In this paper, we first investigate a bit of feminist and hermeneutical aesthetics. Building upon these theories, we expand the discussion of art to include the fleshy canvas.We argue that a feminist philosophy of art suggests a sound theoretical framework by which one can maintain that skin art is just that – art. In its contemporary practice, tattooing has become a new form of art, and feminist theory provides context for interpretation. The tattooed body may agitate conventional conceptions of fine (...) art – but art evolves, and history makes this much clear. Definitions of art tend to develop, as does artistic practice. Artistic innovations subvert what is old and stale within the institutional art world, while art theory empowers that subversion and provides a context for the appreciation of art. (shrink)

This chapter contains sections titled: Mobile Art Gallery The State of Aesthetic Theory The Female Fleshy Canvas: Body Art from a Feminist Perspective Gadamer's Hermeneutics and Tattoos: Play, Festival, and Symbol Art Cannot Change the World, but it Can Influence Those Who Will.

One kind of government-supported censorship of the arts targets not the expressive content of any particular artwork but instead seeks to suppress the activity of a group of people based on some feature of the group’s human identity such as race, gender or class. Using examples from the history of the development of black music in the United States that followed from the legal oppression of slavery and from evidence of changes in the Punjabi theatre in Pakistan following state-sanctioned suppressions (...) of women this paper demonstrates that human-identity-related arts censorship not only harms but can actually serve to spur and enhance, rather than suppress, artistic innovation. (shrink)

Cet article examine la question de l'innovation comme l'expression de pratiques et de discours se mettant en scène au sein d'un jeu d'acteurs dans le contexte particulier des industries musicales. Nous nous attachons à montrer que les possibilités liées à la numérisation des contenus et des outils permettent la diffusion d'innovations « ascendantes» et de pratiques subvertissant certains fondamentaux. Néanmoins, ces développements liés au numérique participent de processus de légitimation et de valorisation de certains objets musicaux, via des tentatives de (...) réappropriation et de redistribution de la valeur des objets, qui perpétuent des logiques anciennes.This article examines the issue of innovation as an expression of practices and discourses starring in a set of actors in the particular context of the music industry. We strive to show the possibilities related to the digitization of content and tools allow the diffusion of innovations 'upstream' and subverting some basic practices. Nevertheless, these developments related to digital part of the legitimation process and recovery of certain musical objects, through attempts to reappropriate and redistribution of the value of objects that perpetuate old logic. (shrink)

Computer and communication technologies created new modes of creating and sharing arts. In this paper, we apply ‘diffusion of innovation’ theory to investigate how artistic content travels in an online social network site called deviantArt, a site designed for sharing user-generated artworks. We first define what innovation corresponds to in such a context, and then discuss how it can be measured with the help of network, image and text analysis methods. We propose to use user-shared resources as relatively easy (...) targets of tracking innovation. (shrink)

Computer and communication technologies created new modes of creating and sharing arts. In this paper, we apply ‘diffusion of innovation’ theory to investigate how artistic content travels in an online social network site called deviantArt, a site designed for sharing user-generated artworks. We first define what innovation corresponds to in such a context, and then discuss how it can be measured with the help of network, image and text analysis methods. We propose to use user-shared resources as relatively easy (...) targets of tracking innovation. (shrink)

By combining the art of Saudi heritage, because of its aesthetic values that increase and enrich the work, and the recycling of old environmental materials, innovative artistic artifacts were produced. The importance of the research came Attention was paid to the decorations of Al-Qat Al-Asiri art and benefiting from it in creating innovative artistic artifacts. The The research aims to demonstrate the aesthetic values of Al-Qat Al-Asiri art and benefit from them in creating innovative modern art objects through (...) the idea of recycling. The research assumes the possibility of making artistic artifacts through recycling using the idea of Al-Qat Al-Asiri art. The research problem is represented in the following question. (shrink)

Sixteen of the 20th century's leading artistic innovators talk forcefully about their work — from Albert Gleizes and Jean Metzinger's 1912 presentation of cubist theory to Henry Moore's comments, three decades later, on sculpture and primitive art. Four newly added essays by Kurt Schwitters, Max Ernst, El Lissitzky, and Fernand Léger.

