Results for ' institutional theory, describing art as it is'

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  1.  45
    On the Institutional Theory of Art.Ivan Parascic - 2008 - Prolegomena 7 (2):181-203.
    The topic of the article is George Dickie’s institutional theory of art as one of contemporary art theories which purport to answer the “what is art?” question by defining the concept of art in terms of its necessary and sufficient conditions. Introductory part of the article brings a brief review of so-called functionalist theories, as well as of their shortcomings when compared to theories to which institutional theory belongs. Also included is a short survey of theories and arguments (...)
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  2. The Institutional Theory of Art.Robert J. Yanal - unknown
    he first institutional theory of art is outlined in a 1964 essay by Arthur Danto, “The Artworld,” which ruminates on the paradox that Andy Warhol’s Brillo Boxes is art though any of its perceptually indistinguishable twins—any stack of Brillo boxes in a grocery store—is not. Danto’s offers this solution to the paradox: “To see something as art requires something the eye cannot descry—an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” Ultimately, though, it is (...)
     
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  3.  9
    Fleshy Canvas.Kimberly Baltzer-Jaray & Tanya Rodriguez - 2012 - In Fritz Allhoff & Robert Arp (eds.), Tattoos – Philosophy for Everyone. Wiley‐Blackwell. pp. 38–50.
    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.
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  4.  62
    The Art Experience.Kate McCallum, Scott Mitchell & Thom Scott-Phillips - 2020 - Review of Philosophy and Psychology 11 (1):21-35.
    Art theory has consistently emphasised the importance of situational, cultural, institutional and historical factors in viewers’ experience of fine art. However, the link between this heavily context-dependent interpretation and the workings of the mind is often left unexamined. Drawing on relevance theory—a prominent, cogent and productive body of work in cognitive pragmatics—we here argue that fine art achieves its effects by prompting the use of cognitive processes that are more commonly employed in the interpretation of words and other stimuli (...)
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  5.  42
    The Theory of Art as Sedimentation.Wang Keping - 2008 - Proceedings of the Xxii World Congress of Philosophy 36:159-182.
    For so long a time it has been getting increasingly formidable, if not possible, to define art in general ever since the advent of the so-called “found art” or “ready-mades” of Marcel Duchamp and Andy Warhol, among other avant-garde or pop artists. But this does not have too much constraint over some philosophers who have made persistent attempts in this regard. What have turned out to be considerably influential are the “artworld” framed by Arthur C. Danto and the “institutional (...)
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  6. An Institutional Theory of Art Categories.Kiyohiro Sen - 2022 - Debates in Aesthetics 18 (1):31-43.
    It is widely acknowledged that categories play significant roles in the appreciation of artworks. This paper argues that the correct categories of artworks are institutionally established through social processes. Section 1 examines the candidates for determining correct categories and proposes that this question should shift the focus from category membership to appreciative behaviour associated with categories. Section 2 draws on Francesco Guala’s theory of institutions to show that categories of artworks are established as rules-in-equilibrium. Section 3 reviews the explanatory benefits (...)
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  7.  8
    The European Union as Guardian of Internet Privacy: The Story of Art 16 TFEU.Hielke Hijmans - 2016 - Cham: Imprint: Springer.
    This book examines the role of the EU in ensuring privacy and data protection on the internet. It describes and demonstrates the importance of privacy and data protection for our democracies and how the enjoyment of these rights is challenged by, particularly, big data and mass surveillance. The book takes the perspective of the EU mandate under Article 16 TFEU. It analyses the contributions of the specific actors and roles within the EU framework: the judiciary, the EU legislator, the independent (...)
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  8.  29
    Interpretation in Legal Theory.Andrei Marmor (ed.) - 1990 - Hart Publishing.
    Chapter 1: An Introduction: The ‘Semantic Sting’ Argument Describes Dworkin’s theory as concerning the conditions of legal validity. “A legal system is a system of norms. Validity is a logical property of norms in a way akin to that in which truth is a logical property of propositions. A statement about the law is true if and only if the norm it purports to describe is a valid legal norm…It follows that there must be certain conditions which render certain norms, (...)
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  9.  11
    Art and its Messages: Meaning, Morality, and Society.Stephen Davies (ed.) - 1997 - Pennsylvania State University Press.
