This paper considers recent experiments in art and artificial intelligence that crystallize around training algorithms to generate artworks based on datasets derived from the Western art historical canon. Over the last decade, a shift towards the rejection of canonicity has begun to take shape in art historical discourse. At the same time, algorithmically enabled practices in the US and Europe have emerged that entrench the Western canon as a locus and guarantor of aesthetic value. Operating within the epistemic framework of (...) a “view from nowhere,” this tendency in generative art inherits the coloniality of both art history and artificial intelligence. Producing “art histories from nowhere,” this tendency conflates the conceptual category of visual art with the histories of Western cultural production. It reproduces a set of aesthetic values that entrench the mythology of the artist-genius and his imputed whiteness and masculinity; the extolment of innovation and novelty as self-evident virtues; disembodied Cartesian models of knowing and sensing; and the erasure of contributions that have been occluded from canonical visibility. As we encounter systems trained on particular visions of art history and of the artist, how might we remain attentive to the specific lens through which they are taught to see? This essay addresses that question by bringing the coloniality of recent experiments into view, bridging data feminisms and decolonial studies to formulate alternative visions of encounters between art and AI. (shrink)

Normal 0 false false false EN-US X-NONE AR-SA st1:*{behavior:url(#ieooui) } /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:Arial; mso-bidi-theme-font:minor-bidi;} Architectural heritage is considered a fundamental issue in the life of modern societies. In addition to their historical interest, cultural heritage buildings are valuable because they contribute significantly to the economy by providing key attractions at a time when tourism and leisure are major industries. The need for preserving historical constructions is thus not only a cultural requirement, but also an economical and developmental demand. Herein, among different Iranian heritage buildings, pigeon towers, or dovecotes, are of a great importance. Hundreds of dovecotes, dating largely to the Safavid period, dot the fields in the vicinity of Isfahan. On the other hand, valleys formed by creeks in central parts of Anatolia seem to have offered suitable environments for ancient settlements. Cappadocia region and two valleys nearby the town of Gesi accommodate a number of villages surrounded by hundreds of dove cotes in different types. This paper investigates different types of dovecotes in Iran plateau and Central Anatolia, Turkey. The results show there is a fundamental difference between the structures of dovecotes in these two countries. However, ancient dovecotes in Iran and Central Anatolia can be considered good examples of 'architecture without architects' or ' spectacular vernacular architecture'. Master builders who designed and constructed these buildings for such a simple function, created impressive forms without much pretension and bringing forth the tectonic aspects of the art of architecture. Normal 0 false false false EN-US X-NONE AR-SA st1:*{behavior:url(#ieooui) } /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:Arial; mso-bidi-theme-font:minor-bidi;} Keywords: Dovecotes, architecture, Iran, Isfahan, Central Anatolia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Epic and Tragic Music: The Union of the Arts in the Eighteenth CenturyJoshua BillingsI. The Union of the Arts in WeimarAround 1800 in Weimar, thought on Greek tragedy crystallized around the union of speech, music, and gesture—what Wagner would later call the Gesamtkunstwerk. Friedrich Schiller and Johann Gottfried Herder both found something lacking in modern spoken theater in comparison with ancient tragedy’s synthesis of the arts. Schiller’s 1803 “Trauerspiel (...) mit Chören,” Die Braut von Messina, represents a radical experiment in recreating the ancient union of the arts.1 The Greek tragic chorus, revived in Schiller’s drama, becomes the modern locus for this union. In a preface appended to the published version of the play, Schiller writes,The tragic work of poetry first becomes a whole through its theatrical performance: the poet only gives the words; music and dance must be added as well to enliven them. As long as the chorus lacks this powerful sensory accompaniment, so long will it appear in the economy of a tragedy as an alien element, a foreign body, a retardation.2 [End Page 99]Exactly contemporary (and possibly in response), Herder’s discussion of drama in his journal Adrastea similarly views the union of the arts in ancient tragedy as a corrective for modern drama:3A Greek who attended our tragedy [Trauerspiel], used to the musical voice of his own, would have to find in it a sad play [trauriges Spiel]. “How wordy-mute,” he would say, “how dull and soundless! Have I stepped into a decorated grave? You shout and sigh and bluster! Move your arms, strain your facial features, reason, declaim; but does your voice and feeling never become song? Do you not miss the strength of this demonic expression? Do your rhythms, your iambs never urge you on to the accents of the true language of the gods?”4The focus on media distinguishes these Weimar discussions of tragedy both from the Jena aesthetics of the Schlegel brothers and from the Idealist “philosophy of the tragic” already underway in the works of Schelling, Hölderlin, and Hegel.5 Though both Schiller and Herder are relatively indifferent to dance, their writings reflect strong interests in music.6 Their considerations [End Page 100] of tragedy show a close engagement with the sensory experience of drama that is unusual for its time, and has little precedent in Germany.For Schiller’s late poetics, the union of words, music, and gesture is a means of radically dividing the experience of theater from daily life. The tragic chorus “should be for us a living wall, which tragedy sets up around itself in order to close itself off wholly from the real world.”7 It “justifies the tragic poet in this raising of tone, which fills the ear, which strains the spirit, which broadens the whole mind.”8 Musical speech, Schiller argues, allows for an expression that transcends conventional language and quotidian existence. Schiller had hoped “to let [the choral intermezzos] be recited in the way of song and to accompany them with an instrument,” though his wish went unfulfilled in the first, and subsequent performances.9 Yet even after relinquishing the real possibility of a union of the arts in performances of Braut, Schiller upheld it as an ideal in his preface.Herder is remembered today primarily for his elaboration of an organic historicism, which understands cultural phenomena according to the circumstances of their creation. Yet his concern was more than merely historical; especially in the Adrastea, he continually sought guidance for the present in the events of the past. A contemporary, writing shortly after Herder’s death, saw the two orientations, historical and critical, as equally important: investigation of the past was intended as “a didactic or warning image” for his own time.10 The guiding idea of the journal was similarly educative, based on Herder’s understanding of Adrastea as a principle of justice and moderation.11 In Herder’s thought, as in most writing on ancient literature of the eighteenth century, there is no absolute division between scholarly and critical concerns: the study of ancient works was both an end in itself and a... (shrink)