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not (...) disinterested or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

How does a coloured bird end up on a TUGboat? This is the story of an artist who studied philosophy and combined her skills in a PhD at the University of Amsterdam (NL). In order to write her dissertation, she had to learn the LaTeX typesetting programme. Many years later, she still makes art and still writes down her thoughts in LaTeX, with the Memoir class and XeLaTeX as first choice. Always trying to stretch the limits of the programme to (...) her convenience. -/- This essay is not a technical article written by a developer conjuring up ingenious innovations to the LaTeX programme. By contrast, it discusses the relationship between LaTeX, art (photography) and the concept of 'measurability' from the perspective of a philosophising artist. (shrink)

Supported by Ian Hacking’s concept of “intervention,” and Charles Taylor’s concept of “intentionality,” this article argues that doubting is acting, and that doubting is therefore subject to the same demands of responsibility as any other action. The argument is developed by using medical practice as a test-case. The central suggestion is that the demand of acting responsibly limits doubt in medicine. The article focuses on two such limitations to doubt. Firstly, the article argues that it is irresponsible to doubt that (...) our actions can harm other people. Secondly, the article argues that it is irresponsible not to strive for coherence between our utterances of doubt and our other actions. Incoherence here can cause “cultural impoverishment.” In a larger context this article also argues that medicine can enrich our epistemology, because medical knowledge displays important traits of knowledge that are downplayed in traditional epistemology derived from mathematics and physics. In particular, medicine makes it possible to get the relation between ethics and epistemology into sharper focus. The endpoint in medical epistemology is “responsible action,” and not certainty in and of itself. (shrink)

Colin McGinn has argued that consciousness is a nonspatial phenomenon. McGinn’s arguments for the nonspatiality of consciousness are presented and then criticized. It is concluded that consciousness may be as spatial as electric charge and different kinds of abilities.

Joseph Margolis holds that both artworks and selves are ”culturally emergent entities." Culturally emergent entities are distinct from and not reducible to natural or physical entities. Artworks are thus not reducible to their physical media; a painting is thus not paint on canvas and music is not sound. In a similar vein, selves or persons are not reducible to biology, and thought is not reducible to the physical brain. Both artworks and selves thus have two ongoing and inseparable ”evolutions”—one cultural (...) and one physical. Rather than having fixed ”natures” that remain stable for any purpose other than numerical identity, artworks and selves have ”careers” due to their cultural evolution that change with the course and flux of history, interpretation and reinterpretation. The question for this essay is how a Margolisian encultured artist, who is also an individual ”self," can construct an identifiable ”career” that is both from culture and develops culture constructively in a way that involves an individual, as well as collective, contribution. In answering this question I will provide a theory that shows how Margolis’ work on the artist as cultural agent leaves room for creative innovators within a cultural context. In short, I claim that Margolis’ idea that a person is a thinking-and-doing practitioner that emerges from and works within a cultural context does allow for the agent to use that same context to acquire the tools and skills necessary to make something new. I will then consider how this innovation might be possible by making recourse to some theories of creativity from neuroscience and psychology. This essay will focus on Margolis’ theory of the creative artist as cultural agent as supplemented with an account of the nature of the human being as a raw set of genetic materials and capacity for acquiring cultural competence. My claim is that this is the site for an adequate account of how some encultured persons are able to create exceptional innovations in artistic domains and others are not. I agree with Margolis that it is true that innovation is not possible by any pre- or non-encultured self but I also think that extremes of cultural mastery and innovation, as in the case of highly creative and innovative artists, are not possible without an inborn potentiality to develop to a high level of cultural ability under the right conditions. This is not to deny Margolis’ theory of artists as cultural agents. Indeed, I accept Margolis’ view of the deep importance of culture to the development of the self and to the creative artist wholeheartedly. I also agree that this is a crucial aspect of artistic agency and creativity that has been given short shrift in analytic aesthetics. My intention here is only to answer one question that is still left unanswered after understanding and acknowledging the importance of culture: How do we account for the disparity in ability in cultural agents and artists that cannot be attributed to cultural training and socio-historical factors? How do we account for the existence of the exceptionally creative artist in a situation where the cultural and socio-historical factors are roughly equivalent for others who demonstrate lesser amounts of creativity? (shrink)

