Current research in artificial intelligence (AI) sheds light on algorithmic bias embedded in AI systems. The underrepresentation of women in the AI design sector of the tech industry, as well as in training datasets, results in technological products that encode gender bias, reinforce stereotypes and reproduce normative notions of gender and femininity. Biased behaviour is notably reflected in anthropomorphic AI systems, such as personal intelligent assistants (PIAs) and chatbots, that are usually feminized through various design parameters, such as names, voices (...) and traits. Gendering of AI entities, however, is often reduced to the encoding of stereotypical behavioural patterns that perpetuate normative assumptions about the role of women in society. The impact of this behaviour on social life increases, as human-to-(anthropomorphic)machine interactions are mirrored in human-to-human social interactions. This article presents current critical research on AI bias, focusing on anthropomorphic systems. Moreover, it discusses the significance of women’s engagement in AI design and programming, by presenting selected case studies of contemporary female media artists and designers. Finally, it suggests that women, through their creative practice, provide feminist and critical approaches to AI design which are essential for imagining alternative, inclusive, ethic and de-biased futures for anthropomorphic AIs. (shrink)

A dealbreaker, in the sense developed in this essay, is a relationship between a person's psychology and an aspect of an artwork to which they are exposed. When a person has a dealbreaking aversion to an aspect of a work, they are blocked from embracing the work's aesthetically positive features. I characterize dealbreakers, distinguish this response from other negative responses to an artwork, and argue that the presence or absence of a dealbreaker is in some cases an appropriate target of (...) moral evaluation. I then use the concept of dealbreakers to develop a new approach to the question of our moral obligations with respect to the work of immoral artists, arguing that there is no general obligation binding us to cultivate or eliminate a dealbreaking aversion to their work. I conclude by suggesting several other philosophical debates that could benefit from a focus on dealbreakers. (shrink)

This study sets out to examine the ways Nigerian cyber-fraudsters (Yahoo-Boys) are represented in hip-hop music. The empirical basis of this article is lyrics from 18 hip-hop artists, which were subjected to a directed approach to qualitative content analysis and coded based on the moral disengagement mechanisms proposed by Bandura (1999). While results revealed that the ethics of Yahoo-Boys, as expressed by musicians, embody a range of moral disengagement mechanisms, they also shed light on the motives for the Nigerian (...) cybercriminals' actions. Further analysis revealed additional findings: “glamorization/de-glamorization of cyber-fraud” and “sex-roles-and-cultures”. Having operated within the constraint of what is currently available (a small sample size), this article has drawn attention to the notion that Yahoo-Boys and some musicians may be “birds of a feather.” Secondly, it has exposed a “hunter-and-antelope-relationship” between Yahoo-Boys and their victims. Thirdly, it has also highlighted that some ethos of law-abiding citizens is central to Yahoo-Boys’ moral enterprise. Yahoo-Boys, therefore, represent reflections of society. Arguably, given that Yahoo-Boys and singers are connected, and the oratory messages of singers may attract more followers than questioners, this study illuminates the cultural dimensions of cyber-fraud that emanate from Nigeria. In particular, insights from this study suggest that cyber-fraud researchers might look beyond traditional data sources (e.g., cyber-fraud statistics) for the empirical traces of “culture in action” that render fraudulently practices acceptable career paths for some Nigerian youths. (shrink)

There have been only sporadic attempts to understand Chinese women’s role and influence in the field of visual arts, even though their contribution has been major. This article highlights the significance of women’s participation in modern Chinese culture through the works of several contemporary Chinese women artists who have been professionally active in visual arts in the last two decades. Using an interdisciplinary framework, drawing on concepts from theories of feminism, modernism and postcolonialism, this article seeks to understand a (...) culturally specific field in the history of art, and the relationship of various factors that have contributed to it. (shrink)

The author would like to add the photographs which were inadvertently not included with the article.

