The fundamentals of the Frankfurt school's conception of art were expounded in Horkheimer and Adorno's book, Dialectic of Enlightenment, where the "critical theory of society" appeared in the form of a specific philosophy of history—the history of bourgeois enlightenment, whose sources the authors trace to ancient Greek mythology.

The problem that I present in this paper concerns the issue of ethical evaluation of algorithms, especially those used in social media and which create profiles of users of these media and new technologies that have recently emerged and are intended to change the functioning of technologies used in data management. Systems such as Overton, SambaNova or Snorkel were created to help engineers create data management models, but they are based on different assumptions than the previous approach in machine (...) learning and deep learning. There is a need to analyze both deep learning algorithms and new technologies in database management in terms of their actions towards a person who leaves their digital footprints, on which these technologies work. Then, the possibilities of applying the existing deep learning technology and new Big Data systems in the economy will be shown. The opportunities offered by the systems mentioned above seem to be promising for many companies and—if implemented on a larger scale—they will affect the functioning of the free market. (shrink)

This article discusses the serious problem of the shortage of about 50 000 nurses in Japan today. If efficient measures to solve it are not adopted by administrators, it is clear that the shortage will become still more alarming in the future, in a society with more people in advanced years and in which the numbers in the younger generation will decrease from now on. The main factors behind the Japanese nursing labour shortage are, among others: a rapid increase in (...) the number of hospital beds between 1986 and 1989; poor working conditions; and nurses’ low social position in their places of work. Behind these factors, there has always been a contempt for the art of nursing in our society. Why has Japanese society made light of nursing? Three points can be identified: traditional discrimination against women; our disregard for a religious mentality; and our short history of hospital nursing. To overcome these problems, we must first of all change fundamentally our sense of values, such as love for one another and compassion. We must now reconstruct a caring culture in our society. (shrink)

During the half-century of its existence, the Soviet study of esthetics has achieved considerable success in developing the views of the founders of Marxism-Leninism with respect to the nature and social function of art. There is no need to list the authors and titles of the works in which the history of world thought about esthetics and the cardinal problems of esthetics have been treated from the Marxist standpoint. Suffice it to say that Soviet esthetic thought has been (...) the first to deal with such very important categories as the principle of partisanship in art, the creative method , the principles of socialist realism, the international and the national in art, and so forth. (shrink)

The problem we are discussing has many aspects.

Much of Arnold Hauser’s work on the social history of art and the philosophy of art history is informed by a concern for the cognitive dimension of art. The present paper offers a reconstruction of this aspect of Hauser’s project and identifies areas of overlap with the sociology of knowledge—where the latter is to be understood as both a separate discipline and a going intellectual concern. Following a discussion of Hauser’s personal and intellectual background, as well as of the (...) shifting political and academic setting of his work, the paper addresses one of Hauser’s central questions, viz. how best to square a thoroughgoing commitment to the social nature of art with the reality of successive artistic styles, given that the latter seem to be characterizable on purely formal grounds. This is followed by a discussion of Hauser’s conflicted views on the relation between art, science, and technology. This injects a tension into Hauser’s work, due to his initial reluctance to explain just how the aesthetic and the cognitive realms relate. The final part of the paper, through a closer examination of the analogies and disanalogies that Hauser sees between art history and the history of science, attempts to give a positive answer—“on Hauser’s behalf”, as it were—to the question of whether art may be credited with a specific cognitive dimension of its own, and if so, what its contribution to our cognitive enterprise may consist in. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply hisEthics and Economic Progressto problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public (...) good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

Intuition and introspection are very interesting terms in Elzenberg’s thought. The intuition is connected with the earlier phase of Elzenberg’s philosophy. Intuition is a form of world cognition. It is tool of selection of the contents. In Elzenberg’s philosophy introspection is a later term than intuition. It may lead intuition but is not a necessity. Process of cognition can finish with introspection which is a phase of information collection. In this meaning introspection creates circumstances for intuition. Introspection is a form (...) of analysis internal human world but intuition permits discovery of new worlds. According to Elzenberg we can find intuition in art and in mysticism. Introspection in ethical and aesthetical texts has often existed. Intuition has most spectacular character than introspection generally. Intuition is a form of discovery of different human worlds while introspection is form of research of them. (shrink)

The article is devoted to the search for the nature of the ontology of an art work on the example of a literary work. Tradition viewed a work of art as the discovery of a higher truth. Analytical philosophy deprived literature of the status of truth in general, and thereby deprived it of any ontological dimension. Heidegger’s attempt to return this dimension to literature through its relationship with being did not find continuation in philosophy. The author proposes to consider a (...) literary work as a model of the world, primarily the social world. This approach makes liken a literary work to a mathematical theory. A mathematical theory is built as a correlation of simple elements; in a literary work such elements are characters (sometimes things). A mathematical theory is built on clearly defined axioms, a literary work is also built on axioms, but they do not have an explicit expression within the work and cannot always be perceived intuitively. The author shows that the mathematical theory never fully meets the specified conditions, and the mathematicians themselves note that in the future they will largely lose their strength. Thus, a literary work is of the same nature as a mathematical theory, only it presents a more complex case. The problem of truth serves as the way to find the ontological dimension. Analysis shows that in mathematics it is solved not by reducing a hypothesis to axioms, but by recognizing a theory through its effectiveness or applicability. For a work of art, such a criterion is its perception by its readers. In both cases, the ontological dimension is in the mind of the reader. (shrink)

Excerpt from The Problem of Life I must here relate that I had many obstacles to contend with in publishing this book. I lost one entire Chapter of the Manuscript, The Social Economy, it accidentally being burned, and not feeling well and energetic at the time I had to finish up the book without this last Chapter, but the Pamphlet accompanying each Problem of Life book, practically contains the same theories and principles that the Social Economy held. A (...) few years ago I Visited Florida, and in my wanderings in that romantic Country I met with a Farmer, who wasalso a printer in a small way, who undertook to print my book on his small hand press, one page at a'time, when not occupied with his duties on the farm. So you see it was a big undertaking, and not a very easy job to print 500 Copies, - but he did gt Thus the publishing of this little book was quite a problem in itself. But my publisher has solved his part of the work well. Thus, although this book was written in a great Northern City, midst its noises and bustle of commerce and industry, and midst a sea. Of humanity in all its phases of human nature it was print ed far away in the South, in a beautiful Ideal hammock home, midst Magnolias and Palms swaying and murmur ing love to breezes scented with Jessamine. Where the song of the Mocking Bird, the cricket, and the whip-poor-will soothe the Soul. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

