Barnett Newman professed that a beholder's encounter with his paintings was like meeting another person for the first time. He believed the experience produced the conditions for apprehending an ethical relationship that would entail both the individual's achievement of his or her own understanding of “self” and his or her acknowledgment of another individual. But it would be their mutual recognition of separateness as the condition of possibility for communication — for sharing worlds — that would ground the (...) ethical relationship between them. Not just interested in matters of theory, the artist was also specific about the modes of spatial experience that he intended his canvases to inaugurate for a beholder. A detailed phenomenological account of how, in particular cases, the perceptual effects of Newman's paintings are created, both technically and artistically, helps to develop the implications, for his ethics of relationship, of what he called his “sense of space.” This article focuses on major paintings (particularly Vir Heroicus Sublimis and The Wild) in order to ground an interpretation of the perceptual effects of Newman's works. (shrink)

This book investigates the writings and works of the AmericanExpressionist artist Barnett Newman in light of ideas articulated by one of Germany’s most important and influential philosophers: Martin Heidegger. At the intersection of art history and philosophy, an interdisciplinary approach is proposed whereby the motivations underlying Newman’s artistic production, and the specific meanings of his paintings, become more amenable to reading and elucidation.

Challenging the formalist critical legacy of Clement Greenberg and Michael Fried, this essay advocates an alternative philosophical lineage for Modernist painting through a specific focus on Barnett Newman's vertical stripe or ‘zip’. This genealogy is rooted in Newman's own self-confessed interest in painting as a disclosure of the sensation of time and Deleuze's overt break with Kant. In light of the latter, the zip takes on the function of Deleuze's Figure: the material support that generates, sustains and (...) also disperses a precise sensation. (shrink)

_ Source: _Volume 26, Issue 1, pp 118 - 147 This paper challenges the widespread emphasis on the absence of God in post- Holocaust historiography, theology, and art by suggesting that Barnett Newman’s _Stations of the Cross_ may have been conceived under the theological category of the apophatic rather than the aesthetic category of the sublime. This paper focuses on the “anti-realist” position of Newman and other artists for whom the Holocaust necessitated a renewed aniconic tendency in (...) Jewish aesthetics. His work, I suggest, holds out a tension between absolute absence and redemptive presence that at once resists and affirms a negative aesthetic of God’s solidarity with suffering. (shrink)

In an urbane and persuasive tract for our time, the distinguished Catholic theologian combines a comprehensive metaphysics with a sensitivity to contemporary existentialist thought. Father Murray traces the “problem of God” from its origins in the Old Testament, through its development in the Christian Fathers and the definitive statement by Aquinas, to its denial by modern materialism.Students and nonspecialist intellectuals may both benefit by the book, which illuminates the problem of development of doctrine that is now, even more than in (...) the days of Newman, a fundamental issue between Roman Catholic and Protestant, theologians and nonspecialst intellectuals alike will find the subject of vital interest. As a challenge to the ecumenical dialogue, the question is raised whether, in the course of its development through different phases, the problem of God has come back to its original position. Father Murray is Ordinary professor of theology at Woodstock College, Woodstock, Maryland. St. Thomas More Lectures, 1."A gem of a book—lucid, illuminating, brilliantly written. A fine contribution to the current Catholic theological renaissance."—Paul Weiss. (shrink)

_ Source: _Volume 26, Issue 1, pp 118 - 147 This paper challenges the widespread emphasis on the absence of God in post- Holocaust historiography, theology, and art by suggesting that Barnett Newman’s _Stations of the Cross_ may have been conceived under the theological category of the apophatic rather than the aesthetic category of the sublime. This paper focuses on the “anti-realist” position of Newman and other artists for whom the Holocaust necessitated a renewed aniconic tendency in (...) Jewish aesthetics. His work, I suggest, holds out a tension between absolute absence and redemptive presence that at once resists and affirms a negative aesthetic of God’s solidarity with suffering. (shrink)

I argue that a fruitful approach to exploring the significance of the abstract expressionist Barnett Newman’s body of work, understood as as an attempt to “paint the sublime,” is by appeal to Peircian phenomenology and the conception of “originativity” that it entails. By attending, in particular, to Peirce’s conception of “the firstness of thirdness,” I show how this “reasonable feeling” both signifies our “affinity” with the world with which we transact and, with specific respect to what happens when (...) looking at Newman’s paintings, explains why we are spurred to reflect upon the meaning of these experiences. In this way, “the firstness of thirdness” accounts for our recognition of a form of reasonableness that exceeds that exhibited in ordinary conceptualization. (shrink)

