Stakeholder theory has become an influential framework for addressing organizational challenges, including those related to sustainability. Yet, the inclusion of nonhuman stakeholders in stakeholder theory is complicated by ontological and epistemological obstacles. To overcome these, we turn to art and posthumanist practice theory and examine artist-led practices by focusing on the projects of two pioneering eco-artists, Helen Mayer Harrison and Newton Harrison. In this way we identify the ontological and epistemological challenges that impede the inclusion of nonhumans into (...) stakeholder theory, showing that artist-led practices allow for the inclusion of nonhuman stakeholders in two ways: (1) by specifying the temporal, spatial, and outcome distinctions that ontologically hinder their inclusion; and (2) by explicating the reframing of knowing and the emotional and imaginative dimensions of knowing that epistemologically enable their inclusion. We expand on the theorizing of nonhuman stakeholder inclusion by understanding the inclusion of nonhumans, first, not as a fixed state that is to be achieved but rather as one that materializes and gains meaning through specific practices of knowing; and, second, not as merely the absence of exclusion but rather as a dynamic interplay, where inclusion and exclusion mutually constitute one another. By advancing stakeholder theory’s theorizing and understandings of inclusion and exclusion, we also respond to urgent and contemporary environmental challenges. (shrink)

What contribution can visual art practice bring to interdisciplinary research? And how to give an account of practice-led research that acknowledges the need for interdisciplinary intelligibility? I consider these two questions by reflecting on the methodology--which I call "critical practical analogy" (CPA)--that I have developed while investigating the metaethical implications of French philosopher Simone Weil's notion of attention, during my practice-led PhD. In order to address the first question, I consider as a case study a research art (...) project that employs CPA, and I explain how CPA proved instrumental in overcoming the impasse that I reached by purely theoretical investigation of Weil's discourse on attention and how it opened a distinctly artistic way forward in my research. In order to address the second question, I consider a problem posed by the interdisciplinary nature of my research (covering art and philosophy). I show how, through the application of CPA to the case study, I articulated an exegesis of my research that was intelligible across these two heterogeneous fields of investigation. In conclusion, I give some reasons for my hope that CPA may possess some heuristic and exegetical applicability in practice-led interdisciplinary research beyond my own research. (shrink)

Practice-led research in the field of art and design usually involves a study of the interplay between a researcher-practitioner and her artistic work in process. This article seeks to illustrate that documentation of art practice can be a means to record that interplay and it can be used as relevant material in practice-led research. The article will present an account of documentation in practice-led research highlighting two principal aspects: phases of documentation and the role of documentation (...) within the overall research process. The account will capture reflections of the author’s own practice-led research in fiber art, which investigates the relationship between materials and artistic expression, in the context of contemporary art. (shrink)

Periods of accelerated societal change in European history have disrupted gradual alteration in the landscape, creating breaks with the past. This has led to, what we refer to as, the contemporary landscape identity complex in the Netherlands. Composed of dissonant narratives surrounding the landscape that play out on the societal level, the contemporary landscape identity complex may create tensions that can obstruct conservation efforts. In this article, we map out this complex. Three narrative clusters, distilled from literature and supplemented by (...) interviews, aid in understanding the tension regarding the future of the Dutch contemporary rural landscape, namely: ‘the utilitarian narrative’, ‘the romantic narrative’, and ‘the eco-scientific narrative’. The contemporary landscape identity complex is fed by these narratives, specifically through how rural landscapes are imagined and discussed, as opposed to how they are lived and acted upon. The way such narratives play out in practice is further investigated through a case study on the ‘Bommelerwaard’, an area in the south-central of the Netherlands. From our results, we propose a pathway to reconcile the contemporary landscape identity complex towards a landscape conservation ethic that allows for a co-existence of a diversity of images and ideas about (semi-) natural landscapes. (shrink)

“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the (...) individual when the activity of “dancing” is enjoyedas a dancerwithindifferent dance domains(e.g.,professional/”high-art”type of dance,eroticdance,religiousdance,clubdancing,Dance Movement Therapy(DMT), and what is commonly known ashobby, recreationalorsocialdance), and (b) the effects on the individual within these different domains, as a dancer of thedifferent dance styles(solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body. (shrink)

Many women creative practice-led researchers appear inhibited by a number of factors directly connected to their gender. This article discusses these factors, including the culture of visual arts professional practice, the circumstances surrounding women postgraduate students and unproductive self-theories about intelligence and creativity. A number of feminist strategies are discussed as potential interventions that may assist women creative practice-led researchers and their supervisors to reap more personal and professional rewards from their postgraduate research.

Haraway foregrounds many stories that we, in a late capitalist era, tell ourselves in order to justify, or not even notice, actions that are harmful to all living things. While I am mindful of Haraway’s excellent attention to the ways that ‘stories tell stories, thoughts think thoughts, and knots knot knots,’ I argue that we must take great care when we, as educators, blur the lines between facts and fiction; reality and art. When everything becomes a story—with some stories simply (...) being more compelling than other stories—we run the risk of contributing to the very sense of unmooring that has led us to the status quo where arctic icecaps are melting, living things are becoming extinct, and humans are suffering from man-made pollution. In this paper, I trouble the use of stories to draw attention to the ecological harm we have done to our earth. While stories can be powerful, there are risks associated with how we tell stories; and particular risks when we blur the lines between critical storytelling and the idea of something as ‘factual’. Storytelling, and blurring the lines between stories and facts, can have negative implications for our quest to generate a sense of ‘response-ability’ for our planet and all who live on it. In order to make that argument, I first talk about my own story and the ways that I have used stories in the classroom. I then touch on Haraway and her particular use of stories. I then foreground the practice of telling truths with stories by exploring the use of critical fiction and narrative inquiry. I conclude with implications for pedagogy. (shrink)

BackgroundPrevious empirical work among physicians has led us to propose that clinical practice is experienced by clinicians as an engagement-in-the-clinical-situation. In this study, we pursue our exploration of clinical practice ‘on its own terms’ by turning to the experience of patients.MethodsPhenomenological analysis of in-depth individual interviews with 8 patients.ResultsWe describe the patient experience as a set of three motifs: the shock on the realization of the illness, the chaos of the health care environment, and the anchor point provided (...) by an engaged physician. We draw on Heidegger’s notion of solicitude to show that patients are actively ascertaining the physician’s engagement in their care.ConclusionsThese findings lead us to question the classical “dual discourse” of medicine that offers a dichotomous account of clinical practice as the addition of care to cure, art to science, humanism to technique, and person to medical case. We found no such distinctions in our empirical investigation of clinical practice. Rather, in our synthesis, practice appears as a unitary experience. The physician’s solicitude for the patient entrains engagement in the clinical situation. Moreover, the solicitous, engaged physician constitutes an anchor point for the patient. (shrink)