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...) of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)

The world is awash in bullshit, and we're drowning in it. Politicians are unconstrained by facts. Science is conducted by press release. Startup culture elevates bullshit to high art. These days, calling bullshit is a noble act. Based on Carl Bergstrom and Jevin West's popular course at the University of Washington, Calling Bullshit is a modern handbook to the art of skepticism. Bergstrom, a computational biologist, and West, an information scientist, catalogue bullshit in its many forms, explaining and offering readers (...) the tools to see through the obfuscations, deliberate and careless, that dominate every realm of our lives. They instruct readers to ask: Who is saying it? How do they know? What do they have to gain by persuading me? Are the numbers or results too good or too dramatic to be true? Is the claim comparing like with like or apples and oranges? Is it confirming your personal bias? In this lively guide to everything from misleading statistics to "fake news," Bergstrom and West help you recognize bullshit whenever and wherever you encounter it--in data, in conversation, even within yourself--and explain it to your crystal-loving aunt or casually racist uncle. Now more than ever, calling bullshit is crucial to a properly functioning community, whether it be a circle of friends, a network of academics, or the citizenry of a nation. (shrink)

The author has had a lifelong interest in design and its application. In this book he shows how the perceptions about the nature of the universe inform the art of their times, for example the form and fluidity of primitive art or the crystalline order of Islamic patterns.

What I here call Merleau-Ponty’s crystal lamellae corresponds to a phenomenology of the crystal of the interstices of being: the between. Phenomenology’s crystal as I refer to this here is a layered in and through spatial tensions, shimmering, overlapping, intervals magnifying planes and surfaces in all dimensions. This is a crystallography in words to retrace the relations of lived space, tactically navigated, anticipated, recalled, as this experienced awareness of the world around, the places in which we live, especially public spaces, (...) layered in layers, including lattice arrays of space, seen and unseen, including a reflection on art, aesthetic production, especially but not only in Lascaux, and perception, on anger, and the political including the terrorism of capital. (shrink)

Danto's end of art thesis as well as his partial definition of art as “embodied meaning” have sparked much controversy, but I shall not quarrel with either here. Rather, my aim is to suggest that there was another distinct chapter in the grand narrative described by Danto, one taking place right under his nose. This was an environmental chapter, crystallized most forcefully in my view by the work of Latvian‐American artist Vija Celmins (1938‐ ), especially by her work To Fix (...) the Image in Memory I‐XI (1977‐82) consisting of 11 pairs of perceptually indiscernible stones, one found one made. Without the benefit of seeing her first retrospective in 2019, it would have been very hard to see how her own artistic narrative, culminating in these indiscernible stone pair works, offers “the appropriate next stage in the story.” Inspired by Danto, this is exactly what I hope to show. (shrink)

John Ruskin, a famous English philosopher and art professional, wrote "The Ethics of the Dust" in 1866. It is the best thing he has ever executed like it. In this book, Ruskin teaches morals in a totally distinctive way: he uses the fairy world as a metaphor to teach morals to kids. There are a variety of conversations within the story between elemental beings that represent various things about nature, education, and being yourself. The Fairy Queen, who is a good (...) man or woman, teaches the alternative fairies approximately the whole thing, from a way to be lovely and do their task to being fair and honest. Some of Ruskin's moral training come from his symbolic tales and his poetry. He talks about being honest, how training can exchange someone, and how human beings are related to the herbal international thru the fairy chats. No, "The Ethics of the Dust" isn't just a story. It's a psychological portray that makes human beings consider how they act morally and the way society as an entire act morally. Ruskin's specific mix of magic and morals is a laugh and easy way to teach humans approximately being aware about others and their very own variations. (shrink)

We consider breath as a vast prospect that includes actions and traces of them, that builds images and texts, that involves the human being and the extra-human context; we call this great scenery ‘breathscape’. We then study how breathscape interacts with the human apparatus of the face, both giving rise to signs, but also giving rise to a liminal zone of extremely intriguing interpretative processes on a mereological scale. How and where do the territory of breath and the body interact? (...) Which processes of signification do they give rise to? And which signs are created in their phenomenal and semantic encounter? Art is certainly the most appropriate language for studying this process, as well as for letting opacities emerge and exploring outstanding contrasts. There are various concepts of ‘breathscape’ that, grounded in different cultures, are immediately associated with ancient and contemporary philosophies. As a reverberation from a semiotic interaction and through the discretization and identification of semantic fields relevant to the concerned scenario, and introducing textuality, a phenomenon seen as a crystallization of the transition between outer text (the text of reality) and text (subject/object), we consider those visual texts which are crossed by a common faculty that is both descriptive and inventive: by approaching some inferential and cultural regimes and analysing their specific enunciative practices, we then contribute to their renovation. The texts related to the practices as part of the narratives intrinsic to cultural semiospheres underline the insatiable vastness of epistemological content to be dealt with, and the functional reductionism of the corpus is only a first approach to the field that is intended to shed light on the general panorama and to stimulate subsequent debate and insights. (shrink)