Stethoscopes, x-rays and other medical technologies are two-edged swords. They make medical treatment and diagnosis more accurate and effective, but do at the same time reveal our perceptual inadequacy. By transcending our senses, these technologies reveal that we can be seriously diseased without experiencing any symptoms at all. This situation has changed our attitude towards our relations and ourselves. The situation can be analysed using Jürgen Habermas’ conception of systems colonisation of the lifeworld. Medical technologies colonise our life world. They (...) change the way we think and act. They make us all accept that we can become patients almost any minute, even if we feel perfectly healthy. Sense transcending technologies turn us all into proto-patient. (shrink)

This article considers the treatment of intersubjectivity as the core of Husserl's transcendental phenomenology. From this standpoint it identifies the problematic of Husserl's theory of the "experience of the Other", which Husserl exposes in his commentaries on Descartes V Meditation. The paper draws a parallel between Husserl and Kant in order to clarify the Husserlian notions, and finally shows the difficulties of Husserl's approach due to his assumption of the premises of the "Subjektsphilosophie".

Shows how contemporary artists re-envision the earth in innovative painterly, sculptural, and architectural ways.

PurposeThe purpose is to study Rogers' Diffusion of Innovations theory in a real‐life context, where it is exposed to the full range of complexities of people residing in a specific area and to briefly describe basically non‐work information needs and sources selected to access it.Design/methodology/approachThe relationships between personality and communication behaviour, socio‐economic characteristics and internet adoption, based on Rogers' theory are investigated.FindingsResults from 150 households suggest younger people and individuals with more formal education have increased information needs and are more (...) familiar with computer and internet usage. A positive association between educational level and innovation adoption, and between the latter and attitude toward science and change, is indicated.Research limitations/implicationsResearch is limited to Xanthi's Old Town. The quantitative methodology utilised does not allow for in‐depth analysis of information behaviour and internet adoption patterns. Measures to assess personality and communication behaviour variables developed need to be further validated. Finally, the research does not examine other variables and the distinction between voluntary and mandatory adoption.Practical implicationsResults suggest benefits of information technology should be advertised through earlier adopters.Originality/valueResearch shows level of internet exposure and practically explores technology usage levels in relation to socio‐economic, personality and communication behaviour variables. The sample offers a detailed examination of internet usage and information needs of individuals residing in a specific area. (shrink)

This book makes a timely and engaging contribution to geography’s resurgent interest in art and artistic practice, as well as to growing geographical concerns with embodied or pre-reflective experience. It introduces Eugene Gendlin’s philosophical and methodological work to stimulate geographical thinking and practice, and explores its disciplinary potential through innovative practice-based research into artistic spatial experience. Gendlin’s philosophy and techniques for articulating the pre-reflective are explained and illustrated using artists’ accounts of their practices, both retrospectively and during their (...) practice. The geographical implementation of research methods informed by those techniques is detailed and critiqued. Diverse and potentially contradictory findings, and potentially problematic methodological choices, are discussed, accounted for, and reframed through Gendlin’s ideas. Significant geographical potential within Gendlin’s work—philosophical, conceptual and methodological—is identified and described, and avenues and challenges for further investigation are highlighted. This first step towards a Gendlin-informed geography invites further engagement with his work. (shrink)

Summary Research is regarded as transformations of complexes composed of knowledge, problems and (hardware and software) instruments. Sequences of such transformations are embedded in human settings in which they are given directions. Problems and the work of solving them are divided into empirical and theoretical ones. In an advanced science like physics empirical and theoretical work are interrelated by means of flows of problem-generating information. Empirical and theoretical researchers work also on problems of their own making. Residuals of knowledge which (...) cannot be systematized at the same rate as it is produced as well as clashes between new and old knowledge are potential starting points of new lines of research. (shrink)

Objectives: No systematic review or meta-analysis concerning the prevalence of shift work disorder has been conducted so far. The aim was thus to review prevalence studies of SWD, to calculate an overall prevalence by a random effects meta-analysis approach and investigate correlates of SWD prevalence using a random-effects meta-regression.Methods: Systematic searches were conducted in ISI Web of Science, PsycNET, PubMed, and Google Scholar using the search terms “shift work disorder” and “shift work sleep disorder.” No restrictions in terms of time (...) frame were used. Included studies had to present original data on the prevalence of SWD in an occupational sample published in English. A total of 349 unique hits were made. In all, 29 studies were finally included from which two authors independently extracted data using predefined data fields. The meta-regression included four predictors.Results: The overall prevalence of SWD was 26.5%. Cochran Q was 1,845.4, and the I2 was 98.5%, indicating very high heterogeneity across the observed prevalence estimates. Diagnostic criteria and sample size were inversely related to SWD prevalence.Conclusions: The prevalence of SWD was high across the included studies. The between-study disparity was large and was partly explained by diagnostic criteria and sample size. In order to facilitate comparative research on SWD, there is a need for validation and standardization of assessment methodology as well as agreement in terms of sample restrictions. (shrink)

