This article by Juri Lotman from the third volume of Trudy po znakovym sistemam (Sign Systems Studies) in 1967, deals with the problem of artistic modelling. The general working questions are whether art displays any characteristic traits that are common for all modelling systems and which could be the specific traits that can distinguish art from other modelling systems. Art is seen as a secondary modelling system, more precisely, as a play-type model, which is characterised simultaneously by practical and conventional (...) behaviour and constant awareness of the possibility of alternate meanings to the one that is currently being perceived. At the same time art has play-like elements but is not the same as play, since play is inherently rule-bound, whereas art is a more flexible model thepurpose of which is truth. Art is a special type of modelling system, since it is on one hand suitable for storing very large amount of complex information, but onthe other hand it can increase the stored information and transform the consumer. (shrink)

This article by Juri Lotman from the third volume of Trudy po znakovym sistemam (Sign Systems Studies) in 1967, deals with the problem of artistic modelling. The general working questions are whether art displays any characteristic traits that are common for all modelling systems and which could be the specific traits that can distinguish art from other modelling systems. Art is seen as a secondary modelling system, more precisely, as a play-type model, which is characterised simultaneously by practical and conventional (...) behaviour and constant awareness of the possibility of alternate meanings to the one that is currently being perceived. At the same time art has play-like elements but is not the same as play, since play is inherently rule-bound, whereas art is a more flexible model thepurpose of which is truth. Art is a special type of modelling system, since it is on one hand suitable for storing very large amount of complex information, but onthe other hand it can increase the stored information and transform the consumer. (shrink)

In order to think Art in its difference from the arts, I argue, requires that we take seriously its lack of sense. This lack is symptomatic of a historical rupture with the sense of art as_ technē_ (know-how), a sense that remains at play when one speaks of the arts. However, if art is not an art, then what is it? In this essay, I argue that art is a thing that makes sense absent. To specify art’s absent sense, its (...) absense, requires both a historical analysis of art’s rupture with _technē_ and the mastery it implies, and an ontological determination of the manner in which it makes of this loss a thing that serves to dumbfound. Art is thus inseparable from stupidity. Through an engagement with the work of Aristotle and Heidegger, Bataille and Balzac, Baudelaire, and Lacan, I suggest that art marks the extimate place of absense. (shrink)

Ziarek's claim concerning a more poetic thought appearing in the later Heidegger is echoed by Janet Donohoe. In her essay The Place of Tradition: Heidegger and Benjamin on Technology and Art she argues that notwithstanding the many differences between Heidegger and Benjamin, they share a commitment to a thinking which returns them to a more original poiesis at the root of the philosophical tradition. Both react to a crisis in the European tradition of thought and both see the expression (...) of this crisis in modem technological society. This essay, then, focuses on the paradoxical character of the tradition as elaborated in their respective texts, in order to understand how they can see an artistic or poetic thinking as an alternative to the technological paradigm of our present societies. The reflection on these topics brings out the thinking of a notion of place as central to both Heidegger's and Benjamin's critique of calculative rationality. (shrink)

Satisfying the demand of questioning the contemporary condition implies, first of all, a criticism of present times. From this point of view, it becomes clear that art and revolution whilst practices of creative disruption are undoubtedly in crisis. Hence, it is imperative to re-read Guy Debord, who not only refused the aestheticization of politics, but also the politicization of aesthetics. For the hermeneutics of contemporary, his work is, of course, essential. Proving it is, in short, the purpose of this paper.

Prompting this book is the paradox of belonging. What pushes the author to write are art's questions. Rather than take the route of writing, artists in academia could opt for the studio, teaching students, and occasionally indulge in conferences and symposia. However, beyond such rituals, writing art's questions remains akin to art's acts of belonging. In these lessons of belonging this is done through art's paradox. Belonging is a matter of art because art belongs to the aporia that writes it.

Sixteenth-century astrology was considered by its practitioners to be allied to a wide range of disciplines, including medicine, the magical arts and the mathematical arts. The last of these associations was particularly important, since it formed a cornerstone of the legitimation of the celestial art. Astrologers in late Tudor England sought to show, therefore, that astrology shared the characteristics of the increasingly strong and well-defined domain of the mathematical arts, and that it was an important ally of many of the (...) individual arts, such as astronomy, navigation, and instrument-making. This association was demonstrated in practice, where astrology and other mathematical arts were mastered by the same practitioners. (shrink)

