The Scenic Imagination argues that the uniquely human phenomenon of representation, as manifested in language, art, and ritual, is a scenic event focused on a central object designated by a sign. The originary hypothesis posits the necessity of conceiving the origin of the human as such an event. In traditional societies, the scenic imagination through which this scene of origin is conceived manifests itself in sacred creation narratives. Modern thought is defined by the independent use of the (...) scenic imagination to create anthropological models of the origin of human institutions, beginning with the social contract scene in Hobbes’s Leviathan that puts an end to the reciprocal violence of the state of nature. Eric Gans follows the work of the scenic imagination in selected writings of twenty thinkers including Locke, Rousseau, Kant, Hegel, Marx, Nietzsche, Durkheim, Boas, and Freud and concludes his book with a critical examination of contemporary writing on the origins of religion and language. In the process, he demonstrates that the originary hypothesis offers the most cohesive explanation of the origin and function of these fundamental institutions. (shrink)

Both similarities and differences were observed when comparing scenic beauty evaluations of rural landscapes made by persons from different cultures. Differences seem due to the westernized tourists' misinterpretation or ignorance of the meaning associated with certain landscape features by the Balinese. This implies scenic beauty is dependent upon meanings assigned to landscape features, which in turn implies that scenic beauty is, to some extent, learned. Similarities between tourists' and Balinese' scenic evaluations are significant and correspond to (...) consistencies found in other landscape preference studies. Multiple methods were used, including participant photography, rating scales, and a variety of statistical analyses. A review of the literature reveals evidence and theory which suggests both similarities and differences are to be expected when comparing scenic evaluations made by persons of different cultures. This review also suggests three methodological concerns which should be addressed in landscape studies: a concern for the participant's purpose for evaluating a landscape; a concern for the participant's familiarity with a landscape; and a concern for the criterion's appropriateness to all participants. Research designs which ignore these concerns may mask true cultural differences. (shrink)

The visual creativity of famous Russian ballerina Anna Pavlova is studied in the article within the context of the synthetic approach to working on stage roles. There are data on Anna Pavlova that have not been included in existing publications concerning her artistic, mainly sculptural experiments. This information provides understanding of not only professional tasks that the ballerina has set, but of the tools through which these tasks have been dealt with in a gradual process of formation of plastic dance (...) images. At the same time, the data reflect the very essence of her unordinary poetically-plastic talent. The author systemizes and analyzes extant sculptural and graphic works created by the ballet dancer that are scattered on various, mostly private collections and often known only by copies. There are rare documentary material and sources confirming the basic conclusions of the article. The main purpose of the article is to reveal visually depictive aspects of the formation of the stage means of А. Pavlova, which have played important role in her art, to trace way to the mastery of the concrete stage subjects, which go through the mastery of plastic material. Accentuation of the synthetic sense of A. Pavlova’s heritage is determined by the fact that her sculpture has focused or refracted the dance. After mastering academic construction of form, ballerina filled it with new content provided not only by her fantasy, but also by detailed study of the phenomena of nature, plastic of organic forms. It is possible to say with confidence that the fixed image could serve as the excellent model of the study of the motives of stage behavior and dynamic manifestations of her personality in choreography. It is obvious that the study of the artistic style of A. Pavlova reveals not only her plastic uniqueness, but also the mysterious aspiration of the skill of ballerina to the embodiment of her romantic searching in the dance. (shrink)

From picture to photography and back. Tableau vivants, in their gestural synthetic dimension, represent for Diderot the apex of expression that the image can make explicit. Nothing closer to Wall’s poetics. His works show outstanding attention to detail: from scenic design to protagonists’ costumes, from light to actors’ action. And the result is exactly what Diderot saw in the eyes of people observing Chardin’s art: imagination at work.

Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's _Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin _and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations (...) into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself. (shrink)

Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's _Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin _and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations (...) into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself. (shrink)

From picture to photography and back. Tableau vivants, in their gestural synthetic dimension, represent for Diderot the apex of expression that the image can make explicit. Nothing closer to Wall’s poetics. His works show outstanding attention to detail: from scenic design to protagonists’ costumes, from light to actors’ action. And the result is exactly what Diderot saw in the eyes of people observing Chardin’s art: imagination at work.

