This article discusses the foundation ceremony of the church of Sant’Ignazio di Loyola in Rome, the new chapel of the Collegio Romano. The ceremony was held in the Collegio’s existing smaller chapel, dedicated to the Annunziata, in 1626. The ceremony was led by the sponsor of the new church, Cardinal Ludovico Ludovisi, the nephew of the late Pope Gregory XV and one of the greatest art collectors of his time. The extraordinary apparato of the foundation ceremony focussed on the personifications (...) of a wide range of artistic disciplines that exalted the patronage of Cardinal Ludovisi, as described in an anonymous contemporary pamphlet entitled Ragguaglio della solennita. It was an exercise in self-promotion and a failed attempt by Cardinal Ludovisi to regain some of the power he lost when Urban VIII succeeded his uncle as pope in 1623. The article will reconstruct the iconography of the apparato in relation to the texts on a set of commemorative medals, copies of which were deposited in the foundations and distributed among the attendees and reproductions of which were included in the apparato. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Attic Document Reliefs: Art and Politics in Ancient AthensWilliam C. WestCarol L. Lawton. Attic Document Reliefs: Art and Politics in Ancient Athens. Oxford: Clarendon Press, 1995. xxii 1 167 pp. 96 pls. Cloth, $100. (Oxford Monographs on Classical Archaeology)Although long recognized as a distinct genre, the reliefs on documents have not been collected comprehensively and studied for their own sake. They are set above the texts of honorary (...) decrees, alliances and documents concerning [End Page 465] foreign affairs, decrees concerning cults, accounts and inventories, public dedications, and other inscriptions. Previous work on the subject (Binnebössel 1932; Meyer 1989) sought to relate the reliefs to other genres of art. Lawton notes that the document relief is “the only genre of Greek art that explicitly and consistently refers to contemporary events in the political sphere” (4). The style of the sculpture of the reliefs is shown to be conservative, “following rather than setting the sculptural trends of their own day” (73).The aim of illustrating documents with reliefs seems to be the desire to highlight certain relations to the text (deities as representative of cities; heroes, personifications of Demos, Boule, and Demokratia; individuals honored set amid the appropriate divinities, etc.). Expenses for inscribing were sometimes shared, as by cities of the empire or by individuals who received honorary decrees, but the cost of inscribing probably also included the reliefs (23–24). They would have been commissioned by authority of the secretaries of the assembly (or other political group such as deme or tribe) in consultation with sculptors and masons. Thus the relief contributes to the artistic display, just as certain features of the layout of the text on the stone (stoichedon style, intentional use of vacat, chequer pattern) serve to articulate the elements of the text and create an attractive monument. Lawton asserts that most of the document reliefs had a votive function, as they were set up in sanctuaries (29).Lawton presents a catalogue of 187 reliefs, arranged in two parts (dated and undated) and listed in chronological order within each part. Each item is accompanied by a lemma giving its most accessible publication, location, measurements, iconographical description, and bibliography. Thus 62 are classified as dated and 125 as undated. Although they range from the middle of the fifth to the second half of the second century B.C., the overwhelming preponderance fall in the fifth and fourth centuries. Statistics make the point effectively: fifth century, 28 total (12 dated, 16 undated); fourth century, 148 total (46 dated, 102 undated). Five are classified “late 5th-early 4th century,” bringing the grand total to 181. Of the dated group in the fourth century, only 9 can be put after 323 and only 4 after 318/17. One might justifiably conclude that the document relief is a phenomenon of the classical period, continued occasionally after it.Lawton offers excellent analyses, with concise discussion of relevant interpretations, in terms of type of inscription, iconography, style, and chronology. Where problems in interpretation still persist, she is careful to note the probabilities.Possibly the earliest surviving document with a relief is the Miletos decree (no. 63 = IG I3 21), which is put by Meritt and others about 450 because it uses the three-bar sigma, but in the 420s by H.B. Mattingly. Lawton summarizes fairly the arguments for both datings but does not insist on either. Rather, she notes the frequency of document reliefs from the 420s onward.IG I3 68 (no. 1), on the collection of tribute, is presented as the earliest securely dated inscription. Perhaps here the case is stated too positively, as the date 426/25 depends on the identification of the proposer Kleonymos with the man [End Page 466] who proposed a decree favoring Methone in the first prytany of that year (Meiggs and Lewis, no. 68, p. 188). Hence the date is probable, rather than certain. Secure dates for several decrees of the fourth century come from the name of the archon in the heading, but in cases where insufficient text is preserved for certainty (as in IG II2 133, no. 30) it should be noted that the stoichedon pattern provides... (shrink)

This paper examines the range of symbolic associations surrounding the relief sculpture (Democracy crowning the Athenian people) that accompanied the law proposed by Eukrates against the establishment of tyranny. It examines some of the investments made in it by various communities and individuals. The role of personifications in political allegory is examined. This analysis shows both the potency of personifying representations of the Athenian people and the interpretative complexities that they create.