Despite the divide between American formalism and theoreticians of minimalism, Barnett Newman’s art received great acclaim from both schools of thought. Attempting to unearth the philosophical preconditions of this strange constellation, this article argues that the closeness between minimalism and formalism is due to their mutual reliance upon phenomenology and ordinary language philosophy. However, their proximity also conveys their distance, since they imply different interpretations and applications of the philosophical schools in question. Such theoretical differences shed light on (...) Newman’s paintings: both minimalism and formalism are right in their accounts – yet not exclusively so. What arguably makes up the distinctive fascination of Newman’s paintings is their incessant oscillation between empty physicality and powerful meaning. (shrink)

Starting from Erwin Panofsky’s well-known polemical exchange of letters with Barnett Newman, and taking into account some few hints to contemporary artists which can be found into the Princeton Professor’s private correspondence, this essay deals with the theoretical reasons why one of the most original and influent art historians of the whole 20th Century has never really come to terms with even the notion of “abstract” art. It then focuses on the seemingly paradoxical concept of “abstract sublime” as (...) proposed by Robert Rosenblum and further developed by Jean-François Lyotard in order to show how iconographic-iconological analysis could be fruitfully applied to non-figurative works of art. (shrink)

This article explores the question of the cognitivity of the arts. It begins from Kundera’s argument that the novel, originating from Cervantes, offers a response toGalileo and solution to Husserl’s diagnosis of a “crisis of European sciences.” Expanding to the full range of literary arts, we next undertake a re-reading of Aristotle’s Poetics to assess Aristotle’s views of the origins of tragedy and press for a cognitive interpretation of the meaning of catharsis and emotions. Finally, turning to the abstract expressionism (...) of Barnett Newman, we develop a cognitive interpretation of visual arts and the non-figurative aesthetic of the sublime. (shrink)

Barnett Newman : Adam's line -- Kant and the newborn -- Virginia Woolf and the shadow of the "I" -- Plato erectus sed -- Men and trees -- We are not monkeys : on erect posture -- Hobbes and the macroanthropos -- Elias Canetti : upright before the dead -- Artemisia : the allegory of inclination -- Leonardo and maternal inclination -- Hannah Arendt : "a child has been born unto us" -- Schemata for a postural ethics -- (...) Coda : adieu to Lévinas. (shrink)

The aim of this article is to analyze the relationship between the thought of Jean François Lyotard and the american abstract expressionism. Firstly, we will study the ideas of Lyotard about Kantian aesthetics. Secondly, we will focus on the theme of the sublime. Finally, we will tackle the study of the concept of time that determines the connection between Lyotard and abstract expressionism.

This article is a reflective case-study presenting and analysing the findings of ‘Thinking Is Seeing’, a practice-led research project we conducted between March and April 2017 under the Tate Exchange platform. The project focused on Tate Liverpool’s _Constellations_, the pioneering way of exhibiting works from the Tate collection motivated by thematic, chronological, or interpretative links identified through extended curatorial research. -/- The philosophical background informing our research is the role that perception apportions to thought: a _constellation_, literally a collection of (...) celestial objects, or more widely a set of any other things, events, (art)works, and experiences signifies a process of identifying connections, categorising meanings, drawing inferences. In other words, it signifies _thinking_. As Norman Maclean puts it: ‘All there is to thinking […] is seeing something noticeable which makes you see something you weren’t noticing which makes you see something that isn’t even visible.’ (_A River Runs through It and Other Stories_. Chicago: The University of Chicago Press, 2017 (=1976), pp. 105–106.) This organic relation between thinking and seeing, where the one is but a prerequisite for the other, also echoes Theodor W. Adorno’s notion of a ‘constellation’: ‘Becoming aware of the constellation in which a thing stands is tantamount to deciphering the constellation which, having come to be, it bears within it.’ (_Negative Dialectics_, translated by E. B. Ashton. London: Routledge and Kegan Paul, 1973 (=1966), p. 163.) -/- Against this background and given that the aim of the _Constellations_ is —to quote Francesco Manacorda— ‘to empower people to come and make their own thinking inside these rooms’, we investigated the ways in which _Constellations_ work as an exchange between art, curatorial gesture, and public engagement. What difference does it make to one’s appreciation of, say, Barnett Newman’s _Untitled Etching #1_ when one attends to those features of the work that make it part of a given curatorial narrative (like a _Constellation_)? Do members of the public feel empowered to challenge the perspective of the curator in recognising affinities within a _Constellation_ and construct new narratives? -/- In order to tackle these research questions, we deployed participatory research during three public interactive workshops, which incorporated philosophical inquiry through structured discussion, reflective questioning, and shared criticism. This article shows how the practice of philosophical inquiry within the community, helps us understand that _seeing_ art happens through _understanding_ art and _vice versa_, while empowering participants to articulate exciting new interpretations. (shrink)

