This study presents a philosophy of attention that promotes authentic performance. As described here, attention is about training outgoing and ingoing attention skills, which can ultimately connect an individual to others and the world. This ability can help the individual remain focused and receptive to what happens while at the same time accepting their thoughts, feelings, and experiences. The ability to pay attention is crucial to performing and living authentically, regardless of the person's area of expertise. The philosophy (...) of attention presented here is rooted in existential philosophy, flow psychology, mindfulness, and acceptance-based psychology. It aims to help individuals and organizations examine what they can do and how they can actualize their potential more freely and with greater clarity. This results in better performance and increased existential meaningfulness and joy, leading to a more dignified life. (shrink)

This book offers a sustained scholarly analysis of Gadamer's reflections on art and our experience of art. It examines fundamental themes in Gadamer's hermeneutical aesthetics such as play, festival, symbol, contemporaneity, enactment, art's performative ontology, and hermeneutical identity. The first two chapters focus on Gadamer's critical appropriation and movement beyond Kantian and Hegelian aesthetics (and includes a coda on Heidegger's influence). The final three chapters argue for the continued relevance of Gadamer's hermeneutical aesthetics by bringing his claims into conversation (...) with contemporary art and music, as well as the ethical and sociopolitical dimensions of the Artworld and art-praxis. The ethical and sociopolitical aspects of art- and music-making are given particular attention in chapters devoted to 20th century African American artist Romare Bearden, Banksy's street art, and a range of jazz expressions, from traditional jazz to the complex practice of free jazz. Gadamer's Hermeneutical Aesthetics will appeal to researchers and advanced students working on Gadamer, philosophical hermeneutics, continental philosophy, aesthetics, and the philosophy of contemporary art and music. (shrink)

Arts-Based Research Methods for Educational Researchers is a book for early-career and established scholars who aim to use the arts to spark new ideas and empower participants in educational research. It will allow readers to conduct arts-based research and phenomenography research in their own projects. The book starts with a brief history of the arts in research, going on to provide an in-depth understanding of the philosophical foundations of arts-based research - (...) different research designs, material preparation, ethical considerations, data collection, analysis and reporting. Chapters highlight the impact of arts-based research, how it can be used to facilitate positive changes in educational research, practice, and policymaking. Tian suggests avenues for those who want to further develop these methods, guiding readers to reflect on their positionality and ethical issues involved in the research process. This insightful book is ideal for early career and experienced educational researchers who use qualitative methods in their inquiries. It offers a reader-friendly guide to methodology for scholars, educators as well as undergraduate and postgraduate students. (shrink)

In this paper, I set an aspect of what it is to live a flourishing life against the backdrop of neo liberal trends that continue to influence educational policy across the globe. The view I set out is in sharp contrast to any narrow assumption that education’s main task is the measurement of high performing individuals who will thus contribute to an economically viable society. Instead, I explore and argue for a conception of what constitutes a flourishing life that is (...) embedded in a more pragmatist analysis of what education may be. The argument begins with developing the centrality of embodiment to aesthetic sensibility and goes on to suggest how collective understanding of this within a community could constitute a sense of performance and thus contribute to the educational aim of developing a full and flourishing life. The argument is that this way of seeing life could have implications for educational practice, the role of the teacher and could help to reconfigure how education is experienced by the young. (shrink)

Media art can be conceived as laboratory, at the edges of art. These technological experiments give priority to innovation and exploration by means of new media. In metaphorical terms, we could say that the emphasis is on creating new languages that allow us, in a later phase, to write prose or poetry with it.In my paper, I discuss why the common view on media art falls short. Media art is not just about mixing media (...) but rather about mixing art. Several different challenges are at stake that beget a hybrid post-medium condition. (1) The artistic practice of media art often concerns exercises in remediation (i.e. resonating visual narratives of old media in new media). Here, we encounter a repetition of historical themes and re-makes or re-enactments of classical art pieces. These experiments thus mix the history of art. (2) Media art is often also about immersion (i.e. interactively enclosing the spectactor in a audiovisual or virtual realm). In experiments with CAVE-installations or 3D-cinema using digital goggles, for instance, we notice a combination of an artistic interest with a phenomenologicaland a scientific one (cf. so-called postfenomenology, robotics, experimental psychology). Hence, these experiments mix art with science. (3) Media art is not just a friction between art an technoscience. It takes place at a junction between art, creative industry, design, sociology and politics. Concerning the latter, I willdiscuss the culture-critical potential of i.e. hacktivism, marx 2.0 and bio-performances like Stelarc and Orlan. (4) Media art is not simply a genre that aims for recognition as a part of or a completion of fine art. While democratizing new media technology, it actually blurs the idea of genre, altering and opening up the very canon of fine art, music art, live art, performance art, video art and cinema. (shrink)

Judith Butler’s idea of gender as performative (introduced in Gender Trouble and now a commonplace in feminist theory) is brought into dialogue with feminist performance art (exemplified by Valie Export, the Austrian media- and performance-artist). Butler’s claim that gender is performative and that it can be changed only through a parodic repetition of performative acts is revisited through the lens of Export’s subversive performance pieces. This “interaction” between theory and art practice shall highlight the political (...) potential of Butler’s work and serve to expand her notion of parody as it pertains more directly to women and the female body. (shrink)