This paper examines whether Giordano Bruno’s philosophy should be considered pantheist or immanentist—two philosophies that scholars regard as partly equivalent. However, this paper distinguishes them and argues that Bruno either identified the whole of nature with God or recognized a primary principle that is immanent, yet distinguishable, from matter. In terms of Bruno’s interpretation of the Aristotelian notions of form and matter, the difference between an immanentist view and a pantheist one lies in the role that form (or act) assumes (...) with regard to matter (or potency). This paper maintains that Bruno interpreted and adapted Aristotle’s philosophy to find his own immanentist metaphysics, which is built on the traditional Aristotelian system. This argument was based on the reconstruction of how he used Aristotelian thought as an instrument to subvert Aristotelianism. In particular, Bruno attested that intellect exists within nature, but it is not co-extensive with the whole nature. Finally, the paper highlights how Bruno applied Aristotle’s language, method, and themes to criticize the fundamentals of Aristotelian philosophy and the related traditions. (shrink)

This paper aims to outline the importance of Valéry with respect to some cornerstones of Adorno’s aesthetic theory as a negative-dialectical thought. Adorno’s concept of aesthetic experience finds in Valéry as an “Artist” (not simply as a “Künstler”) a sort of lieutenant: he helps to specify notions like “apparition”, “form”, “configuration”, and above all the idea of the aesthetic as a relation by which something happens in the field of human experience without being a determinate, or determinable, content of it.

In this article, I defend luck at the expense of risk. Or, more precisely, I try to make a distinction that gives both concepts fair treatment. I start by making it clear that luck stands in opposition to control and not to causation. Both luck and risk are related to causal uncertainty. But it is warranted to talk about risk only when the uncertainty involved is brought under control, as it is in some familiar forms of fair gambling such as (...) dicing and roulette. Life is however not a fair gamble. We rarely have the kind of control over the preconditions of life that we have over the preconditions of say dicing. Luck therefore has profound influence on our lives and our health. This means that the standard conception of responsibility - that is, that we stand responsible only for consequences that we control - breaks down far more often than what is usually acknowledged. I therefore end the article by arguing that the standard conception of responsibility ought to be supplemented with a different conception that I have called "responsibility because of social involvement.". (shrink)

By asking how well theological views of human nature stand up to the discoveries of modern science, Alan Olding re-opens the question of whether the "design" argument for the existence of God is fatally undermined. A distinctive feature of the work is its emphasis on the metaphysical implications of biology and how these at times conflict with other, more plausible metaphysical positions. Another is its close critical examination of the "design" argument and of the relation God has to the world (...) he creates. "Modern Biology and Natural Theology" takes up issues currently of concern to many thinkers and will provide fascinating reading for anyone interested in philosophical problems, particularly the impact of Darwinism on natural theology. (shrink)

Supposing that talk of a distinctively artistic type of value is warranted, what separates it from other sorts of value? Any plausible answer must explain both what is of value and what is artistic about artistically valuable properties. Flaws with extant accounts stem from neglect of one component or the other; the account offered here, based on careful attention to actual art-critical practices, brings both together. The “value” component depends on the capacity of artworks to provide subjectively valuable (...) experiences, while the “artistic” component relies on the specific norms constitutive of artworld institutions. Understanding artistic value in this way allows for progress on several persistent problems, including the ethical value of art, relativism in artistic value, and the proper boundaries of philosophical aesthetics. (shrink)

I propose that in at least some cases, objects of artistic appreciation are best thought of not simply as causes of artistic appreciation, but as parts of the cognitive machinery that drives aesthetic appreciation. In effect, this is to say that aesthetic appreciation operates via extended cognitive systems.

