We present a scientific analysis of Jackson Pollock's drip paintings and show that his patterns are fractal. The analysis also shows that he refined the fractal content of his paintings over the period 1943 -- 1952. We present a novel interpretation of Pollock's work described as Fractal Expressionism -- a direct expression of the generic imagery of nature's scenery.

Pollock’s drip technique generated certain unconventional representational possibilities, including the possibility of expressing the pre-reflective involvement of an embodied, intentional subject in a perceptual world. Consequently, Pollock’s art can be understood to explore or investigate the pre-objective conditions of reflective and intellectual consciousness. His painting—here I consider Number 1, 1949—motivates viewers to consider the relationship between intention and meaning as it appears in both primordial and reflective dimensions of experience. The account proceeds in three stages. First, I review key features (...) of Merleau-Ponty’s concept of the pre-objective and attempt to clarify the reflexive nature of investigating it by considering his analysis of Paul Cézanne’s technique. Second, I consider Pollock’s technique and some critical responses to it, while analyzing some of its implications for a notion of pictorial address. Finally, I examine the perceptual effects of Number 1, 1949 and interpret them, following Merleau-Ponty’s lead, in view of a revised understanding of the relationship between automatism and intention. (shrink)

_Toward a Grammar ofion_ takes as its point of departure three features of modern art reading: the practice of translating the visual into institutional language, the vocabulary of representation in relation to abstract art, and the prevalence of totality as a model of art-historical knowledge.

In lieu of an abstract, here is a brief excerpt of the content:Chaos, Fractals, and the Pedagogical Challenge of Jackson Pollock's "All-Over" PaintingsFrancis Halsall (bio)IntroductionThe "all-over" abstract canvases that Jackson Pollock produced between 1943 and 1951 present a pedagogical challenge in how to account for their apparently chaotic structure. One reason that they are difficult to teach about is that they have proved notoriously difficult for art historians to come to terms with. This is undoubtedly a consequence of (...) their abstraction. In the face of an apparent disintegration of the traditional pictorial distinction between figure and ground, multiplicities of (sometimes contradictory) readings present themselves. The question, posed to students, as to what they represent is an open one. To many, recalling the opinions of the baffled audience of the 1950s, they are nothing but an inchoate mess. In 1950 Time magazine referred to them as "chaos," prompting Pollock to wire a heated reply, "NO CHAOS DAMN IT."1Pollock's claim of "no chaos" can, however, be unpacked. This article looks at how a scientific analysis based on Chaos Theory and fractal patterns can be used to demonstrate to students that the paintings are indeed chaotic, but that this in turn provides evidence of an internal structure, an order within the chaos. This order is mimetically similar to other chaotic patterns and systems, from coastlines to economic systems. My overall position in this article is one of skepticism as to what such analysis ultimately has to offer in art historical, aesthetic, or pedagogical terms.The ProblemFor a student encountering Pollock's work for the first time, especially after a standard first-year survey of Western art, it can seem incomprehensible. [End Page 1] The challenge of Pollock's work is that none of the multiple interpretations that have been brought to bear on the paintings have any special claim to validity. Given the suggestive ambiguity and "chaos" of the images, there is little in the work itself that challenges the numerous, often contradictory, readings that have been posited. In fact, how art historians approach such images tells students something about the way art history itself works and how art historians are faced with particular choices in applying their discursive models. They must choose whether these accounts "fit" or satisfy the conditions of "rightness," to evoke Nelson Goodman's terms.2The numerous questions that have been asked of what the paintings actually represent are themselves demonstrative of the wide variety of techniques that modern art historians have at their disposal. Analyses have been based upon observations that are couched in the vocabularies of the political (often Marxist theory), feminism, psychoanalysis, iconography, formalism, and so forth.3 At the time of the paintings' creation even the CIA was in on the act; apparently realizing the ambiguity of the work left it open to political manipulation, they secretly funded the promotion of abstract expressionism as a weapon of the cold war.4 Simultaneously, members of Congress such as George Dondero were actually claiming the opposite—that Pollock was making paintings that were a "means of espionage" (sic) and that "If you know how to read them... [they] will disclose weak spots in U.S. fortifications, and such crucial constructions as Boulder Dam."5Ernst Gombrich's celebrated frustration with abstract art highlights the problems that those following traditional art historical methods had with such art at the time. Writing on Pollock's Number 12 (1952), Gombrich also seemed perplexed in the face of chaos. His response to the lack of explicit representational content or apparently accountable meaning was to claim:It is quite consistent that these [action] painters must counteract all semblance of familiar objects or even of patterns in space. But few of them appear to realise that they can drive into the desired identification only those who know how to apply the various traditional consistency tests and thereby discover the absence of any meaning except the highly ambiguous meaning of traces.6Indeed, if there is any consensus to be communicated to students about the work, it is that a single, specific meaning will always allude them.All of the above reactions to the work makes the claims of three physicists to have found the... (shrink)