Arthur C. Danto's essays not only critique bodies of work but reflect upon art's conceptual evolution as well, drawing for the reader a kind of "philosophical map" indicating how art and the criteria for judging it has changed over the twentieth century. In _Unnatural Wonders_ the renowned critic finds himself at a point when contemporary art has become wholly pluralistic, even chaotic-with one medium as good as another-and when the moment for the "next thing" has already passed. So the theorist (...) goes in search of contemporary art's most exhilarating achievements, work that bridges the gap between art and life, which, he argues, is now the definitive art of our time. Danto considers the work of such young artists as John Currin and Renee Cox and older living masters including Gerhard Richter and Sol LeWitt. He discusses artists of the New York School, like Philip Guston and Joan Mitchell, and international talents, such as the South African William Kentridge. Danto conducts a frank analysis of Matthew Barney's _The Cremaster Cycle_, Damien Hirst's skeletons and anatomical models, and Barbara Kruger's tchotchke-ready slogans; finds the ghost of Henry James in the work of Barnett Newman; and muses on recent Whitney Biennials and art influenced by 9/11. He argues that aesthetic considerations no longer play a central role in the experience and critique of art. Instead art addresses us in our humanity, as men and women who seek meaning in the "unnatural wonders" of art, a meaning that philosophy and religion are unable to provide. (shrink)

Dos eventos, aparentemente distantes uno del otro y sin vínculos directos entre ellos, pero sin embargo estrictamente relacionados por un legado espiritual común, constituyen el tema de este trabajo. El primero, tuvo lugar en 1971, cuando una «capilla ecuménica» muy especial abrió sus puertas al público. Es conocida bajo el nombre de «Rothko Chapel», debido al proyecto general, realizado por el pintor Mark Rothko. Desde entonces, se ha convertido en una de las obras de arte más valiosas que representan la (...) estética religiosa contemporánea. Las pinturas negras de Rothko, la planta del edificio de «cruz griega» diseñado por el arquitecto Philip Johnson, el obelisco del artista Barnett Newman y la música compuesta para este ambiente por el compositor Morton Feldman, han reemplazado lo que tradicionalmente ha sido llamado «imago templi»; pero, contrariamente a toda tradición cristiana, representan nada (literalmente: no-thing). El segundo evento, tuvo lugar en 1795, cuando dos jóvenes amigos, Hegel y Schelling, estaban haciendo una especie de juramento bajo el signo de una Iglesia Invisible, actualizando un concepto ambiguo que, incluso arraigándose en las Sagradas Escrituras, ya había sido condenado por las iglesias oficiales por sus consecuencias heréticas. La relación entre estos dos eventos está dada por historiadores del arte moderno que han establecido que la pintura abstracta, desde un punto de vista formal, tiene sus raíces en la tradición romántica. Con este trabajo me gustaría contribuir al establecimiento de esta conexión, no solo por medios formales, sino también mostrando una actitud espiritual común hacia las imágenes. El cristianismo, esencialmente figurativo en su estética religiosa, siempre ha tenido que lidiar con la prohibición judía de la creación de imágenes. Esta dificultad ha sido trasferida a los debates contemporáneos en los que artistas con lecturas y educación clásicas, a menudo de origen judío pero activos en sociedades cristianas, intentan crear un nuevo tipo de arte, fuera de toda tradición y sin dogmas. Según mi sugerencia, Rothko Chapel debería considerarse como la realización de un equilibrio frágil en el que tanto el «aniconismo» como la «necesidad de imágenes» han superado su mutua unilateralidad, produciendo una etapa espiritual más elevada. Por lo tanto, tal capilla no sería un simple espacio donde todas las religiones podrían solo reunirse y dialogar, pero debería considerarse algo más sorprendente, es decir, una realización única de lo que lógicamente aparece como una pura contradicción: la realización de un Imago Templi para una Iglesia Invisible.Key words: Rothko; Hegel; Arte Abstracto; Idealismo; Iglesia Invisible. (shrink)

