.J. Abrams’ proceedings Shusterman’s Somaesthetics: From Hip Hop Philosophy to Politics and Performance Art. Of the diverse range of essays in the proceedings, I concentrate my attention primarily on those aspects of the texts that highlight Richard Shusterman’s practical somaesthetics, and in which their authors focus on the more personal aspects of Shusterman’s philosophical-artistic experimentation, as captured in The Adventures of the Man in Gold: Paths Between Art and Life, A Philosophical Tale. (...) Through references to Foucault’s notion of care of the self and the aesthetics of existence, the article demonstrates that the individual level of Shusterman’s practical somaesthetics is not separable from the social-ethical level. This is matched by the conclusion of the text, which points out that Shusterman’s practical somaesthetics overcomes the dichotomy of private and public in Richard Rorty’s pragmatism. (shrink)

Artworks are seen here as presenting themselves as a means by which to navigate and plot the city for a writing interlocutor; The examples discussed reveat a plethora of emergent forms which are concentrated into three key modalities of urban arts practice in the twenty-first century walking play and cultural memory walking includes the talked walks of artist such as Richard Wentworth, the generative street incursions of Francis Alys, and the walking spectator at a site-based event, including works by Gustv (...) Metzger, Mark Wallinger and Pavel Althamer. Play embraces popular instances of mass public mobilisation in the form of flash mobs and mobile clubbing as well as ̀creative interventions such as free ranning, graffin writing and video sniffing, which reveal themselves to be engaged increasingly in a dialogue with the ̀high art' of artists like Antony Gomely, Mark Quinn and Carsten Holler. Cultural memory is considered via the burgeoning cases of holocaust installations, interrogating two of the best-known- and controversial-European urban sites from the point of view of the physical encounters that they implicity invite Peter Eisenman's memorial in Bertin and Rachel Whitereads' in Vienna. --Book Jacket. (shrink)

This paper is concerned with monumental art in Slovakia before and after the fall of Communism in 1989. Generally, art in public spaces is important, because it influences the knowledge and feelings the people who use this space have about the past and the present, and thus influences the shared social construction of who we are as a social group. In this article we concentrate on the period of Communism and the formal and iconographic aspects that were essential to (...) art at that time. We also look at the political use of art—the ways in which explicit and implicit meanings and ideas were communicated through art to the general public. We touch also on the present situation regarding the perception of “Communist art”. In the final section we discuss the state of affairs of the last twenty years of chaotic freedom in the post-socialist era. On the one hand, since there is no real cultural politics or conception for artworks in public spaces at the level of the state many artworks simply disappear, often without public discussion, and on the other hand, some actors use their political power to build monuments that promote their private political views. (shrink)

BackgroundCORE (Clarity and Openness in Reporting: E3-based) Reference (released May 2016 by the European Medical Writers Association [EMWA] and the American Medical Writers Association [AMWA]) is a complete and authoritative open-access user’s guide to support the authoring of clinical study reports (CSRs) for current industry-standard-design interventional studies. CORE Reference is a content guidance resource and is not a CSR Template.TransCelerate Biopharma Inc., an alliance of biopharmaceutical companies, released a CSR Template in November 2018 and recognised CORE Reference as one of (...) two principal sources used in its development.MethodsThe regulatory medical writing and statistical professionals who developed CORE Reference conducted a critical review of the TransCelerate CSR Template. We summarise our major findings and recommendations in this communication. We also re-examined and edited the Version 1 CORE Reference Terminology Table that we first published in 2016, and we present this as Version 2 in this communication.ResultsOur major critical review findings indicate that opportunities remain to refine the CSR Template structure and instructional text, enhance content clarity, add web links to referenced guidance documents, improve transparency to support the broad readership of CSRs, and develop supporting resources.The CORE Reference ‘Terminology Table’ Version 2 includes estimand as a defined term and an adaptation of the original ‘worked study example’ to incorporate the recently evolved concept of ‘estimands’.ConclusionsAs TransCelerate’s CSR Template represents an important milestone in authoring CSRs, we offer CSR authors advice and recommendations on its use, similarities, and differences with CORE Reference and advise them to consider shared interpretations between the two.RegistrationCORE Reference is registered with the EQUATOR Network. The TransCelerate CSR Template is not registered with any external organisation to the knowledge of the authors of this paper. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