During the sixteenth and early seventeenth centuries, physics was regularly taught as part of instruction in philosophy and the arts at Central European schools and universities. However, physics did not have a special or privileged status within that instruction. Three general indicators of this lack of special status are suggested in this article. First, teachers of physics usually were paid less than teachers of most other university-level subject-matters. Second, very few Central European academics during this period appear to have made (...) a career out of teaching physics. And third, Reformation Era schools and universities in Central Europe emphasized language instruction; such instruction not only was instrumental in promoting the confessional-i.e., Calvinist, Lutheran, and Roman Catholic-agendas of those same schools and universities, but also helped to prepare students for service in nascent but growing state governments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Place for Healing:A Hospital Art Class, Writing, and a Researcher's TaskJulia Kellman (bio)Introduction[O]bjects transform the top of our chest into a site of memory. I think of private landscapes like this one as querencias, places that hold the heart. The word has been translated as homing instinct and affection. Expatriate Alastair Reid introduced me to it in 1965, writing about the Spanish bullfight in The New Yorker. (...) After the first wound the bull chooses his querencia, the place in the ring where he returns for a moment to rest before the fight goes on, and where he finally dies. Querencia comes from the common Spanish verb querer; among its many meanings are to love, to want, to hold, and to command. Reid spoke of hometowns and native countries as querencias; exiles cling to their memories of them.1Place, "space that has the capacity to be remembered and to evoke what is most precious,"2 by its nature orients us to a particular perspective, to a way of looking at the world. Each place has its own local accent, its own constellation of habits, its own rhythm of language and thought. We are grounded in landscape in the same manner that we are situated in our social world, imprinted like other creatures on a typography, pattern of weather, cycle of seasons, scents, and colors.3Our hearts, too, are embedded in such places; and in this article, through this "act of personal witness," this "inscription of a self and a description of an object" as the anthropologist and writer Ruth Benhar4 describes it, we will see how the members of an art class for people with HIV/AIDS at a local hospital have similarly become grounded in their art space and in the tiny art community that has grown up around it. Additionally, we will discover the importance of a more descriptive style of writing as means for examining the role of art in the lives of people who are ill, for their various difficult [End Page 106] situations call for particular clarity and empathy that both honors and relates the stories of their lives. It will become clear as this article proceeds that the personal engagement of a researcher/writer in such a situation is critical as well. For not only must she be open—vulnerable, as Behar suggests—to the people with whom she works as a means of spanning the chasm between a life of illness and a life of health, but she must also be sensitive to the reader's needs, for she is the reader's guide and surrogate.5 This role as guide and alter-ego demands that the researcher tell the story of other lives in a manner that enables the reader to empathetically and eagerly undertake a journey with the researcher into a world unlike her own.6Personal Engagement: The Researcher/WriterHoward Brody, doctor and medical ethicist, explains the necessity for stories of illness to be descriptive.7 He asserts that the stories in which we are most interested are not merely factual recitations; they are about what the illness means to the individual—they include how that person understands events. "It is far too simple-minded" he writes, to assume that "the writer of literature presents to us a world of fantasy that never existed whereas the author of a nonfictional pathography has some special insight into the world as it really exists, even if the relevant world is nothing but his own subjective experiences."8 He concludes "in stories of that sort (stories of the meaning of things) the line between so-called truth and fiction becomes more blurred and ceases to affect the uses we make of the stories for the deeper understanding of the human response to illness."9 Further, Brody continues, one must understand stories of sickness in order to truly develop a philosophical understanding of what it means to be ill. Such an understanding, Brody suggests, not only provides ethical guidance for health care workers and others but also will lead to improved care for patients and better education of health professionals.10 This view of... (shrink)

Laura D'Olimpio argues that aesthetic education ought to be a compulsory part of education for all students, from pre-primary through to high school, as it is essential that young people have the opportunity to make art, experience and understand art and be informed as to the artistic history and aesthetic theories that have shaped their own culture and others. The book defends arts education on the basis of art's distinctive value and centrality to human experience. It also engages with topics (...) such as the art teacher's role in the classroom, curricula concerns and gleaning moral meanings from artworks. (shrink)

ABSTRACTThere is only one reference to art in Heidegger’s Being and Time but art is to the fore in his later writings. In this article the path from the earlier to the later writings is traced such that two surprising conclusions can be drawn: first, that Heidegger’s later thinking about art is powerfully pre-figured in the single reference to poetry in Being and Time; and, second, that Heidegger’s later thinking about art does not develop a new discourse on aesthetics but, (...) rather, a discourse that re-visions our self-understanding by elaborating an essential tie—already stressed in Being and Time—between our Being and dwelling. The discussion of Heidegger’s philosophy of art as a philosophy of settlement is developed through a renewed assessment of Heidegger’s famous interpretation of Van Gogh’s picture of a pair of old shoes. It is argued that the picture plays a twin role in Heidegger’s analysis: drawing together the threads of Heidegger’s engagement with our time as belonging to the technological age, while also illustrating Heidegger’s conception of the creation of art not as the production of an object but as involved in the opening up of a world. Together these threads invite us to reflect that, even though the “old rootedness” is being lost in this age, art might still contribute to creating a new settlement in our time—with technology. (shrink)