The subject of the study is the changes in the theatrical space and artistic features of the two early court masks during the transition from the Renaissance theater system to the Baroque. The object of the study were two early court spectacles of the Stuart period in the context of Baroque aesthetics – "Hymen" and "Mask of Queens", the authors of which were the playwright Ben Johnson and the artist Inigo Jones. Special attention is paid to the scenic (...) class='Hi'>design of both masks and the transformations of the theater space, in which the main role is played by the stage device – the turning circle. Its use in spectacles not only allowed the artist to change the whole design and express one of the main themes of the performance through the transformations themselves, but also combined stage transformations with the plot action of the mask. The research material is presented by the surviving texts of Ben Johnson's mask plays, letters from courtiers and ambassadors who were direct witnesses of court spectacles, as well as published sketches of costumes and scenery by Inigo Jones. The methodology of the work includes a cultural-historical approach, a descriptive method, a method of comparative analysis, as well as a reconstruction of a theatrical performance that has not yet been carried out in relation to both masks. The novelty of the research lies in the fact that for the first time in Russian theater studies, an attempt has been made to consider the aesthetic features of Inigo Jones' theatrical and decorative art in the context of Baroque aesthetics based on the material of two court spectacles. The main conclusion is the identification in the two early Stuart masks of the features of Baroque art and the transition to the formation of the English Baroque theater with its scenic metamorphoses, striking the viewer dynamics, the coverage of the universal expanses on stage and the synthesis of all the arts. (shrink)

Throughout the history ofthe U.S. national park system, park advocates and managers have changed both acquisition priorities and internal management policies. The park movement began with the establishment of large, spectacular natural areas, primarily in the West. As the movement developed there was more emphasis on the biological, on recreation, and on parks near population centers. GraduaIly, scenic wonders and uniqueness have become less necessary to designation and the types of sites eligible have diversified. Early managers treated the parks (...) as relatively unchanging, threatenedby little other than human vandalism. Initially managers removed “bad” animals, such as wolves, and suppressed disturbances, such as fire. Modem management values processes as weIl as objects and recognizes change and disturbance as integral to park maintanence. A conversion to an ecosystem mode of management does not answer all questions concerning values, however, and may present some disadvantages, such as a tendency to treat nature as aseries of functions and energy equations, thus weakening aesthetic values. (shrink)