EDITORIAL NOTE.—Arnold Hauser died in February 1978 shortly after returning to his native Hungary; he had lived nearly half of his 85 years in a kind of self-imposed exile. He is considered, by those who know his work, to be perhaps the greatest sociologist of art, though his last years were spent in comparative neglect and obscurity. We present here as a testament to the importance of both the critic and the discipline he helped shape a section from the translation (...) of his Sociology of Art . Hauser's work draws on the influences of his teachers, Simmel, Bergson, Lukács, Mannheim, Sombart, and Troeltsch. He developed in his immense Social History of Art the groundwork for a sociological analysis of art ranging from prehistoric cave painting to film. In his later works—The Philosophy of Art History , Mannerism: The Crisis of the Renaissance and the Origins of Modern Art , and The Sociology of Art—he continued to redefine his brilliant defense of art for society's sake. The theory of l'art pour l'art wants nothing to do with this contradiction and denies not only the moral and social usefulness of art but its every possible practical function as well. "Nobody would write poetry," says Eugenio Montale, "if the problem of literature consisted in making oneself understood." It has been doubted whether the capacity of making oneself understood, the unambiguous communication of feelings and experiences, even lies within the power of art. What Eduardo Hanslick asserts about music in Von musikalischen Schönen, namely, that its relation to everything which is nonmusical, everything which has emotional content, is vague and noncommittal, is to some extent true for all arts. Just as music expresses something which cannot be translated into any other form, so literature expresses something which is eminently literary, linguistic, something locked into words and syntactic structures. In the same way the untranslatable content of a painting, a pictorial idea, a vision, can only be seized and held onto in optical forms. The composer thinks in tones, the painter in lines and colors, the poet in words, tropes, and rhythms. Indubitable as this is, it is not the whole truth; side by side with the content which can only be expressed adequately in a particular form, there is an intrinsic value which can be translated into any form. Kenneth Northcott, translator of this essay, is professor of older German literature and of comparative literature at the University of Chicago. He is currently engaged in the translation of The Sociology of Art and in the study of late medieval satire in Germany and the works of Harold Pinter, in whose plays he also delights to act. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Problem with BreathÉglantine Colon (bio)On day 1, when my comrades and I talked about it, we couldn't quite figure out how it happened. It just seemed as though we had suddenly been incited not to communicate or enact our love for each other. This time, no policy had been formulated, no law had been issued. It was harder than usual to locate where, to which parts of the (...) apparatus, we should direct our attention.On day 2, we were at a loss. We had gotten so good at reading the apparatus. We had developed wonderfully efficient techniques of resistance. Each and every one of us had become most brilliant at crafting discrete gestures of love. On day 3 onwards, we were misfiring on a regular basis, falling in and out of love with the same wrong comrades, over and over again, and always out of sync. The loving gestures we composed were barely legible and when we would intuitively find a genre in which to communicate our love, something would inevitably break down. Voices, generally. Sometimes the entire figurative system. Bodies, always. We would lose sleep and appetite over love and get useless for weeks.And then, the problem with love became a problem with breath. On day 6, the air got hot and busy with ashes and all sunsets turned red. At every breath, for all we knew, we could be inhaling particles of carbonized pine sap, debris of melted trailer parts, or burnt baby birds in bits. I quit smoking. I bought boxes of white masks at the construction store. The dominant smell during these days was a cagey mix of ghost paint, polymer fibers, and dry chemistry.On day 17, the air got cold and saturated with drops of viral poison. The city shut down. An incredibly sad number of lungs, too. The perspective to live in pods and die alone, disconnected from each other's breath, hyper-connected to life-support machines, plunged many of us, myself included, into brand new strands of historical despair. For those of us whose lungs had been weakened by bad inner-city fumes, evil chemicals, or entire centuries of racialized exposure to horrendous air quality, the problem with breath became plain lethal.Our neighborhoods were saturated with wildfire smoke and unnecessary death. Elsewhere, the streets were not empty. And when I say not empty, I mean they were just not. Or not yet. Usual metallic densities on the bridge. Geometrical glows of digital light in the underground. [End Page 237]Abnormally, no bodies of any ancestries were being captured, or hanged, or tortured, or kneeled upon. Nothing tangible, nothing blatantly repressive this time. No gas, no gag, no name, no whip, no rope. No strangulating remnant of sovereignty within no softness of biopower. A racist and classist brand of distributive pneumocracy is what it was, or at least this is how it initially appeared.On day 25, "Critical Pandemic Studies" became a thing, and "Pod Theory" a subgenre in post-social anthropology. Denounced as a "white fantasy of networked individualism," (in one of its purest forms) as "domestic fascism dressed as elective affinity," the pod appeared to us, from the get-go, as a thoroughly ratchet social formation. On day 29, the "podtag" emerged as a timely intervention in existing forms of street art. Equational in its form, efficient in its power of evocation, and satirical in its poetic economy, the podtag proliferated on the privatized walls of neighborhoods where the biggest challenges presented to breathing were unreasonably difficult Pilates classes on Zoom. Click for larger view View full resolutionOn day 35, the air got complex and full of knots, so striated that we could no longer count on our capacity to share the same air. A meal was being cooked, an instrument was being played, a child was given birth to, and suddenly the rhythm of all breaths would break. Sometimes a pair of lungs would refuse, stubbornly, to take in any oxygen until someone else's pair of lungs had released its own dose of carbon dioxide. At other times, the quantity of air available to each one of us would decrease with... (shrink)

In this review I argue that Puech draws on two important currents in modern thought: the criticism of the ontological and social priority of conflict, and the rehabilitation of praxis vis-à-vis theoria. Still, his plea for a non-confrontational art of living leaves important questions unanswered. What is the problem exactly? What does exactly count as confrontational? What is non-confrontation exactly meant to solve? What is the antiposition here? And: how does this new art of living relate to the political (...) and ethical varieties of Technology Assessment? (shrink)