이 연구는 공공성과 관련된 세 가지 개념인 한계, 경계, 임계 개념을 비교하는 것에서 시작한다. 공공성을 상상할 수 있는 개별 주체의 비판적 능력에 대해 ‘한계’ 개념을 적용할 수 있고, 그러한 주체들이 비판적으로 서로의 인식을 점검하는 과정에 대해서는 ‘경계’ 개념을 적용할 수 있다. 소위 공공성은 이 상호성이 성립되는 경계 개념부터 등장하는데, 주체와 타자가 서로 대등한 관계에서 공공성을 형성하므로, 경계 개념이 적용되는 공공성을 대칭적 공공성이라 할 수 있다. 하지만 개인의 비판적 인식과 그 인식의 상호 점검을 넘어서는 또 다른 인식 방법이 있다. 소위 타자 (...) 중심의 인식으로서, 타자의 등장으로 인해 주체의 인식 능력이 무력화되는 데서 출발하는 인식이다. 이 연구는 이를 ‘임계’라는 개념으로 규정한다. 배제되어 취약한 타자들이 기존 권리 주체들에게 제기하는 공적 긴장을 임계적 공공성이라 한다. 임계적 공공성은 비대칭적 관계에서 출발한다. 이 연구는 임계적 공공성을 근본적 공공성으로 간주한 후, 이를 공공예술을 위한 토대로 삼는다.BR 공공예술은 기존 예술계의 자장을 넘어 일상의 공적 장소와 가치에 개입하고, 새로운 공적 가치를 창출하기 위해 예술을 수단으로 삼는다. 최근 새로운 예술 사조로 급부상한 공공예술은 예술적 완성도도 중요하지만, 예술적 개입이 창출한 공적 효과나 가치에 더 무게를 둔다. 공공예술은 자신의 작업이 얼마나 공적인 특성을 가지고 있느냐에 따라 그 성/패가 좌우된다. 따라서 공공예술은 공공성에 대한 고려 없이 공공예술의 미적 가치를 비평할 수 없다. 이 연구는 다양한 공공예술의 사례를 들어 공공예술과 임계적 공공성의 관계를 추적한 후, 공공예술의 미학에서 핵심이 되어야 할 개념을 추출한다. 일찍이 공공예술과 관련하여 비평적 접근은 있었으나, 미학 이론적 접근은 없었다는 점에서, 그리고 공공예술과 공공성의 관계를 추적해온 연구자의 기존 연구를 종합하여 공공예술의 미학을 구축하기 위한 첫 시도라는 점에서, 이 연구는 나름의 의의를 갖는다. (shrink)

This study investigates how patterns of media use and exposure to media messages are related to attitudes about artificial intelligence (AI) image generators. In doing so, it builds on theoretical accounts of media framing and public opinion about science and technology topics, including AI. The analyses draw on data from a survey of the US public (N = 1,035) that included an experimental manipulation of exposure to tweets framing AI image generators in terms of real art, artists’ concerns, (...) artists’ outrage, or competing interpretations. The results show that technology news use and science fiction viewing predicted support for AI art but also predicted belief that AI image generators will take jobs and steal art styles from human artists. In addition, the experimental results demonstrate that exposure to specific media messages can influence these responses. The findings carry implications for understanding the future adoption, use, and regulation of AI image generators. (shrink)