Around the globe people are confronted daily with intransigent problems of space and place. Educators have historically called for place-based or place-conscious education to introduce pedagogies that will address such questions as how to develop sustainable communities and places. These calls for place-conscious education have included liberal humanist approaches that evolved from the work of Wendell Berry (Ball & Lai, 2006) and critical place-based approaches such as those advocated by David Gruenewald (e.g. Gruenewald, 2003a, 2003b). (...) In this paper I will propose a reconceptualized framework of place as a pedagogical practice that draws on contemporary feminist poststructural and postcolonial philosophies as a basis for an alternative place pedagogy for 'global contemporaneity' (Carter, 2006, p. 683). Within this reconceptualized concept of place I will outline three key principles for a reconceptualised place pedagogy: our relationship to place is constituted in stories and other representations; place learning is local and embodied; and deep place learning occurs in a contact zone of contestation. These principles give rise to new emergent arts-based methodologies for developing and practising place-responsive pedagogies. (shrink)

Mark C. Taylor recounts a poignant love affair not with a person but with a place that, paradoxically, cannot be easily localized. For many years, Taylor has lived in the Berkshire Mountains, where he writes and creates land art and sculpture. In a world of mobile screens and virtual realities, where speed is the measure of success and place is disappearing, his work slows down thought and brings life back to earth to give readers time to ponder the (...) importance of place before it slips away. Taylor extends reflection beyond the page and returns with new insights about what is hiding in plain sight all around us. Weaving together words, objects, and images, his artful work enacts what it describes. Things long familiar suddenly appear strange, and the strange, unexpected, and unprogrammed unsettle readers in surprising ways. This timely meditation gives pause in the midst of harried lives and turns attention toward what we usually overlook: night, silence, touch, grace, ghosts, water, earth, stones, bones, idleness, infinity, slowness, and contentment. Recovering Place is a unique work that lingers long after the book is closed. (shrink)

This book presents a lively philosophical exchange between the philosophy of art and the core areas of philosophy. The standard way of thinking about non-repeatable (single-instance) artworks such as paintings, drawings, and non-cast sculpture is that they are concrete (i.e., material, causally efficacious, located in space and time). This volume examines how philosophical enquiry into art might itself productively inform or be productively informed by enquiry into abstracta taking place within not just metaphysics but also the philosophy of mathematics, (...) epistemology, philosophy of science, and philosophy of mind and language. While the contributors chiefly focus on the relationship between philosophy of art and contemporary metaphysics with respect to the overlap issue of abstracta, they provide a methodological blueprint from which scholars working both within and beyond philosophy of art can begin building responsible, mutually informative, and productive relationships between their respective fields. (shrink)

Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker. 'Art and Postcapitalism' argues that art remains essential for thinking about the intersection of labour, capitalism and postcapitalism not insofar as (...) it merges work and pleasure but as an example of noncapitalist production. Reassessing the contemporary politics of work by revisiting debates about art, technology and in the nineteenth and twentieth century, Dave Beech challenges the aesthetics of labour in John Ruskin, William Morris and Oscar Wilde with a value theory of the supersession of capitalism that sheds light on the anti-work theory by Silvia Federici, Andre Gorz, Kathi Weeks and Maurizio Lazzarato, as well as the technological Cockayne of Srnicek and Williams and Paul Mason. Formulating a critique of contemporary postcapitalism, and developing a new understanding of art and labour within the political project of the supersession of value production, this book is essential for activists, scholars and anyone interested in the real and imagined escape routes from capitalism. (shrink)

The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. Two (...) concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

This article examines the work of internet activist and artist Paolo Cirio, whose practice intersects with matters of copyright, privacy, transparency and corporate finance. His project Loophole for All, for example, exposes the practice of tax evasion in the Cayman Islands by counterfeiting Certificate of Incorporation documents. An important aspect of Cirio’s work is how he names himself in the process. Placed within our contemporary ‘data turn’, his work is framed critically in this article in terms of a ‘new structuralist’ (...) account of culture and society. The article attends to the view that power increasingly comes through the algorithm, but argues that we risk reifying so-called generative rules, which may simply be algorithms out of sight. Cirio’s art practice helps focus on what it means to make a critique of contemporary and ubiquitous algorithm structures. As part of this, the article considers how ‘anonymity’ underlies subversive art practices of the 20th century and contemporary protest groups, but that this anonymity arguably undermines attempts to effect change. (shrink)