This volume is by no means out of place for a reader in the twenty first century as resemblances between the age of the machine and our own digital age are surprisingly numerous, particularly with reference to the patterns of intellectual response to unprecedented stimuli. The worrisome parallelisms and analogues are purposefully kept off stage for the imaginative audience to complement the plot of the real drama of the Industrial Revolution as it was witnessed by such imaginative medievalist 'knights' as (...) Carlyle, Cobbett, Southey, Pugin, Ruskin and Morris, intelligent thinkers who performed the universal 'type' rather than the subjective or egocentric in so far as their intellectual responses to the discrepancy between two dissimilar epochs was concerned. The reader is, therefore, expected to be engaged with the arguments of the 'neo-feudal', the 'moral-aesthetic' and the utopian 'social-aesthetic' arguments at the core of the book both imaginatively and intellectually. On the first level, he is requested to shuttle between two centuries separated by the length of a different century. On the second, however, he is expected not only to appreciate the artistically excellent literary works of prominent belletrists, but also to examine the clever polemics they developed as methods of treatment and persuasion aiming at a solution of the social and psychological problems that arose from the incongruity between the present and the past, with specific references to such significant concepts as those of time, history, progress and authority which are examined against the superheated touchstones of democratization, liberty, laissez-faire ethics, mechanization, poverty and social protest in the industrial city. (shrink)

Social entrepreneurship is perceived as a legitimate and innovative solution to social problems. Yet, when one looks at the literature one finds that the social problems that the SE movement seeks to address and how these problems are identified and defined are not studied. This lack of attention to the defining of social problems in SE has implications for the domain for problems do not exist unless they are recognized and defined, (...) and those that define problems have influence on how these will eventually be addressed. Our paper presents an analysis of framing activities in SE done by the actors involved in the development and promotion of the SE movement. Our analysis reveals that these actors are concerned with creating an ecosystem to support social entrepreneurs. Critical analysis of discourses of these actors reveals a powerful mobilization discourse, one that supports social entrepreneurs as the agents of change. We also find that as the SE movement emerged at the beginning of a cycle of protest against capitalist systems, their framing of SE as system changing of these very systems therefore finds strong resonance with a wide variety of actors. (shrink)

This paper proposes a state-of-the-art methodology for the analysis of stakeholders and their role and performance related to SMEs in the mining industry in the Chilean region of Coquimbo. The relationships between the actors are studied and prioritized according to their support network position. An individual index for each actor based on their influence on solving problems is provided. The social network analysis was used to know the influence of the actors in the sector through the centrality measures. (...) Furthermore, a methodology to measure stakeholders’ influence based on the multicriteria method analytic network process approach is proposed. Both methods are used to identify the main stakeholders, study their relationships, and identify the most influential actors involved in executing strategies to boost the sector performance. The results show that the network remains cohesive thanks to certain actors, while the links between private actors must be strengthened; likewise, some public actors should assume a more proactive role in dealing with the problems of the sector. (shrink)

Germany's leading contemporary social theorist provides a definitive analysis of art as a social and perceptual system which not only represents an important intellectual step in discussions of art but also an important advance in systems theory. Luhmann insists on the radical incommensurability between psychic systems (perception) and social systems (communication). Art is a special kind of communication that operates at the boundary between the social system and consciousness in ways that profoundly irritate communication while remaining (...) strictly internal to the social. Each chapter elaborates a particular aspect of the general problem of art's status as a social system. The book draws on a vast body of research in the social sciences, phenomenology, evolutionary biology, cybernetics, and information theory, combined with an intimate knowledge of art history, literature, aesthetics, and contemporary literary theory. The book also engages virtually every major theorist of art and aesthetics from Baumgarten to Derrida. (shrink)

The contrast between man's amazing ability to manipulate his world and his pitiful incompetence in managing his own affairs is now as commonplace as it is tragic. It is by rigorous devotion to scientific method that we have made our conquests over the material environment; it is obvious that this method is not normally applied to the field of relations of human beings, individual and collective. These are conducted in a quite different way, governed by a medley of primitive impulses (...) set in a framework of a traditional morality that varies from place to place and age to age. In these matters science plays little part; yet more than a century has passed since Auguste Comte said that the rational reform of society must be brought about by the application of scientific method to social problems. It is, therefore, the first purpose of this essay to ask how far social problems might be tackled by the methods of science. (shrink)

The debates now in progress about the interactions of science and art compel one involuntarily to recall that such discussions have been held more than once and were, a long time ago, perhaps no less heated. It suffices to cite virtually at random certain statements of Pisarev, for example , for us to see, as in a cloudy mirror, both today's advocates of scientism and the romantics of art. Does this mean that all we need is to bear in mind (...) the wise words of the past in order to advance, as is believed by Iu. I. Kagarlitskii ? Obviously, that is not the case. The problem of the interactions of science and art is a philosophical one, not one of natural science; and the results achieved in debates of the past do not eliminate the questions of world view that constantly arise anew. Philosophy has no axioms such as exist in mathematics. It is therefore difficult to imagine that subsequent history has added nothing whatever to the understanding of past debates. Yet reference to these debates would appear to be essential today to clarify at least one of the factors of the problem we have posed. It might appear that this factor has been pointed to, but it has constantly been beclouded by the explanations of how science influences artists, and how art influences scientists who are at the same time artists, by references to the unity of the creative character of science and art, and so forth. In my opinion, it is essential, however, to emphasize that the very problematics of the interactions between science and art depend on the social and cultural environment within which they exist and are discussed. Turning to the past, we can see that science and art are not realms of activity handed down to humankind "since the creation of the world." They develop in the "body," if one may put it thus, of a specific socium, a specific culture. It would, of course, be absurd to conceive of any direct contact between science and art without the mediation of human beings, of society, of culture. Moreover, the debates themselves are determined by the level at which science and art are found within a given sociocultural space, by virtue of which analysis of these debates may provide data to the researcher for an understanding of the direction of social development. The RST influences all spheres of human activity, including the esthetic. Today, however, particularly in the West, there is a tendency to elevate the significance of the RST to an absolute, to explain many processes by its direct influence on social consciousness independently of the social conditions in which it occurs. Therefore, it would seem to be methodologically important for today's debates to demonstrate, on the basis of some concrete historical material, the connection between those shifts in social consciousness that sometimes explain the direct influence of progress in science and technology, on the one hand, and certain sociocultural conditions, on the other. (shrink)

Facial emotion recognition (FER) deficits interfere with interpretation of social situations and selection of appropriate responses. Attention-Deficit/Hyperactivity Disorder (ADHD) symptoms are independently associated with social difficulties and might exacerbate the influence of deficient FER, because children with ADHD symptoms have fewer compensatory resources in social situations when they misinterpret emotions. Very few studies have tested this hypothesis in a community context, where child ADHD symptoms vary on a continuum. The current study extended this work by utilising a (...) community sample (N = 87) of boys and girls in middle childhood (M = 7.83 years) and testing for moderation of FER effects separately by ADHD symptom type (ADHD-I = inattentive, H = hyperactive/impulsive, C = combined) using linear regression. While lower FER was associated with more social problems, this relationship was qualified by the presence of ADHD symptoms. Specifically, only children with relatively high ADHD symptoms in our community sample showed this inverse relationship, which was clearest among children with elevated ADHD-C or ADHD-I symptoms. No gender differences were observed. These results support our primary hypothesis, extend prior findings to boys and girls in the community, and have implications for understanding how ADHD symptoms and FER influence youth social deficits. (shrink)

Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused on capturing all (...) of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with far too many genres because they call a wide class of mere categories of art genres. I call this the problem of genre explosion. In this paper, I survey the existing accounts of genre and describe the kinds of considerations they employ in determining whether a work is a work of a given genre. After this, I demonstrate the ways in which the problem of genre explosion arises for all of these theories and discuss some solutions those theories could adopt that will ultimately not work. Finally, I argue that the problem of genre explosion is best solved by adopting a social view of genres, which can capture the difference between genres and mere categories of art. (shrink)

Experimental research by social and cognitive psychologists has established that cooperative groups solve a wide range of problems better than individuals. Cooperative problem solving groups of scientific researchers, auditors, financial analysts, air crash investigators, and forensic art experts are increasingly important in our complex and interdependent society. This comprehensive textbook--the first of its kind in decades--presents important theories and experimental research about group problem solving. The book focuses on tasks that have demonstrably correct solutions within mathematical, logical, scientific, (...) or verbal systems, including algebra problems, analogies, vocabulary, and logical reasoning problems.The book explores basic concepts in group problem solving, social combination models, group memory, group ability and world knowledge tasks, rule induction problems, letters-to-numbers problems, evidence for positive group-to-individual transfer, and social choice theory. The conclusion proposes ten generalizations that are supported by the theory and research on group problem solving. Group Problem Solving is an essential resource for decision-making research in social and cognitive psychology, but also extremely relevant to multidisciplinary and multicultural problem-solving teams in organizational behavior, business administration, management, and behavioral economics. (shrink)

Ernst Haeckel (1834–1919) has become famous, and perhaps infamous, for many reasons. Presently, he is probably most widely-known for his paintings of plants and animals in his very popular book, Art Forms in Nature, originally collected and published in 1904. However, in addition to Haeckel’s art, he is also well-known for his advocacy of Darwinism and Social Darwinism, for first coining the term ‘ecology,’ for having his work utilized by Nazi pseudo-scientists (Dombrowksi in Tech Commun Q 12:303–319, 2003), and (...) for famously (perhaps fraudulently) producing drawings of animal and human embryos so as to confirm his biogenetic law (Gould in Nat Hist 109:44–45, 2000). Something Haeckel is not as well-known for today is the fact that he seemed to be both a strenuous critic of the metaphysical and moral philosophies of Immanuel Kant and yet also something of an adherent to Kant’s aesthetic views. In terms of metaphysics and morality, Haeckel sought to exorcise Kant’s ideas as much as possible from twentieth century views on science, humanity, and nature; however, in terms of aesthetic theory, Haeckel seemed to embrace a distinctly Kantian approach to art and artworks. This essay proposes to: (1) carefully examine Haeckel’s refutations of some of Kant’s central metaphysical concepts, (2) explore some of the, arguably Kantian, assumptions underlying Haeckel’s approach to aesthetics and his artistic practice, and (3) combine these two lines of inquiry into a portrait of Haeckel’s mind as one that is conflicted about the role Kantian philosophy, and more specifically Kantian noumena, should play in twentieth century science and art. This unresolved tension in Haeckel’s mind regarding Kant’s noumenal realm is what I propose to call his ‘Kant Problem’. (shrink)

This commentary draws critical attention to the ongoing commodification of trust in policy and scholarly discourses of artificial intelligence (AI) and society. Based on an assessment of publications discussing the implementation of AI in governmental and private services, our findings indicate that this discursive trend towards commodification is driven by the need for a trusting population of service users to harvest data at scale and leads to the discursive construction of trust as an essential good on a par with data (...) as raw material. This discursive commodification is marked by a decreasing emphasis on trust understood as the expected reliability of a trusted agent, and increased emphasis on instrumental and extractive framings of trust as a resource. This tendency, we argue, does an ultimate disservice to developers, users, and systems alike, insofar as it obscures the subtle mechanisms through which trust in AI systems might be built, making it less likely that it will be. (shrink)

The article analyzes the aesthetic content of the concept of realism in stylistic, genre and ideological aspects. Guided by the comparative method and a comprehensive approach to the study of the problem, the author declares the a priori avant-garde nature of art and, as a result, the groundlessness of confrontation between realists and avant-gardists. The catharsis achieved by the realism of expressive means should be real. Thus, the author's vision of realism presupposes not so much the harmony of art with (...) the displayed epoch, but rather participation, confession of enduring values, which elevates art above the historical and social context. В статье анализируется эстетическое содержание понятия реализма в стилевом, жанровом и мировоззренческом аспектах. Руководствуясь компаративным методом и комплексным подходом к изучению проблемы, автор декларирует априорную авангардность искусства и, как следствие, беспочвенность конфронтации реалистов и авангардистов. Реальным должен быть катарсис, достигаемый реализмом выразительных средств. Таким образом, авторское ви́дение реализма предполагает не столько созвучие искусства отображаемой эпохе, сколько сопричастность, исповедание непреходящих ценностей, что возвышает искусство над историко-социальным контекстом. (shrink)

The literature on aesthetics often emphasizes the need to set into motion processes that promote the overcoming of alienation. In characterizing the realm of activity and the various causes of this phenomenon, it is necessary to direct attention to the fact that in contemporary aesthetics, the social aspect of art has been given pride of place. Without going beyond the bounds of preliminary systematization of its many-faceted connections, embracing both preconditions in the realm of history as well as ideology, (...) it should be observed here that the rise of interest in problems of social aesthetics coincides in time with the appearance of Marxist philosophy and that this interest became more acute because of the revolutionary triumph of Marxism and the organization of the first socialist state. Of course, it would be oversimplifying to reduce all the problems of social aesthetics that merit attention solely to the influence of Marxism, but the role of Marxist philosophy in shaping the priorities of problems of art and society in contemporary aesthetics is beyond question. The views of the founders of Marxism are undoubtedly the impulse that stimulated the development of social aesthetics. It is no accident that Western researchers who are interested in this subject and who polemicize with Marxism, such as H. Read, W. D. Gottschalk, T. Munro, nonetheless are significantly influenced by its methodology, system of categories, and the like. (shrink)