Mariology—the veneration of the Virgin Mary—exerts a profound influence on women artists from Catholic backgrounds. Internalizing the mixed signals Mary transmits about purity, female strength, and compassion, they reinterpret the stories and mythologies surrounding her in ways that allow them to explore the ambiguities of the female role in contemporary society while also examining their conflicts about their own sexuality.

With an avid attention to the valuing of embodiment and a championing of the re-emergence of the body as site for discussions of knowledge and knowing, this essay shares aspects of my practice that engage a performative, haptic, situated engagement with the body through the artist’s book. The motivation for the creation of my bookworks was an interest in manifesting situated knowing and embodied ways of becoming. Engaging form, materiality, and bodily history, my artists’ books explore the processes and (...) metaphors of digestion and in one example, mindfulness practice. In libraries and collections with links to health, my artists’ books can be experienced in teaching and research contexts to examine the body, health, illness and wellbeing. This essay focuses on my books which communicate embodied knowledge in several ways: through phenomenological writing to give expression to my irritable bowel syndrome and how it impacts on my teaching practice in Reflection on Digestion; through bodily material of Entrail Troyen; through the image of the digestive system in On Innards, Reflection on Digestion, and Entrail Troyen, particularly the concertina form emulating the undulations of the intestines; and through images of found objects that resemble the bowels in Huwawa in the Everyday. (shrink)

Since literary historian Robert Bone published his seminal essay ‘Richard Wright and the Chicago Renaissance’ in 1986, scholars have created new cartographies of previously unexplored terrain in American cultural history. The earliest studies focused on literature, but more recently attention has turned to other disciplines, including visual arts. Recent publication of The Muse in Bronzeville: African American Creative Expression in Chicago, 1932–1950 (2011) by Robert Bone and Richard A. Courage promises to decisively broaden scholarly understandings of the scope and significance (...) of Chicago-centred cultural production during the Great Depression and post-war years. Of particular relevance to contemporary studies of new media art is the manner in which then-emergent ideas and practices – centring on racialized subject matter, elite and mass audiences, traditional and new mediums of expression, private vs public sponsorship, and passive vs active reception of art objects – converged to create new paradigms and possibilities for visual artists to reshape consciousness in a period of institutional collapse and change. Chicago’s New Negro artists of the 1930s and 1940s, like their counterparts in 1920s Harlem, sought to reframe perceptions of African American life, to re-present the black subject as something other than an object of contempt or amusement beneath the privileged gaze of the white viewer. Just as these artists sought to revise perceptions of racial reality, examination of the wide range of actual images they created and the mediums and styles they explored revises reductive notions about creative expression in this period, which often portray a mere subordination of art to propaganda and an embrace of representational aesthetics and simplistic narratives in a fruitless detour in the evolution from modernism to postmodernism. On the contrary, Andrew Hemingway notes the range of stylistic experiment and characterizes so-called ‘social art’ as ‘a hybrid and unstable mode [which] had to carry the imperative to be an art equal in formal achievement to both the great art of the past and the modern tradition … [and] to suggest a political orientation without becoming overt revolutionary propaganda’ (2002).New media theorist Oliver Grau observes thatIn many quarters, virtual reality is viewed as a totally new phenomenon… but it did not make its first appearance with the technical invention of computer-aided virtual realities. On the contrary, virtual reality forms part of the core of the relationship of humans to images… grounded in art traditions that have receivedscant attention up to now.(2004)In the midst of another period of change, of transformed and transforming ideas and practices in the arts, we have much to learn from the attempts of Chicago’s New (Media) Negro artists to create ‘art for the people’, to immerse broad audiences in such accessible media as mural painting, photography and graphic arts. (shrink)