El descubrimiento estético del ser vivo del Espacio, el Lugar y el Cuerpo, que se tensionan por contraste con el Vacío, el Abismo y el Caos, según las flexibles y múltiples declinaciones del Devenir, el Tiempo y el Límite, figura entre los más recientes y creativos hallazgos del Pensamiento de la Diferencia actual, pues se conecta esencialmente con el ser del Lenguaje tanto plástico como teórico y práctico, atravesando los universos del Arte y las Tecnologías más inteligentes. Ello afecta, además, (...) esencialmente a campos tales como la ontología, la arquitectura, la ecología, la estética y la historia, alcanzando críticamente a cuestionar algunos de los supuestos ya impositivos ya acostumbrados de la racionalidad positivista, que van desde la Física a la Política, impidiendo el acontecer de otras posibilidades y paradigmas, que claman por aflorar en nuestros mundos, pugnando por poder aparecer. Que el Espacio vivo no es un No-Ser, apela desde la obra de Heidegger y Chillida, por ejemplo, a un Arte y Lenguaje fascinantes, que dejan ver de otro modo las relaciones intensivas de los enlaces abiertos que no engloban por extensión sino por sincronía, así como ponen de manifiesto potencias incalculables de la Ausencia que no se da como presente pero sí es perceptible de modo actual y virtual… Asuntos que ya exploraba la Tragedia Ática y su puesta en escena del límite de la muerte como alteridad radical, y son lanzados por el Pensamiento-Arte de la Diferencia de los siglos XX y XXI, yendo a veces desde las raíces de nuestro Inicio hacia los futuros desconocidos que abren y transitan los autores/as de este libro maravilloso. Para ello su texto coral opera trazando viajes por el espacio-tiempo estético a descubrir. Muchos de tales autores/as son doctos conocedores que nos traducen, transmiten y comparten, tanto su saber, como la pasión singular de su explorar y su experiencia, moviéndose por entre constelaciones complejas emergentes. Actúan a través de otros lenguajes y ponen en obra otros mundos posibles que atraviesan distancias llegando hasta nosotros. Este libro nace en el Tajo de Ronda-Málaga mirando al cielo y al abismo de instantes eternos reunidos a la vez, por el pensar-poetizar de espacios y lenguajes abiertos para quienes se atrevan a asumir el riesgo de crear. ---- The aesthetic discovery of the living being of Space, Place and Body, which are tensioned by contrast with Emptiness, Abyss and Chaos, according to the flexible and multiple declinations of Becoming, Time and Limit, is among the most recent and creative findings of the current Thinking of Difference, as it essentially connects with the being of Language both plastic and theoretical and practical, crossing the universes of Art and the most intelligent Technologies. This also essentially affects fields such as ontology, architecture, ecology, aesthetics and history, critically questioning some of the already imposed assumptions of positivist rationality, ranging from Physics to Politics, preventing the emergence of other possibilities and paradigms, which cry out to emerge in our worlds, struggling to be able to appear. That the living Space is not a Non-Being, appeals from the work of Heidegger and Chillida, for example, to a fascinating Art and Language, which allow us to see in another way the intensive relations of the open links that do not encompass by extension but by synchrony, as well as revealing incalculable powers of the Absence that is not given as present but is perceptible in a current and virtual way... Issues that were already explored by the Attic Tragedy and its staging of the limit of death as radical alterity, and are launched by the Thought-Art of Difference of the 20th and 21st centuries, sometimes going from the roots of our Beginning towards the unknown futures that the authors of this marvellous book open and pass through. To this end, their choral text operates by tracing journeys through the aesthetic space-time to be discovered. Many of these authors are learned connoisseurs who translate, transmit and share with us their knowledge, as well as the singular passion of their exploration and experience, moving through complex emerging constellations. They act through other languages and create other possible worlds that cross distances and reach us. This book is born in the Tajo de Ronda-Malaga looking at the sky and the abyss of eternal instants gathered at the same time, by the thinking-poeticising of spaces and languages open to those who dare to take the risk of creating. (shrink)

Laura and I met for this interview to review her book at the Philosophy of Education Society Australasia (PESA) Conference in Christchurch | Ōtautahi at Te Pae Convention Centre, December 2024.JP:...

The Enlightenment was the age in which the world became modern, challenging tradition in favor of reason, freedom, and critical inquiry. While many aspects of the Enlightenment have been rigorously scrutinized—its origins and motivations, its principal characters and defining features, its legacy and modern relevance—the geographical dimensions of the era have until now largely been ignored. Placing the Enlightenment contends that the Age of Reason was not only a period of pioneering geographical investigation but also an age with spatial dimensions (...) to its content and concerns. Investigating the role space and location played in the creation and reception of Enlightenment ideas, Charles W. J. Withers draws from the fields of art, science, history, geography, politics, and religion to explore the legacies of Enlightenment national identity, navigation, discovery, and knowledge. Ultimately, geography is revealed to be the source of much of the raw material from which philosophers fashioned theories of the human condition. Lavishly illustrated and engagingly written, Placing the Enlightenment will interest Enlightenment specialists from across the disciplines as well as any scholar curious about the role geography has played in the making of the modern world. (shrink)