In order to discuss our problem I propose to adopt a definition of art as an ensemble of man-made objects of specific character, of materials, tools and institutions, of people—those who produce and those who commission or look at works of art—and of techniques and skills mastered by the artists. Art—so broadly understood—has no sharp limits, it is an area connected by hundreds of links with the whole of social, economic, intellectual and spiritual life. It is exposed to various (...) disturbances since any one occurring in those other areas with which art is connected must of necessity affect art and its development to a greater or smaller degree. Lack of demand for some kind of artistic products must lead to the extinction of the corresponding kind of production. For instance, images of saints disappeared in those parts of Germany which adopted the Reformation. One can say in general, that, since various factors of social and economic character influence the life of art, it must reflect the results of those crises which affect social, political or economic life, although the way art reacts on various disturbances may be varied. It may seem natural that in a period of unemployment and of high prices society cannot afford to devote as much money to invest in the goods of culture as it does in times of prosperity, and often it is so indeed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art in Social Studies: Exploring the World and Ourselves with RembrandtIftikhar Ahmad (bio)IntroductionRembrandt’s art lends itself as a fertile resource for teaching and learning social studies. His art not only captures the social studies themes relevant to the Dutch Golden Age, but it also offers a description of human relations transcending temporal and spatial frontiers. Rembrandt is an imaginative storyteller with a keen insight for minute (...) details. His narrative of the culture, society, economy, geography, and contemporary events of seventeenth-century Dutch life is as vivid and perceptive as a historian’s eloquent text. How people lived in community, how the city of Amsterdam functioned, how important religion was to people, how diverse and cosmopolitan the culture was, how interdependent the world was in the seventeenth century, and what the social and civic ideals of the Dutch people were during the Golden Age—Rembrandt’s paintings, etchings, and drawings neatly organize these and other social studies themes into visual messages. More importantly, our appreciation and interpretation of Rembrandt’s work helps us learn about not just Dutch society and culture of four hundred years ago but also about ourselves. The passion, emotions, conflicts, and inspirations of his subjects are essentially human and eternal, arousing empathy in every generation and cross-section of society. In this article I look at Rembrandt’s art for the purpose of teaching and learning social studies in our contemporary interdependent world—a world that is chronologically and geographically distant from the Dutch Golden Age but in many respects shares its enduring values, norms, ideals, pursuits, challenges, and possibilities. To do so, I employ a conceptual lens—the curriculum thematic strands of the National Council for the Social Studies (NCSS)—to examine Rembrandt’s art in order to explore life and make meaning of the story that is being told about the human condition, and to seek out its relevance to ourselves and [End Page 19] our world in the early twenty-first century. Although Rembrandt’s oeuvre is extensive, including the diverse genres of self-portraits, group portraits, drawings, etchings, landscapes, and religious themes, for our limited purpose I have selected only those works that, in my judgment, correspond with the following seven of the ten thematic curriculum strands of the NCSS:CultureTime, Continuity, and ChangePeople, Places, and EnvironmentIndividual Development and IdentityProduction, Distribution, and ConsumptionGlobal ConnectionsCivic Ideals and PracticesThese thematic curriculum strands are derived from the foundational disciplines of the social sciences and humanities such as anthropology, history, geography, sociology, political science, psychology, economics, philosophy, and law, but they are conceptually interrelated.1 For example, culture is a core concept in anthropology but it is also relevant to Time, Continuity, and Change, which is the main concept in the history discipline. Similarly, culture is relevant to the theme of People, Places, and Environment, which is the central focus of geography. More importantly, since social studies is about human experiences, there is a general consensus among the social studies educators that classroom teachers should draw content knowledge not just from the social sciences as mentioned here but from wide sources “to construct curricular experiences enabling students to actively relate new knowledge to existing understanding.”2 That is to say all fields of knowledge that are related to human civilization and that help in developing students’ skills in reflective thinking, decision making, and problem solving are relevant to social studies education. Those fields also include art. Rembrandt’s art is especially relevant because his themes are universal and the social, political, and economic contexts in which he created his work—globalization, individualism, and free enterprise—are more or less similar to our age.It needs to be mentioned that by looking at Rembrandt’s art from the social studies perspective it is not my intention to strip his work of its aesthetic scope and value. On the contrary, by looking at Rembrandt in the social studies classroom I seek to humanize social studies education itself. That [End Page 20] is to say I wish to step back from the conventional view of social studies to feel free from the bonds of traditionalism and discover, describe, analyze... (shrink)

Max Weber’s contribution to cultural sociology has received insufficient attention, due to the unfinished character of his work and its reception. This paper investigates aspects of his contribution in relation to the field of art, broadly conceived, and in terms of the uses of his ideas by historians of art and design, such as T. J. Clark. Weber’s social theory considers art from two perspectives: the relative autonomy of cultural and artistic forms and modes of expression, and the (...) class='Hi'>social construction of works of art and culture. From the latter point of view technics and the technical become important factors in a double sense: The technologies of modern civilization external to art shape the “spirit” of art and its contents, and development in art proceeds as an effort to solve technical problems internal to the art form itself. Examples from painting, architecture and music illustrate the relationships. It is these perspectives that characterize the Weberian approach to art and invite further investigation as contributions to cultural sociology and social theory. (shrink)

Large language models (LLMs) produce sequences learned as statistical patterns from large corpora. Their emergent status as representatives of the advances in artificial intelligence (AI) have led to an increased attention to the possibilities of regulating the automated production of linguistic utterances and interactions with human users in a process that computer scientists refer to as ‘alignment’—a series of technological and political mechanisms to impose a normative model of morality on algorithms and networks behind the model. Alignment, which can be (...) viewed as the superimposition of normative structure onto a statistical model, however, reveals a conflicted and complex history of the conceptualisation of an interrelationship between language, mind and technology. This relationship is shaped by and, in turn, influences theories of language, linguistic practice and subjectivity, which are especially relevant to the current sophistication in artificially produced text. In this paper, we propose a critical evaluation of the concept of alignment, arguing that the theories and practice behind LLMs reveal a more complex social and technological dynamic of output coordination. We examine this dynamic as a two-way interaction between users and models by analysing how ChatGPT4 redacts perceived ‘anomalous’ language in fragments of Joyce’s Ulysses. We then situate this alignment problem historically, revisiting earlier postwar linguistic debates which counterposed two views of meaning: as discrete structures, and as continuous probability distributions. We discuss the largely occluded work of the Moscow Linguistic School, which sought to reconcile this opposition. Our attention to the Moscow School and later related arguments by Searle and Kristeva casts the problem of alignment in a new light: as one involving attention to the social regulation of linguistic practice, including rectification of anomalies that, like the Joycean text, exist in defiance of expressive conventions. The “problem of alignment” that we address here is, therefore, twofold: on one hand, it points to its narrow and normative definition in current technological development and critical research and, on the other hand, to the reality of complex and contradictory relations between subjectivity, technology and language that alignment problems reveal. (shrink)