Kate Armstrong examines the philosophies of the Marquis de Sade, Søren Kierkegaard, Martin Heidegger, and the artwork of Andy Warhol, Michael Heizer, Kasimir Malevich, Ad Reinhardt, and Barnett Newman, arguing that, in reaction to the crisis of modernity, these writers and artists are involved in the process of refiguring the divine. Armstrong views these artists and their strategies in relation to "death of God" theology to demonstrate how, through inverting or shifting the transcendent and the immanent, they are (...) attempting to refigure the divine. _ Crisis and Repetition: Essays on Art and Culture_ explores the cultural crisis that ensues from the transformation or displacement of a transcendent God. It examines the ramifications of positing a transcendent God in the world by discussing theological accounts in conjunction with contemporary cultural explorations of the crisis of modernity. This crisis is central to modernity, modern thought and modern art, as we struggle to find meaning in existence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Paradox of Kandinsky's Abstract RepresentationKenneth BerryThere is a paradox in the relationship between Kandinsky's use of the terms, "abstract" and "concrete," which is presented in the expression, "Kandinsky's abstract representation." Thisexpression, while being apparently contradictory, may point to a feature underpinning Kandinsky's art, which is pivotal to a proper experience of his work, just as, in Christopher Middleton's view, a poetic language may be pivotal to the formation (...) of cultures.1 Art and cultural artifacts are vital to aesthetic experience and aesthetic education, and both the language of art and other languages are instrumental to this end. However, how may Kandinsky's mature abstraction, being in essence objectless, have any claim to representation, and consequently the higher cultural goals of aesthetic expression and the aesthetic enrichment of society?According to Thomas M. Messer, the position of centrality that Kandinsky has assumed in our understanding of modern art is largely due to his having brought to bear on his art, an instinctive awareness of what constituted the central aesthetic issues of his era.2 Kandinsky's writings in Concerning the Spiritual in Art elaborate on his aesthetic theories, and, in particular, [End Page 99] present the view that paintings should be looked at as a graphic representation of a mood rather than as a representation of objects. Messer observes that, for Kandinsky, abstraction, defined as a mode of painting extending beyond the depiction of recognizable objects, having gradually stripped itself of mimetic vestiges, thus becomes paramount. Michael Carter has similarly pointed out that with the pure forms of absolute abstraction, the non-objective colors and shapes of Kandinsky's paintings were regarded as distillations of the aesthetic properties of the artistic sign3 — separable from any referential aspect of art.4 This aesthetic aspect of Kandinsky's work, which became known as nonfigurative, nonobjective, or nonrepresentational,goes along with the cultural — and, as sculptor Anish Kapoor has remarked, "in the deepest, deepest depths of human history the cultural has always been a motivator of people," and has the power to transform society through finding visual equivalents for an emotional language.5Much has been written about Kandinsky's use of color, but perhaps the primary innovation that he made, as in the case of Barnett Newman, was in the field of drawing. Kandinsky was influenced by Gauguin's idea that drawing was an abstraction from memory after nature, just as Gauguin had been affected by the simplified contours and flattened forms of Puvis de Chavannes. Drawing did not come so easily to Kandinsky as color — he had to work harder at drawing, but in his early improvisations, forms and their outlines as graphic symbols came welling up from the unconscious, and eidetic motifs only had to be copied — almost as the art of calligraphy. Kandinsky's "organic" drawing developed as an urge to nonnaturalistic impulses, and during the period of Point and Line to Plane became almost a grammar of form, saved from mere pedantry by the living forces or visual tensions that made various kinds of line operate not just as contours but as dynamic or restful elements within themselves. In 1913, Kandinsky wrote in his "Reminiscences" that, "painting is a thundering collision of different worlds, intended to create a new world in, and from, their struggles with one another, a new world which is the work of art."6 It is clear from this that the Modernist work of art was intended to be a "new world" operating according to its own universal aesthetic laws.Kandinsky is not just a painter; he is also a visual poet. Poetry, according to Tony Curtis, involves the expression of the intensification of experience — the elevation of banal facts of life into something beyond the merely prosaic — something unique and perceptively heightened.7 It involves both imagination and poetic license to explore both ambiguity and paradox. As Scottish poet Norman MacCaig observed, poetry renders the ordinary extraordinary, seeing the unfamiliar in the familiar.8 Creative analogical thinking such as evinced in Kandinsky's art, often involves breaking free of a clichéd representation.Malcolm Budd has remarked that, in its most exclusive sense, a work... (shrink)

Naar aanleiding van het vernielen van Barnett Newman's "Who is Afraid of Red, Yellow and Blue" in het Stedelijk Museum van Amsterdam in 1986 volgt een onderzoek naar soortgelijke destructieve agressie tegen kunstwerken in Europa en de Verenigde Staten. De vernielers van bepaalde kunstwerken beroepen zich vaak op filosofische kunstbeschouwingen, al zijn er ook vandalistische ego-trippers aan het werk, die publieke aandacht willen trekken.