Animation victims: an abridged history of animated response -- Animated history -- The movement of accessories -- Fabric extensions and textual supplements from modern and antique fragments -- The movement of snakes -- Pneumatic impulses and bygone appendages from Philo to Warburg -- The afterlife of crystals -- Art historical biology and the animation of the inorganic -- Inorganic culture -- Nudes in the forest -- Models, sciences, and legends in a landscape by Léger -- Malicious houses -- Animism (...) and animosity in German architecture and film from Mies to Murnau -- Daphne's legacy -- Architecture, psychoanalysis, and petrification. (shrink)

In The Piano Tuner of EarthQuakes, the Quay Brothers' second feature, the sensual form and the meta-artistic content are truly interweaved, and the siblings' staple animated materials become part of the theme itself. Using Michel Serres's argument in Les cinq sens, I address the relationship between the Quays intermedial animation and the way the art forms of music, painting, theatre and sculpture are used to captivate the film viewer's sensorium in the same way that some of the characters are fascinated (...) by the evil Droz, a scientist and failed composer who manipulates machines and people alike, among them Felisberto, a meek piano tuner with the ability to stir the natural elements. I further proceed to posit the entire film as an intended allegory of animation on the Quays part. Their haptic construction of a three-dimensional world which they control artistically is replicated in the film in Droz's and Felisberto's activities vis-à-vis Malvina van Stille, an abducted opera diva who is kept in a suspended animation state and several hydraulic automata with musical resounding properties, some of them made up of an uncanny assortment of body parts. The artificial life of these creatures is contrasted, in two ways, with their physical reality as beings that exist in the world: first, via Serres's sensorial strategy to transform a body into a conscious entity, an embodiment I call 'Corpo-Reality', and second, by resorting to Deleuze and Guattari's theory of the body without organs in its advocacy of 'hard' nature and the rejection of a rigid assortment of body parts. The paradoxical organic objectivity of the 'marionettized' Malvina is pitted against the seemingly subjective doings of the mechanical automata, especially an android woodcutter. However, just as in the story things are not what they seem, and the automata actually reflect the 'real' world of Felisberto's tuning of them, so the film itself can be a 'crystal-image', offering itself to the senses of the spectator. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics and Humean Aesthetic Norms in the Novels of Jane AustenEva M. Dadlez (bio)IntroductionThe eighteenth century, Paul Oskar Kristeller tells us, in addition to crystallizing what we now call the fine arts, is also marked by an increased lay interest both in the arts and in criticism.1 Amateurs as well as philosophers ventured critical commentary on the arts. Talk concerning taste or beauty or the sublime was so much (...) a part of general discourse that even novelists of that era incorporated such subjects in their work. Henry Fielding "was able to construct a novel on the true and false sublime in art," according to Samuel Monk, "and to draw an analogy between the sublime in art and the sublime in character."2 So we shouldn't find it surprising that perspectives on aesthetics are sometimes presented in the novels of Jane Austen.3 This subject matter ranges from descriptions of skill in the execution and sensitivity in the appreciation of particular arts to general observations about beauty and taste and what is requisite for the apprehension of the former and the possession of the latter.Consider the following catalog of arts and beauties. Mansfield Park, Sense and Sensibility, and Northanger Abbey contain many references to the beauties of nature, both cultivated and wild. Taste in music is a topic in Persuasion, Mansfield Park, Pride and Prejudice, and Lady Susan. A taste for poetry and literature is the lot of the heroines of Persuasion, Northanger Abbey, Mansfield Park, and Sense and Sensibility. Taste and talent for drawing is exhibited by characters in Sense and Sensibility, Emma, and Northanger Abbey. Both Sense and Sensibility and Mansfield Park contain discussions of the merits of effective reading, that is, reading well aloud. Mansfield Park even comments on [End Page 46] acting ability, albeit rather disapprovingly. More general reflections on taste and beauty, as well as their connection to morality, are equally typical.It is possible to venture several different arguments about the philosophical perspective into which such observations best fit. Kantian analyses have already been ventured in the literature. Anne Crippen Ruderman calls our attention to the Kantian flavor of the connection Austen draws between a sensitivity to natural beauty and one's moral disposition, for instance, and David Kaufman compares Austen to Kant, though primarily in regard to ethics.4 Nonetheless, in this article I will argue that the strongest correlations and correspondences are in fact between Austen's and Hume's positions on aesthetics. Evidence in support of a Kantian analysis will first be canvassed and later compared with claims in favor of a Humean alternative.I will establish that the positions on taste and beauty and delicacy that are explicitly stated in or can be inferred from Austen's novels fit a Humean model—and fit it with a fair degree of precision. In doing so, I hope to demonstrate a correspondence strong enough to serve as the staging area for the further speculations that constitute the second thesis of this article. A great deal has already been said by philosophers about the capacity of literature to elicit moral reactions from the reader. Fictions can present ethical endorsements and invite us to adopt ethical perspectives by making it true in the world of the work that some course of action is right or some character is laudable. They can do this not by telling us that an act is right or a person meritorious but by showing us the rightness of the action and the commendability of the individual—by asking us to imagine traits that call forth our own approval and commendation. I will contend that aesthetic norms can be treated in much the same way as moral norms. That is, I will claim that the fiction of Jane Austen, in addition to evidencing the conscription of a Humean aesthetic, so engages and educates us that we are led imaginatively to adopt certain aesthetic perspectives in the course of its contemplation: not just by being told what is aesthetically pleasing or commendable, but by being made to feel pleasure and to experience commendation; not just by being told what constitutes discriminating taste, but by being led... (shrink)

"I feel that art has something to do with the achievement of stillness in the midst of chaos. A stillness which characterizes prayer, too, and the eye of the storm. I think that art has something to do with an arrest of attention in the midst of distraction.1" "Saul Bellow"IntroductionAlthough analyses of artworks are limited in Adorno's oeuvre, I will argue that his critical theory is awash with images crystallizing thoughts to such a degree that it has every reason to (...) be described as aesthetic. Adorno's first and final book-length publications dealt explicitly with…. (shrink)