Art as a Singular Rule "Art has nothing to do with me. Or my family. Or anybody I know" Abstract - This paper will examine an unresolved tension inherent in the question of art and argue for the idea of a singular rule as a natural resolution. In so doing, the structure of a singular rule will be fully outlined and its paradoxical constitution will be resolved. The tension I mention above unfolds both as a matter of history and as (...) a product of analysis. The concept of imitation will be our introduction to a brief overview of a historical trajectory starting with Plato. Plato is notorious for having imposed one of the most humiliating verdicts ever on the Arts: Art is imitative he argued, it is the practice of reproducing illusions and is, therefore, both an inferior source of knowledge and an ethically corrupt activity. Then, the story continues, came Aristotle, the savior of the Arts: he suggested that since essence, form, is imbedded in reality, the artist who imitates essence performs the noble task of abstracting form from substance. Art could now proudly stand alongside other highly respectable branches of human activities, such as the sciences. With the dominance of Aristotle in Western culture, abstraction came to play a key role. Leaping forward to our time, it can be argued that in Modernism the move towards abstraction was pushed to breaking point - to the point where the object was dismissed and denied relevancy to the work of art. This will bring us to a discussion of Art as representation and subsequently, to the introduction of a line of philosophical reasoning that threatens the Arts. It will seem as if we are caught between two extremes: If we assume that art is representational, we open the door for the old Platonic criticism that art is merely imitative (of its object); If we return to abstractionism, we may be led along a path that does not stop short of renouncing the object altogether, i.e. nothing is asserted as standing to the work of art as an "object" or an outer aim; this leaves us on a suspiciously skeptical note concerning the purpose and aim of art - and it indeed echoes prevailing feelings of unrest and confusion concerning the arts, precisely the sort that the quote above indicates. This seems to entrap us in a vicious circle. However, drawing upon the philosophies of Kant, Wittgenstein, Goodman and the contemporary Czech philosopher and esthetician, Tomas Kulka, I suggest a way for resolving the dilemma. This is my analysis of singular rule. (shrink)

Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often (...) crucial to the identification, individuation, and interpretation of its associated artwork. This paper represents a first step towards an empirically centred study of our titling practices. I argue that, in order to accept titles as proper names, we must first recognize the social, rather than the referential, function of naming. (shrink)

For much of its history, philosophy was not merely a theoretical discipline but a way of life, an "art of living." This practical aspect of philosophy has been much less dominant in modernity than it was in ancient Greece and Rome, when philosophers of all stripes kept returning to Socrates as a model for living. The idea of philosophy as an art of living has survived in the works of such major modern authors as Montaigne, Nietzsche, and Foucault. Each of (...) these writers has used philosophical discussion as a means of establishing what a person is and how a worthwhile life is to be lived. In this wide-ranging, brilliantly written account, Alexander Nehamas provides an incisive reevaluation of Socrates' place in the Western philosophical tradition and shows the importance of Socrates for Montaigne, Nietzsche, and Foucault. Why does each of these philosophers—each fundamentally concerned with his own originality—return to Socrates as a model? The answer lies in the irony that characterizes the Socrates we know from the Platonic dialogues. Socratic irony creates a mask that prevents a view of what lies behind. How Socrates led the life he did, what enabled or inspired him, is never made evident. No tenets are proposed. Socrates remains a silent and ambiguous character, forcing readers to come to their own conclusions about the art of life. This, Nehamas shows, is what allowed Montaigne, Nietzsche, and Foucault to return to Socrates as a model without thereby compelling them to imitate him. This highly readable, erudite study argues for the importance of the tradition within Western philosophy that is best described as "the art of living" and casts Montaigne, Nietzsche, and Foucault as the three major modern representatives of this tradition. Full of original ideas and challenging associations, this work will offer new ways of thinking about the philosophers Nehamas discusses and about the discipline of philosophy itself. (shrink)

Intermedial art, as it emerged in the 1960s and 70s, constituted a threat not only to the medium specificity of modernism, but to the artwork as self-contained autonomous object. Both supporters and critics of intermedia drew a contrast between, on the one hand, modernism’s aesthetic engagement with a medium-specific ‘object’, and on the other new non-aesthetic ‘practices’ engaging the ‘literal spectator’ within her own space, such that the space of the gallery is drawn into the situational encounter. In her (...) 2003/12 book Aesthetics of Installation Art Juliana Rebentisch challenges this binary characterization of autonomous/non-autonomous art. She argues that aesthetic autonomy is not something that can be guaranteed by production, but rather is explicable only with reference to the structure of the aesthetic experience. And for Rebentisch, while installation art has not led to fundamentally different conditions of reception, it has led to an ideological rejection of the notion of context-independent art. Aesthetic autonomy is here not abandoned, but rather reconfigured as a dynamic operational with respect to the ethical and political situation where we encounter the artwork. Sympathetic to the broad remit of Rebentisch’s argument, this article investigates the role of the beholder’s share within the context of such situated art. I draw specifically on Wolfgang Iser’s transformation of a negative aesthetics from binaries of negation/affirmation into an enabling structure where the organization of signifiers serve not the designation of a signified object, but rather designate instructions for the production of the signified. This requires work of the situated beholder, who must negotiate access to the work’s content by bringing her orientation into play. Installation art, thus conceived, constitutes a space that while virtualized – removed from functional imperatives – compels acts of imagination/ideation by problematizing our habitual dispositions. (shrink)

This article addresses Technology Arts Education in South Africa, in particular the case of the development and mutant growth of the Digital Arts department at the University of the Witwatersrand in Johannesburg from 2003 to present. The article addresses the difficulties of working in a strongly discipline-orientated university system, and the small but fascinating successes that have led to major developments in the department. The focus is on the mechanisms of collaboration that have both evolved and been purposefully put in (...) place for a trans-disciplinary education structure to be successfully run. These exist between subject divisions in the School of Arts; and further between the Faculty of Humanities (in which the Digital Arts department is housed) and the Faculty of Engineering, at the University of the Witwatersrand. We address historical collaborations and how these allowed for further developments across disciplines. Through a process of unpacking and presenting, we explore the errors and identify those aspects that we feel are still missing. These include a focus on concepts that have been passed over due to issues around course structure and discipline ownership. We conclude with a look to the future, to opportunities to develop uniquely African Digital Arts practice. (shrink)

Increased attention to the relationship between democracy and education in the UK has been accompanied over the past thirteen years by an interest in how art can be used to promote democratic citizenship.While this approach has led to increased funding for the arts, it is not without its problems,and has often entailed an apolitical and instrumentalist view of both art and education. This paper turns to the political philosophy of Mouffe and Rancière, the work of Rancière in aesthetics, and Biesta’s (...) educational philosophy to develop an alternative way of understanding the significance of art for democracy and education. Building on their work, I take a performative and collective view of democratic subjectivity as the basis on which to construct this alternative understanding. I further argue that this conceptualisation can aid our understanding of democratic learning and our ability to provide opportunities for it through art and educational practice. (shrink)