By applying a few of the concepts and transformative tools presenting in many of Deleuze’s texts, Barnett Newman’s paintings receive a much-needed re-interpretation. In many of Newman’s paintings, the fields of colors and the pulsating zips that sear through these vast landscapes can be seen as intensive sensations pushing away from philosophical and artistic domains that cling to images of thought rooted in recognition and binarism. The function of such a Deleuzian reading of Barnett Newman (...) is to evoke the potentiality for destabilization so that one is able to create new sensations, new ways of conceiving of painting and life that are never able to be captured by a single system of signification. Rather than the desire to imitate, represent, or capture, Newman is able to mark an intensive threshold of becoming. Beneath a representational regime is a plane of imperceptible forces that traverse the face of the painting and extend beyond the canvas infinitely in every direction. (shrink)

The fourth volume in the series "Jean-Franðcois Lyotard: Writings on Contemporary Art and Artists" contains 48 texts written by Lyotard between the early seventies and 1998, the year of his death. Nine of these texts are previously unpublished papers on general aesthetics and the theory of art. The remaining 39 essays deal with 27 specific artists: Luciano Berio, Richard Lindner, René Guiffrey, Gianfranco Baruchello, Henri Maccheroni, Riwan Tromeur, Albert Ayme, Manuel Casimiro, Ruth Francken, Barnett Newman, Jean-Luc Parant, François (...) Lapouge, Sam Francis, André Dubreuil, Joseph Kosuth, Sarah Flohr, Lino Centi, Gigliola Fazzini, Bracha Lichtenberger Ettinger, Henri Martin, Michel Bouvet, Corinne Filippi, Stig Brogger, François Rouan, Pierre Skira Pastels, and Béatrice Casadesus. Many of these texts are notes or contributions to catalogues; some were published in now inaccessible journals. (shrink)

Two events, apparently distant one from the other and without any direct link between them, but nevertheless strictly connected by a common spiritual legacy, constitute the subject of this paper. The first one, took place in 1971, when a very special «ecumenical chapel» opened its doors to the public. It is known under the name of «Rothko Chapel», due to the general project, undertaken by the painter Mark Rothko. Since that time, it has become one of the most precious artworks (...) that represent the contemporary religious aesthetics. The black Rothko’s paintings, the Greek-cross building designed by the architect Philip Johnson, the Broken Obelisk of the artist Barnett Newman standing right out of the Chapel and the music composed for this ambient by the composer Morton Feldman, have replaced what traditionally has been called an «imago templi»; but contrary to all Christian tradition they represent (literally) no-thing. The second event, took place in 1795, when two young friends, Hegel and Schelling, were making a kind of oath under the sign of an Invisible Church, actualizing an ambiguous concept that, even if rooted in the Holy Scriptures, it had been condemned for its consequences as heretical. The relationship between these two events is given by contemporary art historians which have established that modern abstract painting, from a formal point of view, is rooted in the Romantic tradition. With this paper I would like to contribute to the establishment of this connection, not only by formal means, but by showing a common spiritual attitude towards images. Christianity, essentially figurative in its religious aesthetics, has always had to deal with the Jewish prohibition of image-making. This difficulty has been inherited to contemporary debates in which artist with classical readings and education, often of Jewish origins but active in Christian societies, try to create a new kind of art, above all traditions and free of dogmas. According to my suggestion, Rothko Chapel should be considered as the realization of a fragile balance in which both «aniconism» and «need of images» have simultaneously sublated their one-sidedness, producing a higher spiritual stage. Thus, such a chapel would not be a simple space where all religions could only meet and undertake a dialog, but should be considered as something more surprising: a unique realization of what logically appears as a pure contradiction: the realization of an Imago Templi for an Invisible Church. (shrink)

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

This article examines the ways in which Georges Didi-Huberman conceptualizes the notion of the “aura” after Walter Benjamin’s famous and elusive rendering of the term. The central focus is on the way in which Didi-Huberman theorizes the aura to showcase its capacity for transformation – specifically in terms of its connection to “place” and in terms of what he calls a “memory trace.” After an introduction, the article is divided into five sections, followed by a conclusion. The first two sections (...) act as a foundation from which to investigate Didi-Huberman’s engagement with the aura. Therein, I explore the aesthetic debates surrounding what kind of knowledge artworks can produce and specifically how language can, most reductively, objectify the way in which artworks are critiqued, on the one hand, or produce elusive and romantic readings of artworks, on the other. Furthermore, I explore the way in which the notion of aura is engaged in Benjamin’s work upon which Didi-Huberman largely draws for his own understanding of the term. The subsequent two sections outline what I call Didi-Huberman’s two-part proposal of the aura re-imagined; this entails what he calls the “supposition” of the aura and the “secular” aura. Didi-Huberman takes Barnett Newman’s “zip” paintings as a point of entry to think how the aura can be hypothesized after Benjamin. In the final section, I look to the artworks of James Turrell as they are investigated by Didi-Huberman and to one of his short books, Being a Skull, to describe how artworks can function as vertiginous places, which implicate our conception of space in general. Didi-Huberman’s “dialectics of place” both complexifies Benjamin’s equating of place with the aura as uniqueness and smooths over some edges of his paradoxical thinking. (shrink)