The paper starts by distinguishing between two kinds of economic practice: theoretical economic practice (TEP) (model and theory building) and direct economic practice (DEP) (the practical operation upon real economies). Most of the epistemological and philosophical considerations have been directed to the first type of practice, one of whose main goals is the discovery of particular sorts of economic laws, mechanisms and other regularities which throw light on relevant economic patterns. We do not deny that in some restricted domains these (...) kinds of regularities may be found. Rather, we claim that the realm of economics is best understood as consisting of processes whose regular structure (if they have one at all) is not guaranteed beforehand but may be crucially influenced and successfully enforced by what we call DEP. We claim that (a) some economic processes are a particular type of social process that will be referred to as Expectations-Based Processes (EBP). Characteristically, an EBP shows a connection between the information that individuals receive from the relevant economic context, the expectations they form, and the actions they perform; (b) in those cases in which EBP exhibit a regular behaviour, they depend on agents' expectations and, crucially, we argue, on interventions upon them. Authorities as well as other economic actors may intervene to change agents' expectations (and therefore, their decisions), contributing to shape EBP and helping to produce the patterns that lead to some targeted economic phenomena. These features of EBP show that they are not shielded from external influences and they do not run autonomously once triggered. Therefore they cannot be conceived as mechanisms or as economic machines. Rather they are open-ended processes that require continuous prodding on the part of policy makers to keep them running in the intended way. (shrink)

The question of what constitutes and facilitates mental health or psychological well-being has remained of great interest to martial artists and philosophers alike, and still endures to this day. Although important questions about well-being remain, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would characteristically consist of positive emotion, engagement, relationships, meaning, and accomplishment. Other scholarship has also recently suggested that martial arts practice may positively promote psychological well-being, although (...) recent studies on martial arts have not yet been reviewed and integrated under the PERMA framework from positive psychology to further explore and explicate this possibility. This article therefore contributes to the literature by reviewing recent work on psychological well-being and martial arts to determine whether there is substantive support for the claim that practicing martial arts can positively contribute to one flourishing with greater psychological well-being. (shrink)

Il volume offre una riflessione sulle forme di esperienza musicale della contemporaneità e di un passato che spazia dalla prima età moderna alla fine del ventesimo secolo. Queste possono essere riportate a un concetto ampliato di mediazione musicale che non si applica soltanto all’esperienza “mediatizzata” della musica, proposta da dischi, film, trasmissioni radio e televisive, piattaforme di archiviazione web e social media, ma anche a un concerto dal vivo, a un’installazione, a una partitura a stampa e a un (...) manoscritto musicale miniato. Saggi di Cecchi, Borio, Albert, Bratus, Borghetti, Garda, Sala, Senici, Calabretto, Varon, Corbella, Soldani, Giuggioli, Meandri e Aldeni. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Incorporating Religion into Psychiatry:Evidenced–Based Practice, Not a Bioethical DilemmaMary D. MollerFor over sixteen years I was the owner and clinical director of an advanced practice nurse–managed outpatient rural psychiatric clinic staffed by APNs, a social worker, a licensed counselor and several graduate students. Many of our patients were victims of severe and often brutal trauma and abuse suffered at the hands of family, friends, and various professionals including (...) spiritual leaders. We also uncovered sources of abuse suffered from those involved in occult practices ranging from seemingly innocent white witchcraft (Wicca, Paganism, New Age) that includes such activities as astral projection and remote viewing to the darkest possible black witchcraft (perpetrating evil, incanting evil spirits, casting spells and hexes, creating dissociative identities) such as occurs in ritual abuse and satanic rites. Both types of witchcraft also typically involved family, friends, various professionals, and spiritual leaders. Recognizing the controversy surrounding the reality of witchcraft I am sharing a story that I hope will help break down the barriers that prevent many patients from receiving the treatment that would provide the most benefit to recovery.Seeking services for these patients led me on an intense personal and professional journey that included a profound Christian born–again experience at almost 50 years of age. My professional career grew in nearly indescribable terms as a result of the incorporation of prayer and deliverance ministry as part of the services we selectively provided. Today I always include assessment of spiritual experiences a patient has as well as spiritual supports that are available with every new patient intake. For patients who indicate that prayer is one of their supports, I ask if they would like prayer at the conclusion of the session. The gratitude that is expressed by individuals who appreciate being able to pray with a psychiatric provider is often profound.In the field of psychiatry there has been a long–standing and distinct taboo regarding incorporating religious and spiritual aspects of life experience into treatment unless it is to frame most of these discussions within the context of psychosis. This stems from the advent of psychoanalysis in which religion was deemed a neurosis and atheism became the goal. Some still hold to that belief and there certainly remains controversy regarding the incorporation of prayer into routine outpatient or inpatient care. The essential starting point is the determination of accurate differential diagnosis, which can often be a lengthy process. The clinician must be careful about distinguishing between religious experiences and religious delusions, and often this takes time to sort out. The determination of the etiology of hearing the voice of God or the devil or demons must be carefully parsed and framed within the context of the situation and culture the patient describes. If the clinician denies the existence of God or the devil or demons or the practice of witchcraft, the patient’s descriptions of such experiences will be quickly [End Page 206] labeled psychotic. The patient may then experience a lengthy hospitalization and treatment with psychotropic medications that can have an extremely negative effect on the possibility of recovery. Once I witnessed the level of healing that occurs with carefully administered spiritual interventions that are related to specific spiritual experiences that are based on the patient’s belief system, there was no going back to using only allopathic medication and non–spiritual psychosocial interventions, even in spite of the criticisms from others. The key is to understand and respect the patient’s belief system, if this is not congruent with the practitioner’s belief system, then practitioner must refer out.In the United States, an increasing persecution of Christianity and a devaluing of the Judeo–Christian heritage of our Constitution are creating a climate of intolerance to the expression of religious values resulting in an expectation that Christians should compromise their beliefs for the sake of political correctness. As a doctorally prepared psychiatric–mental health advanced practice nurse I experienced a profound born–again Christian experience that ultimately led to study of the Hebrew roots of Christianity and I now worship in a Messianic Jewish synagogue. It is impossible for me to not include the concept of spirituality into... (shrink)