The article investigates how and why we treat works of art as persons. From rhetoric to jurisprudence, various disciplines have dealt with the practice of attributing human features and abilities to insensate objects. The agency of works of art acting as fictitious persons is not only rec­ognized at the level of aesthetic experience, but also outside it, because there have been cases in which they were subject to legal liability. Per­sonhood is not reducible to individual human beings. However, since works (...) of art lack senses and consciousness, there is ultimately a limit to the personifying metaphor. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Three Moments in the Crisis of Exemplarity: Boccaccio-Petrarch, Montaigne, and CervantesKarlheinz StierleIn his recent book History as Topic Peter von Moos denies that there was any crisis for the exemplum in the Renaissance. 1 He strongly argues against my essay on “History as exemplum,” where I pointed out that in Montaigne, as earlier in Boccaccio, the pragmatic form of exemplum is put into question. 2 My main interest in (...) this essay, however, was not to mark a break between Middle Ages and Renaissance but to understand the way in which the correlation between sententia and exemplum was transformed into a more complex relation between moral reflection and particular case. Undoubtedly, since Valerius Maximus and his Factorum et dictorum memorabilium libri, there has always been, as in John of Salisbury’s Policratius, the possibility of questioning the exemplary truth of the exemplum by opposing it to a never-ending wealth of counter-examples. This, however, never puts into question the idea of exemplarity itself. The validity of the exemplum as a rhetorical form of narration that tends towards its own conceptual or ideological structure has an anthropological basis. It presupposes that over time, there is more analogy in human experience than diversity, or that in all situations of civil and political life the pole of equality is stronger than that of difference.Boccaccio’s novella is precisely the narrative form that puts this anthropological basis into question. Each novella in the Decameron is essentially a [End Page 581] particular variant of a more general conceptual scheme. The stress of narration, however, is not on the scheme itself but on the autonomy of the variant. Basically the novella is a form of rewriting in the mode of retelling, thus bringing an elementary narration to higher complexity. 3 Each of the “vari casi,” mostly of love-affairs, is a confrontation of exemplarity and contingency. It is the power of contingency or fortuna that brings forth the specific particularity of each novella. The art of the writer Boccaccio, whose primary fiction is oral story-telling, consists in giving aesthetic evidence to this particularity. Reading, not listening, is the form of reception that corresponds to this structure. That Boccaccio adds the other title “Il Prencipe Galeotto” to the Decameron is an allusion to Dante’s Divine Commedy where in the famous episode of Paolo and Francesca (Inf. V), Galeotto becomes the personification of the allegory of reading and its seduction.Contingency, or, in Boccaccio’s own medieval terms, fortuna, is the real poet of the novella. That is why the most important scenes of the novellas are those where the power of contingency comes to light: at the sea and in the city. The particular shape of novella, which results from a balance between contingency and significant configuration, emerges from contingency itself. Its configuration is a particular case of contingency, one that by its immanent structural elegance is aesthetically gratifying. It nevertheless leaves open the question whether there might not be a power of a superior kind behind contingency. Because there is an ambiguity between contingency and sense, the exemplary status of each story is, ironically, placed in question. Contingency overcomes exemplarity; however, it never triumphs definitely. The impact on the exemplum by contingency not only gives to each narrative case its difference or even autonomy, it also opens up a new temporal dimension. The exemplum seems to move in an essential time where all time-aspects are controlled and functionalized by a dominating conceptual structure. In the novella time becomes a primary structure. “Or avviene che” is the narrative formula for this new quality of narrative time, becoming a time of disruption and instability where things and situations may change in a moment for the better or for the worse.I would like to illustrate the structure of the Boccaccian novella by at least one exemplary case. Almost in the middle of the book—which means in the middle of its temporal space of ten days—we find the novella of Federigo degli Alberighi, considered to be one of Boccaccio’s finest (V, 9). Federigo, in a world of merchants and trade, is the perfect nobleman who ruins himself by his... (shrink)

This essay explores claims made frequently by artists, critics, and philosophers that artworks bear personifying traits. Rejecting the notion that artists possess the Pygmalion-like power to bring works of art to life, the article looks seriously at how parallels may exist between the ontological structures of the artwork and human personhood. The discussion focuses on Arthur Danto’s claim that the “artworld” itself manifests properties that are an imprint of the historical representation of the “world.” These “world” representations are implicitly embodied (...) in the artist’s style. The “world” that is stamped on the people of a historical period entails a point of view that influences how they might act, something like the logic that guides a conversation. This “conversational” logic is also extant in the artworks that artists of a given period create. This analysis of Danto’s account of how people are connected to their world clarifies Danto’s assertions that a parallel structure of personification in the artwork and the human exists. It also explains his claims that artworks themselves appear to be in a kind of dialogue. (shrink)