Este artigo elabora duas hipóteses a respeito do expressionismo abstrato norte-americano. A primeira, baseada nas ideias de Clement Greenberg, é que esse movimento pode ser considerado o ápice da evolução do modernismo. A segunda, baseada em considerações de Robert Rosenblum e Jean-François Lyotard, é que os pintores expressionistas abstratos exploraram uma estética do sublime. Portanto, eles retomam a seu modo a elaboração de uma categoria estética tradicional, que já tinha sido tema da pintura figurativa romântica. A principal referência para essa (...) vinculação entre o expressionismo abstrato e o sublime é a obra de Barnett Newman. (shrink)

“To hear silence is to find stillness in the midst of the restlessness that makes creative life possible and the inescapability of death acceptable.” So writes Mark C. Taylor in his latest book, a philosophy of silence for our nervous, chattering age. How do we find silence—and more importantly, how do we understand it—amid the incessant buzz of the networks that enmesh us? Have we forgotten how to listen to each other, to recognize the virtues of modesty and reticence, and (...) to appreciate the resonance of silence? Are we less prepared than ever for the ultimate silence that awaits us all? Taylor wants us to pause long enough to hear what is not said and to attend to what remains unsayable. In his account, our way to hearing silence is, paradoxically, to see it. He explores the many variations of silence by considering the work of leading modern and postmodern visual artists, including Barnett Newman, Ad Reinhardt, James Turrell, and Anish Kapoor. Developing the insights of philosophers, theologians, writers, and composers, Taylor weaves a rich narrative modeled on the Stations of the Cross. His chapter titles suggest our positions toward silence: Without. Before. From. Beyond. Against. Within. Between. Toward. Around. With. In. Recasting Hegel’s phenomenology of spirit and Kierkegaard’s stages on life’s way, Taylor translates the traditional Via Dolorosa into a Nietzschean Via Jubilosa that affirms light in the midst of darkness. Seeing Silence is a thoughtful meditation that invites readers to linger long enough to see silence, and, in this way, perhaps to hear once again the wordless Word that once was named “God.”. (shrink)

What is critical thinking, especially in the context of higher education? How have research and scholarship on the matter developed over recent past decades? What is the current state of the art here? How might the potential of critical thinking be enhanced? What kinds of teaching are necessary in order to realize that potential? And just why is this topic important now? These are the key questions motivating this volume. We hesitate to use terms such as “comprehensive” or “complete” or (...) “definitive,” but we believe that, taken in the round, the chapters in this volume together offer a fair insight into the contemporary understandings of higher education worldwide. We also believe that this volume is much needed, and we shall try to justify that claim in this introduction. (shrink)

In order to take advantage of the potential offered by the medium of virtual reality, it will be essential to develop an understanding of how to maximize the desirable experience of ‘presence’ in a virtual space (‘being there’), and how to minimize the undesirable feeling of ‘cybersickness’ (a constellation of discomfort symptoms experienced in virtual reality). Although there have been frequent reports of a possible link between the observer’s sense of presence and the experience of bodily discomfort in virtual reality, (...) the amount of literature that discusses the nature of the relationship is limited. Recent research has underlined the possibility that these variables have shared causes, and that both factors may be manipulated with a single approach. This review paper summarizes the concepts of presence and cybersickness and highlights the strengths and gaps in our understanding about their relationship. We review studies that have measured the association between presence and cybersickness, and conclude that the balance of evidence favours a negative relationship between the two factors which is driven principally by sensory integration processes. We also discuss how system immersiveness might play a role in modulating both presence and cybersickness. However, we identify a serious absence of high-powered studies that aim to reveal the nature of this relationship. Based on this evidence we propose recommendations for future studies investigating presence, cybersickness, and other related factors. (shrink)

Medical and public health professionals recommend wearing face masks to combat the spread of the coronavirus disease of 2019. While the majority of people in the United States support wearing face masks as an effective tool to combat COVID-19, a smaller percentage declared the recommendation by public health agencies as a government imposition and an infringement on personal liberty. Social media play a significant role in amplifying public health issues, whereby a minority against the imposition can speak loudly, perhaps using (...) tactics of verbal aggression taking the form of toxic language. We investigated the role that toxicity plays in the online discourse around wearing face masks. Overall, we found tweets including anti-mask hashtags were significantly more likely to use toxic language, while tweets with pro-mask hashtags were somewhat less toxic with the exception of #WearADamnMask. We conclude that the tensions between these two positions raise doubt and uncertainty around the issue, which make it difficult for health communicators to break through the clutter in order to combat the infodemic. Public health agencies and other governmental institutions should monitor toxicity trends on social media in order to better ascertain prevailing sentiment toward their recommendations and then apply these data-driven insights to refine and adapt their risk communication messaging toward mask wearing, vaccine uptake, and other interventions. (shrink)