In his temporal philosophy based on the writing of Henri Bergson, Gilles Deleuze describes duration ( durée ) as a becoming that endures in time. Reifications of this complex philosophical concept become artistically expressed, I argue, in the form and content of South African artist William Kentridge's series of 'charcoal drawings for projection.' These exhibited art works provide intriguing and illuminating 'philosophical' examples of animated audio-visual media, which expressively plicate distinct images of movement and time. The composition of Kentridge's films (...) at once illuminate a regime of animated 'movement-images' that can trace their aetiological roots to classical forms of film and animation, whilst concurrently folding in complex philosophical expressions of time as duration which invoke the crystalline 'time-image' concepts of philosophers such as Bergson and Deleuze, as well as literary authors like Marcel Proust. Over and above these co-existent regimes of movement and time, Kentridge's artistic technique and exhibition practices further expose a multifarious 'geology' of other embedded time lines that serve to enrich/complicate these temporal expressions. I argue here that diegetic time- and movement-images ostensibly co-exist alongside different 'archaeologies' of time relevant to the context and creation of the artworks. For this reason, the animated drawings formulate intriguing artistic/philosophical expressions that muse on the nature of matter, memory, time and space. (shrink)

Reflecting on the technological age, poet Rainer Maria Rilke wrote of the intense emotions with which people can endow manufactured objects. We seem to "charge" the world of things as we would a battery. Now German art historian Christoph Asendorf explores this transformation of human sense perception in the industrial age and contributes to a new understanding of European culture and modernity. Drawing from literature, painting, architecture, film, philosophy, anthropology, and popular culture, Asendorf offers rich analyses of works by Manet, (...) Baudelaire, Monet, Zola, Benjamin, Heidegger, and Duchamp. These close readings are combined with a montage of key cultural images and events ranging from Paxton's Crystal Palace to the introduction of electricity. The result is a striking account of the emergence of consumer culture within the developing commodity economy of modern Europe. Certain to challenge the mono-disciplinary perspectives of many specialists, this book will interest historians of art, culture, literature, science, and technology. (shrink)

An images is build up of elements placed in a fix reciprocal positions. In this way an image is able to organize a block of space-time extracted from becoming and offered as a crystallized present, this notion imply Chronos notion of time. How would spatial co-ordinates work on the time line of Aîon , where present can’t exist? We are going to answer this question by analyzing Robert Smithson’s Monuments of Passaic.

The subject of the study is the works of contemporary St. Petersburg artists of different generations and creative trends, as well as the forms and features of their communication with each other and with the general as well as professional public. The trends of artistic communication in the city are determined by the activities of such institutions as art and non-art museums, art galleries and exhibition centers, which are a classic form of presentation of contemporary art; alternative venues such as (...) creative spaces and art clusters. The field of attention also includes the attraction of St. Petersburg authors to the organization of small artistic associations, mainly art groups, for example, "Unconquered", "North-7", "Parasites", etc. In addition to works of art, theoretical works and reflections by researchers of contemporary art in St. Petersburg and the spaces of its public presentation are involved. The methodological basis is the analysis of the works of St. Petersburg masters of the beginning of the XXI century in the context of the development of urban institutions of artistic communication. The research is based on theoretical works devoted to the problem of artistic communication and trends in the current art process. Comparative-interpretative and typological methods are used to compare the works of artists and forms of artistic communication. The problem of artistic communication in the field of fine art in St. Petersburg is becoming the subject of a separate study. This area of city life is currently developing quite dynamically, as new art associations, curatorial practices and alternative classical platforms for the presentation of the work of authors belonging to different generations and art movements are emerging. Traditional museums and galleries, as well as creative spaces, art clusters and other often non-core institutions, such as libraries and cafes, are involved in this process. Against this background, the features of St. Petersburg artistic communication crystallize, which is characterized by a desire to organize communities, to fuse realistic traditions and current trends, to escapism and symbolism, as well as an interest in oriental themes and stylistics. (shrink)

Oracles and philosophy -- Oracles, allegory and mystery cults -- Debating oracles: pagan and Christian perspectives -- Debating oracles: Porphyry's letter to Anebo and Iamblichus' De mysteriis -- Divination, rationality and ritual in neoplatonism -- Divination inspiration, possession and contact with the gods in Iamblichus' De mysteriis -- Divination and theurgy in Iamblichus' De mysteriis -- Manifesting the gods: oracles as symbola.

Crystal Cordell - Metaphysics and Method in Plato's Statesman - Journal of the History of Philosophy 46:1 Journal of the History of Philosophy 46.1 168-169 Muse Search Journals This Journal Contents Reviewed by Crystal Cordell University of TorontoÉcole des Hautes Études en Sciences Sociales, Paris Kenneth Sayre. Metaphysics and Method in Plato's Statesman. Cambridge-New York: Cambridge University Press, 2006. Pp. xii + 265. Cloth, $75.00. In his most recent book on Plato, Kenneth Sayre argues that the Statesman is, first and (...) foremost, a dialogue on dialectical division, the aim of which is to produce better dialecticians . The author guides the reader through a rigorous analysis of several dialectical instruments deployed in Plato's late dialogues ,.. (shrink)

This research demonstrates that interpersonal emotion regulation—attempts to manage others’ feelings—influences consumer perceptions during sales and service interactions impacting brand trust and loyalty. Building on previous research linking interpersonal emotion regulation to improved outcomes between people, across five experiments, we demonstrate that antecedent-focused interpersonal emotion regulation strategies result in enhanced brand loyalty and brand trust compared to response-focused interpersonal emotion regulation strategies. Analysis of mediation models reveals this effect is explained by changes in the consumer’s emotions, which in turn influence (...) evaluations of the service interaction and subsequently impacts brand outcomes. We identify reactance as a moderator of this effect, such that customers with low reactance to interpersonal regulation attempts exhibit more favorable brand trust and loyalty evaluations. Further, we demonstrate that the visibility of interpersonal emotion regulation represents an important boundary condition. These findings support the process model of interpersonal emotion regulation and generate important insights for both theory and practice. (shrink)

This book offers an opportunity for an anti deficit and positive examination of Black/Black-multiracial culture and its role in creating educational efficacy among academics of color. Through personal narrative, educational and learning theory, and creative writing/poetry, this hybrid text examines the cultural path to the doctorate.