This article takes its point of departure from the second (embodied) linguistic turn represented by the enactivist notion of humans as linguistic bodies, using resources from Hans Georg Gadamer in order to propose a view of the relation between art and everyday experience as one of symbolic transformation. Conceiving art as a form of linguistic phenomenon wherein one can engage in original situations of communication, this view rejects both autonomist and direct continuity views of the art-everyday relation. We start by (...) situating the idea of linguistic bodies within the enactive approach, spelling out relevant aspects concerning the significance of language for human life and perception (Sect. 2). Then we embark on a discussion of aspects of Shaun Gallagher’s and Alva Noë’s enactivist perspectives on art experience, highlighting places where their views align with and depart from ours (Sect. 3). The last two sections aim to lay out the transformative view in more detail, proposing a pluralistic understanding of art media and a view of art and art experience as modes of ideational, embodied thought (Sects. 4 and 5). (shrink)

What is erotic art? Do all paintings with a sexual theme qualify as erotic? How to distinguish between erotica and erotic art? In what way are aesthetic experiences related to, or different from, erotic experiences and are they at all compatible? Both people and works of art can be sensually appealing, but is the beauty in each case substantially the same? How helpful is the distinction between the nude and the naked? Can we draw a strict line between erotic art (...) and pornography? We tend to think of art as complex and of pornography as one-dimensional, but how compelling is that differentiation? Pornography is often considered harmful, objectifying, and exploitative, but to what extent is erotic art immune to moral criticism of this sort? In addressing such questions this entry will provide an overview of current philosophical debates on erotic art. It will also place those debates in historical perspective and, in the closing section, explore some important avenues for future research. (shrink)

This is the one and only book by the pioneer of the identity theory of mind. The collection focuses on Place's philosophy of mind and his contributions to neighboring issues in metaphysics and epistemology. It includes an autobiographical essay as well as a recent paper on the function and neural location of consciousness.

How can performance transform places of urban renewal and regeneration? What does performance contribute to the creation of community? These are some of the questions addressed in this study of the relationship of performance to urban space. Marrying theory with a series of international case studies of performance practice and interviews with practitioners, this interdisciplinary study examines how space is performatively produced to create a sense of 'placeness'. Case studies are drawn from Canada, Brazil, the Czech Republic, the UK and (...) Spain. (shrink)

This is the one and only book by the pioneer of the identity theory of mind. The collection focuses on Place's philosophy of mind and his contributions to neighboring issues in metaphysics and epistemology. It includes an autobiographical essay as well as a recent paper on the function and neural location of consciousness.

The recent, premature death of art critic Robert Hughes registered significant celebrity attention, but little for the extent and depth of his intellectual achievement. Hughes called himself a writer, or else a journalist. He had at least two especial qualifications, in this capacity. He had an Eye, but he also had a Voice. He was a brilliant, if sometimes prolix, writer and presenter. He was a performer, and his work should be seen as performance. This essay, offered as a promissory (...) note, seeks to place Robert Hughes in terms of style and substance but also in terms of centre and periphery, in terms of the cultural traffic between them. It touches on three aspects of his reception. First, on the obituaries, which sought largely to reclaim his body as Australian, even after 50 years of absence. Second, on The Fatal Shore and its reception, itself indicative of the difficulty in neatly placing Hughes in terms of nationalist conceptions. Third, it discusses leading critical interpretations, asking for more, please, and promising to help contribute to the appreciation of Hughes as Tory radical stylist and contrarian. (shrink)

This book explores the topography of Mount Athos, emphasizing the significance of silence and communal ritual in its understanding. Mount Athos, a mountainous peninsula in northern Greece, is a valuable case study of sacred topography, as it is one of the world’s largest monastic communities and an important pilgrimage destination. Its phenomenological examination highlights the importance of embodiment in the experience of religious places. Combining interdisciplinary insights from architectural theory, philosophy, theology and anthropology with archival and ethnographic materials, the book (...) brings a fresh contribution to both Athonite studies and scholarship on sacred space. By focusing on the interrelation between silence and communal ritual, it offers an alternative to the traditional art historical, objectifying approaches. It reintroduces the phenomenological understanding of place, investigating also how this is expressed through a number of narratives, such as travel literature, maps and diaries. (shrink)