Traditionally, analytic philosophers writing on aesthetics have given short shrift to nature. The last thirty years, however, have seen a steady growth of interest in this area. The essays and books now available cover central philosophical issues concerning the nature of the aesthetic and the existence of norms for aesthetic judgement. They also intersect with important issues in environmental philosophy. More recent contributions have opened up new topics, such as the relationship between natural sound and music, the beauty of animals, (...) and the aesthetics of gardens. Using these materials, it is now easy to include a module on the aesthetics of nature as one part of an introductory course on aesthetics, or even to design an entire upper-level undergraduate or graduate seminar around the topic. Author Recommends: Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Readers coming fresh to contemporary debates may find the lack of attention to natural beauty in twentieth-century philosophy somewhat puzzling. This paper, which defends the view that nature cannot be aesthetically appreciated as such, presents this attitude in a particularly pure form. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This seminal essay marks the beginning of contemporary discussion of the aesthetics of nature. Many of its ideas and themes continue to reverberate in contemporary debates. Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture (London: Routledge, 2000). This volume is a collection of Carlson's influential essays on environmental aesthetics. Chapters 4 and 5, 'Appreciation and the Natural Environment' and 'Nature, Aesthetic Judgment, and Objectivity', set the agenda for much subsequent discussion in the aesthetics of nature. Chapter 6, 'Nature and Positive Aesthetics', develops and defends the controversial idea that nature, unlike art, is always aesthetically good. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). In this paper, Berleant presents his influential idea of an 'engaged aesthetics' for nature. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. This article develops Saito's idea that ethical considerations play a critical role in the aesthetics of nature, and presents a novel argument for Positive Aesthetics for nature. Malcolm Budd, The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature (Oxford: Oxford University Press, 2002). This book collects Budd's papers on the aesthetics of nature, which contain important criticisms of Carlson's natural environmental model and the notion of Positive Aesthetics for nature. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This paper argues for the importance of aesthetic appreciation that emphasizes emotional responses to nature. A philosophically sophisticated and influential treatment by a leading aesthetician. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. In this essay, an environmental philosopher gives careful and thorough consideration to the place of aesthetic considerations in environmental protection, focusing on Carlson's work. John Andrew Fisher, 'What the Hills are Alive With: In Defense of the Sounds of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 167–79. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). Most discussions of nature aesthetics focus on visual experiences; this essay is the first philosophical study of the aesthetics of natural sounds. A nuanced and original paper. Allen Carlson and Arnold Berleant. 'Introduction: The Aesthetics of Nature'. The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004), 11–42. A comprehensive review of the literature, this essay contains the best available bibliography on the subject. Online Materials: http://plato.stanford.edu/entries/environmental-aesthetics/ Environmental Aesthetics: Allen Carlson's entry in the Stanford Encyclopedia of Philosophy. http://www.aesthetics-online.org/articles/index.php?articles_id=17 Teaching Environmental Aesthetics: Allen Carlson's article on the American Society for Aesthetics Web site. http://www.uqtr.uquebec.ca/AE/Vol_6/ Volume 6 of AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique: Papers by Thomas Heyd and Ira Newman on Allen Carlson's book Aesthetics and the Environment, along with a response from Carlson. http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=400 Paradoxes and Puzzles: Appreciating Gardens and Urban Nature: An essay by Stephanie Ross in the online journal Contemporary Aesthetics. Sample Syllabus for a three-week module in an undergraduate aesthetics course: This three week module can easily be adapted to fit shorter available class time or reduced reading expectations for students. A lighter two-week module, for instance, would drop the Hepburn reading and do either the Carroll essay or the Saito essay, but not both. Note that all readings for this module are reprinted in Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Reading: Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Discussion of Hepburn's essay will allow the instructor to bring out the distinctive issues and themes of the aesthetics of nature. Week 2: Objectivity or Subjectivity? Readings: Allen Carlson, 'Appreciation and the Natural Environment'. Journal of Aesthetics and Art Criticism 37 (1979): 267–76. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. This section covers two very different approaches to thinking about the aesthetic appreciation of nature. Consideration of these provides an opportunity for students to reflect on nature's relationship to art, and on the character of aesthetic experience itself. Week 3: Pluralistic Approaches Readings: Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. This section considers approaches that are motivated by perceived limitations of the two approaches mentioned above. In discussing these, students will focus on the significance, for the aesthetics of nature, of emotion and also of broader ethical considerations. Sample Syllabus for an upper-level undergraduate or graduate seminar: Books on Syllabus: Glenn Parsons, Aesthetics and Nature [AN] (London: Continuum Press, forthcoming November 2008). Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture [AE] (London: Routledge, 2000). Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments [ANE] (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Parsons, AN, ch. 1. Allen Carlson, 'Environmental Aesthetics'. The Routledge Companion to Aesthetics. Eds. Berys Gaut and Dominic Lopes (London: Routledge, 2001), 423–36. Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in ANE. Week 2: Imagination Parsons, AN, ch. 2. Thomas Heyd, 'Aesthetic Appreciation and the Many Stories About Nature'. British Journal of Aesthetics 41 (2001): 125–37. Reprinted in ANE. Emily Brady, 'Imagination and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 139–47. Reprinted in ANE. Marcia Eaton, 'Fact and Fiction in the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 149–56. Reprinted in ANE. Week 3: Formalism Parsons, AN, ch. 3. Carlson, 'Formal Qualities and the Natural Environment', AE, ch. 3. Allen Carlson, 'On the Possibility of Quantifying Scenic Beauty'. Landscape Planning 4 (1977): 131–72. Ira Newman, 'Reflections on Allen Carlson's Aesthetics and the Environment'. AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique 6 (2001) http://www.uqtr.uquebec.ca/AE/Vol_6/Carlson/newman.html>. Nick Zangwill, 'Formal Natural Beauty'. Proceedings of the Aristotelian Society 21 (2001): 209–24. Week 4: Science and Nature Aesthetics Parsons, AN, ch. 4. Aldo Leopold, 'Country'. A Sand County Almanac, with Essays on Conservation from Round River (New York, NY: Ballantine Books, 1966), 177–80. Carlson, 'Appreciation and the Natural Environment', AE, ch. 4. Carlson, 'Nature, Aesthetic Judgment, and Objectivity', AE, ch. 5. Glenn Parsons, 'The Aesthetics of Nature'. Philosophy Compass 2 (2007): 358–72. Week 5: Positive Aesthetics Carlson, 'Nature and Positive Aesthetics', AE, ch. 6. Eugene Hargrove, Foundations of Environmental Ethics (Denton, TX: Environmental Ethics Books, 1996), ch. 6. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. Malcolm Budd, 'The Aesthetics of Nature'. Proceedings of the Aristotelian Society 100 (2000): 137–57. Glenn Parsons, 'Nature Appreciation, Science and Positive Aesthetics'. British Journal of Aesthetics 42 (2002): 279–95. Week 6: Animals Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]), Pt. III, sec. VI. Holmes Rolston III, 'Beauty and the Beast: Aesthetic Experience of Wildlife'. Valuing Wildlife: Economic and Social Perspectives. Eds. Daniel J. Decker and Gary R. Goff (Boulder, CO: Westview Press, 1987), 187–96. Glenn Parsons, 'The Aesthetic Value of Animals'. Environmental Ethics 27 (2007): 151–69. Week 7: Pluralism Parsons, AN, ch. 5. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in ANE. Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Reprinted in ANE. Ronald Hepburn, 'Nature Humanized: Nature Respected'. Environmental Values 7 (1998): 267–79. Ronald Hepburn, 'Trivial and Serious in Aesthetic Appreciation of Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 65–80. Glenn Parsons and Allen Carlson, 'New Formalism and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 62 (2004): 363–76. Week 8: Engagement Parsons, AN, ch. 6. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in ANE. Cheryl Foster, 'The Narrative and the Ambient in Environmental Aesthetics'. Journal of Aesthetics and Art Criticism 56 (1998): 127–37. Reprinted in ANE. Allen Carlson, 'Aesthetics and Engagement'. British Journal of Aesthetics 33 (1993): 220–27. Week 9: The Sublime Immanuel Kant, Critique of the Power of Judgment. Trans. P. Guyer and E. Matthews (Cambridge University Press, 2000 [1790]). Excerpts from sections 23–9. Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]). Excerpts from Pt. II, sections 1–8. Ronald Hepburn, 'The Concept of the Sublime: Has it any Relevance for Philosophy Today?'. Dialectics and Humanism 15 (1988): 137–55. Stan Godlovitch, 'Icebreakers: Environmentalism and Natural Aesthetics'. Journal of Applied Philosophy 11 (1994): 15–30. Reprinted in ANE. Malcolm Budd, 'Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part I: The Sublime in Nature'. British Journal of Aesthetics 38 (1998): 233–50. Week 10: Aesthetic Preservation Parsons, AN, ch. 7. Janna Thompson, 'Aesthetics and the Value of Nature'. Environmental Ethics 17 (1995): 291–305. Holmes Rolston III, 'From Beauty to Duty: Aesthetics of Nature and Environmental Ethics'. Environment and the Arts: Perspectives on Environmental Aesthetics. Ed. Arnold Berleant (Aldershot, UK: Ashgate, 2002), 127–41. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. Keekok Lee, 'Beauty for Ever?'. Environmental Values 4 (1995): 213–25. Week 11: Gardens Parsons, AN, ch. 8. Mara Miller, The Garden as an Art (Albany, NY: State University of New York Press, 1993), ch. 1. Mara Miller, 'Gardens as Works of Art: The Problem of Uniqueness'. British Journal of Aesthetics 26 (1986): 252–6. Stephanie Ross, What Gardens Mean (Chicago, IL: University of Chicago Press, 1998), chs. 1, 7. Tom Leddy, 'Gardens in an Expanded Field'. British Journal of Aesthetics 28 (1988): 327–40. David Cooper, 'In Praise of Gardens'. British Journal of Aesthetics 43 (2003): 101–13. Week 12: Art in Nature Parsons, AN, ch. 9. Carlson, 'Is Environmental Art an Aesthetic Affront to Nature?', AE, ch. 10. Sheila Lintott, 'Ethically Evaluating Land Art: Is It Worth It?'. Ethics, Place & Environment 10 (2007): 263–77. Emily Brady, 'Aesthetic Regard for Nature in Environmental and Land Art'. Ethics, Place & Environment 10 (2007): 287–300. Focus Questions1. Are there any important differences between the aesthetic appreciation of art and the aesthetic appreciation of nature? If so, what are they?2. Is preserving nature for its aesthetic value a coherent idea?3. What is the ugliest natural thing or place you can think of? How might proponents of Positive Aesthetics for nature deal with your example?4. Does the concept of the sublime have any significance for our contemporary experience of nature? If it does, what relation does it bear to our aesthetic appreciation of nature?5. Watch Rivers and Tides (2001), the documentary film about the British environmental artist Andy Goldsworthy. Ethically speaking, how do you think we ought to regard his art-making? (shrink)