In the few years since the advent of ‘Big Data’ research, social media analytics has begun to accumulate studies drawing on social media as a resource and tool for research work. Yet, there has been relatively little attention paid to the development of methodologies for handling this kind of data. The few works that exist in this area often reflect upon the implications of ‘grand’ social science methodological concepts for new social media research. By contrast, we advance an abductively oriented (...) methodological suite designed to explore the construction of phenomena played out through social media. To do this, we use a software tool – Chorus – to illustrate a visual analytic approach to data. Informed by visual analytic principles, we posit a two-by-two methodological model of social media analytics, combining two data collection strategies with two analytic modes. We go on to demonstrate each of these four approaches ‘in action’, to help clarify how and why they might be used to address various research questions. (shrink)

BackgroundThe Health Research Council of New Zealand is the first major government funding agency to use a lottery to allocate research funding for their Explorer Grant scheme. This is a somewhat controversial approach because, despite the documented problems of peer review, many researchers believe that funding should be allocated solely using peer review, and peer review is used almost ubiquitously by funding agencies around the world. Given the rarity of alternative funding schemes, there is interest in hearing from the first (...) cohort of researchers to ever experience a lottery. Additionally, the Health Research Council of New Zealand wanted to hear from applicants about the acceptability of the randomisation process and anonymity of applicants.MethodsThis paper presents the results of a survey of Health Research Council applicants from 2013 to 2019. The survey asked about the acceptability of using a lottery and if the lottery meant researchers took a different approach to their application.ResultsThe overall response rate was 39%, with 30% from applicants in the years 2013 to 2018, and 68% for those in the year 2019 who were not aware of the funding result. There was agreement that randomisation is an acceptable method for allocating Explorer Grant funds with 63% in favour and 25% against. There was less support for allocating funds randomly for other grant types with only 40% in favour and 37% against. Support for a lottery was higher amongst those that had won funding. Multiple respondents stated that they supported a lottery when ineligible applications had been excluded and outstanding applications funded, so that the remaining applications were truly equal. Most applicants reported that the lottery did not change the time they spent preparing their application.ConclusionsThe Health Research Council’s experience through the Explorer Grant scheme supports further uptake of a modified lottery. (shrink)

Argument mapping is a way of diagramming the logical structure of an argument to explicitly and concisely represent reasoning. The use of argument mapping in critical thinking instruction has increased dramatically in recent decades. This paper overviews the innovation and provides a procedural approach for new teaches wanting to use argument mapping in the classroom. A brief history of argument mapping is provided at the end of this paper.

We face grave global problems. We urgently need to learn how to tackle them in wiser, more effective, intelligent and humane ways than we have done so far. This requires that universities become devoted to helping humanity acquire the necessary wisdom to perform the task. But at present universities do not even conceive of their role in these terms. The essays of this book consider what needs to change in the university if it is to help humanity acquire the wisdom (...) it so urgently needs. (shrink)

We measure the influence of reputation rankings on individuals’ perceptions of firms. Through experimental design, we vary whether and how participants are exposed to a reputation ranking alongside other information about a firm. We find that rankings influence perceptions when they are negative and congruent with other information about the firm. These findings help explain how a firm’s reputation can change even if its characteristics remain constant and why change in a firm’s characteristics can be slow to produce change in (...) its reputation. (shrink)

Extending prior research on the characteristics potentially associated with adolescents’ tendencies to be a moral rebel, the present study found that adolescents themselves, their peers, and their teachers agreed on adolescents’ tendencies to possess a moral identity, possess moral courage characteristics, and be a moral rebel. Although moral identity did not consistently predict the tendency to be a moral rebel, all indices of the adolescents’ moral courage characteristics positively predicted the tendency to be a moral rebel.

The recent revival of the theme of hospitality in the humanities and social sciences reflects a shared concern with issues of belonging, identity and placement that arises out of the experience of globalized social life. In this context, migration — or spatial dislocation and relocation — is often equated with demands for hospitality. There is a need to engage more carefully with the ‘proximities’ that prompt acts of hospitality and inhospitality; to attend more closely to their spatial and temporal dimensions. (...) Is the stranger or the Other primarily one who is recognisably ‘out of place’? Or is there more to being estranged than moving from one territory to another? This brings us to the question of human finitude, and to the possibility of encounters with others that do not simply only occur in time or space, but are themselves generative of new times and spaces. (shrink)