This paper looks at rescue-at-sea practices and their aftermath as portrayed in a number of European films. In this World, Malta Radio, Bon Voyage, Welcome, Terraferma, 4.1 Miles and Man at Sea address maritime migration, States’ omission in complying with their international obligations, and how the latter obliges individuals to make difficult choices against the backdrop of the law of the sea. The focus of these stories is on the saviours and their conflicts of interests while migrants are allocated a (...) secondary role and one in which they are usually portrayed as victims. Although this is in line with the humanitarian response that these films primarily seek to trigger, it deprives migrants of their rights. As victims, migrants are at the mercy of saviours and rescuing them or not is an act of compassion, and not one legally compulsory. The paper finally argues that a holistic rights-based approach to the migration challenge is needed, with equality as the key word. (shrink)

Street art has exploded: it pervades our back alleys, surrounds us at bus-stops, covers billboards, competes with advertising and generally serves as urban wallpaper in most cities. But what is street art? A far cry from mere graffiti, street art has gained some social acceptance, but it remains neither officially sanctioned like public art, nor institutionally condoned, like its more traditional artistic cousins in museums. Somewhere in between these two extremes, street art has emerged, occupying a metaphysically suspect grey (...) area between illegal activity and bona fide art. This paper explores the nature of this emerging art form and draws out some of the differences between street art, public art and ‘mere’ graffiti. (shrink)

When the modern artist is seen as moving about in a nebulous area between two opposing worlds, that of life or immediate experience and that of art or established truth, I think it is appropriate to discuss this activity in terms of metaphor. Indeed the present concern for metaphor in the academic and artistic communities is but one of many reflections of our sense that life is a process of the gradual attainment of knowledge through experience, whether sensuous or intellectual. (...) Like our artists, we strive to create a picture of our world, yet that picture is never complete; for we continually pass on to new experiences and new images of reality. Not only do we grow and change but our world seems to change with us. Although the truths revealed through our art are founded in our experience, they seem more permanent and public than the acts of discovery leading to them. A principle once established and integrated with a body of other established truths enters into recorded history perhaps to be revered, disputed, or reinterpreted, but nevertheless to remain. The individual experience or discovery, however, passes; with the individual, only the sense of the continuing search yields personal identity. In a changing world, metaphor renders the truth of experience as the truth of knowledge, for it is the means of passing from individual immediacy to an established public world; the new must be linked to the old, and the experience of any individual must be connected with that of his society. Excluding the possibility of the creation of entirely new worlds and the resultant transformation of all personal identities, acts of genius or dramatic breakthroughs in fields of study can affect our present world order only if they are joined to it by means of a powerful metaphor. Indeed establishing the metaphoric bridge itself may be considered the act of genius, and the entry into new areas of knowledge is its consequence. Richard Shiff is associate professor of art at the University of North Carolina at Chapel Hill. His contributions to Critical Inquiry are "Seeing Cézanne" and, with Carl Pletsch, "History and Innovation". (shrink)

What does philosophy have to say about the argument that blasphemous art ought not to be publicly displayed? We examine four concepts of blasphemy: blasphemy as offence, attack on religion, attack on the sacred, attack on the blasphemer himself. We argue all four are needed to grasp this complex concept. We also argue for blasphemy as primarily a moral, not a religious concept. We then criticise four arguments for the public display of blasphemous art: it may be beautiful, provocative, (...) devoutly intended, and is autonomous of religious concerns. Finally, we discuss the notions of blasphemy and blasphemous art as public offences. We conclude that the display of blasphemous art is a public, and not merely a private moral offence, and that there are respectable philosophical arguments for this conclusion. (shrink)

Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...) is art (a) if it shows excellence of skill and achievement in realizing significant aesthetic goals, and either doing so is its primary, identifying function or doing so makes a vital contribution to the realization of its primary, identifying function, or (b) if it falls under an art genre or art form established and publicly recognized within an art tradition, or (c) if it is intended by its maker/presenter to be art and its maker/presenter does what is necessary and appropriate to realizing that intention. Meanwhile, artworlds—historically developed traditions of works, genres, theories, criticism, conventions for presentation, and so on—play a crucial but implicit role in (b) and (c). They are to be characterized in terms of their origins. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.2 (2006) 105-117 [Access article in PDF] Art and Failure Daniel A. Siedell Sheldon Memorial Art Gallery and Sculpture Garden The Genius Decision: The Extraordinary and the Postmodern Condition, by Klaus Ottmann. Putnam, CT: Spring Publications, 2004, 181 pp., $18.50 paperback. Random Order: Robert Rauschenberg and the Neo-Avant-Garde, by Branden Joseph. Cambridge, MA: MIT Press, 2003, 450 pp., $34.95 hardcover. The most optimistic ethics (...) have all begun by emphasizing the element of failure involved in the condition of man; without failure, no ethics. Simone de Beauvoir, The Ethics of Ambiguity1Failure is an inescapable part of the human condition. It is also an inescapable part of extraordinary human achievement. In fact, it is because failure is woven so deeply into their fabric that makes certain endeavors, like the arts, philosophy, science, and even sports, so extraordinary, so compelling, and ultimately so meaningful. There is therefore a close—but often underexamined—connection between extraordinary achievement and failure in the history of the arts and culture in the West. Two very different books, one a work of philosophy and the other a work of art history, converge on the presence of failure in extraordinary human achievement. New York-based art critic and independent curator Klaus Ottmann offers a philosophical study of genius from a postmodern perspective entitled The Genius Decision: The Extraordinary and the Postmodern Condition. Art historian Branden Joseph, who is assistant professor at the University of California-Irvine, offers a revisionist interpretation of Robert Rauschenberg's aesthetic project in Random Order: Robert Rauschenberg and the Neo-Avant-Garde. The Genius Decision offers an illuminating philosophical framework within which to read Random Order.Ottmann begins his study with the following question: "How does one account for those extraordinary and exceptional works of art and literature that set one artist apart from the others; works that most artists, however skilled, would never be able to produce; that exert great influence on others" (13). Ottmann answers this question by interpreting the work of Franz Kafka, [End Page 105] Spinoza, Søren Kierkegaard, Friederich Nietzsche, Ludwig Wittgenstein, and Martin Heidegger through a postmodernist lens provided in part by Jean-François Lyotard, Julia Kristeva, and other theorists. For example, he reads Kafka through Gilles Deleuze and Félix Guattari; Spinoza's Ethics through Deleuze; Kierkegaard through Adorno; Nietzsche through Derrida, Jean-Luc Nancy, and Heidegger; and Wittgenstein through P. M. S. Hacker. Foundational for Ottmann's thesis is theorist Julia Kristeva's concept of the Abject and its relationship to Jouissance—meaning "enjoyment," often connoting a sensual, even sexual pleasure—which has entered philosophical discourse via literary theorist Roland Barthes and psychoanalyst Jacques Lacan. For Kristeva, the Abject is the pressing of the "Unrepresentable" that requires a "sacrifice" of Jouissance; that is, a leap toward or a response to the inability to represent or give adequate form to this primordial ground of pure experiential bliss. For Ottmann, extraordinary achievement in art and philosophy consists of intentional and absolute leaps into certain failure in giving representation to what cannot be represented—despite its impossibility. This is what Ottmann calls the "Genius Decision." In contrast to passive explanations of extraordinary achievement, such as "accidental genius" and "physical genius," in which the individual can claim fortuitous circumstances or innate talent, the Genius Decision involves intentionality; it is a "decision" of some kind. But what kind of decision is it? Ottmann argues that it is an "active-passive" one. He then analyzes each of these influential thinkers as offering unique manifestations of the Genius Decision in their attempt to represent the Unrepresentable.Key to the Abject-Jouissance relationship is Ottmann's understanding of postmodernism. Rather than viewing it as a historical movement, Ottmann, following Jean-François Lyotard, regards it as a "condition," that is, as a nascent state within modernism. Ottmann characterizes the modern as recognizing and dwelling in the Abject, while the postmodern leaves the ambiguity of the Abject behind for the "certainty of failure" (49). The Genius Decision, then, comes out of a postmodern awareness of the impossibility of its... (shrink)