As an alternative to universalism and particularism, Intermedialities: Philosophy, Arts, Politics proposes "intermedialities" as a new model of social relations and intercultural dialogue. The concept of "intermedialities" stresses the necessity of situating debates concerning social relations in the divergent contexts of new media and avant-garde artistic practices as well as feminist, political, and philosophical analyses.

In lieu of an abstract, here is a brief excerpt of the content:Response to Paul Woodford, “A Liberal Versus Performance-Based Music Education?”Peter R. WebsterA study of the history of music teaching and learning in North America will likely reveal very few examples of extended and well-argued professional discourse. By "discourse" I mean a continuous expression or exchange of ideas designed to present contrasting views on important issues in the music teaching profession. Often our annual conventions are filled with (...) presentations that address a single perspective in research, pedagogy, or theory. "Special theme" issues of magazines are rarely devoted to contrasting points of view about music teaching and learning. Conferences are organized to promote single views on a subject, often speaking to a partisan audience that expects to be neither challenged to think in a contrary way nor encouraged to develop alternative perspectives.Of course there are some rare and wonderful exceptions. During my course on measurement and assessment in music, I frequently ask my students to read [End Page 208] the exchange in the pages of the Music Educators Journal during the late 1930s between James Mursell and Carl Seashore as they debated approaches to music aptitude testing.1 I recall the great exchange at the 1994 meeting of the Music Educators National Conference between Bennett Reimer and Edwin Gordon on the subject of music learning.2 In past eras, there have been notable "point-counterpoint" exchanges in the pages of the Bulletin of the Council of Research in Music Education,3 as well as interesting perspectives on completed doctoral dissertations that spawned some debate. More recently, contributions in Philosophy of Music Education Review have been notable, particularly given the recent upturn in published work and interest in music education philosophy that this very Symposium exemplifies. The formation of the MayDay group in recent years is no small example of this trend.4 I am sure that I have missed other examples. However, compare these few instances with the millions of pages that are written in our field and the hours of papers presented and conference sessions held and the examples of real discourse pale in comparison to the body of professional exchange.In his paper, especially in the early pages, Paul Woodford makes this point forcefully and effectively. He challenges us to consider just how few examples there are of real discourse within the profession. I enjoyed enormously the case made for liberal education as not defined by the teaching of a canon of great books or art works as an end but as a thoughtful discussion of ideas in light of con-temporary circumstance. The paper reminds us that the idea of criticism in our field need not be a negative concept in this current age of post-modern thought, but a positive mark of a maturing profession.I was sympathetic to Woodford's example of multiculturalism running the risk of becoming an absolutism to be imposed on children. I feel the same way at times about other trends in our field such as the rise of technology as a kind of end-experience or the encouragement of popular music in classrooms simply because it is such a dominant part of children's lives. Each of these aspects of modern music education is worthy of careful debate by intellectuals in our field in much more sophisticated ways then we see today. Woodford would have us believe that this is a major professional failure, and I tend to agree.Not to belabor this point too much, but what about the National Standards? How often do you see an article published in Music Educators Journal that actually takes issue with any aspect of the standards? Where is the national debate about the content, extension, redefinition, refocusing, and development of these standards? Are they so good that they are not the subject of at least some national debate?At core here, for me, is the notion that discourse involving critical comment leads not to a sense of competition for superiority but real understanding of complex [End Page 209] issues. Very little that is worth discussing is black and white, and nearly always there are levels of complex gray. Many of us learn this from our days on the high... (shrink)

"Artists are trying to move away from the influence of competitive corporate culture that has increasingly defined art as an abrasive urban career. Artists are trying to replace this with the humbler notion of art as a practice, as a mindful way of life, consisting of consciously creative gestures, visible and invisible, large and small. Art practice is a private and public, selfless and generous, creative life process resulting in a conscious cultural product." "Walking Art Practice" brings together the (...) author's experiences as a monk, performance artist, social choreographer and educator. It serves as a provocation, walkers' manifesto, and teaching guide for walking as a mindful cultural activity and as mindful cultural activism. It is an inspirational text for artists, art students and anyone who loves to walk. Ernesto Pujol combines elements from an art book, field journal and walkers' manifesto. It is a text for performative artists, art students, and all who walk as cultural activism. This book is an invitation to: Rethink what it means to walk and explore different ways in which to walk as: a cultural practice; a meditative practice; a radical practice; art; healing; and social engagement; Reconsider how to attend to the inner and outer landscape whilst walking; Treat walking as a performance resource; Walk as an everyday pilgrimage; Walk slowly, walk in and with awareness, walk with and without skill, walk to regain and to lose. [Subject: Performance Art, Walking, Meditation]. (shrink)