    This volume brings together essays by leading philosophers of art who consider what can be learned from the meaning of art about society, morality, and life in general. This subject inevitably leads to discussion of other issues. Is art distinct from life? Is a concern with art's messages consistent with an appropriately aesthetic appreciation of its works? Is there anything distinctive about the manner in which art communicates its messages, or about the messages it conveys? The topic of art's social (...)
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  10.  26
    Art as Performance (review).Michael Weh - 2005 - Journal of Aesthetic Education 39 (2):114-118.
    In lieu of an abstract, here is a brief excerpt of the content:Art as PerformanceMichael WehArt As Performance, by David Davies. Oxford: Blackwell Publishing, 2004, 278 pp.If we accepted the claims that David Davies makes in his Art as Performance, we would have to rigorously revise our conception of what kinds of entities artworks are. Art as Performance is a study in the ontology of art, and whereas other well-known theories about the ontological status of artworks say that artworks are (...)
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  11. Art as a metaphor of the mind: A neo-Jamesian aesthetics embracing phenomenology, neuroscience, and evolution.Andrea Lavazza - 2008 - Phenomenology and the Cognitive Sciences 8 (2):159-182.
    This paper focuses on the emergent neo-Jamesian perspective concerning the phenomenology of art and aesthetic experience. Starting from the distinction between nucleus and fringe in the stream of thought described by William James, it can be argued that our appreciation of a work of art is guided by a vague and blurred perception of a much more powerful content, of which we are not fully aware. Accordingly, a work of art is seen as a kind of metaphor of our mental (...)
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  12.  57
    Art and its Canons.David Carrier - 1993 - The Monist 76 (4):524-534.
    My recent book, Principles of Art History Writing, presents and defends a relativistic theory of art history. That book describes the changing styles of acceptable interpretations of such artists as Piero, Caravaggio and David. The validity of an interpretation, I argue, must be judged relative to the standards of its time. At each time, there is a certain consensus about what kinds of interpretations are worth taking seriously. Because those standards change with the times, the interpretations admired by earlier generations (...)
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  13.  24
    Interpretation as a Cognitive Discipline.Jack W. Meiland - 1978 - Philosophy and Literature 2 (1):23-45.
    In lieu of an abstract, here is a brief excerpt of the content:Jack W. Meiland INTERPRETATION AS A COGNITIVE DISCIPLINE Interpretation is the fundamental method of the humanities. The humanist is concerned first to understand what a text, a speech, a work of art, means; and interpretation has this understanding as its goal. All of the other activities and aims of the humanist depend on interpretation. One cannot properly appreciate a work of art until one grasps what it means. Nor (...)
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  14.  72
    Performative somaesthetics: Principles and scope.Eric C. Mullis - 2006 - Journal of Aesthetic Education 40 (4):104-117.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 104-117 MuseSearchJournalsThis JournalContents[Access article in PDF]Performative Somaesthetics: Principles and ScopeEric C. MullisJohn Dewey's aesthetic has been invoked in recent discussions because many have realized that it resists the pull toward conceptualism that characterizes a great deal of aesthetic theory. Further, Art as Experience—Dewey's chief work on the philosophy of art—is rich with ideas that call for development. Richard Shusterman's work does just (...)
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  15.  83
    Understanding Widespread Misconduct in Organizations: An Institutional Theory of Moral Collapse.Masoud Shadnam & Thomas B. Lawrence - 2011 - Business Ethics Quarterly 21 (3):379-407.
    ABSTRACT:Reports of widespread misconduct in organizations have become sadly commonplace. Sexual abuse in the Catholic Church, accounting fraud in large corporations, and physical and sexual harassment in the military implicate not only the individuals involved, but the organizations and fields in which they happened. In this paper we describe such situations as instances of “moral collapse” and develop a multi-level theory of moral collapse that draws on institutional theory as its central orienting lens. We draw on institutional theory (...)
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  16. Ontological theory for ontological engineering: Biomedical systems information integration.James M. Fielding, Jonathan Simon, Werner Ceusters & Barry Smith - 2004 - In Fielding James M., Simon Jonathan, Ceusters Werner & Smith Barry (eds.), Proceedings of the Ninth International Conference on the Principles of Knowledge Representation and Reasoning (KR2004), Whistler, BC, 2-5 June 2004. pp. 114–120.
