Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

Accompanying an exhibition organized by the Whitney Museum of American Art, New York, this book is the most comprehensive catalogue on the work of this internationally recognized architectural firm.

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)

This overview of the "sister arts" of the nineteenth century by younger scholars in art history, literature, and American studies presents a startling array of perspectives on the fundamental role played by images in culture and society. Drawing on the latest thinking about vision and visuality as well as on recent developments in literary theory and cultural studies, the contributors situate paintings, sculpture, monument art, and literary images within a variety of cultural contexts. The volume offers fresh and sometimes (...) extended discussions of single works as well as reevaluations of artistic and literary conventions and analyses of the economic, social, and technological forces that gave them shape and were influenced by them in turn. A wide range of figures are significantly reassessed, including the painters Charles Willson Peale, Washington Allston, Thomas Cole, George Caleb Bingham, Fitz Hugh Lane, and Mary Cassatt, and such writers as James Fenimore Cooper, Nathaniel Hawthorne, Henry David Thoreau, and William Dean Howells. One overarching theme to emerge is the development of an American national subjectivity as it interacted with the transformation of a culture dominated by religious values to one increasingly influenced by commercial imperatives. The essays probe the ways in which artists and writers responded to the changing conditions of the cultural milieu as it was mediated by such factors as class and gender, modes of perception and representation, and conflicting ideals and realities. (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)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Art Subjects: Making Artists in the American UniversityTheodore GracykArt Subjects: Making Artists in the American University, by Howard Singerman. Berkeley, Los Angeles, London: University of California Press, 1999, 296 pp., $19.95 paper.Howard Singerman's Art Subjects is a study of the training of visual artists in American universities from 1912 to the present. More precisely, the book is an account of how two philosophies ofeducation have (...) competed to inform that training. At the outset, Singerman announces that the book explores a long-standing "struggle between vision and language" (p. 10) that culminates with a decisive privileging of language. The book mimics its putative subject in at least one interesting way. As it was for art and the training of American artists in the twentieth century (at least on Singerman's account of them), so it is with the book. Each moves from a practice grounded in objective reality to a jargon-ridden discourse that limits entry to anyone outside of its acutely self-regarding disciplinary field. Although the book's acknowledgments segment thanks one individual for demanding thatSingerman "come to a real conclusion" for the book, readers should note Singerman's subsequent admission that it may not have one. At times it even appears that Singerman goes out of his way to avoid drawing one.Art Subjects appears to have started life as Singerman's doctoral dissertation, but it only occasionally displays the dull by-the-numbers writing of such documents. The book has a clear organization and its numerous quotations are carefully documented. The overall argument is framed, beginning and end, with Singerman's autobiography of his own time as a university art student. It provides him with his framing question: if he has a M.F.A. in sculpture but never learned to sculpt, what does his professional degree signify? The answer is that it indicates that his work is no longer facile. He has progressed from the realm of the artist whose work is professional, displaying facility, to the stage where he is professional. He has progressed to the point where being an artist is theartist's true subject: "Artists are the subject of graduate school; they are both who and what is taught" (p. 3). If this progression is best indicated by an artist's lack of facility in producing works of art, that is the price of professionalism. In the post-World War II university, art training is "founded on the primacy of theory over practice" (p. 181). Yet the result is professionalism without a clear profession other than as an employee of the post-World War II university: the M.F.A. prepares artists for the university discipline of art. Citing Foucault, Singerman seems satisfied that artists have taken command of a theoretical field. Disciplinary boundaries are created and policed by its rules of professional discourse. At the same time, Singerman declares his intention to "use the concept of the discipline as it constrains and structures discourses to keep from having to judge whether or not art is a profession" (p. 201). He likewise mentions [End Page 119] but does not take any stand on the "putative decline of recent art" (p. 210). This ongoing refusal to judge deprives the book of potentially interesting conclusions. It also calls into question Singerman's repeated references to the "self-criticality" of the discipline.Singerman's neutrality might berefreshing were it not for his use of Foucault to introduce the notion that each new "proposition" within the disciplinary discourse represents progress in a "theoretical field," moving "knowledge" forward. Talking about art (and not, to be sure, talking all that much about specific works of art) and talking about being an artist may or may not represent progress. For instance, Singerman's early chaptersmake the case that the triumph of artistic modernism must be understood as a repudiation of a "female" aesthetic and even of women as artists. Singerman returns to the topic ofwomen artists only once, to note Griselda Pollock's approval of the entry of feminism into the academic discipline of art. Thus Singerman is silent on the question of whether progress is made when the number of women is... (shrink)

This text stresses that the arts are cognitive and effective essentials in human development. It includes research from psychology, philosophy, medicine, music, linguistics and visual arts to bring together theories designed to nourish the search for understanding the human mind.