This paper aims to contribute a design-focused perspective on the ‘alternative paradigm research’ discussion. To clarify the aspect of ‘design-focus’ that we wish to refer to, we will use the term ‘areas of design practice’ to cover those activities that focus on the conception and production of artefacts, in contrast to the activities of theorizing and writing histories. The literature on academic research in areas of design practice encompasses a board range of subjects and terminology -- it refers (...) to the creative and performing arts, the arts, design, etc., however what we take to be common in the literature is an interest in research involving the creation of original artefacts. In this paper, we cluster together the currently academicized, previously vocational areas. -/- We claim that researchers in different disciplines operate in different research paradigms owing to different worldviews. A worldview is determined by a set of foundational beliefs that are taken on faith, and a research paradigm is defined by axioms and assumptions that are a consequence of that worldview. For example, the scientific view of the world is that it exists independently from the individual and the individual’s thoughts about it; and it is possible to find out objective facts about the world by following certain procedures. This worldview conditions a research paradigm with an ontology of a real external world; that methodologically the data that is collected in procedurally appropriate ways will yield objective facts about that world; and that epistemologically the researcher stands in a disengaged relation to the world that is being investigated. The procedures that are regarded as appropriate within a particular research paradigm form the research models that are acceptable in that paradigm, and these research models determine what one should do in order to extend knowledge in a particular subject. Of course, the scientific worldview is not the only one, and this paper will contrast it to the design worldview as indicating the emergence of a unique research paradigm. -/- The relationship between a community’s worldview and the academic models that it adopts may be functional or dysfunctional. We claim that the relationship in the areas of design practice is often dysfunctional. This is because the academic model has not developed authentically in relation to its fundamental beliefs, but has done so in response to external forces for academicization. When pushed into the academy, areas of design practice did not possess their own academic models that were effectively linked to its worldview. We claim that, as a result, these areas simply co-opted research models from other disciplines. -/- The paper proposes a rationalistic approach for investigating the relationship between worldview and research paradigm -- between fundamental beliefs, theoretical concepts and methodology in research models. The rationalistic approach enables a critique, which reveals that there are indeed problematic issues with adopting academic models from other research paradigms in an uncritical way, and concludes that areas of design practice should be investigated as an example of a distinct worldview. (shrink)

The purpose of this paper is to consider Dewey’s influence on American artistic culture between the nineteen-twenties and the nineteen-fifties by focusing on the social and political implications of his approach to art in terms of experience. This entails recapturing, in a concise form, the impact of Dewey’s thought on the development of the Federal Art Project and on Abstract Expressionism. On the basis of the pragmatist assumption that the soundness of a theoretical proposal is to be measured according to (...) its capacity to meet the difficulties arising in our everyday interactions, the present paper systematically examines the theoretical implications of Dewey’s aesthetics in the light of the historical consequences of a specific cultural policy. Dewey’s conception of art and aesthetic experience appears to have made a decisive contribution by providing new opportunities to enjoy the arts and by widely promoting practices with the potential to be aesthetically satisfying. Dewey’s ideas actually led to an undermining of the hierarchy between the fine arts and crafts, between popular culture and design, etc. More problematic are their connections with questions of cultural identity and of art market. Dewey’s influence on the Abstract Expressionists is evident in the way it shifted the artistic focus from art objects toward the experiential dimensions of artistic practices. Some problems regard the accessibility of this kind of works for a general audience and a certain reinforcement of the conception of the artist as creative genius, included the related interpretation of artistic creation as extreme subjective expression. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.3 (2000) 493-512 [Access article in PDF] William Morris: Art, Work, and Leisure Ruth Kinna William Morris's most important contribution to British socialist thought is often said to be his elaboration of a plan for the socialist future. E. P. Thompson, for example, argued that Morris was "a pioneer of constructive thought as to the organization of socialist life within Communist society." 1 (...) His vision of socialism, famously captured in his utopian novel News From Nowhere, was inspired by a number of principles, but perhaps its most notable feature was the demand that labor be made attractive. 2 As John Drinkwater noted shortly after Morris's death, Morris passionately believed that an individual who is "overworked, or employed all the while in degrading work... cannot be himself." The message of his socialism, in Drinkwater's view "one of the profoundest and most inspiriting that it has been given to any man to deliver," was that "in bringing back joy to their daily work [men]... would put their feet on the first step towards... true dignity and pride of life." 3Since Drinkwater's comments, Morris's ideas about the organization of labor in socialism have attracted a considerable amount of attention. Most scholars have argued that his ideas were underpinned by two separate concerns: his hostility to the effects of industrialization and his opposition to the division of labor. As Fiona McCarthy notes, Morris not only protested against the pollution, congestion, and "squalid industrial waste" produced by "uncontrolled factory production," he also spoke out against the "rigid organization of the factory [End Page 493] which keeps the operative virtually chained to a single repetitive task." 4 Though both aspects of Morris's work have generated considerable scholarly interest, the first has attracted more attention than the second. A. L. Morton preferred to examine Morris's attacks on the effects of industrialization in order to counter the impression that his complaints were anti-modern or that his socialism required a return to premechanized methods of production. 5 Others have argued, more positively, that the proposals Morris made for the reorganization and for the improvement of factory production in particular set him apart from his contemporaries. 6 Recently, eco-socialist writers have developed this line of thought and extolled Morris as a precursor of green theory. 7 By contrast, Morris's views about the division of labor have not been seen as either controversial or distinctive. In some accounts his ideas are straightforwardly compared to Marx's. 8 Others suggest that his understanding of the division of labor was hazy. Paul Meier, for example, argues that Morris was unclear about the problems that the division of labor raised and that he only discussed it in a very general way. 9 Both these approaches mistakenly emphasize the separateness of the two elements in Morris's thought, and the relationship between his critique of industrialization and the division of labor has been neglected. I will argue that it is this relationship, and not the two respective parts, which holds the key to his demand for the realization of attractive labor.Morris integrated his ideas about industrialization and the division of labor into a wider analysis of the relationship between work and leisure. He began to think about this relationship before he committed himself to socialism in 1883, but his mature thought was influenced by Fourier as well as Marx. The two led him to conceptualize the relationship in two distinct ways. In the first he contrasted work with leisure and suggested that attractive labor required the reduction of necessary labor time; in the second he identified work with leisure and defined attractive labor as the exercise and expression of human creativity. As will be seen, these two conceptions were not easily reconciled. The first led Morris to argue that the realization of attractive labor was dependent upon the division of labor and the increase in productivity which it fostered; the second convinced him that attractive labor required a change in working practices and [End Page 494] that its realization... (shrink)

This presentation is something of a performative response to the thrust and promise of Dennis Schmidt’s work in Between Word and Image, especially his reference to art as an ethopoetic event. My own art practice has led me to ask when art happens, about the event of art. Rilke was right: “you must change your life.” This means a break with the dominance of representation, calculation and Machenschaft. The idea that this means a renewal of dwelling, and that art (...) can help, is for Denny the ethical promise of art. We here take up questions he sets aside—that of Nature and that of the possibility/efficacy of art today (Hegel/Adorno). I claim that earth art has distinctive ways of recalibrating our understanding of and engagement with space and time, which feed into what we mean by dwelling, our bearing in the world. This transforms how we think of questions of control with respect to Nature. (shrink)

Haraway foregrounds many stories that we, in a late capitalist era, tell ourselves in order to justify, or not even notice, actions that are harmful to all living things. While I am mindful of Haraway’s excellent attention to the ways that ‘stories tell stories, thoughts think thoughts, and knots knot knots,’ I argue that we must take great care when we, as educators, blur the lines between facts and fiction; reality and art. When everything becomes a story—with some stories simply (...) being more compelling than other stories—we run the risk of contributing to the very sense of unmooring that has led us to the status quo where arctic icecaps are melting, living things are becoming extinct, and humans are suffering from man-made pollution. In this paper, I trouble the use of stories to draw attention to the ecological harm we have done to our earth. While stories can be powerful, there are risks associated with how we tell stories; and particular risks when we blur the lines between critical storytelling and the idea of something as ‘factual’. Storytelling, and blurring the lines between stories and facts, can have negative implications for our quest to generate a sense of ‘response-ability’ for our planet and all who live on it. In order to make that argument, I first talk about my own story and the ways that I have used stories in the classroom. I then touch on Haraway and her particular use of stories. I then foreground the practice of telling truths with stories by exploring the use of critical fiction and narrative inquiry. I conclude with implications for pedagogy. (shrink)