In contemporary Chinese art the national traditions and modern trends of the art world are especially relevant. Since the 1980s, in the works of a number of authors, interest began to manifest itself in the techniques of silk work, which was characteristic of ancient and medieval painting on scrolls, which was later replaced by more accessible drawings on paper. At the present stage, such painting has reached its heyday and is highly appreciated in the art market. The most famous masters (...) engaged in silk painting are Mu Yilin and Dong Wenzheng. The analysis of their creations allows us to see how the artists discovered the expressive possibilities of this material, including its transparency, refraction, color and tone saturation. The object of attention is the Chinese tradition of painting on silk, and the subject is the features of its development at the beginning of the XXI century on the example of the work of famous artists and the options they take into account in the compositions of techniques, figurative structure and expressive means of the old masters. The purpose of the article is to identify the main themes and artistic means that modern artists use in their silk works, as well as the option of integrating an ethno-cultural component into their work. (shrink)

Nulla dies sine linea (Pline l’Ancien à propos d’Apelle) « Regarde de tous tes yeux, regarde » (Jules Verne et Georges Perec) « Travaille ton instrument » (Pierre Schaeffer) Essentielle à toute activité artistique, la pratique d’exercices est pourtant rarement interrogée en tant que telle. Qu’est-ce qu’un exercice artistique? Quelles perspectives la pensée de l’exercice permet-elle d’ouvrir sur la compréhension des pratiques artistiques, sur leurs liens avec les savoirs et les techniques, su...

(2008). Caravaggio’s Complexion: The Humoral Characterization of Artists in the Early Modern Period∗. Intellectual History Review: Vol. 18, Humanism and Medicine in the Early Modern Era, pp. 61-74.

This paper addresses the role played by artists’ books in illness and recovery.

This paper explores the contemporary art landscape of the Philippines, mapping its multiplicity across local terrains and within definitions of regionality and the art market. It discusses the ruptures that have caused this landscape to shift intermittently, spawning new networks and value structures that are less defined by the frame of ‘nation-based identity’ favoured in the past, and instead locates difference within the experimentation, historiographies, and pace of this contemporary ‘art scene’. It highlights flashpoints and uses case studies across the (...) last five years in particular to illustrate that Philippine artists, art scenes and art markets are highly reflective of cross-civilizational cultural flows, alert to global trends and of their own currency within regional markets. This paper does not seek to provide a comprehensive overview but rather draws a map of some potent changes and significant players in this contemporary landscape. (shrink)

Reframing reveals possibilities. This article highlights how conceptual shifts regarding ‘sustainability’ occurring inside China’s municipalities and major corporations are opening the way for new collaborations with technology companies and technology artists. These shifts – from predetermined accounting to systems thinking – reveal new opportunities to intervene in the biophysical and economic challenges facing China today. In companies, this shift implies placing financially relevant environmental, social and governance (ESG) factors at the core of business strategy. In municipalities, this shift necessitates (...) designing and implementing systems that track ecosystem services rather than simply stocks of natural resources and recognizing interdependencies between these services and economic development. This article suggests that this sustainability reframing can draw heavily on systems thinking from environmental science, technology companies’ drive to develop products that meet these emerging demands, corporations’ need to compete in an uncertain developing market and the reframing skills of artists, particularly digital artists. This article concludes with opportunities for digital artists to intervene and collaborate with sustainability practitioners to open new directions for cities and companies in China. (shrink)

Does martial arts practice contribute to psychological well-being in professional martial artists? If so, what are the specific ways that martial arts practice accomplishes this? It has been a long-standing and widely held belief that martial arts practice can contribute to psychological well-being, however, there has been a lack of empirical research in the psychological literature focused on investigating the details of this hypothesis. The purpose of this research is therefore to investigate the impact of a paradigmatic martial arts (...) practice—shadowboxing—on the psychological well-being of professional martial artists. In this article I present the results from an original empirical study on professional Muay Thai practitioners (n = 14) that reveals how a martial arts practice (shadowboxing) contributes to their overall psychological well-being by contributing to their positive emotions, engagement, relationships, meaning, and accomplishment. I present general results for how shadowboxing contributes to the psychological well-being of these professional martial artists overall, as well as more specific results for how shadowboxing contributes to the psychological well-being of these professional martial artists based on factors such as their gender, fight experience, and training location. This article also provides qualitative first-person reports from professional Muay Thai practitioners (n = 14) about their use of visualization and mental imagery and their experience of flow while shadowboxing, offering unique insight into the minds of professional martial artists as they are actively engaged in their craft. Finally, this article discusses the value and limitations of the present study and outlines suggestions for future research. (shrink)