The author continues the research begun in the previous article («Philosophy and Culture», 2023, No. 11). The subject of the study is the Christian discourse of the English TV series «Robin of Sherwood» (1984–1986). The texts under study are the narrative of the series «Robin of Sherwood», as well as a complex of documents, articles and video materials dedicated to the film. Works of fiction based on the series in the Russian-language literary Internet space are also analyzed, mainly the fan (...) story «Alone in Wykeham or the Gratitude of a Former Templar», which is considered as the most Christian reading of the film. The philosophical-hermeneutical approach is used as the methodological basis of scientific work. The method of hermeneutic interpretation of an artistic text is also used, aimed at identifying the meaning of a particular work of art through the prism of a certain value system. Hermeneutic interpretation includes historical-cultural, contextual and lexical-syntactic analysis. It is concluded that the Christian component of the film text is strengthened in the story, since the spiritual evolution of the characters is shown, leading them to Christian morality and even directly to the Christian faith. As for the discourse of the series, the image of Robin Hood in it embodies the ideal of the «good king», historically formed in the popular consciousness. Unlike other artistic interpretations of the legend of Robin Hood, King Richard the Lionheart in the film loses the features of a Christian sovereign, the personification of the highest truth and legitimate power, and these characteristics are transferred to Robin Hood. In addition, the actions and statements of the main character position him as an example of Christian chivalry, which is also reflected in the texts created by the Russian-speaking audience of the series. (shrink)

Even under many formally democratic regimes, large swaths of the citizenry experience alienation from states with uneven presence throughout the national territory. Addressing a gap in scholarship that has examined why rather than how states establish new modes of engagement with subaltern groups, this article documents concrete mechanisms by which the Brazilian state built new state-society relations through a particular cultural policy. By recognizing and funding artistic initiatives in underserved communities, the program aimed to expand their access to the state (...) and validate their role in the polity. On the basis of in-depth fieldwork in three Brazilian states, the article argues that new relations actually were forged through state-society encounters around the program’s administrative procedures. The surprising twist—that paperwork, as much as art, played a transformative role—sheds new light on bureaucracy as a point of contact with the state and offers new insights into the ways that cultural politics can shift. (shrink)

Pseudonymous mathematician Nicolas Bourbaki and his lesser-known counterpart E.S. Pondiczery, devised respectively in France and in Princeton in the mid-1930s, together index a pivotal moment in the history of modern mathematics, marked by international infrastructures and institutions that depended on mathematicians’ willingness to play along with mediated personifications. By pushing these norms and practices of personification to their farcical limits, Bourbaki’s and Pondiczery’s impersonators underscored the consensual social foundations of legitimate participation in a scientific community and the symmetric fictional (...) character of both fraud and integrity in scientific authorship. To understand authorial identity and legitimacy, individual authors’ conduct and practices matter less than the collective interpersonal relations of authorial assertion and authentication that take place within disciplinary institutions. (shrink)

The twentieth century has been called the age of science. Indeed, one of its most salient features is a continuous and accelerating advance in our knowledge of nature, accompanied by progress in technology and engineering. The middle of the century witnessed a new revolution in science and technology which brought about radical changes in economic production and everyday life, which brought nature under further control on our planet and ventured into outer space. These advances in science and technology in an (...) age of automation and electronic "brains," of nuclear energy and artificial satellites, exercise a growing influence on all aspects of social life, including the way in which art develops. (shrink)

In this article, we explore the role that art can play in ethical reflection on risky and controversial technologies. New technologies often give rise to societal controversies about their potential risks and benefits. Over the last decades, social scientists, psychologists, and philosophers have criticized quantitative approaches to risk on the grounds that they oversimplify its societal and ethical implications. There is broad consensus amongst these scholars that stakeholders and their values and concerns should be included in decision-making about technological risks. (...) It has also been argued that the emotional responses of people can shed important light on the ethical aspects of risk and uncertainty. However, people’s emotions can be narrowly focused and biased. This article therefore assesses the role that technology-inspired artworks can play in overcoming such biases, by challenging our imagination and providing us with different perspectives on possible technological developments and their implications for society. Philosophers have not yet studied such artworks, so this constitutes an entirely new field of research for scholars of risk and moral theory. In particular, we focus on the case of BNCI technologies and related artworks. These technologies and artworks touch on questions of what it means to be human, thereby raising profound ethical and philosophical challenges. We discuss the experiences of artists, scientists, and engineers who are directly involved with BNCI technologies, and who were interviewed during a Hackathon at Amsterdam’s Waag Society in June 2016. Their views are analyzed in light of philosophical and aesthetic theories, which allows us to consider relevant ethical and conceptual issues as well as topics for further investigation. (shrink)