Theodor W. Adorno claims that a philosophy that tried to imitate art would defeat itself, yet he seems to have based his own model for philosophical interpretation, which he compares to changing constellations, on Gustav Mahler’s musical montage (the first Ländler from the second movement of the Ninth Symphony.) The paper first examines two aspects of montage that Adorno mentions in his reading of the Ländler: (1) its reified working material and (2) its combinatory procedure. Next, these aspects (...) are located within the interpretive model advanced in the inaugural lecture of 1931. The latter part of the paper makes a case for the philosophically binding force of constellations by drawing on the concepts of aesthetic semblance [ästhetischer Schein] and praxis. (shrink)

As an alternative to universalism and particularism, Intermedialities: Philosophy, Arts, Politics proposes "intermedialities" as a new model of social relations and intercultural dialogue. The concept of "intermedialities" stresses the necessity of situating debates concerning social relations in the divergent contexts of new media and avant-garde artistic practices as well as feminist, political, and philosophical analyses.

In my short manifesto I consider the interrelation of the emergence of performance philosophy and the simultaneous emergence of practice-based or artistic research in the humanities and the higher education in arts. The need for performing artists to have recourse to philosophical discourse is motivated by an attempt to establish their new political and academic role as artist-researchers, as well as to understand the nature and the significance of the knowledge they produce. Performance philosophy opens up (...) a new academic practice in which performance, performance makers and performers can make contact with philosophical thinking without the advocacy of intermediary disciplines and in equal dialogue with them, learn to think in their own terms, and become understood by others. It builds upon a collective attempt to give an answer to what performing arts and artists can do in an age where ‘performance’ has become a denominator of global capitalism. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to (...) miniaturize the world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

To think of the sea as a page is to consider its liquid surface as a site of writing. The current article explores fluid and performative aspects of the sea in contemporary art practices, which incorporate performance art, poetry and creative media. Based on a critical reflection on coastline and sea-oriented performances of the author and drawing on key ideas that consider the sea as a dynamic milieu of embodied knowledge and expanded creativity beyond western terrestrial (...) bias, the article explores the author’s reconsideration of geopoetics through mediated, performative and fluid practices towards watery poetics in blue humanities. It reflects on the ways parallel processes of writing, floating, drifting and transmitting shift the meaning and articulation of a poem from the page to the sea towards an expanded poetic situation with coordinates. (shrink)

In this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights (...) core topics in aesthetics and art theory, including traditional theories about the nature of art, aesthetic appreciation, artistic intentions, performance, and artistic meaning. (shrink)

The book offers the first systematic reading of Gilles Deleuze's mature philosophy through the lens of creative practice. Six authors - two fine artists, a dancer, a creative writer, a designer and a philosopher - open multiple dialogues between contemporary creative practices and the generative philosophy of Deleuze. These conversations are focused around key aspects of production: forming, framing, experiencing, encountering and practising."-- Back cover.

In this paper, I argue that modelling occupies a curious role in the art making process, and that it constitutes a hybrid art form. Modelling is intriguingly under-research in aesthetics, despite it being a cornerstone of art education and deeply involved in various art practices. It functions both within a supportive role to further the goals of art making, while also retaining the creative agency and performance of the professional model upon which the artist, photographer, or wider crew rely. (...) This ability entails not merely helping to steer a posing session, but experimenting with and adapting to any unexpected issues that arise in the course of the session. To understand the salient performative qualities of modelling, I first focus on expert movement, improvisation, and style. Second, I reflect on how modelling corresponds to creativity and skill. Finally, I propose that the model is a performer, and that, ultimately, modelling should be recognised as a hybrid collaborative art form which incorporates qualities of various performing arts. (shrink)

A number of art projects are currently tackling the medical domain. This activity stems from a perceived need to increase the transparency and democracy of the medical domain, and it often questions the power relations and the one-dimensionality in current medical practices. This article sheds light on how artists process medical themes, elaborates on research elements embedded in art making processes, and considers the relevance of artists' projects for researchers from other disciplines. It deliberates on the author's media (...) and performance art practice in exploring the doctor-patient relationship and discusses the artistic methods and techniques employed. The article promotes the personal, imaginative, and figurative characteristics in the discussion and signification of the body in medicine. (shrink)

This book distinguishes 'citizen art' from within the field of social and activist art practices and examines how it performs new modes of citizenship.

Theodor W. Adorno claims that a philosophy that tried to imitate art would defeat itself, yet he seems to have based his own model for philosophical interpretation, which he compares to changing constellations, on Gustav Mahler’s musical montage The paper first examines two aspects of montage that Adorno mentions in his reading of the Ländler: its reified working material and its combinatory procedure. Next, these aspects are located within the interpretive model advanced in the inaugural lecture of 1931. (...) The latter part of the paper makes a case for the philosophically binding force of constellations by drawing on the concepts of aesthetic semblance [ästhetischer Schein] and praxis. (shrink)