Ever since Lessing’s 1776 “Laocoön: An Essay upon the Limits of Poetry and Painting” aestheticians have been debating the essential differences between the temporal and the visual arts. Pace Lessing and his twentieth-century philosophical descendants, this essay explores the idea that the musical style cultivated by the American composer Elliott Carter in the years following World War II and the “action paintings” produced ca. 1947–53 by his compatriot Jackson Pollock in fact have quite a bit in common. The commonality, (...) the essay argues, is not so much anything contained in the works themselves as something perceived – perhaps even viscerally felt – by persons who experience the paintings and the musical compositions. Although their musical and painterly efforts are in most ways as different as night and day, both Carter and Pollock managed in their postwar works – perhaps uniquely – to create the potent illusion of multiple times that seem to pass at the same time. (shrink)

info:eu-repo/semantics/publishedVersion.

We focus on a key IR Theory article by Alexander Wendt (1992) and two Jackson Pollock paintings. Our aim is to identify meanings Pollock’s art communicates and reveals for Wendt (1992). It derives from an appeal to visual imagination and a desire for semiotic interpretation of Constructivist view of anarchy. The visual sign is an association such that there is Wendt’s theoretical claim on the one hand and an abstract painting on the other. We do not gaze at Wendt’s (...) claim, we read it. We do not read a painting, look at it. This remark does not imply a one-way relationship. We can argue that a specific painting comes to life in our mind where colored movements are inextricably mixed up when we read the constructivist claim. Both Pollock paintings selected for our sign-making effort confirm the dynamic character of Constructivism and reveal not only three but countlessly many anarchies in international relations. They foment our assessments of abrupt changes of intersubjectivity among states. Cyclicality of dripped paints provides an anchor to fix Wendt’s anarchy conceptualization in these structural-abstract paintings. As to Wendt’s concept of anarchy, it acts as a helper, as a standard, against which interpretations of Pollock’s artwork construct meanings. (shrink)

Ce texte a déjà paru dans la revue DÉMéter, Université de Lille-3, en juin 2004. Résumé : En interrogeant la notion de rythme – successivement chez Henri Maldiney et chez Paul Valéry – nous montrerons ici qu'une approche chorégraphique de la période dripping du peintre américain Jackson Pollock est possible et qu'elle révèle – au-delà de l'aspect physique de sa peinture – l'état de corps de l'artiste, notion en vogue dans le domaine de la danse, et que nous essaierons (...) à cette occasion de mieux cerner. En - Arts plastiques et autres – GALERIE – Nouvel article. (shrink)

The form of life which has the desire for or will to control over emergence at its core is, if not the dominant, then at least one of the more significant ones in late modern culture. To be in control over emergence requires a considerable degree of sovereignty. In this contribution I have made an attempt to outline and contrast three rather basic images or models of what might be called radical sovereignty, i.e., the vital-reflexive-transgressive one (which is referred to (...) here as Nietzsche type 1), the existential-reflective-transcendent one (Nietzsche type 2), and the ambivalent-creative-transformative one (Nietzsche type 3). The analysis of paintings by post-war artists such as Jackson Pollock, Mark Rothko, and Paul Rebeyrolle is used to illustrate how the aforementioned types of radical sovereignty may have emerged, fully-fledged, in art, in the wake of the Second World War. (shrink)

:Visual culture – art, film, entertainment, advertising – are saturated with images of normative heterosexual masculinity. They form visual narratives that project a largely coherent kind of masculinity where heterosexual men are shown to be creative and powerful; they initiate heroic action, take the moral high ground and preserve traditional roles and the status quo. This widely extensive visual field, peopled with normative images of masculinity, also affects and infiltrates the domain of art exemplified by Jackson Pollock and abstract (...) expressionism which, to the present day, continues to project masculinity as the originator and pioneer of aesthetic value. This essay reviews feminist and queer artists’ image making that appropriates the myth of homogeneous masculinity and turns it into a medium for a variety of creative and hybrid explorations. I argue that Deleuzoguattarian concepts such as becoming-woman and becoming-imperceptible help us to understand this molecularisation of masculinity. And importantly in the other direction, these feminist and queer image makers allow us to understand and explore more fully these concepts. (shrink)