Using psychosocial acceleration theory, this multimethod, multi-reporter study examines how early adversity adaptively shapes the development of a self-regulation construct: effortful control. Investigation of links between early life harshness and unpredictability and the development of effortful control could facilitate a nuanced understanding of early environmental effects on cognitive and social development. Using the Building Strong Families national longitudinal data set, aspects of early environmental harshness and early environmental unpredictability were tested as unique predictors of effortful control at age 3 using (...) multiple regression. Early harshness variables were financial harshness, mothers’ and fathers’ observed parenting, mothers’ and fathers’ reported use of harsh discipline, and harsh neighborhood conditions. Early unpredictability was measured by number of paternal transitions. Cues of harshness, specifically observed unresponsive parenting, observed harsh parenting, and neighborhood harshness, did significantly negatively predict effortful control. Paternal transitions also significantly predicted effortful control, but in the opposite (i.e., positive) direction. The results corroborate previous research linking quality of parenting to the development of children’s effortful control and place it within an evolutionary-developmental theoretical framework. Further, the results suggest that neighborhood harshness may also direct developmental trajectories of effortful control in young children, though the mechanisms through which this occurs are still unclear. This is the first study to explicitly investigate effortful control development in early childhood within the harshness and unpredictability framework. (shrink)

Lewis’ neurodevelopmental model provides a plausible alternative to the brain disease model of addiction that is a dominant perspective in the USA. We disagree with Lewis’ claim that the BDMA is unchallenged within the addiction field but we agree that it provides unduly pessimistic prospects of recovery. We question the strength of evidence for the BDMA provided by animal models and human neuroimaging studies. We endorse Lewis’ framing of addiction as a developmental process underpinned by reversible forms of neuroplasticity. His (...) view is consistent with epidemiological evidence of addicted individuals ‘maturing out’ and recovering from addiction. We do however hold some reservations about Lewis’ model. We do not think that his analysis of the neurobiological evidence is clearly different from that of the BDMA or that his neurodevelopmental model provides a more rigorous interpretation of the evidence than the BDMA. We believe that our understanding of the neurobiology of drug use is too immature to warrant the major role given to it in the BDMA. Our social research finds very mixed support for the BDMA among addicted people and health professionals in Australia. Lewis’ account of addiction requires similar empirical evaluation of its real-world implications. (shrink)

In this paper we philosophically explore the notion of darkness within higher education teaching and learning. Within the present-day discourse of how to make visible and to explicate teaching and learning strategies through alignment procedures and evidence-based intellectual leadership, we argue that dark spots and blind angles grow too. As we struggle to make visible and to evaluate, assess, manage and organise higher education, the darkness of the institution actually expands. We use the term ‘dark’ to comprehend challenges, situations, reactions, (...) aims and goals, which cannot easily be understood and solved by agendas of quality assurance and professionalisation of higher education. We need to understand better why gender issues or ethnic conflicts emerge, and why students take up arms, within an institution which is thought to be inclusive, inviting and open to all kinds of people and cultures. And we need to study the educational potential of days of boredom or isolation, caught up in daily routines of teaching or studying which do not lead anywhere or give way to any productive work. These matters have not been sufficiently researched and conceptualised as meaningful in themselves. We aim here to open a space for insights through the concept of darkness presented in this paper. In order to make educational darkness palpable we draw on the philosophies of darkness found in the work of Friedrich Nietzsche and Emmanuel Levinas. Through those philosophies we argue that the growing darkness within higher education is not a symptom we should fear and avoid. Having the ability and courage to face these darker educational aspects of everyday higher education practice will enable students and teachers to find renewed hope in the university as an institution for personal as well as professional imagination and growth. (shrink)

This paper examines how the Harper Government of Canada shut down both debate about threats and research into environmental risk, a strategy that Canadian scientists characterized as the “death of evidence.” Based on interviews with scientists who research risks to the marine environment, we explore the shifting relationship between science and the Canadian government by tracing the change in the mode of risk calculation supported by the Harper administration and the impact of this change. Five themes emerged from the interviews: (...) erosion of science research capacity, resulting limitations in understanding risk, declining influence on policy and regulation, redirection of public science funds to support the private sector, and the need to broaden the science knowledge base. The Canadian death of evidence controversy represents a challenge to science and technology studies scholars who wish to maintain a critical and reflexive perspective on the scientific enterprise without supporting attacks on evidence. While subsequent Canadian governments may simply return science to an unreflexively privileged knowledge status, we view this as equally damaging to broad risk calculation and democratic science. We suggest instead that a broader gathering of matters of concern will always be essential to risk assessment. (shrink)

The present pair of studies investigated the assessment, correlates, and evaluation of ?moral rebels? who follow their own moral convictions despite social pressure to comply. In Study 1, self, peer, and teacher ratings of adolescents' tendencies to be a moral rebel were positively intercorrelated. In Study 2, young adults' tendencies to be a moral rebel were associated with relatively high self-esteem scores and relatively low willingness to engage in minor moral violations and need to belong scores. Both adolescents and young (...) adults reported relatively favorable attitudes toward a morally rebellious peer, especially when they themselves had heightened ratings on this characteristic. (shrink)