Atypical among Heidegger’s numerous discussions of poets is the condemnation of Rilke in the 1942-43 lecture course Parmenides. At stake is the definition of “the open” (das Offene): Rilke reserves the open for animals as freedom from conceptual determinacy, whereas Heidegger reserves it for human beings as the place of Being in which things first appear as what they are. The open, for Heidegger, names the existential conception of place (as distinct from a geographical point) and features in (...) his life-long attempts to articulate the relations between language, human existence, poetry and the everyday. By denying that human beings have access to the open, Rilke runs athwart this project and by denying it in a poem he confounds the expectations that Heidegger harbours with respect to the work of art as a site of the opening up of aesthetic experience, within the everyday, to ontological questioning. (shrink)

I argue for the possibility of a proprioceptive art in addition to, for example, visual or auditory arts, where aspects of some martial arts will serve as examples of that art form. My argument is inspired by a thought of Ted Shawn’s, one of the pioneers of American modern dance: "Dance is the only art wherein we ourselves are the stuff in which it is made.” In a first step, I point out that in some practices of martial arts (in (...) the paper I will introduce “hyongs” & “katas”), we are, too, the stuff these performances are made of. Second, I show that we, as martial arts practitioners, are not in the first place visual or auditorial observers (as common in painting or music or ballet) but introspective, proprioceptive perceivers of our bodies and their movements. (As a corollary we get that we are, in such a case, necessarily our exclusive audience.) In an third crucial step, I show that the martial arts practices referred to, hyongs & katas, and especially the proprioceptive aspects thereof, can indeed count as art. Thus, proprioceptive art is possible because some practices of some martial arts are actual existing examples of that art form. (shrink)

This book examines sustainability learning with children, art and water in the new material, posthuman turn. A query into how we might sustain (our) childhood natures, the spaces between bodies and places are examined ontologically in daily conversations. Regarding philosophy, art, water and her children, the author asks, how can I sustain waterways if I am not sustaining myself? Theoretically disruptive and playful, the book introduces a new philosophy that combines existing philosophies of the new material and posthuman kind. The (...) ecological sciences, and the arts, are drawn together / apart to help recognize sustainability in its emergent, relational form. All the while this book, as art, engages and flows over the reader - as such, reading it becomes a transformative, meditative experience. Daily rhythms of 'being-with' art, water and children take the reader beyond orientations of environmental education that focus on notions of lack and reduction. New possibilities for sustaining childhood natures - for what is becoming, and unbecoming - emerge here in the making processes of an academic, everyday life in early motherhood. (shrink)

"Here is an excerpt. If you like where Collier goes with this you'll like the rest of the book: "I believe we make a mistake if we think that modern man is a rational creature. While it is a mark of primitive man to respond directly to the non logical and less rationally defensible images projected by the psyche, similar primitive or elemental responses lurk behind the civilized faced of which we are so proud. For example, we might be somewhat (...) amused by the cave dweller's belief that because he possessed the image of an animal he had gained some power capable of controlling the creature's life. But do we not believe something of the sort when we cherish the photograph of someone important to us and think carefully as to where it should be placed - where is the place we can contemplate it the most effectively? Can we honestly say that in possessing this image of a person we do not feel that some intangible link exists between us and them? And could we willfully and with passion deface the photograph without the irrational thought overtaking us that we had done some harm to the relationship and to the person concerned?"" -- customer review, Amazon.com. (shrink)

Recent advances in paleoarchaeology show why nothing in the Tate Modern, where a conference on "Agency & Automatism" took place, challenges the roots of 'the idea of the fine arts' (Kristeller) as high levels of craft, aesthetics, mimesis and mental expression, as exemplifying cultures: it is by them that we define our species. This paper identifies and deals with resistances, early and late, to photographic fine art as based on concerns about automatism reducing human agency--that is, mental expression--then offers (...) the fuller account of agency lacking in such discussions. But fine art is not the only value classification we use. (shrink)

The handbook presents a compendium of the diverse and growing approaches to place from leading authors as well as less widely known scholars, providing a comprehensive yet cutting-edge overview of theories, concepts and creative engagements with place that resonate with contemporary concerns and debates. The volume moves away from purely western-based conceptions and discussions about place to include perspectives from across the world. It includes an introductory chapter, which outlines key definitions, draws out influential historical and contemporary (...) approaches to the theorisation of place, and sketches out the structure of the book explaining the logic of the seven clearly themed sections. Each section begins with a short introductory essay that provides identifying key ideas and contextualises the essays that follow. The original and distinctive contributions from both new and leading authorities from across the discipline provide a wide, rich and comprehensive collection that chimes with current critical thinking in geography. The book captures the dynamism and multiplicity of current geographical thinking about place by including both state-of-the-art, in-depth, critical overviews of theoretical approaches to place and new explorations and cases that chart a framework for future research. It charts the multiple ways in which place might be conceived, situated and practised. This unique, comprehensive and rich collection will be an essential resource for undergraduate and graduate teaching, for experienced academics across a wide range of disciplines and for policymakers and place-marketers. It will provide an invaluable and up-to-date guide to current thinking across the range of disciplines, such as Geography, Sociology, Politics, and interdisciplinary fields such as Urban Studies, Environmental Studies, and Planning. (shrink)