Imagine a world without things. There would be nothing to describe, nothing to explain, remark, interpret, or complain about. Without things, we would stop speaking; we would become as mute as things are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without losing their gritty materiality. True to the particularity of things, each of the essays singles out one object for close attention: a Bosch (...) drawing, the freestanding column, a Prussian island, soap bubbles, early photographs, glass flowers, Rorschach blots, newspaper clippings, paintings by Jackson Pollock. Each is revealed to be a node around which meanings accrete thickly. But not just any meanings: what these things are made of and how they are made shape what they can mean. Neither the pure texts of semiotics nor the brute objects of positivism, these things are saturated with cultural significance. Things become talkative when they fuse matter and meaning; they lapse into speechlessness when their matter and meanings no longer mesh. Each of the nine objects examined in this book had its historical moment, when the match of this thing to that thought seemed irresistible. At these junctures, certain things become objects of fascination, association, and endless consideration; they begin to talk. Things that talk fleetingly realize the dream of a perfect language, in which words and world merge.Essays Lorraine Daston, Peter Galison, Anke te Heesen, Caroline A. Jones, Joseph Leo Koerner, Antoine Picon, Simon Schaffer, Joel Snyder, and M. Norton and Elaine M. Wise. Lorraine Daston is Director at the Max Planck Institute for the History of Science in Berlin, Germany. She is the coauthor of Wonders and the Order of Nature, 1150-1750. (shrink)

Adrian Stokes , long admired by a small, highly distinguished, mostly English circle, was the natural successor to Pater and Ruskin. But though his place in cultural history is important, what is of particular interest now to art historians is his theory of the presentness of painting, a theory which offers a challenging critique of the practice of artwriting. From Vasari to the present, the most familiar rhetorical strategy of the art historian is the narrative of “the form, prophet-saviour-apostles,” in (...) which the first artist poses some problem that his successors develop and their successors solve.1 Such very different books as Art and Illusion and Art and Culture deploy that plan. The three periods of naturalism in E. H. Gombrich’s narrative—antiquity, Renaissance religious narrative, nineteenth-century landscape—function like Clement Greenberg’s sequence—old master art, early French modernism, American abstract expressionism. Gombrich and Greenberg disagree about how to narrate art’s history and about which works to include in that narrative—Gombrich asserts that cubism closes the canon while for Greenberg analytical cubism anticipates Jackson Pollock—but in each case, the art historian aims, as the novelist does, to tell a satisfying story and achieve narrative closure, and so how we think of the artworks the historian discusses depends in part upon the structure of the narrative. In a certain mood, we may find this fact intolerable. Why should a mere text tell us how to see the painting we may stand before?Stokes’ attempt to respond to this mood belongs to a tradition of early twentieth-century antihistorical thinking. For Rainer Maria Rilke, Rodin’s sculpture aimed to “refer to nothing that lay beyond it.” For Ezra Pound, an image “is real because we know it directly”; Henri Gaudier-Brzeska could read Chinese ideograms without knowing that language because those ideograms are transparently meaningful images. For Wyndham Lewis, a musical piece is inferior to a statue, “always there in its entirety before you.”2 Such an artwork need not be interpreted because it contains “within itself all that is relevant to itself.”3 All art is accessible to the gifted observer, and time is, in an interesting double sense, irrelevant. We see directly the meaning of works even from distant cultures; the visual artwork is experienced all at once, outside of time. If these claims are correct, what is the artwriter to do? Speaking of the Tempio Malatestiana, Hugh Kenner points to this issue:There is no description of the Tempio in accordance with good Vorticist logic: one art does not attempt what another can do better, and the meaning of the Tempio has been fully explicated on the spot by Agostino di Duccio with his chisel.4 1. Michael Baxandall, Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition 1350-1450 , p. 75.2. Rainer Maria Rilke, Rodin, trans. Jessie Lemont and Hans Trausil , p. 19; Ezra Pound, Gaudier-Brzeska: A Memoir , p. 86; Wyndham Lewis, Time and Western Man , p. 174.3. Frank Kermode, Romantic Image , p. 107.4. Hugh Kenner, The Pound Era , p. 428. David Carrier, associate professor of philosophy at Carnegie-Mellon University, is coauthor, with Mark Roskill, of Truth and Falsehood in Visual Images and author of the forthcoming Artwriting, a study of recent American art criticism. He is working on a history of art history. (shrink)