Have humans always had the desire to inhabit other worlds? From the microscopic scale to the vastness of outer space, it seems our capacity for occupying uninhabitable spaces with our intellect, our bodies, our sensorium, our desire, is fundamental to our being. What are these spaces and how do we come to ‘know’ them? Whether mythological, religious or scientific, these minute or vast worlds are spaces that we unfold, narrate and dwell in. In his short story ‘The Stone Sky’ the (...) novelist Italo Calvino writes of the inhabitants who live in a world that exists beneath the earth’s crust. These inhabitants who occupy the underworld exist in a mutable form that allows them to travel through the dense, dark inner landscape of the earth, through the crystal structures, the nickel sea to the earth’s core, an intricate viscous landscape quite other than the formation of matter on the earth’s surface. Calvino’s narration tells us of what is it to inhabit the interstices of the underworld, to be in a space with little intervening air, to live within the deep time scale of crystal formation. The neuroscientist Christof Koch states that ‘we live in a universe where organised bits of matter give rise to consciousness’ and that we need to extend our understanding of what consciousness really is. Could it be that these other worlds, whether planets only just glimpsed through early telescopes, or nano-landscapes at the scale of the atom are still integrated with our own fundamental make-up? Are they the product of a vastly developed pre-frontal cortex or are they a result of ideas, knowledge and experiences accumulated over billions of years? In this article I will look at the concepts of matter as a carrier of consciousness and of panpsychism as a tool with which to understand our habitation of other worlds. (shrink)

This very long book sets out to track and trace the working-class men and, less commonly, women who, against the limited expectations of their social position, learned Greek and Latin as an aspiration for personal change. The ideology of the book is clear and welcome: these figures “offer us a new ancestral backstory for a discipline sorely in need of a democratic makeover.” The book's twenty-five chapters explore how classics and class were linked in the educational system of Britain and (...) in its cultural performativity: Is he a gentleman? Does he have Greek? became the paradigmatic questions, as the study of classics became a sign of cultural attainment and social exclusion. This book sets out to explore the counterstory of the cobblers and shepherds who, like Jude the Obscure, fought against society's oppressiveness to access classical learning.The book's breadth is exemplary. It looks at the issue through genres and media, through different communities and national identities, through the prosopography of ragged-trousered philanthropists, beggar-lecturers, body-building performers, and through other institutions and people who helped, including adult-education teachers, kind bosses, supportive vicars, and fiery communists. This breadth, and the fascinating research that it encapsulates, will make this book a fantastic resource for future scholarship: it outlines the richness of a field that has been all too rarely explored properly. If you do not know Stephen Duck, “the thresher poet,” or Hawkie, the crutch-wielding beggar who performed from the books he sold on the streets of Glasgow, then this book is the place to the meet them. The cast list alone is worth the entrance ticket.Yet this very breadth is also the source of the book's limitations. The sheer number of cases listed, treated at similar length and depth, repeatedly conceals the complexity and even the interest of individual figures or events. So, the numerous representations of Vesuvius in shows around London in the first half of the nineteenth century—after the discoveries at Pompeii—are duly noted as a source of excitement and knowledge about antiquity, but against the recent treatment by Clare Pettitt in Serial Forms (which came out the same year) this mere noting looks desperately thin. There is little discussion of how the characters themselves talked about or negotiated class. This deficiency is particularly important for someone like Charles Kingsley, who was very active in the Chartist movement but also became Queen Victoria's chaplain and the professor of history at Cambridge. There are hilarious descriptions of Kingsley's stammering engagement with the working-class leaders he actively supported, which capture how awkward the interaction of classes could be even and especially when the participants shared a goal of transformation. (Ed Richardson's Classical Victorians: Scholars, Scoundrels and Generals in the Pursuit of Antiquity is good on these moments of awkwardness but is one of several books whose absence from the notes looks pointed.) The authors list cases of working men who were picked up by fashionable society as poets or scholars, many of whom were dropped almost as quickly back into penury—but the telling description of such a case in Kingsley's Alton Locke is passed over, although it reveals an acute self-consciousness about such narratives in a best-selling novel.The very structure of the book tends toward listing cases rather than analyzing them in depth. It is not clear why “Shoemaker classicists” should take up a chapter, bar there having been some. Nor is it clear why some figures are not included. John Brown was an uneducated Scottish shepherd who taught himself Greek, Latin, and Hebrew. He was discovered by a professor, one John Pringle, when he went into a shop to buy a secondhand Greek Testament (though his own church thought this newfound and inexplicable linguistic brilliance suspicious or even satanic). Brown went on to write the wonderfully titled The Self-Interpreting Bible, which remained in print and sold very widely for more than a century after its publication in 1778—especially after it was championed by the evangelical preacher Charles Simeon. It is a pity that Brown escaped the authors’ net, but religion, one of the main reasons to learn the classical languages, is downplayed throughout this study, although its imbrication with classics is everywhere in evidence. The book, significantly enough, leads rather toward a rosy-eyed depiction of posh classical communists like Geoffrey de Ste. Croix and George Thompson, and other such heroes of the authors.The authors are much more at home in the years of ardent republicanism in the decades on either side of the turn of the nineteenth century and in the beginning of the twentieth century, when socialism and communism became embedded in British life. The last half of the nineteenth century, when classics really established itself institutionally as a discipline, and its revolutionary potential moved away from the zeal of the Romantic philhellenists into the artistic idealism of a Richard Wagner or the sexual freedom of an Oscar Wilde, are less adequately explored. The huge attendance at art galleries and the Great Exhibition at Crystal Palace as a route to encountering the past of antiquity in material form are barely addressed (Kate Nichols's Greece and Rome at the Crystal Palace would have helped); nor do shows like Astley's Circus get air time (Rachel Bryant Davies's Troy, Carthage, and the Victorians is revealing). It is particularly noticeable in such a voluminous study that there is no discussion of how turning to Greek was a crucial route for the self-understanding of what was considered transgressive male sexuality—and for a particular engagement between the classes. To understand the social force of classics requires a deeper appreciation of the dynamics between conservatism and transformation, disciplinarity and self-discovery. The big picture of how classics matters is lost in the gems picked out by the authors. Gems they are, but their facets need more attention and their setting a broader perspective. (shrink)