For much of its history, philosophy was not merely a theoretical discipline but a way of life, an "art of living." This practical aspect of philosophy has been much less dominant in modernity than it was in ancient Greece and Rome, when philosophers of all stripes kept returning to Socrates as a model for living. The idea of philosophy as an art of living has survived in the works of such major modern authors as Montaigne, Nietzsche, and Foucault. Each of (...) these writers has used philosophical discussion as a means of establishing what a person is and how a worthwhile life is to be lived. In this wide-ranging, brilliantly written account, Alexander Nehamas provides an incisive reevaluation of Socrates' place in the Western philosophical tradition and shows the importance of Socrates for Montaigne, Nietzsche, and Foucault. Why does each of these philosophers—each fundamentally concerned with his own originality—return to Socrates as a model? The answer lies in the irony that characterizes the Socrates we know from the Platonic dialogues. Socratic irony creates a mask that prevents a view of what lies behind. How Socrates led the life he did, what enabled or inspired him, is never made evident. No tenets are proposed. Socrates remains a silent and ambiguous character, forcing readers to come to their own conclusions about the art of life. This, Nehamas shows, is what allowed Montaigne, Nietzsche, and Foucault to return to Socrates as a model without thereby compelling them to imitate him. This highly readable, erudite study argues for the importance of the tradition within Western philosophy that is best described as "the art of living" and casts Montaigne, Nietzsche, and Foucault as the three major modern representatives of this tradition. Full of original ideas and challenging associations, this work will offer new ways of thinking about the philosophers Nehamas discusses and about the discipline of philosophy itself. (shrink)

1234Coming from the current context permeated by technological systems of Artificial Intelligence (AI), we discern a growing and recurring concern for the future, for its images and imaginaries, wh...

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

This study aims to examine how interdisciplinary urban interventions within architectural education can effectively address social justice issues. Motivated by the growing need for inclusive and equitable urban spaces, this research explores the potential of collaborative design and participatory research methods to foster social awareness and community engagement. Focusing on student-led projects in cities such as Houston, San Diego, and Amsterdam, this study addresses social justice challenges across themes like Art Activism, Tactical Urbanism, environmental justice, and gender equity. Using case (...) study analysis, digital mapping, and poster creation as core methodologies, the research demonstrates the value of multi-scalar, interdisciplinary approaches in tackling complex urban problems. The key findings highlight that integrating these approaches into architectural education promotes critical engagement with social justice issues, equipping students with practical skills for future professional challenges. The implications suggest that expanding this framework to diverse urban contexts could enhance its impact, offering a foundation for further studies on interdisciplinary design as a tool for urban equity. (shrink)

Throughout art history, numerous artists have explored connections to science. In the society of today, the relationship between art and biology has been acquiring special visibility. Moreover, the current importance given to science and technology by today’s public opinion directly drives an increased awareness about the relationship between art and science. The public has been eagerly following breakthroughs in scientific research, albeit with mixed feelings: simultaneously awe, hope and fear for its potential misuse. Such awareness about biological sciences and biotechnology (...) has been having an increasing influence over artists, where the artist is no longer a mere observer of the scientific research and not quite a science researcher, but rather an art researcher. This particular position has led to the development of strategies to promote the exploration of possibilities deriving from a cross-talk between artists and scientists. This is a new art practice, based on a ‘risk-based’ situation; a timeless research strategy to develop new methods of practice, new media and new ways to manipulate materials for artistic expression. This is art research. During the twentieth century, the key scientific advances – such as the discovery of the DNA structure, in vitro fertilization, transgenesis or the sequencing of the human genome (in the twenty-first century) – were perceived by society in diverse ways. The progressive incorporation of those concepts by society itself led to a point where biology and the medical sciences became the most promising areas of science. It is therefore not surprising that those same scientific disciplines have marked the development of the artistic discourse in a tremendous fashion, as well as also influencing all other areas of the contemporary society. Furthermore, these artworks explore new media, described as ‘moist’ in that they integrate dry in silico computer components with wet living biological systems. (shrink)

Mastering the Art of Meditation is an instructional guide to various forms of meditation, representing several spiritual traditions, including Hinduism, Buddhism, Taoism, and Shamanism. Readers are led through the three aspects of meditation: Concentrative, Receptive, and Expressive. Techniques include: Breathing, Imaging, Icon, Mandala, Shamanic Nature Gazing, Music, Mantra, Sacred Words, Centering Prayer, Body Awareness, Movement, Koans, Compassion, Samatha, Vipassana, Zazen, Tapas, Kundalini, Chi, and Tonglen. Dr. Don Giles, the author, spent over a decade learning these practices from a variety (...) of masters from around the world. Dr. Giles, a Professor of Philosophy and Religious Studies, has been teaching students both in and outside of the classroom for over 25 years. (shrink)

BackgroundThe time that children and young people spend in nature and outdoor spaces has decreased significantly over the past 30 years. This was exacerbated with a further 60% decline post-COVID-19. Research demonstrating that natural environments have a positive impact on health and wellbeing has led to prescription of nature-based health interventions and green prescribing, although evidence for its use is predominantly limited to adults. Growing evidence also shows the impact of arts on all aspects of health and wellbeing. However, what (...) has received scant attention in literature is the interconnection between the two: arts and nature.AimsThis review synthesizes the literature surrounding the interconnectedness between arts and nature, and their impact on the health and wellbeing of children and young people.MethodsEight major electronic databases were systematically searched, while hand-searching included 20 journals, six books, and contact with experts. The review was conducted using the Cochrane handbook for systematic reviews, PRISMA guidelines and TIDieR template. All stages were conducted independently by two researchers and the protocol was published on PROSPERO.ResultsAlthough 9,314 records were identified, only 11 records were included as most studies focused either on arts or nature, but not both. Studies were conducted in United Kingdom, United States, Ireland, Australia, and Hong Kong, in a range of spaces such as forests, woodlands, beaches, parks, fields, gardens, and school playgrounds. The review encompasses data from 602 participants in total.DiscussionArts-in-nature offered an inclusive medium to engage all children and young people, especially those who might otherwise remain disinterested about environmental issues and disengaged with educational programs. Further, arts-in-nature provided stimuli to increase nature connectivity, understand environmental issues and explore ways to prevent environmental disasters. This led to higher environmental awareness and pro-environmental behaviors, and potential decrease in eco-anxiety.ConclusionAlthough the quality of qualitative studies was high, the quality of quantitative studies was low or unclear, thus quantitative evidence is still at its infancy. Implications for research, policy, and practice are discussed, such as methods and activities to strengthen future interventions. Scaling-up existing interventions may lead to wider recognition and inclusion of arts-in-nature in future health guidelines, including green prescribing. (shrink)