This is a systematic study of the conceptual framework used by critics and scholars in their discussions of influence in art and literature. Göran Hermerén explores the key questions raised in scholarly debate on the topic: What is meant by "influence"? What methods can be used to settle disagreements about influence? What reasons could be used to support or reject statements about artistic and literary influence? The book is based on descriptive analyses in which the author has tried to make (...) explicit what is said or implied in a number of quotations from scholarly writings on art and literature. Throughout, the emphasis is on clarifying the assumptions on which the use of the concept of influence is based, thus describing the limitations and merits of this kind of comparative research for critics and scholars. Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

The recent removal of the Richard Prince’s artwork Spiritual America from the Tate Modern’s “Pop Life: Art in a Material World” exhibition is the most recent and high-profile case of a work of art being withdrawn from a gallery in the UK on the grounds that it has allegedly breached legislation concerning indecent images of children. Surprisingly, the issue has been hardly considered by academics from law departments and is almost entirely ignored by philosophers specializing in aesthetics and ethics. This (...) essay considers the ethics of images of children by drawing from continental ethics and aesthetics, and by engaging with the only significant treatment of the subject undertaken by a philosopher, namely Peter J. King’s “No Plaything.” This paper shows that a continental perspective can open up positions that King’s ‘objectivist utilitarianism’ is oblivious of. In particular, the essay draws from Derrida’s reading of Kant’s Third Critique and the former’s quasi-conception of “the frame” in The Truth in Painting and “droit de regard” in Right of Inspection. In distinction to King, this paper engages with the actual existing reality of currently enacted laws and their application in particular cases such as in Spiritual America. I will begin with art ‘in the frame’ as the colloquial expression has it, art wrongfully and unjustly accused by the police. I will proceed via an examination of the question of the frame in Kant and Derrida, to demonstrate a need to reclaim the ethical status of works of art. The core procedure of my paper will be a ‘rediscovery’ of Spiritual America as the Kantian example that allows us to find the law. My argument will be that no work of art or image can of itself be decent or indecent. (shrink)