This article contributes to studies in democratic theory and civic engagement by critically reflecting on the role of contemporary art for the transformation of the public sphere. It begins with a short assessment of the role of art during the Enlightenment, when the communicative function and the public role of art were most clearly articulated. It refers in particular to the analogies between aesthetic and political judgement in order to understand the emancipatory role of artistic production within a (...) philosophical project centred on reason’s capacity to liberate itself from the dogmatism of authority and from the errors of superstition, both elements considered crucial to the development of a functioning public sphere. The article then discusses the historical transformation of art following a number of philosophical and sociological critiques to a similar project of the Enlightenment and assesses the attempt of historical avant-gardes to appropriate this critique yet maintain art’s emancipatory function in society. Having examined some problems raised by these attempts, the article turns to the analogies with contemporary artistic production. It examines the role of contemporary visual art in the public sphere and shows how the anti-rationalist theories articulated to reflect on contemporary works of art, and the works themselves, both fail to develop art’s emancipatory role in society. Without rethinking artistic experience in a way that places emphasis on reason’s capacity for critical and constructive self-understanding and without reconsidering art theory in a way that brings back the emphasis on the emancipatory role of rational communication, contemporary art, far from contributing to the revitalization of the public sphere, will contribute to its decline. (shrink)

Excerpt from Lincoln and Public Morality Finally, there were the problems related to the prosecution of the war and to the aims for which it was being fought. If this did not bear directly on such matters as graft and dishonesty, it was no less related to the basic problem of public morality. For it was not only desirable but perhaps even necessary for national survival to discuss honestly and forthrightly the war aims. The risks in misrepresentation or (...) dishonesty were formidable, and any leader who was unwilling to enunciate a position on the critical questions of the day was courting personal and national disaster. Lincoln had no intention of doing either. Too long, even before the secession crisis, he had spoken for Union above all, and if he was committee to an ideal of freedom for all it was to be achieved and maintained in an indestructible union. His unequivocal posi tion in this regard was, in a sense, a measure of his high public morality. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

This essay reviews one of the most recent books in a trend of new publications proffering evolutionary theorising about aesthetics and the arts—themes within an increasing literature on aspects of human life and human nature in terms of evolutionary theory. Stephen Davies’ The Artful Species links some of our aesthetic sensibilities with our evolved human nature and critically surveys the interdisciplinary debate regarding the evolutionary status of the arts. Davies’ engaging and accessible writing succeeds in demonstrating the maturity and scope (...) of the field and his critique is timely and unparalleled. A laudable effort, however it may have benefited from espousing a co-evolutionary model more explicitly. Moreover there may be reason to question the usefulness of the standard set of distinctions (‘adaptation’, ‘spandrel’, ‘technology’) that Davies appeals to. (shrink)