This book highlights the unique need for philosophy among engineers, which stems from issues regarding their knowledge, role or being and influence. It discusses practice, context, ethics, models and failure as key aspects of engineering, and provides an easy but essential introduction to philosophy for engineers by presenting four key philosophers and linking them to these aspects: Karl Popper, Thomas Kuhn, Michael Polanyi and Martin Heidegger. Popper, Kuhn and Polanyi are philosophers of science who have challenged the view (...) that science is a ‘cool, detached’ discipline, since it also depends on human imagination, consensus and judgment plus artistry ; factors that are central to engineering. Heidegger critiqued technology on the one hand, but also stressed the importance of ‘doing’ over ‘knowing,’ thus ‘authenticating’ the highly pragmatic engineering profession. Science is the ‘core’ component of engineering, which is overlaid by a variety of heuristics. Practice-based knowledge can be formalized, with artificial intelligence offering a valuable tool for engineering, just as mathematics has done for science. The book also examines systems thinking in engineering. Featuring numerous diagrams, tables and examples throughout, the book is easily accessible to engineers. (shrink)

The Routledge Companion to Performance Philosophy is a volume of especially commissioned critical essays, conversations, collaborative, creative and performative writing mapping the key contexts, debates, methods, discourses and practices in this developing field. Firstly, the collection offers new insights on the fundamental question of how thinking happens: where, when, how and by whom philosophy is performed. Secondly, it provides a plurality of new accounts of performance and performativity as the production of ideas, bodies and knowledges in (...) the arts and beyond. Comprising texts written by international artists, philosophers and scholars from multiple disciplines, the essays engage with questions of how performance thinks and how thought is performed in a wide range of philosophies and performances, from the ancient to the contemporary. Concepts and practices from diverse geographical regions and cultural traditions are analysed to draw conclusions about how performance operates across art, philosophy and everyday life. The collection both contributes to and critiques the philosophy of music, dance, theatre and performance, exploring the idea of a philosophy from the arts. It is crucial reading material for those interested in the hierarchy of the relationship between philosophy and the arts, advancing debates on philosophical method, and the relation between Performance and Philosophy more broadly. (shrink)

In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in (...) spite of some basic objections to be raised concerning Davies’s central concept of an action token. (shrink)

This paper aims to queer evidence‐based practice by troubling the concepts of evidence, knowledge and mental illness. The evidence‐based narrative that emerged within biomedicine has dominated health care. The biomedical notion of ‘evidence’ has been critiqued extensively and is seen as exclusive and limiting, and even though the social constructionist paradigm attempts to challenge the authority of biomedicine to legitimate what constitutes acceptable evidence or knowledge for those experiencing mental illness, biomedical notions of evidence appear to remain relatively (...) intact. Queer theory offers theoretical tools to disrupt biomedical norms and challenges biomedical normativity to indicate how marginalisation occurs when normative truths about mental health classify those who differ from the norm as ‘ill’ or ‘disordered’. Queer theory's emphasis on normativity serves the political aim to subvert marginalisation and bring about radical social and material change. Reference will be made to mental health subjects within each discourse by indicating how the body acts as a vehicle for knowing. Deleuzian notions of the rhizome are used as metaphor to suggest a relational approach to knowledge that does away with either/or positions in either biomedical, or queer knowledge to arrive at a both/and position where the biomedical, constructionist and queer are interrelated and entangled in needing the other for their own evolution. However, queer does not ask for assimilation but celebrates difference by remaining outside to disrupt that which is easily overlooked, assumed to be natural or represented as the norm. The task of queer knowledge is to do justice to the lives lived in the name of evidence‐based practice and demands that we consider the relations of power where knowledge is produced. This pursuit creates different knowledge spaces where we identify new intersections that allow for socially just understandings of knowing or evidence to emerge. (shrink)

In the 21st century, the screen - the Internet screen, the television screen, the video screen and all sorts of combinations thereof - will be booming in our visual and infotechno culture. Screen-based art, already a prominent and topical part of visual culture in the 1990s, will expand even more. In this volume, digital art - the new media - as well as its connectedness to cinema will be the subject of investigation. The starting point is a two-day (...) symposium organized by the Netherlands Media Art Institute Montevideo/TBA, in collaboration with the _L&B _ series and the Amsterdam School of Cultural Analysis. Issues which emerged during the course of investigation deal with questions such as: How could screen-based art be distinguished from other art forms? Could screen-based art theoretically be understood in one definite model or should one search for various possibilities and/or models? Could screen-based art be canonized? What are the physical and theoretical forms of representation for screen-based art? What are the idiosyncratic concepts geared towards screen-based art? This volume includes various arguments, positions, and statements by artists, curators, philosophers, and theorists. The participants are Marie-Luise Angerer, Annette W. Balkema, René Beekman, Raymond Bellour, Peter Bogers, Joost Bolten, Noël Carroll, Sean Cubitt, Cãlin Dan, Chris Dercon, Honoré d'O, Anne-Marie Duquet, Ken Feingold, Ursula Frohne, hARTware curators, Heiner Holtappels, Aernout Mik, Patricia Pisters, Nicolaus Schafhausen, Jeffrey Shaw, Peter Sloterdijk, Ed S. Tan, Barbara Visser and Siegfried Zielinski. (shrink)

The increasing availability of passively observed data has yielded a growing interest in “data fusion” methods, which involve merging data from observational and experimental sources to draw causal conclusions. Such methods often require a precarious tradeoff between the unknown bias in the observational dataset and the often-large variance in the experimental dataset. We propose an alternative approach, which avoids this tradeoff: rather than using observational data for inference, we use it to design a more efficient experiment. We consider the case (...) of a stratified experiment with a binary outcome and suppose pilot estimates for the stratum potential outcome variances can be obtained from the observational study. We extend existing results to generate confidence sets for these variances, while accounting for the possibility of unmeasured confounding. Then, we pose the experimental design problem as a regret minimization problem subject to the constraints imposed by our confidence sets. We show that this problem can be converted into a concave maximization and solved using conventional methods. Finally, we demonstrate the practical utility of our methods using data from the Women’s Health Initiative. (shrink)