In marketing, the use of visual-art-based designs on products or packaging crucially impacts consumers’ decision-making when purchasing. While visual art in product packaging should be designed to induce consumer’s favorable evaluations, it should not evoke excessive affective arousal, because this may lead to the depletion of consumer’s cognitive resources. Thus, consumers may use heuristic decision-making and commit an inadvertent mistake while purchasing. Most existing studies on visual arts in marketing have focused on preference using subjective evaluations. To address this, we (...) applied a neuroscientific measure, electroencephalogram to increase experimental validity. Two successive tasks were designed to examine the effects of affective arousal and affective valence, evoked by visual artwork, on the consecutive cognitive decision-making. In task 1, to evaluate the effect of visual art, EEG of two independent groups of people was measured when they viewed abstract artwork. The abstract art of neoplasticism group was showing Mondrian’s artwork, while the abstract art of expressionism group viewed Kandinsky’s artwork. The neoplasticism movement strove to eliminate emotion in art and expressionism to express the feelings of the artist. Building on Gallese’s embodied simulation theory, AbNP and AbEX artworks were expected to induce lower and higher affect, respectively. In task 2, we investigated how the induced affect differentially influenced a succeeding cognitive Stroop task. We anticipated that the AbEX group would deplete more cognitive resources than AbNP group, based on capacity limitation theory. Significantly stronger affect was induced in the AbEX group in task 1 than in the AbNP group, especially in affective arousal. In task 2, the AbEX group showed a faster reaction time and higher error rate in the Stroop task. According to our hypotheses, the higher affective arousal state of the AbEX group might deplete more cognitive resources during task 1 and result in poorer performance in task 2 because affect impacted their cognitive resources. This is the first study using neuroscientific measures to prove that high affective arousal induced by visual arts on packaging may induce heuristic decision-making in consumers, thereby advancing our understanding of neuromarketing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 64-73 [Access article in PDF] Postmodern Approach to Art Appreciation for Integrated Study in Japan This essay aims to clarify the issues of art appreciation education in Japan, and to examine a viewpoint for considering the issues in relation to a "Period for Integrated Study" established in 2002. Though ideas of art educationhave expanded in recent years, we are facing the difficulty (...) of approximately |a 20% cut in the number of art classes offered in Japanese compulsory education. In addition to this, involvement of art with Integrated Study, a new attempt to transcend the conventional learning of subjects, has presented urgent issues in art education along with current educational reforms.Based on analyses of the developmental characteristics of Japanese students' aesthetic sensitivity, we consider the issues of art appreciation education, and present a vision for involvement of art appreciation with Integrated Study. For example, Japanese students show a keen interest in formal elements with an inclination for expressiveness as a legacy received from the study of modernism in art education. On the other hand, students also show weakness in skills in finding artistic contexts. This should be considered as the most important issue of art appreciation education in Japan. It is necessary to enhance students' viewing in relation to social and cultural contexts in order to address this issue. We propose that this can be achieved through Integrated Study. Art appreciation in Integrated Study should take a postmodern approach to Japanese art education, which now has a strong inclination toward modernism. Educational Reform and Integrated Study With a rapid decline in the number of children, a rapidly aging society, and the advent of computerization and globalization, we now face problems which cannot be solved by conventional systems presently in place in Japanese society. In order to address these problems, drastic reforms that also include educational reform must be undertaken. Specific reform in education [End Page 64] can be seen in changes in the Course of Study. The most notable feature in the latest revision of the Course of Study is the establishment of the Period for Integrated Study. Integrated Study was established as a new project for the most highly prioritized issue of how students can acquire the so-called "Zest for Living." 1 Integrated Study is a required subject, with 105 to 110 class hours/year in third grade and above in elementary school, and 70 to 130 class hours/year in junior high school. The Course of Study does not prescribe the contents in detail but the periods are organized and implemented by each school according to regions and schools. However, it is suggested that schools proceed with the study of international understanding, conversation in foreign languages, information, the environment, social welfare, and health in a comprehensive and interdisciplinary way. IntegratedStudy puts an emphasis on students' initiative in identifying issues forthemselves, and on the cultivation of their talent and ability to solve those issues. Based on students' own interests, great importance is placed on problem-solving, open-ended activities, and the cultivation of independent and creative attitudes. Unlike the conventional unilateral teaching of knowledge for subjects, Integrated Study's purpose is to shift the direction of education so students can learn and think for themselves. In addition, Integrated Study focuses on authentic way and develops the skills of collecting, investigating, and connecting information, and reporting, announcing, and discussing. 2On the other hand, in curricula for elementary and junior high schools, the hours of art classes were reduced so that Japanese art education was put in a more difficult situation compared to previous curricula. Respectivesubjects are designed for students to learn basic abilities for the development of Integrated Study. Therefore, while educational reform is underway in Japan, art education faces the problem of maintaining basic learning at the same level as previously, relating art to Integrated Study.Relations between Integrated Study and art education have been discussed in various ways. 3 Two general problems can be pointed out. One isour concern that the originality of art as... (shrink)

This article has three objectives: First, it revises the history of the reception of Ludwik Fleck’s monograph Entstehung und Entwicklung einer wissenschaftlichen Tatsache (1935, Genesis and Development of a Scientific Fact). Contrary to the established picture, Fleck’s book was largely discussed in the years before the outbreak of World War II. What becomes clear when reading these early reviews and especially Fleck’s comments to those written by representatives of Nazi Germany is, second, the political dimension of his epistemology. In this (...) respect, Fleck’s emphasis on the genuinely democratic character of science will be discussed in some detail. And third, Fleck’s notion of “ Denkstil ”—thought-style—shall be examined more closely since, as we will claim, it can be understood as a notion indicating where the democratic dimension of science encounters its limits. (shrink)

Not too long ago the trustees of my college decided to update the artistic holdings of our campus, and to this end they set out to acquire a contemporary work of art for permanent display in the College art museum. Not being timid, the trustees wanted a challenging, cutting-edge work, preferably from the West Coast, but they felt they lacked the expertise to find and buy the right piece. As it happened, a few of them had heard of my interest (...) in modernism and its philosophical challenges, and so I found myself with an unusual assignment: I was to fly to Los Angeles with a ten thousand dollar check and bring back something distinguished, a unique object to be discussed and appreciated for years to come. (shrink)

This dissertation develops and applies, through criticism, a theory of rhetoric which addresses the Modernist achievement in literary expression within the context of the current attacks on communication. A modest conclusion about the limits of communicative efficacy in addressing personal experience is proposed and tested. This "modest proposal" represents an alternative to extreme universalist presumptions on the one hand, and radically skeptical solipsism on the other, thus contributing to current discussions emphasizing hopeful directions for communication theory. ;The study examines the (...) limits of rhetoric in approaching human experience by examining the relationship between expression and personal reference in the Modernist epiphany. Particular attention is paid to how this earlier tradition informs the postmodern loss of faith in communication. ;The study applies a dialectical method which involves locating a closely related text and theory, testing the theory against the criterion of the text, using the dialectical imbalance created out of this comparison to move to a higher synthesis of theory and practice. The study moves through three dialectical phases corresponding to the movement of the expression of epiphanel experience form literature, to film, to artistic expression generally. (shrink)