    Software application ontologies have the potential to become the keystone in state-of-the-art information management techniques. It is expected that these ontologies will support the sort of reasoning power required to navigate large and complex terminologies correctly and efficiently. Yet, there is one problem in particular that continues to stand in our way. As these terminological structures increase in size and complexity, and the drive to integrate them inevitably swells, it is clear that the level of consistency required for such navigation (...)
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  17. The institutional theory: A protean creature.D. Matravers - 2000 - British Journal of Aesthetics 40 (2):242-250.
    In 1987 Jerrold Levinson wrote, in a review of George Dickie's _The Art Circle_, that in reading it he felt 'caught in a kind of aesthetic time warp'. I had the same feeling, and indeed have the same feeling when I read papers published since on Dickie's theory. A recent criticism in this journal by Oswald Hanfling is a case in point. To be fair, Hanfling explicit states that he is discussing the 1974 version of the theory rather than Dickie's (...)
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  18. A Defence Of An Institutional Analysis Of Art.Elizabeth Hemsley - 2009 - Postgraduate Journal of Aesthetics 6 (2):23-31.
    An institutional analysis of art posits the theory that works of art are classified as such not by virtue of their exhibited properties, but rather by virtue of their relational ones, and more specifically by virtue of their place within an institutional framework, the ‘artworld’. The most thorough and compelling account of an institutional theory is provided by George Dickie in his book ‘The Art Circle’. As such, it is on the institutional definition of art presented (...)
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  19. Clement Greenberg's Theory of Art.T. J. Clark - 1982 - Critical Inquiry 9 (1):139-156.
    It is not intended as some sort of revelation on my part that Greenberg's cultural theory was originally Marxist in its stresses and, indeed in its attitude to what constituted explanation in such matters. I point out the Marxist and historical mode of proceeding as emphatically as I do partly because it may make my own procedure later in this paper seem a little less arbitrary. For I shall fall to arguing in the end with these essay's Marxism and their (...)
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  20.  80
    The Art Type Theory of Art.Robert S. Fudge - 2015 - Philosophical Papers 44 (3):321-343.
    The theory I present and defend in this paper—what I term the art type theory— holds that something is a work of art iff it belongs to an established art type. Something is an established art type, in turn, either because its paradigmatic instances standardly satisfy eight art-making conditions, or because the art world has seen fit to enfranchise it as such. It follows that the art status of certain objects is independent of what any individual or culture might say (...)
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  21.  10
    Can Aesthetics Incorporate Radical Protest Activities?Lok Chong Hoe - 2014 - Philosophia: International Journal of Philosophy (Philippine e-journal) 15 (2):150-161.
    A conference held in Manchester University in 2007 and a subsequent book containing papers presented therein (entitled Aesthetics and radical politics) attempt to legitimize certain radical political activities as art, that is, by confercing the status of art onthese protest activities. Inarguing that these works would probably fail to be accepted by the artworld, I have resorted to some form of essentialism, i.e., they will likely fail because they were never intended (by their organizers) as ant activities, and the activities (...)
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  22. Solving Wollheim's Dilemma: A Fix for the Institutional Definition of Art.Simon Fokt - 2013 - Metaphilosophy 44 (5):640-654.
    Richard Wollheim threatened George Dickie's institutional definition of art with a dilemma which entailed that the theory is either redundant or incomprehensible and useless. This article modifies the definition to avoid such criticism. First, it shows that the definition's concept of the artworld is not vague when understood as a conventional system of beliefs and practices. Then, based on Gaut's cluster theory, it provides an account of reasons artworld members have to confer the status of a candidate for appreciation. (...)
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  23.  50
    Genre and the Experience of Art and Literature.Martin Dodsworth - 1972 - Royal Institute of Philosophy Lectures 6:211-227.
    Like most topics in aesthetics, that of genre is far from simple and for the literary critic has an uninviting air. The questions which arise from its consideration fall under two heads: first, what is a genre? and second, what does it contribute to our understanding of a work of art that we can describe it as belonging to this or that genre? A clear answer to either of these questions is not readily forthcoming: the literary critic who is content (...)
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  24.  14
    The Spirit of Secular Art: A History of the Sacramental Roots of Contemporary Artistic Values.Robert Nelson - 2007 - Monash University Epress.