Public reason liberalism is the political theory which holds that coercive laws and policies are justified when and only when they are grounded in reasons of the public. The standard interpretation of public reason liberalism, consensus accounts, claim that the reasons persons share or that persons can derive from shared values determine which policies can be justified. In this paper, I argue that consensus approaches cannot justify fair educational policies and preserving cultural goods. Consensus approaches can resolve (...) some controversies about teaching values in the educational system, such as curriculum choice. But they cannot determine which culture goods, e.g., architecture, artwork, or language ought to be preserved in the education system. Consensus approaches cannot fairly resolve competing claims about these kinds of disputes. -/- I propose that convergence accounts of public reason, which allow individuals to draw on their own comprehensive doctrines in limited ways, can remedy these weaknesses in the mainline public reason tradition. The convergence approach can justify a pluralist state that can advance valuable community goods. John Henry Newman’s advocacy of liberal arts education finds resonance in other cultures, notably among Confucians, illustrating that there can be a shared moral vision and inquiry into the good life across deep substantive disagreements about educational values and policies, once we expand our notion of justification to be more inclusive. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Liberalism, Art, and FundingDale Francis MurrayLiberalism, Art, and FundingSince Ronald Dworkin published A Matter of Principle, a host of critics have attempted to systematically dismantle his arguments advocating state support for the arts that appear in a chapter entitled, "Can a Liberal State Support Art?"1 The combined critical force of Noël Carroll, Samuel Black, and most recently, Harry Brighouse, has dislodged the main supports of Dworkin's position on this (...) subject.2 However, while I am skeptical that the arguments of liberals who endorse state support for the arts can be fully resurrected, I reckon that a few remarks can be presented to try to deflect at least a fraction of the contentions cast on Dworkin's argument by the critics listed above. In order to refine our understanding of precisely why state support for cultural expression should or should not be permitted, it is imperative that some sort of response to the critics of state support for the arts is offered.In this essay, I focus primarily on Brighouse's objections that Dworkin's arguments supporting arts funding fail primarily because they are not sensitive enough to the ways in which such support violates two demands of justice in a liberal state — state neutrality and publicity. I examine these two objections since they seem to be the most interesting, compelling, and damaging to Dworkin's case if substantiated. If Brighouse is correct, these violations act as heavy bulwarks against state support for arts funding, especially since public distrust of the state's intent (and the state's perceived advocacy of notions of the good with which the public disagrees) is high. I will employ Brighouse's neutrality of intent constraint, because it best represents the alleged specific violations of state neutrality that may undermine Dworkin's case. Additionally, neutrality of intent is the most plausible form of neutrality for advocates of public arts funding to build a case for in the space of a short essay.I also wish to make a distinction, which for the most part, is ignored by Dworkin's critics — that there is a degree to which moral value and aesthetic value are different and that this effects a possible alternative reading of the term "ways of life" as most liberals understand it. As a final note of preface, I will assume that the background conditions of income and wealth are just.3 This proviso will become important when we examine the role of the market in funding arts projects in lieu of the government. Now let us reiterate the two requirements of any just liberal state that are at issue when considering the legitimacy of state support for the arts. [End Page 116]Brighouse sets the pair of constraints on any just liberal state (neutrality and publicity) as the centerpieces of his essay. Neutrality of intent, that he appeals to more specifically, can be understood to mean, as Brighouse himself explains, "[T]hat while it is unobjectionable that state actions will have differential effects on conceptions of the good, the government should not intend to favor some conceptions over others" (NPS, 38, emphasis mine). The publicity constraint can be characterized by saying that in any just, liberal regime, justice must not only be done, but it must also be seen as being done. While this serves as the motto of the publicity constraint, it is significant to acknowledge that it stipulates that the real reasons for governmental action must be comprehensible to, and available for inspection by, reasonable citizens. In addition, it must be readily apparent to citizens that the demands of justice are being met. I will return to this constraint on the state later in this essay.Neutrality is of chief interest, since recent liberal political philosophers have emphasized the primacy of the right over the good (RLD, 245). Presumably, individuals, via their rational autonomy, shall define the good for themselves beyond the dictates of government. Our morality is our own personal affair, just so long as we remain within the confines of the harm principle and do not violate the equal liberty of others.On the surface, it is not apparent that state funding for the... (shrink)