This paper puts forward the argument that there are various, competing, and antithetical evidence‐based practice (EBP) definitions and acknowledges that the different EBP definitions are based on different epistemological perspectives. However, this is not enough to understand the way in which nurse professionals choose between the various EBP formations and consequently facilitate them in choosing the most appropriate for their needs. Therefore, the current article goes beyond and behind the various EBP epistemologies to identify how individuals choose an (...) epistemology, which consequently will assist our understanding as to how an individual chooses a specific EBP formation. Individuals choose an epistemology on the mere belief that the specific epistemology offers the ideals or ideas of best explaining or interpreting daily reality. These ideals or ideas are termed by science, history, and politics as ideology. Similarly, individual practitioners choose or should choose between the different EBP formations based on their own personal ideology. Consequently, this article proceeds to analyse the various ideologies behind different EBP definitions as to conclude that there are two broad ideologies that inform the various EBP formations, namely the ideology of truth and the ideology of individual emancipation. These two ideologies are analysed and their connections to the various EBP formations are depicted. Eventually, the article concludes that the in‐depth, critical, and intentional analysis by individual nurses of their own ideology will allow them to choose the EBP formation that is most appropriate and fitting for them, and their specific situation. Hence, the conscious analysis of individual ideology becomes the criterion for choosing between competing EBP formations and allows for best evidence to be implemented in practice. Therefore, the best way to teach EBP courses is by facilitating students to analyse their own ideology. (shrink)

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the eighteenth century. It influenced every major aesthetician in the second half of the century, and is the work generally credited with establishing the modern system of the arts: poetry, painting, music, sculpture and dance. Batteux's book is also an invaluable aid to the interpretation of the arts of eighteenth century. And yet there has (...) never been a complete or reliable translation of The Fine Arts into English. Now James O. Young, a leading contemporary philosopher of art, has provided an eminently readable and accurate translation. It is fully annotated and comes with a comprehensive introduction that identifies the figures who influenced Batteux and the writers who were, in turn, influenced by him. This book will be of interest to everyone interested in the arts of the eighteenth century, French studies, the history of European ideas, and philosophy of art. (shrink)

In his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory. The substantial Introduction is Hegel's best exposition of his general philosophy of art, and provides the ideal way (...) into his Aesthetics. In Part I he considers the general nature of art: he distinguishes art, as a spiritual experience, from religion and philosophy; he discusses the beauty of art and differentiates it from the beauty of nature; and he examines artistic genius and originality. Part II provides a sort of history of art, divded into three periods called Symbolic, Classical, and Romantic. Part III deals individually with architecture, scuplture, painting, music, and literature. (shrink)

In 1987, Crispin Wright argued that degree-theoretic solutions to the Sorites paradox fail because the solutions do not work when the paradox is restated using a conjunctive major premise. I show that Wright is incorrect: degree-theoretic solutions also work when the paradox is stated with a conjunctive major premise.

Michel Weber, Petite philosophie de l’Art Royal. Analyse de l’alchimie franc-maçonne, 2015. (ISBN 978-2-930517-48-3, 312 pp., 20 €) -/- On propose ici une ellipse philosophique définie par les deux foyers de l’Art Royal : l’Alchimie et la Franc-Maçonnerie. Ces trois territoires seront de plus recoupés par la psychologie analytique de Jung. Au nombre de nos conclusions, on trouve les thèses suivantes : primo, le Philosophe est l’héritier d’une tradition ascétique et gnostique ; secundo, l’Adepte n’a rien du chercheur d’or et (...) tout du mystique travaillant à sa propre transfiguration ; tertio, l’Initié peut se réclamer de cette filiation philosophico-alchimique qui traverse les œuvres de Pythagore, Platon et Albert le Grand ; quarto, l’Analyste endosse, avec les contradictions qui sont propres à une discipline toujours en quête de notoriété scientifique, ce même héritage. « Out of the mist of the beginning of our era there looms a pageant of mythical figures whose vast, superhuman contours might people the walls and ceiling of another Sistine Chapel. » (H. Jonas) The purpose of this book is to show how far a philosophical cross-elucidation of Alchemy, Freemasonry and Jungian Analysis is possible. Amongst its conclusions are the following theses : Philosophy is, in its core, ascetic and gnostic ; Alchemy does not have much to do with gold but with the quest toward transfiguration ; Freemasonry has built upon this philosophico-alchemical legacy ; Jungian Analysis fosters, in a more mundane context, this very same ideal. -/- Michel Weber a publié sur A. N. Whitehead. (shrink)

Contemporary virtue ethics was revolutionized by Alasdair MacIntyre’s reconfiguration using practices as the starting point for understanding virtues. However, MacIntyre has very pointedly excluded the professions of the financial world from the reformulation. He does not count these professions as practices, and further charges that virtue would actually hinder or even rule out one’s pursuit of these professions. This paper addresses three tasks, in regard to the financial profession of investment advising. First, the paper lays out MacIntyre’s soon-to-be-published (...) charges against the investment world, as specified to this profession. Second, it sets forth the role function of investment advising and shows that it does possess internal goods—the crucial aspect of practices disputed by MacIntyre in this case—including goods of production and goods of performance. Third, it demonstrates that this function, and the goods tied to it, cannot be achieved apart from the virtuous pursuit of the profession, thereby showing that MacIntyre’s charges are mistaken. Investment advising is shown to be a virtue-based practice, and the groundwork is laid for showing that other financial professions are so, as well. (shrink)