This paper provides an analysis of the paradoxical definition of art as the silence of the world, as presented in Maurice Blanchot’s The Space of Literature. The definition is analysed phenomenologically, by treating the world as the universal horizon of all experiences. The paper presents two possible interpretations of Blanchot’s statement. First, a possibility is considered that, according to Blanchot, in genuine artistic experience the mundane everyday life falls silent, and an autonomous fictional world opens up. The paper argues that (...) while Blanchot does oppose art to everyday life, this interpretation is insufficient. Firstly, because on the basis of the phenomenological premise, all possible worlds fall within the universal world-horizon, and secondly, the function Blanchot attributes to art is considerably more radical, as when he speaks about the directedness of art outside of all possible worlds. While such an aim may seem impossible from the viewpoint of the phenomenological premise, the second part of the paper demonstrates that it can indeed be meaningfully interpreted on the basis of Martin Heidegger’s transcendent approach to the world. According to this interpretation, while the phenomenological premise prevents all discussion of places and experiences outside the world, a liminal experience can nevertheless be discussed. If this is true, it is not an entity within the world which opens up, but rather the world-horizon itself in the form of an anxious silence. (shrink)

Using Australia to illustrate the case, in this paper it is argued that the transformation of universities into businesses and the undermining of the liberal arts is motivated by either contempt for or outright hostility to democracy. This is associated with a global managerial revolution that is enslaving nations and people to the global market and the corporations that dominate it. The struggle within universities is the site of a struggle to reverse the gains of the Radical Enlightenment, the tradition (...) of Enlightenment that, committed to upholding and developing the civic humanism of the Renaissance, strove for liberty, understood as democratic self-governance. The central place the liberal arts had in upholding this liberty is shown. Inspired by the Ancient Greek notion of paideia, the liberal arts, which originated in republican Rome, was the form of education required designed for free people, in opposition to the specialist education appropriate for slaves, to inspire them to maintain their liberty and enable them to govern themselves. While not always upholding this ideal, it is argued in this paper that the liberal arts always kept alive this quest for liberty, bequeathing this quest to the Renaissance philosophers and to the proponents of the Radical Enlightenment. With managerialism and the undermining of democracy, such education and the questioning, creative people it produced, are now seen as a threat to the new global corporatocracy who, to achieve cultural hegemony, have coöpted university managers and academics to impose their agenda to cripple the liberal arts. Their goal, never fully articulated as such but successfully prosecuted, is a dumbed-down population. (shrink)

This article argues that the computer game can be a locus of aesthetic form in contemporary culture. The context for understanding this claim is the decline of the artwork as bearer of form in the late 20th century, as this was understood by Adorno. Form is the enigmatic other of instrumental reason that emerges spontaneously in creative works and, in the modern era, is defined as that which makes them captivating and enigmatic yet resistant to analytic understanding. Clarification of the (...) ways in which form is at work in game play is sought from aesthetic theory (Kant), ludology (or theory of games), and the idea of a neo-baroque entertainment culture (Ndalianis). Kant emphasized the role of play in the constitution of imaginary realms associated with aesthetic pleasure. Ludology takes play as an anthropological given differentiated historically by the development of game structures. Neo-baroque theory postulates a labyrinthine, complex and de-centred entertainment culture, largely shaped by computing as a cultural practice. The article synthesizes insights from these perspectives and, drawing on ideas from Adorno and Benjamin, argues that computer games can occupy an oppositional or critical role within contemporary aesthetics and culture. Reflection on the constitutive processes of computer game play discloses a new place for instrumental reason within aesthetic experience, as the dialectic of form and analysis migrates from traditional art materials to digital electronics. (shrink)

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

Visual Arts Practice and Affect brings together a group of artist scholars to explore how visual arts can offer unique insights into the understanding of place, memory and affect. Each contributor highlights the crucial role the creative arts play in envisaging new perspectives on the making of meaning, ones that are grounded in the practicalities, materialities and embodied knowing of artistic practice. Art offers other ways of seeing, thinking, understanding the world. It can be very messy, very challenging, but (...) also moving, exquisite, astounding. The book opens a space for experiential appreciation by offering a writing that allows both the writer and the reader to consider those sorts of embodied sensibilities. (shrink)