    The Spirit of Secular Art: A History of the Sacramental Roots of Contemporary Artistic Values explains the spiritual prestige of art. Various theorists have discussed how art has an aura or indefinable magic. This book explains how, when and why it gained its spiritual properties. The idea that all art is somehow spiritual (even though not religious) is often assumed; this book, while narrating the historical trajectory of art in the most accessible language, reveals how the mysteries of religious practice (...)
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  25.  15
    But is it art? A new look at the institutional theory of art.Skidelsky Edward & E. Seaford - 2007 - Philosophy 82 (2):274.
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  26.  27
    It is not a big deal: a qualitative study of clinical biobank donation experience and motives.Ksenia Eritsyan & Natalia Antonova - 2022 - BMC Medical Ethics 23 (1):1-11.
    BackgroundThe success of biobanking is directly linked to the willingness of people to donate their biological materials for research and storage. Ethical issues related to patient consent are an essential component of the current biobanking agenda. The majority of data available are focused on population-based biobanks in USA, Canada and Western Europe. The donation decision process and its ethical applications in clinical populations and populations in countries with other cultural contexts are very limited. This study aimed to evaluate the decision-making (...)
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  27.  45
    Experience or interpretation: “What you see is not what you read”.Klaus Ottmann - 2007 - Journal of Aesthetic Education 41 (2):13-17.
    In lieu of an abstract, here is a brief excerpt of the content:Experience or Interpretation:"What You See Is Not What You Read"Klaus OttmannMuseums of modern and contemporary art are growing at an unprecedented rate. New museums are being founded and existing ones are expanding exhibition spaces and acquiring more and more works of art. Concurrently, cultural institutions compete with a growing number of art fairs, biennials, galleries, and public collection spaces.Since the 1980s the focus of museums increasingly has been on (...)
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  28. Dewey's art as experience : The psychological background.Richard Shusterman - 2010 - Journal of Aesthetic Education 44 (1):pp. 26-43.
    In lieu of an abstract, here is a brief excerpt of the content:Dewey's Art as ExperienceThe Psychological BackgroundRichard Shusterman (bio)IThe year 2009 marks the 150th anniversary of John Dewey's birth and also the 75th anniversary of the publication of his aesthetic masterpiece Art as Experience—a book that has been extremely influential within the field of aesthetics, not only in philosophical aesthetics and aesthetic education but also in the arts themselves.1 I am honored to commemorate this double Deweyan anniversary with an (...)
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  29.  78
    But is it art? A new look at the institutional theory of art.Edward Skidelsky - 2007 - Philosophy 82 (2):259-273.
    In 1973, the philosopher George Dickie proposed an ingenious new answer to the old question: what is art? Arthood, he suggested, is not an intrinsic property of objects, but a status conferred upon them by the institutions of the art world. He accordingly attached an exemplary significance to works like Duchamp's urinal, whose very lack of intrinsic distinction focuses our attention upon their institutional context. But his theory was about art in general, and not just readymades. ‘I am not (...)
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  30.  82
    The 'will to believe' in science and religion.William J. Gavin - 1984 - International Journal for Philosophy of Religion 15 (3):139 - 148.
    “The Will to Believe” defines the religious question as forced, living and momentous, but even in this article James asserts that more objective factors are involved. The competing religious hypotheses must both be equally coherent and correspond to experimental data to an equal degree. Otherwise the option is not a live one. “If I say to you ‘Be a theosophist or be a Mohammedan’, it is probably a dead option, because for you neither hypothesis is likely to be alive.” James, (...)
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  31.  52
    Art as an Autopoietic Sub-System of Modern Society.Erkki Sevänen - 2001 - Theory, Culture and Society 18 (1):75-103.
    This article is concerned with Niklas Luhmann's theory of art which he formulated in the 1990s, based on his general theory of autopoietic systems. This theory regards modern society as a functionally differentiated formation whose sub-systems operate according to their inner principles of communication. According to this, the domain of art can also be seen as an operationally closed and self-referential communicative system. The basic problem in these notions lies in the way in which their description of the relationships existing (...)