The Warring States period was without doubt a time when reason thrived. The Confucians, Mohists, and Daoists, respectively, displayed three of its intellectual inclinations. One was reason with an exceptionally prominent moral flavor, and the cultivation of human character as its object. It calls on men to uphold the dignity, tranquillity, and loftiness of their inner selves. One was reason with a very strong practical flavor, and the realization of beneficent profit as its object. It leads men to address ways (...) of maintaining the stability of society, material wealth to support men's livelihoods, and individual survival. Apart from these two, there was reason that has spiritual transcendence and human immortality as its object, and which was manifested as a tendency toward anti-intellectualism. It tries to protect individual survival and freedom of the spirit, despite social pressures. As for those mystical ideas and techniques that seemed absurd, they gradually regressed into simplistic ceremonies, fables, and symbols among the cultural workers who pursued reason. The psychological attitude of "sacrificing to spirits as if they were present" led many cultural aristocrats to distance themselves from mystical ideas and techniques. Mysticism gradually disappeared from among men of culture, especially once it became increasingly difficult for those divination methods and technical arts, used merely to satisfy concrete needs, to avoid the scrutiny of reason. Some late Warring States period texts can help us understand the direction this way of thinking took. "Xian xue" in the Hanfeizi says,When the shaman priests pray for someone, they say, "May you live a thousand autumns and ten thousand years!" But the "thousand autumns and ten thousand years" are only a noise dinning on the ear: No one has ever proven [zheng] that such prayers add so much as a day to anyone"s life. For this reason people despise the shaman priests.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cavellian Conversation and the Life of ArtDavid GoldblattThe issue of the death or end of art has led me think about its life. Although I will be writing about the life of art, it should be made clear that my use of that phrase is only tangentially related to the issue resurrected by Arthur Danto in his essay "The End of Art."1 In that essay and elsewhere Danto recognized (...) a new period of ahistorical art—an art without a progressive history and relieved of the burden of perpetual self-definition. After the end of art artworks cease to become the carriers of their own history. In a post-historical art world, happily he says, anything can happen. Artworks can engage in ways that are, in a limiting case, uniquely personal and so a work that instigates in this personal manner also may be art. A comparative glance at the art world, say of 1950 and the institutional practices of art today would seem to bear him out.Less ambitiously, however, this essay attempts to connect what I will call the life of artworks with the idea of conversation, a term of great interest, I want to show, in the writing of Stanley Cavell. It is this way of artworks being alive that is perfectly compatible with its death in the Dantonian sense of the term and perhaps, given the posthistorical world it has left as a residue, even lubricated by it. This essay has two points of embarkation: the act of the ventriloquist where conversational exchange between ventriloquist and dummy enlivens the latter for both the former and an audience. The second is the Wittgensteinian remark, [End Page 460] a question really, suggesting that the sign itself is dead, only in its use does it become alive. The ventriloqual analogy interests me, not because it draws bounds between artworks and non-artworks, but rather because of what I hope it will bring into prominence among artworks—that it will help to explain how some works gain a life in a culture while others are aesthetic dead-ends or mere taxidermies, to repeat a term used by Danto—how some art is resurrected, and some, as they say, stand the test of time. It is part of this story that whatever is needed to say about art in a culture it should include a relationship between persons and things that I dramatically refer to as conversational. And those conversations, by the artist with her own work and those by an audience with the artist's work, lie somewhere at the beginning of its cultural animation. What would follow on this perspective would be the conversations that are generated by artworks among their audience members, sometimes inviting or forcing our return to the works that were their cultural origins.If Wittgenstein is right that the relationship between meaning and use is, at least in a large number of cases, an intimate one, and if works of art are objects of meaning, then looking at their use may be a way of seeing their life, something like the way Wittgenstein in his later writings came to look at words in their life situations, often bringing them back from what he called metaphysics. Nelson Goodman, I believe, was on to something like this when he suggested in his essay "When Is Art?" that, "Just by virtue of functioning as a symbol in a certain way does an object become, while functioning, a work of art... a Rembrandt painting may cease to function as a work of art when used to replace a broken window or as a blanket."2 Although I am suggesting here that we should tend to the ways artworks are used, unlike Goodman, I am not interested in their cessation as artworks. I am hoping to draw out one way artworks function, one way we do art without necessarily making artworks. But I am not here interested in the borders between art and the rest of the world.The idea of conversation extends or annexes the notion of interpretation, of saying what artworks say, but allowing for a more personal, less rigid domain of discourse that takes as... (shrink)

Like other key terms in the medical and health humanities—empathy, creativity, and reflection, to name just a few—wellness has become a weasel word, rife the language of optimization, duty, and self-perception. While alternative vocabularies exist—well-being and quality of life among them—these options usually privilege the objectives of academic (often psychological) research, health institutions, and the economic state apparatus, rather than people themselves. In mind of these concerns, why attempt to make a case for wellness at all? We present a historically (...) informed, theoretically driven, praxis-guided framework for a renewed vision of social wellness (a concept first defined in the late 1950s). While definitions since Bill Hettler’s “hexagonal” model (1980) have included mutual respect for others and the assumption of cooperative behaviors, conspicuously absent from contemporary definitions and usage is any mention of the aesthetic realm, which we—alongside philosophers like Amartya Sen and Martha Nussbaum—take as a central human capability. How can the relational possibilities of arts engagement be understood as not just a means of promoting individual wellness, but also as a method and outcome of social wellness? We propose that social wellness is ultimately premised on the interplay between wellness of the collective and the strength of the relational encounters it engenders. We turn to a key practice paradigm—community arts engagement—as both a vehicle for and site of social wellness. With brief reference to a Canadian exemplar, we conclude with concrete recommendations for addressing critical opportunities for advancing arts-led social wellness initiatives involving academic and community partners. (shrink)

Congo Style presents a postcolonial approach to discussing the visual culture of two now-notorious regimes: King Leopold II's Congo Colony and the state sites of Mobutu Sese Seko's totalitarian Zaïre. Readers are brought into the living remains of sites once made up of ambitious modernist architecture and art in Kinshasa, Democratic Republic of the Congo. From the total artworks of Art Nouveau to the aggrandizing sites of post-independence Kinshasa, Congo Style investigates the experiential qualities of man-made environments intended to entertain, (...) delight, seduce and impress. In her study of visual culture, Ruth Sacks sets out to reinstate the compelling wonder of nationalist architecture from Kinshasa's post-independence era, such as the Tower of the Exchange (1974), Gécamines Tower (1977), and the artworks and exhibitions that accompanied them. While exploring post-independence nation-building, this book examines how the underlying ideology of Belgian Art Nouveau, a celebrated movement in Belgium, led to the dominating early colonial settler buildings of the ABC Hotels (circa 1908-13). Congo Style combines Sacks's practice as a visual artist and her academic scholarship to provide an original study of early colonial and independence-era modernist sites in their African context. (shrink)

In recent years, I have developed an endurance running art-practice as part of a larger inquiry into the performative nature of human physical activity. In the Absence of Running is series of artworks made using images from medical arthroscopic interventions following the diagnosis of medial meniscus tears to the cartilage and osteoarthritis in both my knees. Faced with not being able to run or to make artworks using running in the long-term, I turned to the tools of medical intervention. (...) If a camera was going inside my knee for the purpose of surgery, I would use it for the purpose of art. The resulting videos and photographs led to a contemplation on the image and viewing practices not previously anticipated, not least on the now endemic uses of advanced imaging technologies as integral parts of surgical operations. Their reassembly as a stop-frame animation and artist’s book in physical and electronic form enabled a process of slowing down and re-engagement with the image and physicality of the book itself and processes and with practices of viewing. This was important in reasserting the sense of human agency in our relationship to images in a world where this appears to be increasingly absent. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