Recognising relationships: reflections on evidence‐based practice This paper argues for a broadening of the way evidence is developed and used in health‐care. It contends that the current political and policy imperatives and the evidence‐based practice movement are in direct tension with the other major ideological movements that promote patient‐centred healthcare services. Nursing is affected by this tension because it is more naturally focused on relationships with clients to achieve health outcomes. The unresolved and mounting tension could (...) be alleviated by embracing a broader definition of what counts as evidence and by focusing more on patient‐centred healthcare methodologies and acknowledging the interdependency of distinct ways of generating new knowledge. A number of case studies are used to illustrate how research focusing on patient perspectives and nurses’ response to patient experiences can improve the evidence base for nursing. (shrink)

Although primary source work is a major component of undergraduate history degrees in many countries, the topic of how best to support this work has been relatively unexplored. This article addresses the pedagogical support of primary source work by reviewing relevant literature to identify the challenges undergraduates face in interpreting sources, and examining how in two courses carefully articulated course design and supportive teaching activities assisted students to meet these challenges. This fine-grained examination of the courses is framed within (...) a socio-cultural account of learning. The findings show how a skilful drawing of students into the interpretive/discursive practices of source analysis was associated with an epistemological reframing of historical knowledge and dialogical forms of teaching that helped the students to take forward a dialectical engagement with sources. The benefits of an ‘integrated’ approach to source work that fosters students’ affective and intellectual engagement with historical interpretive practices are highlighted. (shrink)

Through a comparison between Arthur Danto’s philosophy of art and Kantian aesthetic reflection, this article identifies the place from which Danto can underestimate the aesthetic experience and its alleged irrelevance in relation to art. I argue, first, that this position of Danto is crossed by some internal contradictions in his thought. Furthermore, based on the comparison with Kant, I examine the thesis of the “end of the history of art” advanced by Danto, considering in particular two aspects. (...) I argue: (a) that Danto surreptitiously or parasitically uses in his critical activity a notion of aesthetic experience which his philosophical argument, and in particular his “aesthetic of meanings”, cannot legitimize; (b) that his thesis relating to the end of art history is symptomatic of a wider problem, which involves our forms of life, and which finds a particularly significant statement in Friedrich von Hayek’s neoliberal thought. The attempt at a neoliberal anthropology of homo œconomicus implies the tendency to absorb within it the very meaning of the experience that has long been at the center of aesthetic and artistic experience. This totalizing colonization of human forms of life appropriates some exemplary characteristics of aesthetic and artistic experience, perverting them, starting with the presumed generation of spontaneous orders, which we know are framed in an ideological horizon that is anything but obvious or natural. My thesis is that Danto’s idea of a post-historical art is one of the symptoms of this condition. (shrink)

According to the brain drain argument, there are good reasons for states to limit the exit of their skilled workers (more specifically, healthcare workers), because of the negative impacts this type of migration has for other members of the community from which they migrate. Some theorists criticise this argument as illiberal, while others support it and ground a duty to stay of the skilled workers on rather vague concepts like patriotic virtue, or the legitimate expectations of their state and co-citizens. (...) In this article, on the contrary, we suggest that the liberal conception of states’ legitimate political authority demands, and not just permits, that developing states from which migration of skilled workers occurs set up contractual mechanisms. These mechanisms will ensure that state-funded training in the health sector is provided against a commitment on the part of future professionals to reciprocate with their services for the benefits obtained. If one of the conditions for the state to maintain legitimate political authority is to provide basic services such as healthcare to its subjects (while respecting at the same time their autonomy and freedom), then this is what developing states affected by the brain drain ought to do. What we call the authority-based approach to the brain drain also helps to clarify the obligations that other states have not to interfere with these contractual mechanisms when they exist, and not to profit from their absence. Inspired by FIFA’s legal instruments of training compensation and solidarity mechanism for the transfer of players, we conclude by suggesting a plausible global policy to complement this authority-based approach. (shrink)

Child's play? Certainly Alison Gopnik is in good company in pointing to connections between science and child development. To mention just a few luminaries: in psychology, Freud looked at the developmental connection between children's play and adult work; in philosophy, Thomas Reid may have been the first to ground the faculty of reasoning in developmental stages that “unfold themselves by degrees; so that it [the child] is inspired with the various principles of common sense”. As for connecting commonsense (...) reasoning and science, according to Einstein, “The whole of science is nothing more than a refinement of everyday thinking”. Quod erat demonstrandum. (shrink)

The Fine Arts Reduced to a Single Principle (1746) by Charles Batteux was arguably the most influential work on aesthetics published in the 18th century. James O. Young presents the first complete English translation of the work, with full annotations and a comprehensive introduction, which illuminate Batteux's continuing philosophical interest.