This is a critical study of the political and social ideas of Jean Jacques Rousseau. Charvet analyses Rousseau's arguments in his three main works, The Discourse on the Origins of Inequality, Emile, and The Social Contract. The aim is to show how Rousseau's ideas are interrelated and how their development is governed by presuppositions which entail their ultimate incoherence. he shows that the consequences is a corrupt and destructive view of human society and human relations. These presuppositions are (...) implicit in terms of which social relations are to be rethought. What is good about nature is that in it each individual can pursue his own good innocently without regard to others. It is the attempt to translate this natural egoism into social terms that, Charvet argues, produces the incoherent and destructive view of human society. This importance of the book lies in the originality and the implications of Charvet's critical analysis of this attempted translation, and thus of Rousseau's social philosophy in general. (shrink)

The relevance of the topic of the article is due to the need for philosophical research into the nature of information as a factor that significantly affects the development of modern society. Understanding the nature of information is important for the study of processes, mechanisms, and technologies in any sphere of social life.The study is based on a semiotic approach, the relationship between information and reality is considered based on the semantic and pragmatic aspects of this problem. The concept (...) of semantic information by Luciano Floridi and the views on the nature of information by Yuval Noah Harari are analyzed. The semantic aspect is understood not only in terms of the “truthfulness” of data, but also in terms of the perception and interpretation of this data by the consumer of information. Information appears as a model of reality, and at the same time information models reality, creating a second, illusory reality. A person exists in a situation of “two realities” (ontological and semiotic). This situation of “two realities” creates numerous philosophical and semiotic problems.Information not only reflects and constructs reality but is also used as a means of influencing consciousness, as a means of control. The modern information society is built on technologies of manipulation of consciousness. This is associated with the peculiarities of the functioning of information in society. In modern culture, information increasingly replaces reality, simulates reality. These are fakes and disinformation, rumors and conspiracy theories, as well as literature and art that exist as an imitation of reality. The media record events less and less often, and more and more often direct them. This is what describes the state of post-truth, when information flows themselves determine what is true and what is not. Information loses touch with reality, information and reality do not intersect or intersect rarely. People are increasingly immersed in this artificial reality, being in the information, virtual world. (shrink)

The central concern of Knowledge in a Social World is to restore the notion of Truth to the rightful place of glory that it had before the onslaught of those pragmatic, cultural-studying, social constructing, critical legalistic and feministic postmodernists (PoMo’s, for short). As G sees it, these PoMo’s have never put forward any “real” arguments for their veriphobia; and, well, how could they, since their position is committed to the “denial of Truth” and hence committed to denying that (...) there is any such thing as a valid or a sound argument. Instead, according to G, they have artfully inculcated various types of considerations so that a defender of Truth now must swim against the entire flow of academe to even stand a chance of making his or her voice heard. G finds six overlapping currents in this wash of anti-veritas ideas, listing them in his §1.3 and devoting a further section to each of them in turn (§1.4–§1.9). These currents spring up in various later parts of the book for further discussion, but even in these places G refers the reader back to the material in Chapter 1 as refuting them. (Insofar as a current that is not based on any consideration of Truth, validity, or soundness is susceptible of refutation.) I think it is fair to say that G does not really intend that his comments about the anti-veritas ideas will be taken as definitive by the veriphobes, but rather that he believes the strength of his positive account in the rest of the book (which accords Truth a central role) will sway all neutral readers into a belief of the usefulness of Truth in an account of social knowledge. Still, I think many readers…even veriphiles…will find the considerations that G brings against the six currents to be disappointingly short. I want to consider some of the currents in the stream of PoMo ideas. As I said, G’s six currents overlap at various points, and each of the currents has sub-flows. This means that we might put.... (shrink)

This book, first published in 1975, is an examination of the theoretical foundation of the sociology of art and literature and an in-depth study in the sociology of knowledge. In discussing and clarifying some of the important philosophical issues in this field, the constant underlying reference is to the creative and artistic-expressive areas of knowledge ¿ so that the better understanding of the social nature and genesis of all knowledge may point the way towards a similar comprehension of art (...) and society. (shrink)

This book digs into the complex archaeology of empathy illuminating controversies, epistemic problems and unanswered questions encapsulated within its cross-disciplinary history. The authors ask how a neutral innate capacity to directly understand the actions and feelings of others becomes charged with emotion and moral values associated with altruism or caregiving. They explore how the discovery of the mirror neuron system and its interpretation as the neurobiological basis of empathy has stimulated such an enormous body of research and how in (...) a number of these studies, the moral values and social attitudes underlying empathy in human perception and action are conceptualized as universal traits. It is argued that in the humanities the historical, cultural and scientific genealogies of empathy and its forerunners, such as Einfühlung, have been shown to depend on historical preconditions, cultural procedures, and symbolic systems of production. The multiple semantics of empathy and related concepts are discussed in the context of their cultural and historical foundations, raising questions about these cross-disciplinary constellations. This volume will be of interest to scholars of psychology, art history, cultural research, history of science, literary studies, neuroscience, philosophy and psychoanalysis. (shrink)

In the past few years, the subject of AI rights—the thesis that AIs, robots, and other artefacts (hereafter, simply ‘AIs’) ought to be included in the sphere of moral concern—has started to receive serious attention from scholars. In this paper, I argue that the AI rights research program is beset by an epistemic problem that threatens to impede its progress—namely, a lack of a solution to the ‘Hard Problem’ of consciousness: the problem of explaining why certain brain states give rise (...) to experience. To motivate this claim, I consider three ways in which to ground AI rights—namely: superintelligence, empathy, and a capacity for consciousness. I argue that appeals to superintelligence and empathy are problematic, and that consciousness should be our central focus, as in the case of animal rights. However, I also argue that AI rights is disanalogous from animal rights in an important respect: animal rights can proceed without a solution to the ‘Hard Problem’ of consciousness. Not so with AI rights, I argue. There we cannot make the same kinds of assumptions that we do about animal consciousness, since we still do not understand why brain states give rise to conscious mental states in humans. (shrink)