This paper revisits the dynamic discussion about journalism’s role in representing and amplifying disability arts at the 2019 Cripping the Arts Symposium. Chronicling the dialogue of the “Representation” panel which included artists, arts and culture critics, journalists, and scholars, it reveals how arts and culture coverage contributes to the cultivation of disability, D/deaf, and mad art. Given that the relationship between journalism and disability communities continues to be fractured in Canada, speakers were invited to reflect on journalism and disability (...) arts in relation to their own engagement with media as subjects, authors, and critics of disability arts reviews. The methods for presentation were cripped in multiple ways to provide the fullest access possible. The panel concluded with examples of ableist fault lines in representation practices where the disabled figure is an absent “ghost” in journalistic representation, warnings against journalistic reliance on traditional and objective narratives, and a call for artists to claim and write their own stories. Ultimately, disabled, D/deaf, and mad artists need both control over artistic endeavours and output and influence over representation. This article reconnects journalism and disability communities, ultimately demonstrating that representation is a critical, co-constitutive process that can become more aesthetically and politically oriented toward social justice in its focus on disability, D/deaf, and mad arts. (shrink)

The COVID-19 pandemic resulted in the abrupt closure of circus schools, venues, and companies, introducing a myriad of novel stressors. Performers and students must now attempt to maintain their technical, physical, artistic, creative, and cognitive abilities without in-person support from their coaches and must manage the isolation from their training and performing spaces. For circus artists, the transposition of the work space to a home environment is not possible, which creates novel stressors that could lead to the exacerbation and (...) escalation of mental health issues. The purpose of this study is to develop, implement and evaluate a holistic interventional program based on the socio-ecological model of resilience and operationalized through physical literacy. This will be a prospective longitudinal study with a retrospective comparison to data from a similar student cohort pre-pandemic. Interventions were designed using a population-specific, participant-based developmental model within a knowledge translation framework. The interventional program includes group webinars, small group information sessions, and one-on-one Zoom meetings, in addition to the distribution of electronic educational materials. The interventions will holistically provide psychological, physical, social, technical, artistic, and creative supports. Resources will be deployed throughout the closure period and through recovery, as transitions to return to training after prolonged hiatus will magnify known psychological and physical difficulties. Repeated, longitudinal assessment of students will be utilized to track changes over time at key transitions in the pandemic and school year and will be compared to a pre-pandemic school year. The framework for this program will be translatable to other performing arts and high-performance contexts. The program has implications for the mental health and overall wellbeing of artists and for cultural and economic recovery of the industry. (shrink)

Herder already very early in his career, in the 1760s, established two vitally important and epoch-making principles in the philosophy of language: that thought is essentially dependent on and bounded by language; and that meanings or concepts should be identified - not with such items as the referents involved, Platonic forms, or empiricist 'ideas' - but with word-usages. What did Herder do for an encore? His Treatise on the Origin of Language from 1772 might seem the natural place to look (...) for an answer to this question (since it is his best known work in the philosophy of language by far), but it is really the wrong place to look, because it temporarily regresses to a more conventional and less philosophically interesting position. However, Herder did succeed in making impressive progress in a broader array of works, namely by striving to identify prima facie problem cases confronting his two principles and to reconcile them with the latter. The main ones which he identified were God, animals, and non-linguistic art. In each of these cases, having initially proposed a reconciliation which did not work, he went on to develop a much more plausible one, indeed one which (at least in the two cases that really require one: animals and non-linguistic art) seems broadly correct. (shrink)