This article presents how the act of falling has been used as a metaphor for invention within avant-garde art and aesthetics. It takes Lars von Trier’s documentary The Five Obstacles (2003) as its point of departure and seeks to historically contextualize the figure of falling by discussing Charles Baudelaire’s essay ‘De l’essence du rire et généralement du comique dans les arts plastiques’/‘On the Essence of Laughter’ (1955 [1855–1857]). The article also discusses the fascination with falling in early cinema, stressing how (...) cinematic representations of the fall highlight the new medias potential for grasping general modern conditions like motion, speed and contingency. To think of art in terms of falling makes it possible to see a link between cinematic popular culture and so called high modernism. The article concludes with a discussion of the relationship between control and contingency within film aesthetics in the digital age. I will also discuss the aesthetics of Oulipo writers like George Perec and Raymond Queneau, and artists like Jackson Pollock and John Cage as exponents of what can be called an aesthetics of contingency. (shrink)

Walter Benjamin fully captures the radical transformation of the aesthetic experience of some of the avant-garde artists from the beginning of the 1900s – the cornerstones of the aura disappear with the Dadaists. However, Benjamin does not understand that while the aura disappears from the artist’s work, it will later reappear in the artist himself… sliding from the work to the artist. In fact Duchamp, after abandoning painting and the realization of ready made works, dedicates himself to behavioral actions which (...) accentuate the authorship or the artist, and not the work of art. This creates a mysterious and almost sacred atmosphere around the author, similar to the concept of aura. The sliding of the aura from the work to the artist is found in other artists of the 1900s… (from Yves Klein to Piero Manzoni, from Jackson Pollock to Joseph Beuys). (shrink)

In this discussion I show that philosophy of science concepts, especially where examples and thought experiments are limiting, can be enriched with artistic examples. I argue that artistic examples show abstract components and relations that can then be used to engage with philosophical concepts. First, I discuss a useful representational model for thinking about the process of science as analogous to the process of art. I set up philosophy of science as not only open, but also closely connected to art (...) by using Giere’s and van Fraassen’s discussions of the connection between scientific and artistic perspectives. Second, I show how artistic examples can be engaging and informative for teaching philosophy of science concepts. I apply two artistic examples to the concept of quantum measurement ‘indeterminacy’: Jackson Pollock’s artistic process and Mark Dior’s fallen hemlock. Finally, I use anecdotal experience of creating art with a philosophy of science class in order to apply indeterminacy to social properties. (shrink)

Abstract:This article examines the role of maieutic dialogue and exponential power in creative work. Its thesis is that maieutic dialogue is the engine that drives the creative process, and exponential power is the engine that informs maieutic dialogue. The legacy of Socrates is rehabilitated, and then his example is used as a clinic to rehabilitate the legacies of Jackson Pollock, Robert Rauschenberg, and creative artists in general. Implications for aesthetic education are alluded to in a concluding section.

How was creativity understood in the distinctive artistic practices of eighteenth-century Japan? How were its artists able to maintain consistently inventive creative pathways over extended periods? Artistic creativity is sometimes assumed to derive from chance, opportune, or accidental events. For early Western creativity theorists like Graham Wallas,1 Alex Osborn,2 or Robert Fritz 3 such fortunate moments of illumination engendered creative innovation. The invention of synthetic dyes,4 Japanese haboku “splashed ink painting,” or Jackson Pollock’s spatters of paint all involved elements (...) of chance. Given favorable conditions and alert minds, serendipity can contribute to... (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

Où est le temps, existe-t-il encore? Je vous propose d'ouvrir la question du TEMPS. Jamais le temps n'a été aussi compact, uniformisé, fermé comme il l'est désormais à la surface globalisée de l'hyperconnexion. Mais jamais non plus il n'a été aussi ouvert et multiple : incessant battement d'avènements, amorces, émergences, éclosions perpétuelles. Je retrouve ici des expériences singulières : dans l'érotisme maternel et dans celui de la foi religieuse, j'ose parier sur la culture européenne et sur l'humanisme à refonder, je (...) découvre un destin de la psychanalyse en terre d'Islam et en Chine. Je n'ai pas de réponses toutes faites et n'en donne pas une fois pour toutes. Je déplie des vérités hic et nunc telles que je les vis et les pense. Je vous présente mes compagnons de route : Antigone et Philippe Sollers, Jean-Jacques Rousseau et Jacques Lacan, Jackson Pollock et Emile Benveniste ; Simone de Beauvoir et Thérèse d'Avila. Un livre sur la Vérité découverte par le Temps? Plutôt une expérience du temps scandée par des événements, des étonnements, rebonds de surprises et de renaissances. (shrink)