In this beautiful meditation on the history of art and the problem of style, Henri Focillon describes how art forms change over time. Although he argues that the development of art is reducible to external political, social, or economic determinants, one of his great achievements was to lodge a concept of autonomous and organic artistic creation within the shifting domain of materials and techniques. Focillon emphasizes the universal presence of contradictory tendencies that give all styles manifold, stratified character.The Life (...) of Forms remains one of the most brilliant and important applications of biological metaphors to the study of art. It has been superbly translated by Yale art historian George Kubler, whose book The Shape of Time was strongly influenced by Focillon. (shrink)

The persistence of some central instances of social injustice in European democracies governed by the rule of law; despite abundant resources for durably reducing them, is poorly understood. Understanding better the nature of law as constructive interpretation may strongly motivate future applications of the rule of law to alleviating substantially the social injustice of unnecessary yet continuing destitution among many persons, particularly in affluent and resourceful Paris. However, recent critical examinations of the nature of law as constructive interpretation (...) have uncovered a crucial problem with this otherwise cogent account. Here, I show how some eco-ethical reflection on the nature of aesthetic interpretation may suggest a way for resolving this problem with the nature of jurisprudential interpretation. If correct, a further developed version of this analysis may re-open constructively interpretive ways towards more socially effective means for applying the rule of law to help in the elimination of the persistent social injustice of widespread impoverishment in Paris and in other similarly governed major world cities. (shrink)

In Democracy and Education Dewey has a rich conception of educational flourishing that stands at odds with the instrumentalism about learning endemic to much contemporary educational policy. And his vision posits deep dependencies between the different domains in which education is transformative: the transformation of the individual learner into an inquirer equipped to adapt in a changing environment and the transformations in the social world required for the provision of opportunities for such experiences to all. In this paper, I (...) trace the roots of Dewey’s conception in his account of inquiry. I focus on the key concept of a ‘problem.’ For Dewey, inquiry begins with a problem, but his concept of a problem is challenging and lacks an adequate theoretical rationale. Problems start with disruptions in our environmental engagement that figure in non-knowing encounters. Dewey needs an account of these pre-cognitive disruptions and of what constitutes their resolution. I argue that the account can be found in the aesthetics of experience. This draws upon some of Dewey’s insights regarding our experience of art objects and it finds a central role for the aesthetics of experience as not only the prompt for inquiry and the unification of experience that settles inquiry, but also in what I call the ‘craft of inquiry’ – the very practice of inquiring. If this is right, any adequate account of learning, let alone a pedagogy fit to encourage learning, must have a central role for aesthetics as providing the conditions for the possibility of learning. A proper appreciation of Dewey signals the opportunity for a radical re-thinking of how to shape a pedagogy fit for educational flourishing – a pedagogy designed for inquirers. And it helps us understand better the deep dependencies between the projects of individual and social transformation. (shrink)

Introduction. The philosophical reception of the foundations of the social and the principles of war act as connected processes. A historically specific type of socio-cultural being generates a unique way of philosophical articulation about the nature of the order of society and culture, war and peace. The purpose of the study is explicating the connection between the type of conceptualizing war (classical, total, new war) and understanding the principles of social order. Methods. The author uses methods of the (...) historical and constructivist approach as the leading methodology in studying the problem of the war and the sociocultural order connection. Scientific novelty of the research. By highlighting the strategic principles of different theories of war (classical trinitarian war, the concept of total war and mobilization, the theory of “new wars”), the connection between the order of war and the fundamental foundations of society and culture at different stages of historical development is shown. Results. Consideration of the three theories of war allows us to present them as different projects for understanding the socio-cultural order of the Art Nouveau philosophy. The author highlights and analyzes the leading provisions of historically different theories of wars: “war as a continuation of politics”; “the totality of war and mobilization” as the basis of the socio-political order; “new war” as a concept of cultural turn. Conclusions. Modern studies of war are distinguished by an active appeal to understanding the connection between armed clashes and the concreteness of cultural life, which sets the context, way of thinking and actions of potential actors in military operations. The article shows that current theories and practices of war are characterized by a kind of coexistence of layers of social reality that are different in their historical depth. (shrink)

In the preface to the Yale edition of Samuel Johnson’s poems, the editors remark that “for a modern reader who can recreate the situation in which [“London”] was written, it may still be exciting enough. But to one with less imaginative capacity or historical knowledge, its appeal lies in Johnson’s skillful handling of the couplet.”2 To assist us in re-creating the milieu of 1738, the editors supply the usual notes identifying various historical personages and events which are no longer in (...) the domain of common knowledge. In this respect they follow Johnson’s lead. “London” is manifestly an occasional poem; and its occasion—in part, Walpole’s timidity abroad and corruption at home—like all occasions, passed.3 Indeed it passed so quickly that Johnson himself felt called upon in the fifth edition to annotate, for instance, his mention of “the Gazetteer”: “the paper which at that time contained apologies for the Court.” By 1750 Walpole was long out of court, the Gazetteer extinct, and “London” as outdated as yesterday’s newspaper.For poems like “London” whose contents are neither au courant nor immortal but rather historical or simply dead, the Yale editors suggest two avenues of resuscitation: the reader may either restore the background by means of historical imagination or, failing that, admire Johnson’s couplet art, which perhaps has a better chance at perennial appeal. Either content or form, either history or art—both options require a sacrifice on our part, and that sacrifice is our occasion, our need. Even assuming that the poem’s context could be exhumed and that we could participate once again in all the rage of the “patriot” opposition to Walpole, Why would we want to? The problem is that not only “London” but the Walpole regime itself is now defunct. Yet the same question must be asked of the poem’s art, even and especially if it is eternal. Why are we interested in the aesthetic knowledge of couplets that have been drained of all substance? Is understanding “London” in either case an end in itself? The pure content of the poem is too concrete, its pure form too abstract, to answer our occasions. Thus to understand the poem as either history or art demands a leisure that has no exigencies and is therefore free for the bygone and ethereal.42. E.L. McAdam, Jr. and George Milne, eds., Poems, vol. 6, The Yale Edition of the Works of Samuel Johnson , p. xvii.3. For a detailed exposition of the social and political background of “London,” see Donald Greene, The Politics of Samuel Johnson , pp. 88-92, and James Clifford, “London,” Young Sam Johnson , pp. 175-94.4. John Locke explains the infinite leisure we can take in understanding the obscurities of ancient authors in An Essay Concerning Human Understanding, ed. Alexander Campbell Fraser, 2 vols. , 2:110:There being no writings we have any great concernment to be very solicitous about the meaning of, but those that contain either truths we are required to believe, or laws we are to obey, and draw inconveniences on us when we mistake or transgress, we may be less anxious about the sense of other authors; who, writing but their own opinions, we are under no greater necessity to know them, than they to know ours. Our good or evil depending not on their decrees, we may safely be ignorant of their notions: and therefore in the reading of them, if they do not use their words with a due clearness and perspicuity, we may lay them aside. (shrink)