Il saggio vuole analizzare se sia possibile parlare di arte contemporanea in termini non meramente cronologici. A questo scopo si avvale del lavoro e delle riflessioni di Peter Osborne, secondo cui l’arte contemporanea deve essere pensata non come un concetto descrittivo, ma come un concetto normativo in grado di giustificare e di rendere possibile il carattere di autonomia dell’arte. Sotto questo profilo, secondo l’autore tutta l’arte contemporanea è arte postconcettuale, poiché oggi la distinzione tra ‘arte’ e ‘non-arte’ non può riposare (...) soltanto su una dimensione estetica, ma deve necessariamente riposare anche su procedure teorico-riflessive (concettuali). Inoltre, non è più possibile configurare una storia dell’arte centrata unicamente sul medium, sulla forma o sullo stile, poiché la natura immateriale, tecnologicamente immaginale e digitalizzata delle pratiche artistiche impone di pensare la dimensione autonoma dell’arte non più attraverso la distinzione (moderna) tra ‘opera’ e res, ma come il darsi finzionale di non-luoghi. Da questo punto di vista, Osborne prova a ripensare la ‘forma’ dell’opera d’arte contemporanea in termini di una paradossale unità distributiva temporale e spaziale. In questo modo, l’unità temporalmente disgiuntiva e il carattere transnazionale (globale) diventano le due caratteristiche principali dell’opera d’arte contemporanea. (shrink)

My mother died within the first few months of the pandemic. Her sudden and rapid decline from Alzheimer's disease is difficult to separate from the COVID-19 restrictions put in place by her nursing home just two months prior. We went from visiting her daily to not at all, then to a strictly enforced twenty-minute hospice visit to say goodbye. After her passing, and still amidst the pandemic, I could not write. The conventional methods and outputs of bioethics inquiry felt (...) impossible.Making art is the only thing that felt possible then. Perhaps that's the function of art, to make things feel more possible. I began by collecting materials from work—package inserts, empty prescription bottles and gelatin capsules—to... (shrink)

The contention of this chapter is that Derrida's writings about the “dessins” (drawings) of Artaud and the “tableaux” (paintings) of Atlan remain trapped within the problems posed by ekphrasis. In addition to any attempt to identify both the place of ekphrasis and its legacy, what also needs to be established, as part of that opening move, is the limit of ekphrasis. Philostratus’ Imagines provide a way into the question of ekphrasis. As has been intimated, ekphrasis understood in the chapter (...) not only as the equation of the work of art with a form of description that depends upon the literary and the rhetorical, but also we must understand that the equation of art and description entails the privilege of meaning – with the result that work and meaning coincide. Derrida's text is extraordinary. It begins with “the dreamer” held by a work, held by its “trait de couleur”. (shrink)

This article examines a strain of contemporary art photography marked by its resemblance to earlier scientific motion studies as indicative of a wider `scientific turn' in recent photographic art. Focusing on Sarah Pickering's series Explosions , Denis Darzacq's The Fall , Ori Gersht's Blow Up and Martin Klimas' Flower Vases , it addresses the conditions that have allowed for forms and methodologies associable with earlier scientific imagery to be reshaped as contemporary art, particularly the large-scale of recent `museum photography' and (...) its self-conscious indeterminacy of meaning. Adopting a schematic approach based on the identification of similarity, I examine the implications of ambiguity and scale as inherent qualities of the work, along with the interpretations that the projects examined share. Noting a potential formalism in artists' repeated isolation of frozen motion, I anchor this interest in the medium-specific qualities of photography in two changes associated with digitization. Where digital post-production has placed pressure on traditional ontological understandings of the medium, the projects are shown to offer a nostalgic return to `purer' forms of photographic production. Drawing on Fredric Jameson's 2003 essay, `The end of temporality', I conclude by considering how the photographs may be implicated in wider transformations to the construction and experience of time under late-capitalism. (shrink)

Philosophers, scientists, and artists alike are prone to explore important questions concerning ecology as it relates to the impact of human actions for the future of nature and human civilizations. The main focus in this essay is to consider ecological implications of art understood as a form of leisure. Art is of course more than leisure for the artists and other arts professionals, but its personal and societal roles also serve as leisure activities. Both the production of art and its (...) consumption have important ecological implications. Select philosophical (Hegel) and scientific (Escobar) concerning art and nature provide a context for exploring art’s role in ecology. Complementing the philosophical and scientific understanding of ecological concerns are the efforts of artists and arts institutions to address ecological concerns both in their creative works and in assessing ecological implications of their respective practices. Ecology concerns environmental relationships taking place among the elements of nature (weather, land and water for example) that relate to evolutionary change and the effects on life in the built environments that comprise human civilizations. [i] Leisure, as I shall understand it here functions as a creative force in the life of human persons. [i]Robert A. Stebbins, “Leisure, Happiness, and Positive Lifestyle” and John Haworth, “Leisure, Life, Enjoyment,” in editors, Sam Elkingtonand Sean J. Gammon, Contemporary Perspectives in Leisure (London and New York: Routledge, 2014), 28-64. (shrink)