The Swiss photographer and filmmaker Rudolph Burckhardt came to New York City in 1935 and experienced the awe that many first-time visitors to the city share. The grandeur, the energy, the vitality, the sheer movement of this American metropolis all drew Burckhardt in, and he made New York his home for the rest of his life. Equally inflecting his career as a photographer and filmmaker, the city and its vibrant cultural life became Burckhardt's muse. Rudy Burckhardt—New York Moments is a (...) rare collection of his photographs from the 1940s and 1950s. It includes not only street scenes and details of city life—“The tremendous difference in scale between the soaring buildings and the people in the street astonished me,” he wrote—but also the portraits he made of the New York School painters, most notably Jackson Pollock, Mark Rothko, and Willem de Kooning. As a photographer for ArtNews in the 1950s, Burckhardt had an insider’s view of the burgeoning art scene. But he also recognized the limits of photography—“a photograph, when it gets printed and comes out a picture, becomes like a fact, you know”—and turned his hand to filmmaking. For the rest of his career, photography and film would work together to capture his unique vision. Including photographs, film stills, and interpretive essays, Rudy Burckhardt accompanies an exhibition of Burckhardt's work at the Kunstmuseum Basel in Basel, Switzerland, and is a fitting tribute to the Swiss photographer who most poignantly captured the energy of mid-century New York. (shrink)