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  32.  39
    Defining art culturally : modern theories of art - a synthesis.Simon Fokt - 2012 - Dissertation, University of St. Andrews
    Numerous theories have attempted to overcome the anti-essentialist scepticism about the possibility of defining art. While significant advances have been made in this field, it seems that most modern definitions fail to successfully address the issue of the ever-changing nature of art raised by Morris Weitz, and rarely even attempt to provide an account which would be valid in more than just the modern Western context. This thesis looks at the most successful definitions currently defended, determines their strengths and weaknesses, (...)
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  33. Definitions of art.Stephen Davies - 1991 - Ithaca, N.Y.: Cornell University Press.
    In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can be defined, (...)
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  34.  27
    The new institutional theory of art.David Graves - 2010 - Champaign, Ill.: Common Ground.
    "Question: What do all works of art have in common? Answer: They are all products of a major cultural institution called "The Artworld." Question: Is this what makes them art? Answer: Yes. The New Institutional Theory of Art is a different kind of theory about art. The theory is capable of explaining how it is that a urinal offered up by Marcel Duchamp, and a statue of Moses offered up by Michelangelo, are both works of art, and under precisely (...)
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  35.  1
    Is It Possible to Observe Society in Its Totality? Niklas Luhmann as Perseus and Medusa as Society.А. Ю Антоновский - 2024 - Sociology of Power 36 (4):207-217.
    The article raises the question of the theoretical and cognitive foundations of sociological observation in the system-communication theory of Niklas Luhmann. Observation of society in its entirety is possible only from within itself, and therefore its observer (sociologist, artist, writer, moralist, politician or participant in a social movement) is necessarily included in the observed object itself. This circumstance gives rise to the paradox of self-applicability or self-reference in their social specification, since generalizing statements about society, if they claim to be (...)
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  36.  20
    Are Art Criticism, Art Theory, Art Instruction, and the Novel Global Phenomena?James Elkins - 2018 - Journal of World Philosophies 3 (1):79-92.
    As visual art becomes more international, ways of writing about art become more uniform. This essay proposes that two disciplines concerned with contemporary visual art, art criticism and art theory, are on the verge of being effectively homogeneous around the world. They share concepts, artists, artworks, institutions, and bibliographic references. For comparison, I consider two other fields that may also be increasingly uniform: studio art instruction and the novel. The last, in particular, is the subject of a large literature; critics (...)
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  37.  42
    Art as Orientation.Norman Kreitman - 2011 - Metaphilosophy 42 (5):642-657.
    What is it that we lack in everyday life that causes us to value art so highly? This article argues that (almost) all values are to be understood in terms of a needs-satisfaction system, and hence that the value of art can be understood only with reference to the state of the appreciator prior to engagement with the artwork. Aesthetic appreciation can be analysed as a process, which can be described in empirically based psychological terms, leading to a functional view (...)
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  38.  92
    Breve storia dell'etica.Sergio Cremaschi - 2012 - Roma RM, Italia: Carocci.
    The book reconstructs the history of Western ethics. The approach chosen focuses the endless dialectic of moral codes, or different kinds of ethos, moral doctrines that are preached in order to bring about a reform of existing ethos, and ethical theories that have taken shape in the context of controversies about the ethos and moral doctrines as means of justifying or reforming moral doctrines. Such dialectic is what is meant here by the phrase ‘moral traditions’, taken as a name for (...)
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  39.  44
    A rhetoric for polytheistic democracy: Walt Whitman's "poet of many in one".Peter Simonson - 2003 - Philosophy and Rhetoric 36 (4):353-375.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.4 (2003) 353-375 [Access article in PDF] A Rhetoric for Polytheistic Democracy: Walt Whitman's "Poem of Many in One" Peter Simonson Department of Communication University of Pittsburgh This essay aims to generate rhetorically oriented normative communication theory useful for the current socio-intellectual moment. It draws upon Walt Whitman's 1850s poetry as an artistically compelling statement of what I call polytheistic democracy, a form of life marked (...)
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  40.  14
    Twice Untitled and Other Pictures.Louise Lawler - 2006 - MIT Press.
    Works by one of the most important artists working in America today—photographs, collaborative projects, ephemeral objects, and trenchant and witty institutional critique. For the past two decades Louise Lawler has been taking photographs of art in situ, from small poignant black-and-white images of art in people's homes to large format glossy color pictures of art in museums and in auction houses. In addition she has produced a variety of objects—paperweights, etched drinking glasses, matchbooks, gallery announcements—all of which cleverly describe (...)