From the beginning of the xx century onwards, European art has gone through a remarkable mutation since Picasso shattered and chopped forms in painting through cubism, and Duchamp contemporaneously sabotaged the very idea of art with his invention of the ready made. Starting from an extensive consideration of this mutation, we tried and questioned the impact of the duchampean gesture and other subsequent artistic practices, by means of a frame of esthetic and philosophical reflection focused on the notions of (...) art, work of art, beauty, sublime, judgment of taste, spectator, ready made, and esthetic experience, inter alia. Also, our discussion questions the role of fiction in art, by means of an excerpt of a literary narration whose protagonists, a painter and his slave, seek, by the workings of drawing, to inscribe suffering and pardon at the heart of the creation act. We are thus led to think that whatever lies at the source of any interpretation of the [work of] art is an enigma and a conflict which cannot be seen through. (shrink)

This volume presents a collection of refereed papers reflecting the state of the art in the area of over-constrained systems. Besides 11 revised full papers, selected from the 24 submissions to the OCS workshop held in conjunction with the First International Conference on Principles and Practice of Constraint Programming, CP '95, held in Marseilles in September 1995, the book includes three comprehensive background papers of central importance for the workshop papers and the whole field. Also included is an introduction (...) by one of the volume editors together with a bibliography listing 243 entries. All in all this is a very useful reference book relevant for all researchers and practitioners interested in hierarchical, partial, and over-constrained systems. (shrink)

Until fairly recently, most of the attention of art historians and others in these debates has been paid to differences among the partisans of various disciplinary methodologies, or to the differential benefits of one or another school of thought or theoretical perspective in other areas of the humanities and social sciences as these might arguably apply to questions of art historical practice.1 Yet there has also come about among art historians a renewed interest in the historical origins of the (...) academic discipline itself, and in the relationships of its institutionalization in various countries to the professionalizing of other historical and critical disciplines in the latter part of the nineteenth century. These interests have led increasingly to wider discussion by art historians of the particular nature of disciplinary knowledge, the circumstances and protocols of academic practice, and the relations between the various branches of modern discourse on the visual arts: academic art history, art criticism, aesthetic philosophy, the art market, exhibitions, and musicology.2 What follows does not aim to summarize or characterize these developments but is more simply an attempt to delineate some of the principal characteristics of the discipline as an evidentiary institution in the light of the material conditions of academic practice that arose in the latter half of the nineteenth century in relation to the history of mueological display. In brief, this essay is concerned with the circumstances of art history’s foundations as a systematic and “scientific” practice, and its focus is limited to a single, albeit paradigmatic, American example. 1. An extended discussion of these issues may be found in Donald Preziosi, Rethinking Art History: Meditations on a Coy Science , pp. 80-121. See also The New Art History, ed. A. L. Rees and Frances Borzello .2. One important sign off these discussions has been a series of “Views and Overviews” of the discipline appearing in The Art Bulletin in recent years, of which the most recent has been perhaps the most extensive and comprehensive: Mieke Bal and Norman Byrson, ”Semiotics and Art History,” The Art Bulletin 73 : 174-208. Donald Preziosi is professor of art history at the University of California, Los Angeles, and, beginning in 1992, at the École des Hautes Études en Sciences Sociales in Paris. He is the author of Rethinking Art History: Meditations on a Coy Science and is currently completing a book on the history of museums entitled Framing Modernity. (shrink)

Exhibition catalogue for the exhibition of drawings and paintings held as part of the Wilderness and Inner Space conference at the University of Kent, Canterbury 2008. The concept of Territorialization from Deleuze and Guattari is linked to ideas of wilderness to both describe the psychotherapeutic relationship and to critique the proposed state regulation of the psychotherapies. The transference and counter transference relation between client and psychotherapist is described as a process of territorialization and deterritorialization in which a dream of the (...) client led to the production of art works by the psychotherapist. This at work led to the production of imagery based around the therapeutic relationship involving key images of wild animals. The animal imagery is linked to Deleuze and Guattari's re-interpretation of Freud’s interpretation of the Wolfman dream, emphasizing the social and historical determinants of dream imagery. The interrelationships between Wilderness, Territorialization and the personal and the political in dream imagery suggest the psychotherapeutic space as located on the borders between the social and a wild or wilderness space. The need to recognise the wild dimension of psychotherapy highlights the necessity to resist the imposition of monocultures of therapeutic practice through possible state regulation. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

At the dawn of the Upper Palaeolithic era around 45,000 BP, Homo sapiens migrated into Europe. This process was accompanied by the extinction of Neanderthals, which has led many to believe that this species was cognitively and behaviorally inferior to anatomically modern humans. In recent years, however, this view has been challenged. This paper focuses on art and aesthetic practices among Neanderthals, as one of the exponents of modernity. It explores to what extent central cognitivist accounts of differences with (...) Homo sapiens are supported by both theoretical arguments and empirical evidence. The commonly cited cognitive capacity for symbolism may be less crucial for art than hitherto assumed, and several other variables, such as demography and ecology, adapt the mainstream idea that the crucial difference between Neanderthals and anatomically modern humans is of a cognitive nature. As such, Neanderthals may have been artists as well, challenging longstanding ideas about the uniqueness of our species. (shrink)

We’ve been led to believe that museums are temples of knowledge. The historical ideal of the European museum has been to improve us morally by educating us about the globe’s myriad different cultures, creative practices, and belief systems. We’re taught that museum spaces are neutral: that they represent the world from an ‘objective’ point of view. But we have been lied to.As art historian Alice Procter shows in this incisive book, Western museums fall devastatingly far from this ideal. They (...) do not merely represent the harms done by colonialist forces; they perpetuate them. Museums tell us stories about their objects on display—many stolen from their original homes—and push narratives which, often subtly, express harmful ideologies about cultures ‘discovered’ in the Age of Imperialism. As viewers, our perception is narrowed and moulded while the voices of the displayed marginalized identities are silenced.Procter takes us on one of her ‘Uncomfortable Art Tours’, guiding us through four types of museum, presenting a selection of objects ranging from a Gweagal Shield to art performances of human zoos, each with their own sobering story. Procter sensitively reveals the histories and meanings behind these pieces, which are often obscured or overlooked, to highlight the imperial and colonial reality of our art collections. Part 1 opens with the ‘Palace’; spaces which functioned as homages to a collector’s taste, often an aristocrat or royal, who displayed their private collections in an attempt to shape the taste of elite audiences. Part 2 takes us to the ‘Classroom’, a didactic space which sees the origin of categorization—taxonomy sinisterly extended to notions of race, pre-empting nineteenth-century eugenics. Part 3 presents the solemn ‘Memorial’ space, a site for remembrance and display of human remains. Part 4 closes with the ‘Playground’, a self-reflexive space of activism and social art, which challenges the museum institution itself. (shrink)