Joel Feinberg : In Memoriam. Preface. Part I: INTRODUCTION TO THE NATURE AND VALUE OF PHILOSOPHY. 1. Joel Feinberg: A Logic Lesson. 2. Plato: "Apology." 3. Bertrand Russell: The Value of Philosophy. PART II: REASON AND RELIGIOUS BELIEF. 1. The Existence and Nature of God. 1.1 Anselm of Canterbury: The Ontological Argument, from Proslogion. 1.2 Gaunilo of Marmoutiers: On Behalf of the Fool. 1.3 L. Rowe: The Ontological Argument. 1.4 Saint Thomas Aquinas: The Five Ways, from Summa Theologica. 1.5 Samuel (...) Clarke: A Modern Formulation of the Cosmological Argument. 1.6 William L. Rowe: The Cosmological Argument. 1.7 William Paley: The Argument from Design. 1.8 Michael Ruse: The Design Argument. 1.9 David Hume: Dialogues Concerning Natural Religion. 2. The Problem of Evil. 2.1 Fyodor Dostoyevsky: Rebellion. 2.2 J. L. Mackie: Evil and Omnipotence. 2.3 Peter van Inwagen: The Argument from Evil. 2.4 Michael Murray and Michael Rea: The Argument from Evil. 2.5 B. C. Johnson: God and the Problem of Evil. 3. Reason and Faith. 3.1 W. K. Clifford: The Ethics of Belief. 3.2 William James: The Will to Believe. 3.3 Kelly James Clark: Without Evidence or Argument. 3.4 Blaise Pascal: The Wager. 3.5 Lawrence Shapiro: Miracles and Justification. 3.6 Simon Blackburn: Infini-Rien. Part III. HUMAN KNOWLEDGE: ITS GROUNDS AND LIMITS. 1. Skepticism. 1.1 John Pollock: A Brain in a Vat. 1.2 Michael Huemer: Three Skeptical Arguments. 1.3 Robert Audi: Skepticism. 2. The Nature and Value of Knowledge. 2.1 Plato: Knowledge as Justified True Belief. 2.2 Edmund Gettier: Is Justified True Belief Knowledge? 2.3 James Cornman, Keith Lehrer, and George Pappas: An Analysis of Knowledge. 2.4 Gilbert Ryle: Knowing How and Knowing That. 2.5 Plato: "Meno". 2.6 Linda Zagzebski, Epistemic Good and The Good Life. 3. Our Knowledge of the External World. 3.1 Bertrand Russell: Appearance and Reality and the Existence of Matter. 3.2 René Descartes: Meditations on First Philosophy. 3.3 John Locke: The Causal Theory of Perception. 3.4 George Berkeley: Of the Principles of Human Knowledge. 3.5 G. E. Moore: Proof of an External World. 4. The Methods of Science. 4.1 David Hume: An Inquiry Concerning Human Understanding. 4.2 Wesley C. Salmon: An Encounter with David Hume. 4.3 Karl Popper: Science: Conjectures and Refutations. 4.4 Philip Kitcher: Believing Where We Cannot Prove. Part IV: MIND AND ITS PLACE IN NATURE. 1. The Mind-Body Problem. 1.1 Brie Gertler: In Defense of Mind--Body Dualism. 1.2 Frank Jackson: The Qualia Problem. 1.3 David Papineau: The Case for Materialism. 1.4 Paul Churchland: Functionalism and Eliminative Materialism. 2. Can Non-Humans Think? 2.1 Alan Turing: Computing Machinery and Intelligence. 2.2 John R. Searle: Minds, Brains, and Programs. 2.3 William G. Lycan: Robots and Minds. 3. Personal Identity and the Survival of Death. 3.1 John Locke: The Prince and the Cobbler. 3.2 Thomas Reid: Of Mr. Locke’s Account of Our Personal Identity. 3.3 David Hume: The Self. 3.4 Derek Parfit: Divided Minds and the Nature of Persons. 3.5 Shelly Kagan: What Matters. 3.6 John Perry: A Dialogue on Personal Identity and Immortality. Part V: DETERMINISM, FREE WILL, AND RESPONSIBILITY. 1. Libertarianism: The Case for Free Will and Its Incompatibility with Determinism. 1.1 Roderick M. Chisholm: Human Freedom and the Self. 1.2 Robert Kane: Free Will: Ancient Dispute, New Themes. 2. Hard Determinism: The Case for Determinism and its Incompatibility with Its Incompatibility with Any Important Sense of Free Will. 2.1 James Rachels: The case against Free Will. 2.2 Derk Pereboom: Why We Have No Free Will and Can Live Without It. 3. Compatibilism: The Case for Determinism and Its Compatibility with the Most Important Sense of Free Will. 3.1 David Hume: Of Liberty and Necessity. 3.2 Helen Beebee: Compatibilism and the Ability to do Otherwise. 4. Freedom and Moral Responsibility. 4.1 Galen Strawson: Luck Swallows Everything. 4.2 Harry Frankfurt: Alternate Possibilities and Moral Responsibility. 4.3 Thomas Nagel: Moral Luck. 4.4 Susan Wolf: Sanity and the Metaphysics of Responsibility. Part VI: MORALITY AND ITS CRITICS. 1. Changes to Morality. 1.1 Joel Feinberg: Psychological Egoism. 1.2 Plato: The Immoralist’s Challenge. 1.3 Friedrich Nietzche: Master and Slave Morality. 1.4 Richard Joyce: The Evolutionary Debunking of Morality. 2. Proposed Standards and Right of Conduct. 2.1 Russ Shafer-Landau: Ethical Subjectivism. 2.2 Mary Midgley: Trying Out One’s New Sword. 2.3 Aristotle: Virtue and the Good Life. 2.4 Thomas Hobbes: Leviathan. 2.5 Plato: Euthyphro. 2.6 Immanuel Kant: The Good Will and the Categorical Imperative. 2.7 J.S. Mill: Utilitarianism, Chapters 2 and 4. 2.8 W. D. Ross: What Makes Right Acts Right? 2.9 Hilde Lindemann: What Is Feminist Ethics? 3. Ethical Problems. 3.1 Kwame Anthony Appiah: What Will Future Generations Condemn Us For? 3.2 Peter Singer: Famine, Affluence and Morality. 3.3 John Harris: The Survival Lottery. 3.4 James Rachels: Active and Passive Euthanasia. 3.5 Mary Anne Warren: The Moral and Legal Status of Abortion. 3.6 Don Marquis: Why Abortion Is Immoral. 4. The Meaning of Life. 4.1 Epicurus: Letter to Menoeceus. 4.2 Richard Taylor: The Meaning of Life. 4.3 Richard Kraut: Desire and the Human Good. 4.4 Leo Tolstoy: My Confession. 4.5 Susan Wolf: Happiness and Meaning. 4.6 Thomas Nagel: The Absurd. (shrink)

This collection examines the complex intersection where art and philosophy merge. Topics for discussion include the criticism of Robert Wolfe, the minimalist sculpture of the 1960s, the metaphysics of photography, the paintings of Jackson Pollock, and some reflections on why women have been denied entrance to the pantheon of great artists.