This text is a reflection in action of an artistic process based on a scientific research. ENSAIO is the choreographic project that resulted from the translation mechanisms of laboratory concepts to a bodily approach, where it proposes a possible mainstreaming of artistic and scientific processes combined. This project joined artistic higher education schools in dance and scenic arts (ESD and FCSH) and Polavieja lab, a neuroscience research lab in Champalimaud Foundation – Center for the Unknown. This text aims to (...) reveal the creative choreographic and performative potentials hidden in this scientific research concerning neurosciences. Identifying cross materials to artistic and scientific processes, it was possible to design a structure of the creation process and the construction of a choreographic performance. The common platform has been found in the process of translation and the definition of the same concept substrate, which made possible the approach of the two instances: studio and laboratory. One of its key features is the promotion of the communication among its agents: scientists and dancers. And the possibility of modelling and absorption from what it comes from this sharing and collaboration. The methods and the choreographic procedures mirrored and promoted this sharing and, therefore, the involvement of the body. Where, the body is the agent able to reflect and trigger this process, a body as an essay that is constantly in research. A body able to coordinate between various media and to expand the reflection on itself. Although science and art are individual instances that inevitably specialise and segregated away. Therefore, this text focuses on examples of cross-thinking of both scientific and artistic cultures, and the articulation of the theoretical and practical bodies in a practice-as-research on the development of the ENSAIO creative process. (shrink)