Despite the conclusions from the contemporary philosophy of science, many economists cherish the ideal of positive science. Therefore, value-free economics is still the central paradigm in economics. The first aim of the paper is to investigate economics' axiomatic assumptions from an epistemological perspective. The critical analysis of the literature shows that the positive-normative dichotomy is exaggerated. Moreover, value-free economics is based on normative foundations that have a negative impact on individuals and society. The paper's second aim is to show that (...) economics' normativity is not a problem because the discussion concerning values is possible and unavoidable. In this context, Weber and other methodologists are investigated. The conclusion of the paper is that science can thrive without strict methodological rules thanks to institutional mechanisms. Therefore, economists could learn from artists who accept the world without absolute rules. This perspective opens the possibility for methodological pluralism and normative approaches. (shrink)

This article examines the historically embedded relations of three 19th-century phenomena in which the non-consuming body is constituted as a spectacle of admiration. These three phenomena, known as Fasting Women, Living Skeletons and Hunger Artists, all emerged and disappeared in Europe in the 18th and 19th centuries. Viewing the emergence and disappearance of the three phenomena as embedded in the historical crossroads of pre-modern and modern ethics, the article argues that each of these phenomena corresponds differently to the clash (...) between modern `rationality' and the pre-modern celebration of `miracles'. The article maintains that while Fasting Women epitomized that clash by becoming (a highly contested) spectacle of `the miraculous', the Living Skeletons transcended the clash by portraying a spectacle of liminal corporeality (the `living dead') and the Hunger Artists announced the dissolution of that very clash by performing a spectacle of `the controlled self'. Through a focus on the spectacle of fasting (i.e. the appeared, performed, `gazed at' act of fasting), a phenomenological typology of the three phenomena is outlined. I suggest that while Fasting Women and Living Skeletons embodied a spectacle of a lean body, which does not require suffering, the Hunger Artists embodied a spectacle of hunger centred on suffering and pain. The phenomenological `mapping' of these phenomena is then considered in the context of `performativity theory' and proposed as a frame of reference for a sociological study of anorexia nervosa. (shrink)

In this study, we analyze the development conditions of and trends in Ukrainian scientific art during the ongoing war with the Russian Federation. Based on our own experience, we demonstrate how the emphasis, values, and goals of scientific art shift under martial law. We also highlight the challenges and difficulties faced by Ukrainian artists and researchers who found themselves in the occupied territories. Our own experience involves the promotion of the scientific and artistic project “Nanoart. Science is art” and (...) its transformation into a socio-patriotic project “Nanoart. New symbolism of science.” We use this example to show how trends in art, culture, and science change very quickly under critical conditions. Art during the war has military and liberation themes, while artists and scientists during the war are warriors on the cultural and scientific fronts. (shrink)

What triggers the act of creating? What role do sensory cues, environmental factors, and interdisciplinary exchanges play in this? The semiotic theories of Jacob von Uexküll, a Baltic German biologist, served as an important starting point in addressing these questions. In 1934 he proposed the concept of the Umwelt as a means to assess the behaviour of humans and animals, their realm of experience, and capacity to act. An investigation into the complexity of these Umwelten, from the natural world to?inner (...) worlds? and?time worlds?, is carried out by theorists, artists, and architects such as Andrés Jaque, Esther Venrooy, Bart Decroos, Isolde Vanhee, Joseph Kohlmaier, and more. (shrink)

What happened when creative biographers took on especially creative subjects in Greek and Roman antiquity? Creative Lives in Classical Antiquity examines how the biographical traditions of ancient poets and artists parallel the creative processes of biographers themselves, both within antiquity and beyond. Each chapter explores a range of biographical material that highlights the complexity of how readers and viewers imagine the lives of ancient creator-figures. Work in the last decades has emphasized the likely fictionality of nearly all of the (...) ancient evidence about the lives of poets, as well as of other artists and intellectuals; this book now sets out to show what we might nevertheless still do with the rich surviving testimony for 'creative lives' - and the evidence that those traditions still shape how we narrate modern lives too. (shrink)