Venn diagrams, which are widely used in introductory logic courses, provide a convenient and illuminating way of presenting the various theories concerning the nature of law. When combined with the Aristotelian square of opposition, these diagrams show not only how the theories are related to one another, logically, which is essential to understanding them, but also which theories are compossible. One surprising result of this approach is that it shows the substantive compatibility of the theories of law set forth by (...) H. L. A. Hart and Ronald Dworkin, who are usually pitted against one another. I show, through quotation and visual representation, that there is no essential disagreement between these jurisprudential stalwarts concerning the relation of law and morality. (shrink)

This book holds classical liberalism responsible for an American concept of beauty that centers upon women, wilderness, and machines. For each of the three beauty components, a cultural entrepreneur supremely sensitive to liberalism’s survival agenda is introduced. P.T. Barnum’s exhibition of Jenny Lind is a masterful combination of female elegance and female potency in the subsistence realm. John Muir’s Yosemite Valley is surely exquisite, but only after a rigorous liberal education prepares for its experience. And Harley Earl’s 1955 Chevrolet Bel (...) Air is a dreamy expressionist sculpture, but with a practical 265 cubic inch V-8 underneath. Not that American beauty has been uniformly pragmatic. The 1950s are reconsidered for having temporarily facilitated a relaxation of the liberal survival priorities, and the creations of painter Jackson Pollock and jazz virtuoso Ornette Coleman are evaluated for their resistance to the pressures of pragmatism. The author concludes with a provocative speculation regarding a future liberal habitat where Emerson’s admonition to attach stars to wagons is rescinded. (shrink)

Sir Herbert Read'S Introduction To The Understanding Of Art Has Influenced The Taste Of Several Generations. It Provides A Basis For The Appreciation Of Pictures, Sculpture And Art-Objects Of All Periods By Defining The Elements That Went Into Their Making. In Compact And Elegant Form The Book Gives An Illustrated Survey Of The Subject From Cave Paintings To The Canvases Of Jackson Pollock, And Summarizes The Essence Of Schools, Genres And Movements In The History Of Art.

Frank Jackson; VIII*—Conditionals and Possibilia, Proceedings of the Aristotelian Society, Volume 81, Issue 1, 1 June 1981, Pages 125–138, https://doi.org/10.10.

[Ces toiles] sont excessives – presque vulgaires. Comme Jackson Pollock abîmé par l'amour. Elles sont ornementales mais peintes d'après nature. Elles évoquent le désir et la manière dont on appréhende les choses qui nous entourent et ce qu'on en fait, mais elles montrent aussi l'incroyable et éphémère beauté d'un arbre en fleurs dans un ciel sans nuages. C'était jouissif de travailler sur ces toiles, de me perdre entièrement dans la couleur et la matière à l'atelier. Les Cerisiers en Fleurs (...) sont - Arts plastiques et autres – GALERIES – Nouvel article. (shrink)

The philosophical literature on the moral status of nonhuman animals, which is bounteous, diverse, and sophisticated, contains a glaring omission. There is little discussion of human responsibilities to companion animals, such as dogs and cats. The assumption seems to be that animals are an undifferentiated mass – that whatever responsibilities one has to any animal are had to all animals. It is significant that we do not think this way about humans. Most of us (all but extreme impartialists) acknowledge the (...) existence of special responsibilities to humans. We believe, for instance, that our children, friends, and compatriots have special claims on our attention, time, energy, and resources. This is not at all incompatible (although it is sometimes thought to be) with the view that we have obligations to strangers. My aim in this essay is to fill the lacuna in the literature. I argue that the act of taking an animal into one''s life or home, through purchase, gift, or adoption, generates responsibilities to it, the main one being to provide for its needs, which, in the case of dogs (for example), are many and varied. Since this thesis is shrouded in misconception, I devote part of the essay to clarifying it. I then diagnose its philosophical neglect, which stems from both practical concerns and theoretical commitments. I argue that the practical concerns are groundless and that the theoretical commitments do not have the implications they are thought to have. (shrink)