This volume aims to question, challenge, supplement, and revise current understandings of the relationship between aesthetic and political operations. The authors transcend disciplinary boundaries and nurture a wide-ranging sensibility about art and sovereignty, two highly complex and interwoven dimensions of human experience that have rarely been explored by scholars in one conceptual space. Several chapters consider the intertwining of modern philosophical currents and modernist artistic forms, in particular those revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to traditional definitions (...) of "Art." Other chapters deal with currents that emerged as facets of art became increasingly commercialized, merging with industrial design and popular entertainment industries. Some contributors address Post-Modernist art and theory, highlighting power relations and providing sceptical, critical commentary on repercussions of colonialism and notions of universal truths rooted in Western ideals. By interfering with established dichotomies and unsettling stable debates related to art and sovereignty, all contributors frame new perspectives on the co-constitution of artworks and practices of sovereignty. (shrink)

In this article I examine the role of attention as a defining aspect of photography and documentary film. When we pay attention to how the world looks it might sometimes surprise us. It might perhaps show us that we are too set in our ways of seeing and that the world can reveal things unknown, or as Stanley Cavell remarks: “how little we know about what our relation to reality is, our complicity in it”. This is, I claim, the task (...) in which the documentary image can guide us. In order to arrive at this conclusion I will start by examining how the documentary image adheres to knowledge, without falling back on a generic epistemological or representational framework. I start by discussing the final scene in Werner Herzog's film Echoes from a Somber Empire as an example of the aspect of documentary film, that aids us in refraining from projecting our preconceptions on the uncanny. I continue by discussing Nietzsche's understanding of knowledge as a process... (shrink)

IN HIS System des transzendentalen Idealismus, Schelling describes the philosophy of art as the “key stone” of the entire “arch” of the system. The purpose of the following essay is to explore why this is so, why Schelling’s idea of philosophy led him to take up the question of “art” not only as philosophically interesting, but as the key to understanding his system as a whole.

Since Hegel, the idea of an end of art has become a staple of aesthetic theory. This book analyzes its role and its rhetoric in Hegel, Nietzsche, Benjamin, Adorno, and Heidegger in order to account for the topic's enduring persistence. In addition to providing a general overview of the main thinkers of post-Idealist German aesthetics, the book explores the relationship between tradition and modernity. For despite the differences that distinguish one philosopher's end of art from another's, all authors treated here (...) turn the end of art into an occasion to thematize and to reflect on the very thing that modernism cannot or should not be: tradition. As a discourse, the end of art is one of our modern traditions. (shrink)

Paper published on author's website available at http://www.garybanham.net/PAPERS_files/Art%20and%20Symbol%20in%20Nietzsche%27s%20Aesthetics.pdf.

"The Traffic in Culture takes us along exciting new avenues in the investigation of art and society, global encounter, and the marketing of culture. These essays will become required reading to scholars in fields as diverse as art history, anthropology, sociology, and cultural studies."--Suzanne Preston Blier, Harvard University "These essays break new ground in charting out a critical ethnography of art. They address the complexities of cultural difference while ceasing to respect the boundary between 'Western' and 'non-Western' art which has (...) defined the scope of the anthropology of art for too long. This is contemporary critical anthropology at its best."--Nicholas Thomas, Australian National University. (shrink)

Popularized by Richard Hofstadter, the notion of "paranoid style" is the most influential attempt at applying the category of paranoia to the study of politics. Yet, the success of this elegant formula conceals a complex history and a set of unarticulated assumptions about the connections between symbolic phenomena, psychopathological states, and politics. The article proceeds to recover these assumptions and suggests that the notion of "paranoid style" is ultimately indeterminate, making its application arbitrary and ideological.