The author’s practice-led research explores “the act of living.” In order to advance this idea, the author has acquired skills in investigation and expressed her thinking through a descriptive and explanatory visual language. The author’s learning journey, while not unique, has not been an ordinary one. Initial academic failure to achieve in the school education system contributes to choosing a life working on the land and harbouring the belief that she is unable to learn academically. Still, the author has (...) gained a rich base of physical knowledge and experience through the traditional oral route including learning interpersonal communication through body language and vocal tonality. The author has used this intuitive knowledge to develop an arts practice where she explores the bio-cultural links between people and the lands they inhabit, creating works that aim to extend knowing through emphasising the experience and atmosphere of landscape. At this time, when our lives have become increasingly encoded and intellectually based, the author shares a belief with American philosopher Eugene Gendlin (b. 1926) that the “felt sense” can be developed in order to enable us to engage more fully with the world around us. The author explores this idea in her visual art but also realizes the need to express it in writing, both in order to reach a wider public and because of the possibilities offered by the written word to make public which is private and held deep within. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 3-11 [Access article in PDF] A Historical Overview of Art Education in Japan Introduction The stage of art education in Japan that was given its form by "imports" from overseas — mainly Western countries — is now over. Recently, even at international art education conferences and similar venues, a wide range of dynamic presentations and speeches were heard representing Japan's unique perspective. (...) There is, however, a rather long and involved history leading up to this shift.In this essay, I present a general outline and an overview of art education in Japan, by looking back at the transitions this system of education has undergone. My hope is to increase understanding of the unique features of art education in Japan, examining the characteristics ofmodern art education, and determining the form that art education should take in the future. The Birth of Art Education: 1872-1910 Art education in Japan began in 1872 with the promulgation of the "Gakusei" as a formal system for school education. 1 It was in this same year that Germany introduced a similar system, an indication that Japan was more or less in step with advanced Western nations. Moreover, from the end of the Tokugawa shogunate through to the Meiji era (1868-1912), the seeds of Westernization had clearly taken root. Although the term "art education" is used, for many years the emphasis in art education was on drawing.The first curriculum was established at this time. In the context of art education, Kikagaku Keiga Taii [Introduction to Geometrical Line Drawing] (renamed Keiga the following month) was introduced as a compulsory subject in upper elementary grades (students 10 to 13 years of age) at ordinary elementary schools. Keiga referred to a method of copying pictures from a copybook using graph paper — a method that was extremely restrictive and emphasized practicality.By 1887, under the new government's policy, Westernization was being promoted in all aspects of society, including politics and culture. Art education was no exception, as Western style education began to focus on pencil drawings. During this period, a liberal system for issuing and selecting textbooks was in place, and a consequently a large number of art-related texts were issued. The first drawing textbook in Japan was Seiga Shinan [Guide to [End Page 3] Western Pictures] (1871), a translation of "The Illustrated Drawing Book" by English author Robert Scott Burn, with selected figure quotations from"The American Drawing-Book" by American author John G. Chapman. 2 In addition to these texts, many other books on drawing and the natural sciences were quoted. These textbooks adopted a pragmatic approach, using a "progressive method" in which students were taught to draw easy subjects and gradually moved to more difficult ones.The next significant change came in the form of calls for nationalism, as a reaction to the wave of Westernization early in the Meiji period. Educationalcircles underwent a shift toward nationalist education, and the art worldexperienced a resurgence in traditional Japanese art led by the American Ernest Fenollosa and Tenshin Okakura, among others. Reflecting this trend, a large number of brush painting textbooks were written, and an authorization system similar to the one currently in effect was adopted. The ZugaTorishirabe Gakari [the Committee for the Study of Drawing] was launched in 1885, and then reorganized in 1887, at which time it was renamed the Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). The education offered at this new institution placed a strong emphasis on purely Japanese elements.In 1903, the Elementary School Order was revised and government-designated textbooks were issued. This system remained in force from 1904 until 1947. The debate surrounding pencil drawing and brush painting continued, and two types of texts were issued — a Enpitsuga Tehon [pencil drawing copybook] and a Mohitsuga Tehon [brush painting copybook] — either of which could be used by the instructor. Both copybooks had similar configurations, with copying as the basic theme, and using a progressive study method. Drawing was still an optional subject in ordinary elementary schoolsat the... (shrink)

In this paper, we examine Maduabuchi Dukor’s article titled “Divination: A Science or An Art?”, where he endeavours to demonstrate the character and nature of African science as well as explores the issue whether some practices in Africa can be accorded a scientific status. These tasks to explore and demonstrate the scientific nature of African practices led Maduabuchi Dukor to focus on divination as his working example; and specifically identified Ifa divination. In sum, Maduabuchi Dukor argues that African (...) (Ifa) divination is or can be made a science through formalization and quantification. The main thrust of his argument is that with the aid of formalization and quantification, divination as practiced in Africa can qualify as a science. Our contention as regards this exercise by Maduabuchi Dukor runs from the beginning of the article through to the end of it. That is, our critique of the article concerns some suppositions employed to build up the argument that supports the claim that (Ifa) divination is a scientific enterprise. In other words, the premises and the conclusion so provided, we argue, are full of contestations; and it is these contestations that we showcased in this paper. It is important to make it clear that our contention has nothing to do with the thinking of Maduabuchi Dukor that Ifa divination is a science or can be made to be so; rather, our contention is the suppositions that he deployed to articulate his thought. (shrink)

Artificial intelligence (AI) is rapidly changing the way that art is created and consumed, allowing artists to create unique, engaging works with high computing power that can supplement their creative process. This manuscript explores the creative process of using AI technology in digital art to create paintings and evaluates creativity based on the aesthetic value and components of works created by AI. This research seeks to understand how AI technology influences the art world through a practice-led methodology with a (...) descriptive qualitative approach and observational methodology. Pioneering artwork such as Edmond de Belamy, created by French collective obvious using generative adversarial networks (GANs), has raised questions among the creative fields concerning originality, creativity, and authorship. Through analyses of AI-generated artwork and comparison with traditional artwork, the research investigates potential opportunities and challenges that AI presents to the art world. Ultimately, AI technology can provide a creative spark for human artists who, with an appropriate understanding of the limitations of AI algorithms, can create incredible pieces of art that embrace the contributions of both humans and machines. This research seeks to fill in the gaps left by earlier works and provide a more multi-faceted look at the changing landscape of AI in art, gaining a better understanding of the ways AI is impacting the art world and what the future may look like in the coming years. (shrink)

The discovery in 1980 of a hoard of church plate in the ancient monastery of Derrynaflan, Co. Tipperary, Ireland , at a stroke added significantly to the corpus of Insular metalwork, extended our knowledge of early-medieval European altar plate, and raised afresh important questions about patronage, craft organization, wealth, trade, and exchange. Issues of importance to the interpretation of the history of early-medieval Ireland brought into sharp focus included the relative significance of the Viking invasions as a disrupting influence on (...) Irish society in the ninth century and the form and origins of the liturgy practiced in the early Irish church. Above all, the extension of the known variety of motifs and decorative techniques has greatly enriched the understanding of one of the great ecclesiastical arts of medieval Europe. The circumstances of the finding of the hoard led to litigation lasting almost seven years, which eventually enabled the state to replace the law of treasure trove with new measures to protect archaeological finds in Ireland and to rescue substantial numbers of artifacts, many of them also adding significantly to the corpus of early Irish art. (shrink)