There are various programmes currently advocated for ways in which children might encounter philosophy as an explicit part of their education. An analysis of these reveals the ways in which they are predicated on views of what constitutes philosophy. In the sense in which they are inquiry based, purport to encourage the pursuit of puzzlement and contribute towards creating democratic citizens, these programmes either implicitly rest on the work of John Dewey or explicitly use his work as (...) the main warrant for their approach. This article explores what might count as educational in the practice of children ‘doing’ philosophy, by reconsidering Dewey’s notion of ‘experience’. The educational desire to generate inquiry, thought and democracy is not lost, but a view that philosophy takes its impetus from wonder is introduced to help re-evaluate what might count as educational experience in a Deweyan sense. (shrink)

This book, based on a critical/collective/auto/ethnographic research project, describes an assemblage of theoretically informed, arts-based methods that aim to promote multiplicity and thinking. It explores multiplicities of knowing, sensing, doing and being, generated by analyzing knowing frames, poetry, reading aloud, fableing, playwriting and other inventive, playful and scholarly ways of working with experiences and stories. By offering engaging and inspiring strategies that can disturb standardizations and interrupt cultural normativities, the book sheds light on the conditions that (...) might be present in cultural contexts that enable diversity and creativity. The research project on which this book is based originated from a contradictory set of conditions characterized on the one hand by a marked interest in creative research methods and novel knowledge practices and, on the other hand, by a widespread concern that we live in increasingly standardized times, featuring systems that specify objectives ahead of time, demand compliance and narrow the possibilities for human action. The book takes readers on an arts-based journey designed to enhance the opportunities for imaginative and ethical professional practice in education, human services and the arts. (shrink)

What kind of art is performance art? In what sense – if any – can it be defined? This paper is an attempt to answer these questions by drawing on the category of ‘performative gesture’. One crucial manifestation of the character of performance art is the way it challenges our traditional ideas about what art is. A pivotal point is that performance art does not hold up to the traditional notion of artistic creativity as either a process of ‘production’ (...) or ‘reproduction’. It is rather committed to putting the focus of artistic creativity on a special kind of gestures, differing from both the gestures of traditional art and from the gestures of theater. Performative gestures do not ‘bring anything into being’; analogously, they do not ‘mimic’ nor ‘represent’. Instead, they suggest the worrying idea that everything and anything can be considered art: not only every object, but even every ordinary act in everyday life. In this sense, performance art attempts at blurring the boundaries between art and life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art as PerformanceMichael WehArt As Performance, by David Davies. Oxford: Blackwell Publishing, 2004, 278 pp.If we accepted the claims that David Davies makes in his Art as Performance, we would have to rigorously revise our conception of what kinds of entities artworks are. Art as Performance is a study in the ontology of art, and whereas other well-known theories about the ontological status of artworks say that artworks are (...) to be identified with, forexample, types, classes, or kinds, Davies holds that they are performances that lead to the production of a "focus of appreciation" — the latter being the objects we usually take to be artworks. So according to Davies, a painting presented in a museum or a novel we can buy in a bookshop is in fact not the artwork x.The artwork is rather the performance that cumulated in bringing x into existence.Davies characterizes our "common sense theory" of art as including views about the epistemology, ontology,axiology, and definition of art. It maintains that in order to appreciate an artwork, a direct experiential encounter with it is sufficient; that artworks are those things that are exhibited in our museums or performed on stages; that the value of artworks lies in immediately experiencing them; and that artworks differ from other objects by virtue of possessing aesthetic properties. But the common sense theory conflicts with many, if not most, of the art phenomena of the twentieth century. The puzzlement of audiences in the face of certain contemporary pieces of art is caused by the incompatibility of the common sense theory with those artworks. A philosopher of art can try to solve this problem by either accommodating modern art to the common sense theory or by dismissing the theory as inappropriate. With his performance theory, Davies goes for the [End Page 114] second option, while at the same time constraining his theory to the principle that an ontology of art should not contradict our dealing with art — at least after we have critically revised it — too excessively.Davies's first major step in elaborating his theory is a discussion of whether it is necessary to take contextual properties of artworks into account in order to be able to appreciate and understand them. Defenders of "aesthetic empiricism" (a term coined by Gregory Currie) deny that an artwork's history of production is relevant and would be the philosophical business partners of the common sense theory. According to empiricism, only an artwork's manifest properties matter. The context of an artwork's making is at best of art-historical interest. Building upon the works of Currie, Jerrold Levinson, Arthur Danto, and others, Davies forcefully argues against empiricism in defense of a contextualist epistemology of art. And since he takes an artwork's history of production to be epistemologically indispensable, Davies infers that it also has to be considered concerning the ontology of art.Davies's ontology of art is monistic. He claims that all artworks are not the products of creative activities, but rather "intentionally guided generative performances that eventuate in contextualized structures or objects...or events...performances completed by what I am terming a focus of appreciation" (p. 98). The focus of appreciation, in turn, is defined as "an artistic statement as articulated in an artistic medium realized in a vehicle" (p. 60). Davies understands an artistic medium as a set of social conventions or understandings of how to describe the way an artist articulated his statement — for example by manipulating a physical object. The vehicle can be — as in the case of painting — exactly that physical object, or, for example, an action in the case of conceptual art. The main point is that the focus of appreciation is not the artwork. The focus of appreciation — for example, the object Les Demoiselles d'Avignon — completes the performance that was carried out by the artist, and that performance is the artwork.If artworks are performances, it is clear that artworks possess the properties on whose existence contextualism insists and that are ignored by empiricism. But though Davies emphasizes the role of the properties an artwork has due to its provenance, he is also concerned about the weaknesses of... (shrink)