ArgumentIn the 1920s and 1930s, the growing importance of habitat dioramas at the American Museum of Natural History forced staff members to reconsider what counted as scientific practice and knowledge. Exhibit-makers pressed for more scientific authority, citing their extensive and direct observations of nature in the field. The museum's curators, concerned about their own eroding status, dismissed this bid for authority, declaring that older traditions of lay observation were no longer legitimate. By the 1940s, changes inside and outside the (...) museum had destroyed any lingering notions that what exhibit-makers garnered from observing raw materials constituted scientific knowledge. (shrink)

When viewing the picture of a beautiful sunset, how many of us realize that, while we admire it as a work of art, we have just taken the very first step toward pornography? And that both the beauty in the sunset and the senses that recognize such beauty are very likely to be anti-art? Making a radical departure from the conventional wisdom on art and beauty, ART, BEAUTY, AND PORNOGRAPHY presents the startling thesis that things of beauty are not only (...) unrelated to art but often responsible for pornography. How is this possible? In this controversial work, Huer argues that beauty pleases the senses, which demand to be pleased with each new stimulation. In a society whose members put a premium on pleasurable things, it is natural that the visual medium occupies a commanding position among forms of cultural expression. In the process of competing to please the human eye, American society (the most graphic and visual civilization to date) concentrates on objects and events that please consumers and, by doing so, sell products. Much of this sense-pleasing business takes place in the name of art. But those senses pleased by what is beautiful are the same senses that receive gratification from the pornographic. Art has no place in this process. Based on these arguments, Huer makes a strong case for re-orienting the purpose of art. Drawing on historical experience in the West, he defines art as a statement about life: pain, wisdom, and happiness embodied in the life process. The artist is a teacher of life, the artwork his philosophy, and the art public the beneficiaries of his teaching. Neither beauty nor sensory pleasure, therefore, has anything to do with art. This important volume is, above all, a critique of contemporary American culture directed most especially to society's confusion about art, beauty, and pornography, and its willingness to allow business to assert dominion over artistic impulse. ART, BEAUTY, AND PORNOGRAPHY is a searing commentary on the follies of our time as well as an inspired defense of high art and the creative spirit. (shrink)

Machine generated contents note: Introduction: The Rise of Philosophical Art Criticism 1 -- Chapter 1. In the Beginning Was Formalism 17 -- Chapter 2. The Structuralist Adventure 33 -- Chapter 3. The Historicist, Antiessentialist Definition of Art 55 -- Chapter 4. Resentment and Its Discontents 71 -- Chapter 5. The Deconstruction of Structuralism 87 -- Afterword: The Fate of Philosophical Art Criticism 111.

This study examines the changing role of art and artist during the turn-of-the-century period, offering a consideration of the multiple dichotomies of art and life, aesthetics and economics, production and consumption, and centre and periphery.

Dwight Furrow examines the contemporary fascination with food and culinary arts not only as global spectacle, but also as an expression of control, authenticity, and playful creation for individuals in a homogenized, and increasingly public, world.

dewey is an optimistic thinker. He fits into a vein of pragmatism known as meliorism, which holds that the condition of the world can be improved through intelligent, imaginative, human action. For this reason, it is tempting to read Dewey as permanently cheerful—particularly when we compare him with philosophers from the continental tradition who work on similar themes. However, it is important to remember that meliorism holds that improvement is possible through intelligent engagement—not that it is guaranteed. Dewey's aesthetics particularly (...) have been mischaracterized as overly sanguine, lacking solid account of the tragic. This is a misreading since Dewey's aesthetic does make ample room for human suffering on... (shrink)

El siguiente artículo plantea una reflexión sobre la historiografía del arte centroamericano y latinoamericano, para establecer algunas tendencias en cómo se han estudiado y qué aportes han realizado estos campos de conocimiento al entendimiento de las artes visuales regionales y la historia cultural centroamericana. Adicionalmente, en contraste con este estado de la cuestión, se plantean las contribuciones que realiza la tesis doctoral “Hacer exportable a Centroamérica: activación de circuitos artísticos internacionales y su impacto en la consolidación de los museos de (...) arte moderno y sus colecciones en Guatemala y Costa Rica, 1950-1996”, al conocimiento de esta historiografía. Se analizan dos aportes puntuales que realiza la tesis: por un lado, la investigación evidencia contundentemente que determinados/as artistas centroamericanos/as participaron con vigor de las redes artísticas internacionales en la segunda mitad del siglo XX; esto se logra reconstruir mediante un mapeo de los eventos en los que participaron. Seguidamente, se abarca otro aporte, en el que la investigación problematiza lo que se ha dicho sobre las características del arte moderno centroamericano mediante un análisis de las colecciones de tres museos regionales. (shrink)

Written in the anthropological tradition of ethnography, this is a comprehensive account of the radical American musical called experimentalism that arose early in the century and peaked in the 1950s and 1960s.

The book makes a critical assessment of American art theorist Ernest F. Fenollosa's work in Meiji Japan and offers the first English translation of the Bijutsu shinsetsu speech for which he became known. The author argues that Fenollosa's acclaimed reputation as the savior of traditional Japanese art may have been overestimated.