For about the last three decades, postmodernists have exposed the weaknesses of modernist formalism. Western modernist formalism effectively locates art’s meaning in its formal qualities. Clive Bell’s twentieth-century significant form aesthetic theory, Clement Greenberg and abstract art, and art educators’ preoccupation with design elements and principles typify this modernist tendency.1 In contrast, postmodernists generally insist that sociocultural context supplies art’s meaning. Within contemporary art education, postmodernist theory relies strongly on semiotics, neopragmatism, and social constructivist theories of culture; these tend (...) to reduce form to being an arbitrary vehicle for content supplied by cultural.. (shrink)

In this article, I sketch out and examine the aesthetic basis of an implicit ontological model of community, grounded on dialogical practice, which appears in Grant Kester’s proposal for a dialogical theory of socially engaged contemporary art. I address two distinct but related aspects of Kester’s view on understanding as a constitutive part of dialogical aesthetic experience. First, I endeavour to show that the post-foundational framework of a ‘procedural knowledge’ which he uses to support his theory of aesthetic communication requires (...) a stronger intersubjective ground to ensure the actual empathic understanding of the other dialogical partner. In this respect, I claim that he could be using the Kantian notion of sensus communis in a constitutive rather than in a regulative manner, thus grounding empathy on an ante-predicative level of experiencing alterity. This unorthodox usage of the Kantian aesthetic postulate points towards a particular understanding of sensus communis as the universal communicability of human finitude, which I eventually argue for on the lines of Jean-Luc Nancy’s thinking. (shrink)

Charvet presents a "critical reconstruction" of Rousseau’s argument in the Second Discourse, Emile, and the Social Contract, in order to elucidate the French philosopher’s thought about the problem of "the individual’s relation to others in society." While the book is devoid of reference to other works of Rousseau scholarship, this seeming lack helps to give Charvet’s critical work a refreshing clarity and directness.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Invention of Art History in Ancient Greece: Religion, Society, and Artistic RationalisationJohn C. McEnroeJeremy Tanner. The Invention of Art History in Ancient Greece: Religion, Society, and Artistic Rationalisation. Cambridge Classical Studies. Cambridge: Cambridge University Press, 2006. xvi + 331 pp. 62 black-and-white ills. Cloth, $99.In his introductory chapter, Jeremy Tanner quotes J. J. Winckelmann's eighteenth-century description of the Apollo Belvedere: "Among all the works of antiquity which (...) have escaped destruction, the statue of Apollo is the highest ideal of art... In the presence of this miracle of art, I forget all else, and I myself take a lofty position for the purpose of looking on it in a worthy manner" (6). Tanner makes it clear that Winckelmann, widely regarded as the founder of modern art history, was not simply recording a personal reaction. Instead, Winckelmann's notion of artworks as autonomous objects of aesthetic experience was deeply rooted in the transformation of the basic institutions of art during [End Page 423] the Enlightenment. These included changes in patronage and production, and the introduction of the new philosophy of aesthetics. The new conception of art as a form of individual expression was tied not only to the notion of personal liberty but also to the growing obsession with national identities. Winckelmann's rapturous response to the Apollo Belvedere is understandable only as a part of this broader set of social and intellectual currents.The kinds of art history that Tanner is concerned with in this book are quite distinct from Winckelmann's and belonged to profoundly different cultural networks. Tanner lays out three goals for the book: first, to analyze art as a form of material culture that was both shaped by society and, in turn, helped to shape society; second, to develop an analytic framework for comparing classical and modern art history without conflating the two; third, to move art history to the explanatory level, exploring not only how classical art developed over the long term, but why. Tanner's approach is sociological, drawing especially on the work of the once influential American sociologist, Talcott Parsons (1902–1979) and the semiotics of Charles Sanders Peirce (1839–1914). As a result, Tanner shifts from the traditional focus on artists to the interaction of artists, patrons, and viewers.In chapter 2 ("Rethinking the Greek Revolution," 31–96) Tanner addresses one of the central problems in art history, the apparently sudden transformation from abstraction to naturalism in Greek art in the beginning of the fifth century B.C.E., famously described by E. H. Gombrich as "the Greek Revolution." Why, after generations of continuity within the Archaic style, did Greek artists, alone among the artists working in the broader Middle Eastern tradition, develop the naturalistic style of art represented in, for example, Polykeitos's Doryphoros? For Gombrich, the "Greek Revolution" was fundamentally a matter of artists breaking from ingrained patterns and attempting, as individuals, to match the appearance of their statues with the natural world. Other writers, including several contributors to Diana Buitron-Oliver, ed., The Greek Miracle: Classical Sculpture from the Dawn of Democracy (Washington, D.C., 1992), have described the change in terms even more deeply grounded in Winckelmann: the revolution in style was a product of the birth of individuality and personal freedom that accompanied the birth of democracy in classical Greece.Tanner is specifically concerned with what the "Greek Revolution" meant for cult statues. While he rejects the simplistic equation democracy = naturalism as an explanatory device, Tanner nevertheless holds that political changes, marked by the Kleisthenic reforms, had profound effects on both the makers and the viewers of art. Through most of the sixth century B.C.E., the aristocracy was in firm control of religious art. Through the forms of the kouros and kore, aristocrats merged their identities with those of the gods. Through their sponsorship and control of the sanctuaries, they controlled the access ordinary viewers had to images of the sacred. While the immediate effects of the Kleisthenic reforms may have been more complex than Tanner implies, over the course of a generation the authority of the traditional aristocracy declined, and the sponsorship of cult images was... (shrink)

About three decades ago, AI theory underwent a sharp turn as a consequence of criticism that pointed out the problem of externalism in the cognitivist position. Hubert Dreyfus, undoubtedly the main exponent of this criticism, opened the possibility of a Heideggerian reading using the frame problem to bring to light obscurities that otherwise would have been very difficult to detect. However, the question still remains of whether or not Heidegger’s philosophy can serve as the source of a positive contribution to (...) AI. In this paper, we argue that in the small measure in which such a task has been attempted, its orientation has been hampered by the omission of what, for Heidegger, was the central issue to be pondered: the question for being and the ontological difference. To propose a possible direction in which AI can be headed as a consequence of this novel perspective, we undertake a brief and schematic review of two published projects suggesting that they both manage to avoid the frame problem and also bear this Heideggerian outlook. (shrink)