In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may—and does—prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones. In revealing the failure of much academic art history, and a great deal of history in general, to take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the feminist critique at (...) the same time lays bare its conceptual smugness, its meta-historical naïveté. At a moment when all disciplines are becoming more self-conscious, more aware of the nature of their presuppositions as exhibited in the very languages and structures of the various fields of scholarship, such uncritical acceptance of “what is” as “natural” may be intellectually fatal. Just as Mill saw male domination as one of a long series of social injustices that had to be overcome if a truly just social order were to be created, so we may see the unstated domination of white male subjectivity as one in a series of intellectual distortions which must be corrected in order to achieve a more adequate and accurate view of historical situations. (shrink)

The novelist blends philosophy and metaphysics to examine the nature and origin of Plato's hostile views toward art and its role in life.

This study is based on the self-reporting by circus artists’ concerning their injuries. We refer to the theoretical framework of emersiology and argue that circus artists may be able to soothe their distress and pain by learning through their body. We will draw further on the comparison between our therapeutic approach and the techniques of self-care introduced by Michel Foucault in his History of Sexuality.

This book brings together the stories of biographers, novelists, scholars, and artists as they have written about the journeys (some literal, some figurative) they have made to their subjects. Contributors include Elizabeth Wood, J.J. Wilson, Leah Glasser, Jane Lazarre, and Alice Walker.

An illustrated exploration of fandom that combines academic essays with artist pages and experimental texts. Fandom as Methodology examines fandom as a set of practices for approaching and writing about art. The collection includes experimental texts, autobiography, fiction, and new academic perspectives on fandom in and as art. Key to the idea of “fandom as methodology” is a focus on the potential for fandom in art to create oppositional spaces, communities, and practices, particularly from queer perspectives, but also through transnational, (...) feminist and artist-of-color fandoms. The book provides a range of examples of artists and writers working in this vein, as well as academic essays that explore the ways in which fandom can be theorized as a methodology for art practice and art history. Fandom as Methodology proposes that many artists and art writers already draw on affective strategies found in fandom. With the current focus in many areas of art history, art writing, and performance studies around affective engagement with artworks and imaginative potentials, fandom is a key methodology that has yet to be explored. Interwoven into the academic essays are lavishly designed artist pages in which artists offer an introduction to their use of fandom as methodology. Contributors Taylor J. Acosta, Catherine Grant, Dominic Johnson, Kate Random Love, Maud Lavin, Owen G. Parry, Alice Butler, SooJin Lee, Jenny Lin, Judy Batalion, Ika Willis. Artists featured in the artist pages Jeremy Deller, Ego Ahaiwe Sowinski, Anna Bunting-Branch, Maria Fusco, Cathy Lomax, Kamau Amu Patton, Holly Pester, Dawn Mellor, Michelle Williams Gamaker, The Women of Colour Index Reading Group, Liv Wynter, Zhiyuan Yang. (shrink)

Renunciation as a creative force is the animating idea behind Ross Posnock s new book. Taking up acts of abandonment, rejection, and refusal that have long baffled critics, he shows how renunciation has reframed the relationship of writers, philosophers, and artists to society in productive and unpredictable ways.".

The article presents an analysis of the activities of formal and informal art associations in the space of contemporary art in Russia and China. The two countries actively cooperate in the field of art, including at the institutional level, which actualizes the appeal to the work of existing creative unions. The object of attention in the framework of the study is the modern art associations of the two countries, and the subject is the relationship between the structure and activities of (...) official and informal art associations of China and Russia. The aim is to analyze the features of the activity of art associations in the conditions of the modern art space of their countries. The analysis of the state and directions of development of both official structures and informal art groups is carried out. The former in both Russia and China, as a rule, are the continuers of the traditions of the former structures, but the original function of the guide of the political course of the leadership of the countries in them remained at different levels, mostly decreasing. The latter are communities of artists who unite by creative interests or around a common exhibition space for them, in particular galleries. Moreover, both forms successfully exist in both states, reflecting the trends of artistic life and at the same time influencing it. (shrink)