We aim to focus on the mimic gestures intentionally produced to be “monstrate” to others, thus attempting to propose a semiotic analysis on the actor’s face. We shall attempt to outline the extent to which, since the rise of cinema, the actor’s face has gained a foreground role as compared to the full-figured body, and the legacy of the nineteenth-century handbooks of scenic postures was crucial in this context, especially those of Antonio Morrocchesi and Alemanno Morelli. To deal with (...) the actor’s body as an instrument, means to make it a blank page to be used to re-design the character’s body, including the face. In this regard, it is worth mentioning the method of the pedagogue Jacques Lecoq—one of the greatest teachers of contemporary theatre—which consists in the use of a special mask during the training process: the so-called neutral mask. (shrink)

Semantic Engines: An Introduction to Mind Design, John C. Haugeland; Computer Science as Empirical Inquiry: Symbols and Search, Alan Newell and Herbert A. Simon; Complexity and the Study of Artificial and Human Intelligence, Zenon Pylyshyn; A Framework for Representing Knowledge, Marvin Minsky; Artificial Intelligence---A Personal View, David Marr; Artificial Intelligence Meets Natural Stupidity, Drew McDermott; From Micro-Worlds to Knowledge Representation: AI at an Impasse, Hubert L. Dreyfus; Reductionism and the Nature of Psychology, Hilary Putnam; Intentional Systems, Daniel C. Dennett; (...) The Nature and Plausibility of Cognitivism, John C. Haugeland; Minds, Brains, and Programs, John R. Searle; MethodologicalSolipsism Considered as a Research Strategy in Cognitive Psychology, Jerry A. Fodor; The Material Mind, Donald Davidson. (shrink)

Robots are widely expected—and pushed—to transform open-field agriculture, but these visions remain wedded to optimizing monocultural farming systems. Meanwhile there is little pull for automation from ecology-based, diversified farming realms. Noting this gap, we here explore the potential for robots to foster an agroecological approach to crop production. The research was situated in The Netherlands within the case of _pixel cropping_, a nascent farming method in which multiple food and service crops are planted together in diverse assemblages employing agroecological practices (...) such as intercropping and biological pest control. Around this case we engaged with a variety of specialists in discussion groups, workshops, and design challenges to explore the potential of field robots to meet the multifaceted demands of highly diverse agroecological cropping systems. This generated a spectrum of imaginations for how automated tools might—or might not—be appropriately used, ranging from fully automated visions, to collaborative scenarios, to fully analogue prototypes. We found that automating agroecological cropping systems requires finding ways to imbue the ethos of agroecology into designed tools, thereby seeking to overcome tensions between production aims and other forms of social and ecological care. We conclude that a rethinking of automation is necessary for agroecological contexts: not as a blueprint for replacing humans, but making room for analogue and hybrid forms of agricultural work. These findings highlight a need for design processes which include a diversity of actors, involve iterative design cycles, and incorporate feedback between designers, practitioners, tools, and cropping systems. (shrink)