Philosophical practice, an art of living rooted in ancient traditions, is enriched by modern techniques such as individual counseling, Socratic group dialogues, and organizational consulting. Philosophical counseling, a key aspect of this practice, employs traditional philosophical frameworks and rational reasoning to address clients' concerns, distinguishing itself from psychotherapy while respecting individual autonomy. The growing Western interest in Asian philosophies also underscores a shared pursuit of wisdom, spirituality, and meaning. This paper examines the development, key features, and leading proponents (...) of philosophical practice, its relationship with academic philosophy, and the tensions between their differing aims and methods. The outlook for philosophical counseling is promising, offering an alternative to medical approaches for existential issues and expanding its scope to personal guidance, conflict resolution, and life‐skill development. Its future trajectory hinges on societal trends toward secularization, the de‐medicalization of mental health, and the increasing recognition of philosophy's intrinsic practical value. (shrink)

In the emergent field of creative practice higher degrees by research, first generation supervisors have developed new models of supervision for an unprecedented form of research, which combines creative practice and a written thesis. In a national research project, entitled ‘Effective supervision of creative practice higher research degrees’, we set out to capture and share early supervisors’ insights, strategies and approaches to supporting their creative practice PhD students. From the insights we gained during the early interview (...) process, we expanded our research methods in line with a distributed leadership model and developed a dialogic framework. This led us to unanticipated conclusions and unexpected recommendations. In this study, we primarily draw on philosopher and literary theorist Mikhail Bakhtin’s dialogics to explain how giving precedence to the voices of supervisors not only facilitated the articulation of dispersed tacit knowledge, but also led to other discoveries. These include the nature of supervisors’ resistance to prescribed models, policies and central academic development programmes; the importance of polyvocality and responsive dialogue in enabling continued innovation in the field; the benefits to supervisors of reflecting, discussing and sharing practices with colleagues; and the value of distributed leadership and dialogue to academic development and supervision capacity building in research education. (shrink)

Human beings engage works of the arts in many different ways: they sing songs while working, they kiss icons, they create and dedicate memorials. Yet almost all philosophers of art of the modern period have ignored this variety and focused entirely on just one mode of engagement, namely, disinterested attention. Nicholas Wolterstorff asks why this might be, and proposes that almost all philosophers have accepted the grand narrative concerning art in the modern world. It is generally agreed that in the (...) early modern period, members of the middle class in Western Europe increasingly engaged works of the arts as objects of disinterested attention. The grand narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. Wolterstorff rejects this claim, and offers an alternative framework for thinking about the arts. Central to his alternative framework are the idea of the arts as social practices and the idea of works of the arts as having different meaning in different practices. (shrink)

In the last decade, nurse scholars have focused extensively on the nature of nursing and its relationship to art and science. This emphasis has also been accompanied by an increasing literature on nursing ethics. In spite of this growing interest, the relationship of nursing art and nursing ethics has been left unclear. This paper proposes that nursing must be considered as a practical art because this conception explicates the relationship of nursing art and nursing ethics. It is based on the (...) thesis that nursing art is subordinated to nursing ethics and as such is a moral art. Different conceptions of nursing art (craft and fine art) will be explored to show their limits. This will be followed by the conception of nursing art as a practical art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:William James, W. E. B. Du Bois, and the Art of New Religious IdealsKolby Knight (bio)And I don’t know a soul who’s not been batteredI don’t have a friend who feels at easeI don’t know a dream that’s not been shatteredOr driven to its knees...Oh, and it’s alright, it’s alright, it’s alrightYou can’t be forever blessedStill, tomorrow’s going to be another working dayAnd I’m trying to get some restThat’s (...) all, I’m trying to get some rest—Paul Simon, “American Tune” (1973) / Recreated by Allen Toussaint (2016)William James and W. E. B. Du Bois believed that an artful life could produce new and world-changing religious ideals. As cosmopolitan scholars who studied in the United States and Europe, both men confidently interlaced original interpretations of Shakespeare, Wagner, and Goethe into their academic accounts of individual and social behavior. Beyond their patronage of the arts, James and Du Bois also saw themselves as scientists and artists who had the responsibility to create new pathways and religious ideals at a time when many European and American intellectuals depicted Western civilization as the endpoint of history.This article explores the pragmatic visions of science, art, and religion respectively offered by James and Du Bois. Pragmatism, here, refers to an active mode of study that looks closely at the interaction between specific thoughts and behaviors in particular situations without assuming a standard of truth which influences or evaluates human life from the outside of experience. As pragmatists, James and Du Bois did not believe their work consisted of merely the explication and description of preexisting truths, but more importantly the religious creation of what James called “new facts,” including healthier habits of thought and practice.1 [End Page 71]In this article, I will trace how the two men, as religious naturalists and leaders in the development of a pragmatic social science at the turn of the twentieth century, challenged evolutionary theories which envisioned Western civilization as the highest standard of aesthetic and intellectual development. Part one demonstrates how James, as a psychologist who prioritized the study and development of “first-hand” experiences, worked against visions of science that saw “lower” emotions as a hindrance to impartial intellectual discovery. It also explores how James centered personal religious experiences in his effort to de-center “impersonal” scientific frameworks which depicted human behavior and thinking as beholden to evolutionary laws which transcended individual experience. Part two considers James’s dissatisfaction with the “bad habits” of his privileged intellectual class, and how his own experience of “soul-sickness” and “stage fright” led him to contest both celebratory histories of Western progress and institutional arrangements which juxtaposed his “mystifying” intellectual performances to the lives of everyday people.Part three moves to how Du Bois, as a sociologist and former student of James, refocused James’s religious pragmatism within the context of his experience of anti-Black racism in the United States. This section traces how Du Bois saw his intellectual career as a work of art which could empower Black individuals to see themselves beyond what David Lloyd describes as “the racial regime of aesthetics” which imagines the progress of “lower humans” as dependent on higher civilizational and educational agents. This section also offers a tripartite interpretation of Du Bois’s experience of “double-consciousness” that considers its aesthetic, social, and political dimensions.2 While James expressed a desire to discard his own sense of double-consciousness, Du Bois’s experience of anti-Black racism made his two-ness more enforced and insidious. The fourth section looks at Du Bois’s disillusionment with white standards of beauty and intelligence as an experience akin to what James described as “soul-sickness.” It shows that whereas James believed that his negative emotional experiences could lead him to “new religious ideals” taking shape within the spiritual energy [End Page 72] and discomforts of his own individual body, Du Bois’s negative experience of racism led him to immerse himself in the religious and artistic vitality of Black social worlds which resisted the oppressive mechanisms and caricatures of... (shrink)

In this article, I am using the example of the introduction of osteosynthesis into surgical routine practice to analyze the use of the notions of art and science in medical innovation. The examination of the renegotiations of power and responsibility associated with the introduction of this new technique shows that proponents and critics actively linked their arguments to more fundamental epistemological and social issues. The proponents claimed to manage the uncertainties of innovation through making surgery more scientific, drawing on (...) the ideals of control, rationality, objectivity, and predictability. The critics mobilized another discursive pattern. They considered surgery an art and emphasized the individuality, contingency, and situatedness of medical practice. I investigate the discursive function of these argumentative patterns and how they played out in the concrete example of this surgical technique. (shrink)