Few concepts are more central to ethics than love, but none is more subject to false consolation. This 1999 book explores several theological, philosophical and literary accounts of love, focusing on how it relates to matters such as self-interest and self-sacrifice, and invulnerability and immortality. Timothy Jackson first considers key aspects of what the Bible says about love, then he further examines the meaning of love and sacrifice through a close reading of novels by Fitzgerald and Hemingway. Lastly, he (...) evaluates how love constrains, and is constrained by, other traditional moral concepts. Throughout, Jackson defends the moral priority of what the Christian tradition calls 'agape'. He argues that a proper understanding of agapic love rejects both moral relativism and the comfort of believing that good people cannot be harmed, or that God causally necessitates every historical action and event. When love is thus disconsoled, it neither fears death nor despises life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Quest for the Historical Abstract ExpressionismDaniel A. SiedellAbstract Expressionism:The International Context, by Joan Marter and David Anfam. Piscataway, NJ: Rutgers University Press, 2007, 320 pp. $26.95, paper.Abstract Expressionism, by Debra Bricker Balken. London: Tate, 2005, 80 pp. $9.60, paper.Reading Abstract Expressionism: Context and Critique, by Ellen Landau. New Haven, CT: Yale University Press, 2005, 768 pp. $45.00, paper.What makes any definition of a movement in art dubious is (...) that it never fits the deepest artists in the movement—certainly not as well as, if successful, it does the others.—Harold Rosenberg, 1952From the moment of its inception in the 1940s, "Abstract Expressionism" has been the subject of reframings, redefinitions, and revisions. This is because it is more than the sum total of artworks and artists traditionally recognized as part of the movement. It is a constitutive part of postwar American cultural life, and it has shaped how we understand art and the role of the artist. It has also shaped the practice of art criticism and defined the role of the art critic. Because it is part of the United States' creation myth of a distinctive postwar "American identity," it also possesses significant symbolic value. And this symbolic value is why it has been such a popular subject for art museum exhibitions for nearly half a century. The fact that in the last ten to fifteen years, major art museums have mounted major exhibitions of the work of key figures in the movement, like Jackson Pollock (including a feature film starring Ed Harris), Mark Rothko, Willem de Kooning, and Barnett Newman, and that auction prices for these artists reach tens of millions of dollars, suggest that, no matter how contested and complicated the concept of "Abstract Expressionism" is, the artists associated with the movement remain relevant.1Abstract Expressionism is not merely big business for museums, collectors, and auction houses. It has also been big business for scholars. The symbolic power of Abstract Expressionism and its influence on shaping and [End Page 107] forming contemporary artistic and critical practice has made the movement an important subject for historical and critical scrutiny. The publication of Irving Sandler's The Triumph of American Painting in 1970 was the first book-length study on Abstract Expressionism, and it marked the gradual beginning of the movement's transformation from a living entity to a more reified subject palatable for academic inquiry. Blending Alfred H. Barr's formalism with an historian's interest in subject matter and iconography and a critic's access to the artists, The Triumph of American Painting provided a taxonomy of sources and influences. Sandler's book, in part, provoked the publication of Serge Guilbaut's How New York Stole the Idea of Modern Art in 1983 (written in 1978 as a doctoral dissertation), which initiated nearly fifteen years of serious and provocative scholarship on Abstract Expressionism. Guilbaut's radical revisionist approach to the subject—which sought to reinterpret the entire development of Abstract Expressionism as an aesthetic weapon of the Cold War—provoked a slew of responses from art historians eager to either jump on the careening bandwagon of Marxist social histories of modern art or hunker down in the trenches to protect hard-won scholarly turf. The latter was the response of a loose federation of art historians eager to forge a scholarly orthodoxy. This emergent paradigm is revealed in a 1988 special issue of Art Journal called "Abstract Expressionism: New and Improved," coedited by Stephen Polcari and Ann Gibson. This issue included essays by those art historians who understood themselves as part of a "new generation" of scholars characterized by their collective desire to transcend the polemics and limitations of those critics and curators whose distorted picture of the movement would be restored to clarity through scholarly distance, a distance that a "new synthesis" of Abstract Expressionist "art, culture, history, and society together, not separately" would produce.2 Sandler and Guilbaut were swiftly dismissed by these art historians of the "new and improved," the former because of his formalism and close proximity to the artists—many of whom he knew personally—the latter because of his Marxism... (shrink)

An introduction for the general reader to David Hume's Dialogues Concerning Natural Religion.

Sinophobia has become normalised and increasingly acceptable in Hong Kong in recent decades. Such Sinophobia intersects with aims of protecting what is local in the society, as seen in Hong Kong news media. This paper first explores the concept of Sinophobia. It then provides a background on Sinophobia in Hong Kong, explaining the tensions between the identities of Hong Kong/hongkongers and Mainland China/mainland Chinese. After elaborating on the role of media and the nature of local media in Hong Kong, this (...) paper examines Sinophobic, stereotypical and quasi-racist discourse in three major Hong Kong news sources. While respecting Hong Kong heritage is a valuable goal, the Sinophobia accompanying some such aims can be seen to fuel hatred among people. In this context, encouraging a more inclusive and reflective discourse is warranted to work against the pitfalls of Sinophobia as a particular form of xenophobia in Hong Kong. (shrink)