Collaboration between the arts and health sectors is gaining momentum. Artists are contributing significantly to public health efforts such as vaccine confidence campaigns. Artists and the arts are well positioned to contribute to the social conditions needed to build trust in the health sector. Health professionals, organizations, and institutions should recognize not only the power that can be derived from the insights, artefacts, and expertise of artists and the arts to create the conditions that make trust possible. The health (...) sector must also recognize that, while it can gain much from partnership with artists, artists risk much—namely, the public's trust—when they are in such partnerships. This essay unpacks these claims and considers the care and ethical considerations that must be brought to these partnerships to yield constructive pathways for ethical collaboration as well as for both establishing public trust and continuing to hold the health care profession accountable for becoming more trustworthy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and ReligionRichard Shusterman (bio)IArt emerged in ancient times from myth, magic, and religion, and it has long sustained its compelling power through its sacred aura. Like cultic objects of worship, artworks weave an entrancing spell over us. Though contrasted to ordinary real things, their vivid experiential power provides a heightened sense of the real and suggests deeper realities than those conveyed by common sense and science. While Hegel (...) saw religion as superseding art in the evolution of Spirit toward higher forms that culminate in philosophical knowledge, subsequent artists of the nineteenth century instead saw art as superseding religion and even philosophy as the culmination of contemporary man's spiritual quest. Artistic minds as different as Matthew Arnold, Oscar Wilde, and Stephan Mallarmé predicted that art would supplant traditional religion as the locus of the holy, of uplifting mystery and consoling meaning in our increasingly secular society dominated by what Wilde condemned as a dreary "worship of facts."1 By expressing "the mysterious sense... of existence, [art] endows our sojourn with authenticity and constitutes the sole spiritual task," claims Mallarmé.2 "More and more," writes Arnold, "mankind will discover that we have to turn to poetry to interpret life for us, to console us, to sustain us. Without poetry, our science will appear incomplete; and most of what now passes with us for religion and philosophy will be replaced by poetry."3Such prophecies have largely been realized. In twentieth-century Western culture, artworks have become the closest thing we have to sacred texts, and art almost seems a form of religion with its prophetic breed of creative artists perennially purveying new gospels and its priestly class of interpretive [End Page 1] critics who explain them to a devotional public. Despite wide recognition that art has an important commercial aspect, art sustains its cultural image as an essentially sanctified domain of higher spiritual values, beyond the realm of material life and praxis. Its adored relics (however profane they strive to be) are sacredly enshrined in temple-like museums that we dutifully visit for spiritual edification, just as religious devotees have long frequented churches, mosques, synagogues, and other shrines of worship.In advocating a pragmatist aesthetics I have criticized this otherworldly religion of art because of the way it has been shaped by more than two centuries of modern philosophical ideology aimed at disempowering art by consigning it to an unreal, purposeless world of imagination. Such religion, I have argued, is the enemy of pragmatism's quest to integrate art and life, a quest exemplified both in the classical Western notion of the art of living and some Asian artistic traditions, where art is less importantly the creation of objects than the process of refining the artist who creates and the audience who absorbs that creative expression.4There is good reason, however, why this sacralization of art should remain so powerfully appealing despite the widespread recognition of art's mercantile dimensions and worldly concerns. The reason, I believe, is that art expresses very deep meanings and spiritual insights that religion and philosophy once most powerfully provided but that they now no longer convey in a convincing way to most of today's secular populations throughout the world. So, in this essay I would like to reconsider the art and religion nexus from a different angle. I wish to explore the idea that art provides a useful, even superior, substitute for religion, one that is free from the latter's many disadvantages and that should be vigorously championed as an alternative that could eventually free our transcultural world from the hostile divisiveness and backward-looking attitudes that religions have inspired and instead lead us toward greater understanding, peace, and harmony.But a contrary yet equally interesting hypothesis likewise demands consideration: that art cannot be separated from religion, that rather than a real alternative, art is simply another mode or expression of religion. Or, to put it in a provocatively suggestive paraphrase, art is simply the continuation of religion by other means. If this hypothesis has merit—indeed, even if there is simply some deeply indissoluble link between art and religion—then we cannot simply look progressively past religion... (shrink)