The thesis that rationality consists in the straight-forward maximization of utility has not lacked critics. Typically, however, detractors reject the Humean picture of rationality upon which it seems based; they seek to emancipate reason from the tyranny of the passions. It is, then, noteworthy when an attack on this thesis comes from ‘within the ranks.’David Gauthier's paper ‘Reason and Maximization’ is just such an attack; and for this reason, among others, it is interesting. It is not successful, though. In defense (...) of this conclusion, we shall begin by relating the essentials of Gauthier's argument. Then we shall examine in some detail Gauthier's claim that the principle of straighforward max-imization fails to be self-supporting. We shall argue that Gauthier's defense of this claim is at best incomplete. Finally, we shall show that the fact that a normative principle is self-subverting or non-self-supporting does not entail that the principle is defective. (shrink)

What we observe, through our usually limited lens, is that differential growing of space determines forms -characterized by their shape, size and coloration. As non-Euclidean geometrical mathematics have proclaimed: forms are manifestations of the curvature of space. Physics and other natural laws impose mathematical structural restrictions to biological forms. The molecules comprising any living form become arranged in specific ways in response to physical forces as well as chemical and biochemical conditions. Over time, such forms inherit additional historical restrictions that (...) make up their meaning, their semiotics. Color does not escape from this orthogenic reality. In this study, we present the colored pattern of the connexivum of Triatoma maculata, an insect vector of the etiologic agent of Chagas disease. This model is used as an example to appreciate mimicry under a heterodox and provocative approach. We unveil that beyond 1) mathematical and 2) historical semiotic restrictions of T. maculata mimesis of a yellowish-black alternating pattern, there are also 3) artistic interpretations; where metaphysics of life, beyond human perspective, is included. (shrink)

Innovation is a high-risk endeavor and success is dependent upon a firm's understanding of customer needs. A company's initial resistance to adopting innovation is mitigated with a solid foundation of customer trust in the firm. This book uniquely combines the work of scholars and practitioners to examine how trust and customer-centricity impacts every phase of the innovation journey.Adopting a multidisciplinary approach, the contributions in this collection consider different aspects of innovating for trust. Beginning with the notion of trust itself, authors (...) examine the importance of trust in futures thinking, business model innovation, service design, co-creation, the innovative organization and self-service technologies. The book also contains a valuable collection of case studies based upon innovation with major service providers, which supports the final emphasis on the importance of trust in commercializing innovations.Practical and engaging, Innovating for Trust will appeal to enlightened business managers aiming to build and maintain customer trust, as well as students and researchers of innovation, trust and strategy. (shrink)

Professor Gill's recent defence of the notion of ‘reasons of the heart’ in religion 1 depends upon Polanyi's view that through ‘tacit knowledge’ of lower levels of reality we can come to know something of higher levels - even, I take it, of God, himself, as the highest level of all. Unfortunately, Polanyi's argument for such a hierarchy of being is confused and depends for its apparent strength on an illicit mixing together of ontological and what may be loosely called (...) methodological claims. Because of this and other confusions, the argument is difficult to state concisely. For convenience I will first use Marjorie Grene's formulation. (shrink)

It is hard to disagree with the idea of responsible innovation (henceforth, RI), as it enables policy-makers, scientists, technology developers, and the public to better understand and respond to the social, ethical, and policy challenges raised by new and emerging technologies. RI has gained prominence in policy agenda in Europe and the United States over the last few years. And, along with its rising importance in policy-making, there is also a burgeoning research literature on the topic. Given the historical context (...) of which RI emerges, it should not be surprising that the current discourse on RI is predominantly based on liberal democratic values. Yet, the bias towards liberal democratic values will inevitably limit the discussion of RI, especially in the cases where liberal democratic values are not taken for granted. As such, there is an urgent need to return to the normative foundation of RI, and to explore the notion of ‘responsible innovation’ from nonliberal democratic perspectives. Against this background, this paper seeks to demonstrate the problematic consequences of RI solely grounded on or justified by liberal democratic values. This paper will cast the argument in the form of a dilemma to be labelled as The Decent Nonliberal Peoples’ Dilemma and use it to illustrate the problems of the Western bias. (shrink)

This important new book provides a multidisciplinary overview on different discourses and practices, exploring cutting-edge questions from the burgeoning field of artistic research.

Drawing upon a range of insights from Plato and Aristotle to Gadamer and Ingarden, this phenomenological study examines the nature of artistic creation. Mitscherling and Fairfield also draw heavily upon many artists’ statements regarding their own creative process.