The title of this collection of studies alludes to the revolt against formalism in modern art, as opposed to the various kinds of formalized analysis to which art is today subjected, both by the critic and by the aesthetician. Although the names of the contributors—Alquié, Zolla, Brun, Dufrenne, Giorgi, Olivetti—are all remembered in connection with outstanding materials in this field, the contributions to this volume are unequal in value. Those of Dufrenne and Giorgi make the book required reading for anyone (...) attempting to go beyond the more heavy-handed formalism of much of the Aristotelian, Kantian and even pragmatist literature on aesthetics. Dufrenne's chapter deals with the a priori of the imagination, which for him is realistic, thanks to the affinity between the expressive power of the cosmic and the semantic core of the word. This affinity crystallizes in what he calls ontological qualities. Four of these latter qualities are studied, viz., elementariness or naturality, potency, depth and purity. Giorgi defends the thesis of the linguistic character of artistic expression. She is well aware of the ambiguity factor in symbols, but this is overcome by the relationality of the latter, a relationality that allows them to act as interpretants of objects in a representative role. In the study of the process of recognition of semantic value in artistic structures, Giorgi shows a resourceful command of suggestions from information theory, linguistics, visual arts and mythical thought. The flexibility acquired through these means of analysis justifies perhaps a critical attitude towards the more formalistic conceptions of metaphor and of artistic categories.—A. M. (shrink)

ABSTRACT : This paper explores two interconnected themes that reoccur throughout the Laches: reworking the role of the father and the harmony of one’s words with their actions, the Dorian mode. These two themes, in addition to the discussion of courage, will turn out to be directly relevant to the nurturing of the souls of the sons. The question then arises whether any of the interlocutors present are adequate father figures who might be able to nurture the souls of the (...) boys in a manner that is adequate. Judging by the conclusion of the dialogue, the only possible candidate is Socrates. (shrink)

A child sees all the things God has made, but wants to see God in person.

Using Galileo Galilei's Saggiatore and Ludovico Ariosto's Orlando furioso as a focal point, this article evaluates a mixed methods approach for identifying matches of words and phrases that are rich material for close reading and contextualization. The method focuses on ngram matches and networks of phrases that are used together. The similarity of Galileo's treatise to Ariosto's poem is compared to 45 other early modern Italian texts to evaluate the relative exceptionalism or normality of the findings. Ngram matches reveal a (...) series of previously unknown connections between the Saggiatore and Furioso, which indicate an analytical understanding of the poem, rather than borrowing of narrative or figurative expression. Network analysis offers a preliminary outline for two communities of texts that frequently use the same ngrams found in the Furioso. (shrink)

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

Maurits Cornelis Escher’s 1938 lithograph, Cycle, illustrates what mathematical physicist Roger Penrose calls ‘impossible objects’. The illusion of three-dimensionality, the innovative use of tessellation, and the incorporation of traditionally figurative elements induce the viewer to perceive the lithographic print as depicting a visually plausible reality built on the deconstructive metamorphosis of man into cube. It is Escher’s ability to paradoxically combine the radical oppositions of man and cube, landscape and geometric abstraction into an apparently harmonious composition where shapes repeat with (...) subtle variation and almost imperceptibly transition into radically different shapes that I want to use as a visual paradigm for conceptualizing the shifts in human consciousness in the digital age. Roger Penrose, path-breaking theorist of consciousness as a physical but non-computational process, was inspired by and inspired Escher. Penrose’s provisional concepts of consciousness, time and space can be visually compared to Escher’s earlier man-cube renderings, where each of these individual design elements allows the transition to another shape. In other words, Penrose’s theories, like Escher’s design concepts, illustrate a moment of transition in consciousness theory. As in Escher’s Cycle, the individual elements are being continually redefined, reshaped and revealed. Each may be a unique distortion of the previous, but this does not mean that it is disconnected or independent of the final outcome. These distortions are transitional elements that lead us visually to the other side of the composition. Radical transformations and developing connectedness in the boundaries between art, technology and science function like the individual elements in Escher’s Cycle. As we try to define the shifts in human consciousness occurring in the digital age, visually speaking, we are focusing on only one element right in the middle of an Escher metamorphosis, unable to see exactly how this element will be part of the completed design. This thought can be both frightening and liberating: frightening because we humans are used to relying on boundaries and predictable outcomes to feel a sense of control, liberating because anything and everything is possible and the changes will occur naturally as part of the transition. If Escher teaches us anything, it is that each piece in the meta-morphosis is needed to complete the big picture. (shrink)

The author's purpose is to show that the traditional ways of dealing with problems in the subject of art, Namely, Through discovering "(a) what is the common property in all works of art which distinguishes them from things that are not works of art, And (b) what is the common property in all good works of art which distinguishes them from bad or mediocre ones" are unsatisfactory. (staff).