In lieu of an abstract, here is a brief excerpt of the content:Guided Rapid Unconscious Reconfiguration in Poetry and ArtRoger SeamonThe idea that literary works are designed to give pleasure does not get much exercise these days. So I would like to take it out for a walk. We’ll see where it takes us, how much ground it covers, and what friends it makes along the way. Perhaps if we take it off the leash of theory, it will roam far (...) enough afield.... By this time you are bored with my metaphor, and thus have made a judgment about the use of a trope that is often said to be at the heart of poetry. 1 What I want to do is give an account of the principle that led to that judgment, for it is the same principle, I shall argue, that governs judgments about the aesthetic dimension of literary works.I first encountered the idea in F. W. Bateson’s English Poetry: An Introduction, where he labels it the “The Principle of the Semantic Gap.” Poetry, Bateson says, does not consist of the transference of feeling from poet to reader (the Romantic and expressive view which he opposes), but of “the successful collocation of contrasted or conflicting ‘meanings,’” 2 and he traces the theory back to Coleridge’s idea that poetry consists in the “balance or reconciliation of opposite or discordant qualities” (Biographia Literaria, chap. xiv). Contrasted meanings defeat normal expectations, so the reader is forced to bridge (apparent) gaps in order to make sense of the words, and it is that collaboration between author and reader that constitutes poetic activity. The theory is, though Bateson does not present it as such, a reworking of the ancient notion that in a successful work of art we perceive unity in variety. This essay is an effort to extend and defend that theory in its modern form, particularly as it relates to literary works.The modern theory came into being because of a change in the [End Page 412] object of aesthetic analysis from the work and what it imitated to the psychology of the audience:Up to the eighteenth century the theory of art in the Western world was dominated by ancient philosophy. It was most of all Plato’s metaphysics which, in a number of variations and even distortions, attributed to the artist the capacity of perceiving the divine ideals of beauty beyond the world of the senses and embodying them in his creations. The rejection of this mystical view of art in the course of the eighteenth century... was bound to make theorists turn to psychology. 3It is within this psychological tradition that the modern version of unity and variety has been developed.Re-castings of the ancient formula for aesthetic value have been done by (at least) five recent theorists. Given that one can probably trace the twentieth-century revival back to Gestalt psychology, it is not surprising that the earliest of the four is Rudolph Arnheim. In an essay on “Order and Complexity in Landscape Design” he defines order as “the degree and kind of lawfulness governing the relations among the parts of an entity,” and complexity as “the multiplicity of the relationships among the parts of an entity.” 4 Arnheim then psychologizes (rather than “cosmologizes”) these concepts by grounding them in the propensity to be perceptually satisfied by a balance between the two: “Complexity without order produces confusion; order without complexity produces boredom” (p. 124). Similarly, in The Act of Reading Wolfgang Iser says:The reader’s enjoyment begins when he himself becomes productive, i.e., when the text allows him to bring his own faculties into play. There are, of course, limits to the reader’s willingness to participate, and these will be exceeded if the text makes things too clear or, on the other hand, too obscure: boredom and overstrain represent the two poles of tolerance, and in either case the reader is likely to opt out of the game. 5In the same vein, Francis Sparshott asserts in The Theory of the Arts that “Beauty occupies the ground between cliché and chaos,” with variety protecting against the former, unity protecting against the latter, 6 and in The Sense of... (shrink)

The article explores the way in which new objects of study, such as dance performance and art–practice, emerge in algorithmic aesthetics. The advent of digital communicative practices shapes new means of formalization of dance performance scripts, which nowadays have various technological solutions, including algorithmic ones. Classical aesthetics is unable to describe the technological modernization of artistic expression. The author offers a general framework of algorithmic aesthetics to study of dance performance and art practice.

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

In the late Qing dynasty (1644–1911), local gazetteer maps helped to disseminate the innovations of longitude and latitude used in Western cartography. The use of longitude and latitude lines alongside the traditional Chinese cartographic method of “grid scales” suggests that mapmakers chose an ingenious compromise to accommodate new knowledge alongside traditional practices.

First published in 1916 in German, Rembrandt is one of Simmel's most important works. Is has never been translated into English--until now. Simmel attacks such questions as "What do we see in a work of Art?" and "What do Rembrandt's portraits tell us about human nature?" This is a major work by a major thinker concerning one of the world's most important painters.

With the advancement of digital technology in contemporary art, new hybrid forms of interaction emerge that invite viewers to make images present in physical space as events that claim a life of their own. In breaking away from representational and performance art theories that have dominated the critique of new media artwork since the 1980s, this article analyses an iconic vision of mobile touchscreens based on the medieval Byzantine chorographic inscription of the sacred in profane spaces. As defined in recent (...) art historical studies on Byzantine icons, chorography ( chôra/space + chorós/movement) builds on a multisensory spatial interaction between the beholders of icons that results in feeling the presence of a divine, invisible image. In light of postmodern critique of digital images’ capacity to manipulate notions of reality, new media aesthetic theory hardly addresses this Byzantine iconic vision that is fundamental to western visual culture. Jeffrey Shaw’s installation, The Golden Calf, is discussed to offer an alternative in understanding how digital and physical spaces function together to evoke something essentially real. (shrink)

Is education being disingenuous about arts education? When arts education is evaluated, the value of arts education is disputed. Arts education is judged to be of poor educational proof value. I believe a very different conclusion about arts education can be drawn. Pertinent to a good education in general is arts education. Why the arts are educationally troubling and how arts education can improve education is examined here. A brief account of arts education is given in an attempt to explain (...) why the arts in education are not a luxury but, instead, a genuine need. (shrink)

This article analyses the recent controversy over single and lesbian women’s right to access reproductive technology. It focuses on the McBain case in relation to the Sex Discrimination Act. As well, it attempts to bring voices that have been ignored into the debate, and reflect on the values that they express.