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  41. Philosophy of Art: A Contemporary Introduction.Noël Carroll - 1999 - New York: Routledge.
    _Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way (...)
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  42.  90
    Scrutinizing Studio Art and Its Study: Historical Relations and Contemporary Conditions.Elizabeth M. Grierson - 2010 - Journal of Aesthetic Education 44 (2):111.
    In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing Studio Art and Its StudyHistorical Relations and Contemporary ConditionsElizabeth M. Grierson (bio)Yet art is nevertheless an inquiry, precise and rigorous.—Maurice BlanchotIntroductionThe modern disciplines of art and art history have been going through significant revisions since the 1980s, when the objective domain of knowledge was placed in a contested position by the multiplicity of narratives characterizing postmodern social spaces. Whether there was or was not any disciplinary "crisis" at (...)
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  43.  53
    Husserl und Kant: Eine untersuchung über Husserls verhältnis zu Kant und zum neuKantianismus.W. H. Werkmeister - 1968 - Journal of the History of Philosophy 6 (1):368-370.
    In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 97 supposed by actual idealism is above all moral and involves what Gentile describes as an aspect of divinity or infinity,as well as a concrete, historical aspect. The following chapter treats of the philosophy of "actual" idealism and compares the views of Kant and Gentile on relations between moral conscience and freedom. According to Yalentini, Gentile's idealism is essentially an ethical view. This chapter concludes with noting (...)
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  44. An Interview with Lance Olsen.Ben Segal - 2012 - Continent 2 (1):40-43.
    continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...)
     
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  45.  14
    Styles of Discourse.Ioannis Vandoulakis & Tatiana Denisova (eds.) - 2021 - Kraków: Instytut Filozofii, Uniwersytet Jagielloński w Krakowie.
    The volume starts with the paper of Lynn Maurice Ferguson Arnold, former Premier of South Australia and former Minister of Education of Australia, concerning the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) that was held from 25 May to 25 November 1937 in Paris, France. The organization of the world exhibition had placed the Nazi German and the Soviet pavilions directly across from each other. Many papers are devoted (...)
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  46. From Trust to Body. Artspace, Prestige, Sensitivity.Filippo Fimiani - 2017 - In Felice Masi & Maria Catena (eds.), The Changing Faces of Space. Cham: Springer Verlag. pp. 277-288.
    What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when a (...)
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  47.  17
    The Manifold in Perception. Theories of Art from Kant to Hildebrand (review).Jean G. Harrell - 1974 - Journal of the History of Philosophy 12 (4):537-538.
    In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 537 tion of his three dialogues, and of course there are several references to Hume's intern= parable Dialogues. The bibliographic essay is useful with respect to general works and period pieces but unfortunately does little to help those who are seeking further help in understanding an individual writer. Professor France's work is an invaluable guide nevertheless for those who realize that authors, even philosophers, do not write (...)
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  48.  40
    Reply to my commentators.David Carrier - 2007 - Journal of Aesthetic Education 41 (2):22-24.
    In lieu of an abstract, here is a brief excerpt of the content:Reply to My CommentatorsDavid CarrierI am immensely thankful to Rika Burnham and Elliott Kai-Kee, Enrique Martínez Celaya, Klaus Ottmann, and Sean Ulmer for their comments on my book. And to Daniel A. Siedell for organizing this mini-symposium, which really is an author's dream. By gently pressing me to think about important issues, these sympathetic commentators have advanced dialogue.When writing Museum Skepticism I became very aware that there are two (...)
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  49. What is literature? What is art? Integrating essence and history.Jerry Farber - 2005 - Journal of Aesthetic Education 39 (3):1-21.
    In lieu of an abstract, here is a brief excerpt of the content:What Is Literature? What Is Art?Integrating Essence and HistoryJerry Farber (bio)I. Aesthetic ExperienceThere remains a widespread belief among literature professors that literature doesn't exist; that is, that it has no stable, transhistorical identity. The very term "literature," we are reminded, shifts its meaning from one century to another. And even if someone should insist that, when they talk about literature, they're not talking about writings in general or a (...)
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  50. Arthur Danto’s Andy Warhol: the Embodiment of Theory in Art and the Pragmatic Turn.Stephen Snyder - forthcoming - Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...)
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