Stemming from a general study of rhythm in the work of Gilles Deleuze, we propose a distribution of this concept throughout three levels: a topic level, in which we place rhythm between chaos and measure; a dynamic level, in which we analyse the formation of rhythm towards its stabilisation as a spatio-temporal dynamism; and an unfolding, in which these dynamisms take on the form of rhythmic machines applied in music (refrain), in painting (sensation) and in cinema (montage and time (...) class='Hi'>crystals). In this last phase, the rhythmic devices of various arts lead to a genesis of time. We are thus driven to think and elaborate on the link between these two concepts, rhythm and time, in the writings of Deleuze. Bearing this purpose in mind, we turn to the schema of the three syntheses of time in Difference and Repetition. These syntheses show how time emerges from different ways of understanding repetition, in the place of which rhythm will then appear. We will compare this schema with the argument articulated by Deleuze in Logic of Sensation regarding rhythm in its pictorial form. This comparison will enable us to deduce that both concepts follow a parallel path arising from the same series of processes: vibration, coupling, resonance and forced movement. We will conclude that the schema proposed in Difference and Repetition and its aesthetic purpose delineate the ways in which rhythms unfold creatively. These three syntheses of rhythm are implicated in artistic processes. (shrink)

Visual artists and scientists frequently employ the labour of assistants and technicians, however these workers generally receive little recognition for their contribution to the production of artistic and scientific work. They are effectively “invisible”. This invisible status however, comes at the cost of a better understanding of artistic and scientific work, and improvements in artistic and scientific practice. To enhance understanding of artistic and scientific work, and these practices more broadly, it is vital to discern the nature of an assistant (...) or technician’s contribution to the production of a work, which is difficult as it is uncommon to discuss these workers. To address this, I investigate how different kinds of parallel working arrangements in collective artistic and scientific practices affect the creative potential of individuals involved. Different working arrangements permit different degrees of autonomy for individuals involved in these practices. Significantly, a lack of autonomy precludes the opportunity to act spontaneously and so exercise, what I term, “creative agency”. Evaluating the contribution of an assistant or technician based on the degree of autonomy that they are granted in the production of a work is an approach that I show can be used to precisely determine the nature of their contribution to the production of a work and accordingly, what kind of recognition an agent should receive for this. Importantly, this approach has the advantage of explaining the artistic and epistemic significance of different kinds of contribution to the production of artistic and scientific work. (shrink)

Whereas the influence of regret on decision making is well-established, it remains unclear whether emotion regulation may modulate both the affective experience of regret and its influence on decisions. To examine this question, participants made decisions about options involving uncertainty using two different, instructed emotion regulation strategies. In one case, they were instructed to treat each choice individually, while in the other they were encouraged to treat a series of decisions as a portfolio. The present experiment demonstrates that approaching a (...) series of decisions as a portfolio led to less extreme affective reactions to outcomes and lowered physiological arousal levels compared to focusing on each decision in isolation. However, the different emotion regulation strategies did not alter the influence of anticipatory regret on choices. The results indicate that these different emotion regulation strategies can be used to alter the experience of regret. These findings support a role for cognitive strategies in mitigating the affective experience of regret and suggest a means to encourage consumer welfare. (shrink)

One of the most significant trends within linguistics in the 1970s has been the move away from the formalised models of language introduced by Chomsky towards an account of language that incorporates functional premises. As Charles Fillmore put it, in a 1972 paper, the emphasis on formalisation needs to be balanced by a consideration of what exactly it is that linguists want to formalise. Putting this another way, a contrast can be drawn between the stress laid in the 1960s on (...) the specification in formal terms of the common factors that underlie utterances and the stress laid in the 1970s on the specification in functional terms of the differences between language forms, as captured by such notions as dialect, style, level, etc. (shrink)

Post Pop - Abstract painting - Illusionary art - Figurative painting - Fetish art - Political art - Art as environment and architecture - High tech and the Third World.

This short paper serves as an introduction to the Projects section of this issue of Humanist Studies & the Digital Age, since the contributions are connected by the authors' participation in a roundtable at the Modern Language Association Annual Conference in 2017. The papers explore the research outcomes from developing and deploying different Digital Humanities projects with Italian Studies materials. The introduction outlines the different methodologies, critiques of digital approaches, and implications for the field offered by the four contributions. The (...) essay ultimately argues that through their humanistic engagement with the technology that drive the projects, the scholars connect their approaches to timely concerns facing all consumers and critics of digital and computational products. (shrink)