The post-Holocaust suicide of a concentration camp survivor is particularly unsettling. One thinks, for instance, of Cliff Stern's devastated response to Professor Louis Levy's death in Woody Allen's movie Crimes and Misdemeanors. Loosely based on Primo Levi, Allen's professor provides in short documentary clips an astute analysis of the contradictions of a loving God in the Old Testament and stoically counsels embracing life despite the indifference and occasional cruelty of the universe. Having experienced, understood, and accepted the absurdity and injustice (...) of life, Levy, one might think, would rage to the bitter end against the dying of the light. But for no apparent reason, he kills himself. Cliff's response... (shrink)

According to What Is Philosophy?, all disciplines combat opinion, but art fights most effectively because art and opinion both pertain to sensibility. Yet, this common provenance also makes the line dividing art and opinion porous. The stakes of this porosity are perhaps most visible in the relation of art to life. Although art must avoid two forms of death, ‘chaos’ and ‘opinion’, Deleuze and Guattari don't treat chaos and opinion equally. The fundamental distinction between good death and bad death, between (...) death by chaos and death by opinion, has a number of problematic consequences. Perhaps the most consequential: opinion is deadlier than death itself. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Description: The book is, so to say, a bouquet in two respects. It is, first, a presentation of academic tributes, in the form of a festschrift, to a well-known Indian philosopher Professor Margaret Chatterjee; and, second, a hand-picked collection of original essays of multifaceted reflection for serious students of philosophy. Areas of study covered are various-metaphilosophy, philosophy or religion, metaphysics, aesthetics, existentialism, and Indian and comparative philosophies; and so are the lands of the philosophers who have contributed to the making (...) of this volume: India, England, Greece, America, Canada, and Japan. The work is a signal product of international cooperation and philosophy-a cause which Professor Chatterjee has been actively pursuing for long and with great success. (shrink)

“Oversinging” is singing that is excessive in one or more dimensions: too loud, too ornamented, too melismatic, too expressive, or employing too much vibrato. I begin with a characterization of oversinging and establish a context for discussion (Section I). Next I consider performances by Christina Aguilera and Michael Bolton as examples (Section II). In light of these examples, I consider how oversinging might be both aesthetically and morally problematic (Section III). Along the way I raise concerns about authenticity and sincerity (...) (Section IV). Finally (Section V), I consider a “paradox” of oversinging involving the role of skill in artistic performance. My discussion touches on the aesthetics of performance, aesthetic judgment, virtuosity, and taste. (shrink)

Resumo: A fotografia, como ferramenta, apresenta principalmente a relação entre pessoas e objetos, por meio do uso de elementos artísticos, como luz, sombra e cor, nas imagens. A criação de fotografias é uma atividade que requer inspiração e habilidades. Isso exige que os fotógrafos observem e pensem cuidadosa e profundamente sobre a estrutura geral do trabalho, a fim de tirar boas fotos que sejam artísticas e bem pensadas. O desenvolvimento e a popularização da fotografia, na sociedade atual, não podem ser (...) subestimados por seu impacto na estética pública e no pensamento humanístico. Este artigo tem, como objetivo, analisar a conotação estética da fotografia chinesa e explorar seus padrões e valores estéticos. Os pensamentos filosóficos da fotografia chinesa são explorados, e suas reflexões e perspectivas sobre a vida e a sociedade são analisadas. A relação e a influência mútua, entre as conotações estéticas e os pensamentos filosóficos na fotografia chinesa, são exploradas, e sua importância e influência nos trabalhos fotográficos são analisadas, para que se possa entender e apreciar melhor a singularidade da fotografia chinesa. A fotografia chinesa é uma forma única e diversificada de expressão artística que reflete o rico patrimônio cultural e o desenvolvimento social da China. Ao enfatizar a harmonia, a integração de elementos de pintura, a narração de histórias e a apreciação da natureza, a fotografia chinesa proporciona uma experiência estética profunda e transmite significados mais profundos de unidade, tranquilidade e a relação entre as pessoas e o meio ambiente. (shrink)