The present article was partly inspired by G. Pollack’s book, and also Dadoloff, Saxena & Jensen (2010). As a senior physicist colleague and our friend, Robert N. Boyd, wrote in a journal (JCFA, Vol. 1, No. 2, 2022), for example, things and Beings can travel between Universes, intentionally or unintentionally [4]. In this short remark, we revisit and offer short remark to Neil Boyd’s ideas and trying to connect them with geometry of musical chords as presented by D. Tymoczko and (...) others, then to Escherian staircase and then to Jacob’s ladder which seems to pointto possibility to interpret Jacob’s vision as described in the ancient book of Genesis as interdimensional staircase, e.g. an interdimensional bridge between heaven and earth (cf. classic book: Hofstadter, Godel, Escher, Bach). Jacob’s vision of angels going down to earth from that staircase has been depicted for instance in William Blake art etc. In our communication with others via physics literature and discussions etc, we came to several conclusions as follows: Firstly, possibility of wormhole effect to mirror particle universe, which sometimes it is termed non-orientable wormhole. While such mirror particles effect have been more than 50 years predicted with the so-called parity violation (cf. Lee & Yang, 1950s), and that is called symmetry breaking. Secondly, a series of extended experiments on laser irradiated cold water may suggest possible transition from a phase of water to be at least partially fourth phase of water, which may be composed of crystalline water (see e.g. Gerald Pollack, and also Harold Aspden on liquid crystalline). If we can imagine laser cooling effect can be done in protracted time, then we can achieve a physical representation of Aspden‘s liquid crystalline. Therefore, in this article we outline a series of simple experiments of laser irradiated iced-water along with beryl and selenite crystals in order to see possibility of such a quantum tunneling via quantum liquid crystalline Universe hypothesis, which may likely be modeled with iced-water. It is interesting to remark here that certain experiments by Stockholm University scientists have shown that X-ray triggered water can exhibit properties just like liquid crystal (cf. PRL, 2020). That is why we consider it possible that there can be quantum phase transition where liquid water (comprised of iced cubes and water) can exhibit effects such as tunneling in quantum liquid crystalline Universe. Last but not least, we admit that what we outlined here is just aninitial phase; and if you wish, perhaps we can call such experiments as “wormhole-at-lab” experiments (abbreviated: WHALE). (shrink)

The title of the film by Steve Kloves (1989) refers to the dual-piano, languishing lounge act performed by two brothers. The resurgence and demise of the musical team is brought about by the addition of a sultry, female vocalist--Susie Diamond. Embedded within the story is an exploration of integrity and its augmentation by the virtues of courage and honesty. Integrity marks an individual whose self is a coherent, consistent whole. Important elements of the individual’s personality are mutually supportive rather than (...) being disparate or in conflict. The integrity scrutinized by the film is Jack’s; it involves the younger brother’s inconsistent fidelity to his considerable musical talent. Late in the story we learn that he despises performing the popular musical fare with his brother and that he really wants to be creative, playing jazz. Although Jack is shown playing piano with modulated passion at a jazz club, we infer that he does so infrequently. Jack’s older brother is not in conflict with himself because his talent is suited to playing the bland tunes that are the staple of the act. Jack’s integrity is compromised because his commitment to his art is half-hearted; he cannot make the leap of faith--in himself. He knows that he hates playing the lounge music, is moved by jazz, and has considerable ability. Jack therefore realizes, however vaguely, that he ought to give himself to the music he loves, despite the risks this would entail. The trajectory of the film-story can be viewed as Jack finally summoning the courage to honestly confront his struggle with integrity and deciding to do something about it. (shrink)

"The Traffic in Culture takes us along exciting new avenues in the investigation of art and society, global encounter, and the marketing of culture. These essays will become required reading to scholars in fields as diverse as art history, anthropology, sociology, and cultural studies."--Suzanne Preston Blier, Harvard University "These essays break new ground in charting out a critical ethnography of art. They address the complexities of cultural difference while ceasing to respect the boundary between 'Western' and 'non-Western' art which has (...) defined the scope of the anthropology of art for too long. This is contemporary critical anthropology at its best."--Nicholas Thomas, Australian National University. (shrink)

Can the intellect or the intellectual faculty be its own object of thought, or can it not think or apprehend itself? This book explores the ancient treatments of the question of self-intellection - an important theme in ancient epistemology and of considerable interest to later philosophical thought. The manner in which the ancients dealt with the intellect apprehending itself, took them into both the metaphysical and epistemological domains with reflections on questions of thinking, identity and causality. Ian Crystal traces the (...) origins from which the concept of self-intellection springs, by examining Plato's account of the epistemic subject and the emergence of self-intellection through the Aristotelian account, before the final part of the book explores the problem of how the intellect apprehends itself, and its resolution including Plotinus' reformulation and the dilemma raised by Sextus Empiricus. Crystal concludes that Plotinus recasts the metaphysical structures of Plato and Aristotle in such a way that he casts the concept of self-intellection in an entirely new light and offers a solution to the problem. (shrink)

Resumo: A fotografia, como ferramenta, apresenta principalmente a relação entre pessoas e objetos, por meio do uso de elementos artísticos, como luz, sombra e cor, nas imagens. A criação de fotografias é uma atividade que requer inspiração e habilidades. Isso exige que os fotógrafos observem e pensem cuidadosa e profundamente sobre a estrutura geral do trabalho, a fim de tirar boas fotos que sejam artísticas e bem pensadas. O desenvolvimento e a popularização da fotografia, na sociedade atual, não podem ser (...) subestimados por seu impacto na estética pública e no pensamento humanístico. Este artigo tem, como objetivo, analisar a conotação estética da fotografia chinesa e explorar seus padrões e valores estéticos. Os pensamentos filosóficos da fotografia chinesa são explorados, e suas reflexões e perspectivas sobre a vida e a sociedade são analisadas. A relação e a influência mútua, entre as conotações estéticas e os pensamentos filosóficos na fotografia chinesa, são exploradas, e sua importância e influência nos trabalhos fotográficos são analisadas, para que se possa entender e apreciar melhor a singularidade da fotografia chinesa. A fotografia chinesa é uma forma única e diversificada de expressão artística que reflete o rico patrimônio cultural e o desenvolvimento social da China. Ao enfatizar a harmonia, a integração de elementos de pintura, a narração de histórias e a apreciação da natureza, a fotografia chinesa proporciona uma experiência estética profunda e transmite significados mais profundos de unidade, tranquilidade e a relação entre as pessoas e o meio ambiente. (shrink)