Accounts of the concepts of function and dysfunction have not adequately explained what factors determine the line between low‐normal function and dysfunction. I call the challenge of doing so the line‐drawing problem. Previous approaches emphasize facts involving the action of natural selection (Wakefield 1992a, 1999a, 1999b) or the statistical distribution of levels of functioning in the current population (Boorse 1977, 1997). I point out limitations of these two approaches and present a solution to the line‐drawing problem that builds on the (...) second one. (shrink)

Of all the arguments for the existence of God, the argument from design is in many respects the most impressive, as everyone remarks that Kant remarked. Certainly it is an argument which seems to have appealed to the popular imagination and even today does not lack philosophical proponents. The purpose of the present paper is to examine a recent formulation of the argument. In particular I shall be concerned to bring into the open its dualist assumptions and to show (...) how these militate against its general plausibility. (shrink)

Open peer commentary on the article “Radical Constructivist Structural Design Education for Large Cohorts of Chinese Learners” by Christiane M. Herr. Upshot: The concept of proscription enables certain characteristics of the design studio to be highlighted and some of the difficulties mentioned by Herr to be understood, and it raises the question: What does “open-ended” mean in a formal learning context?

A common complaint against the increasing privatization of research is that research that is conducted with the immediate purpose of producing applicable knowledge will not yield knowledge as valuable as that generated in more curiosity‐driven, academic settings. In this paper, I make this concern precise and reconstruct the rationale behind it. Subsequently, I examine the case of industry research on the giant magnetoresistance effect in the 1990s as a characteristic example of research undertaken under considerable pressure to produce applicable results. (...) The example permits one to arrive at a more optimistic assessment of the epistemic merits of private, application‐driven research. I attempt to specify the conditions that, in this case, advanced the production of interesting and reliable knowledge. (shrink)

In this short, elegant book, Philip Kitcher distills the case for Darwinian evolutionary theory and its implications in a clear and forceful way. Kitcher shows how the alleged rivals to Darwinism, like Intelligent Design, are essentially scientifically bankrupt - and that scientific discoveries, including Darwin's, pose a genuine problem for religious faith, one that neither Darwin's opponents nor his militant defenders have satisfactorily resolved.

The article analyzes the initial stages of the shaping of design. Like the situation when the shaping of science was preceded by the emergence of methodology, a similar process had been taking plac...

This chapter proposed a novel design methodology called Value-Sensitive Design and its potential application to the field of artificial intelligence research and design. It discusses the imperatives in adopting a design philosophy that embeds values into the design of artificial agents at the early stages of AI development. Because of the high risk stakes in the unmitigated design of artificial agents, this chapter proposes that even though VSD may turn out to be a less-than-optimal (...) design methodology, it currently provides a framework that has the potential to embed stakeholder values and incorporate current design methods. The reader should begin to take away the importance of a proactive design approach to intelligent agents. (shrink)

The design argument has taken on different formulations among Muslim thinkers. Arguably, most of these approaches might be described as Paleyan. In this chapter, however, I seek to develop a non-Paleyan approach toward design discourse by focusing on the thought of the Muslim theologian, Ibn Taymiyya (d. 1328 CE). In developing a Taymiyyan model of design-based theistic belief, I argue that this model can resist some of the problems associated with Paleyan approaches. Specifically, it avoids concerns over (...) the soundness or cogency of the Paleyan inference amid Darwinian objections. I argue that this is because on the Taymiyyan model, design-based theistic beliefs are noninferential and concern the ultimate or metaphysical cause of the design in nature, such that they do not rival naturalistic scientific explanations of biological phenomena. Despite three noteworthy objections to the model, I suggest that it offers a plausible way to defend design-based theistic belief. (shrink)

Safe-by-design aims at addressing safety issues already during the R&D and design phases of new technologies. SbD has increasingly become popular in the last few years for addressing the risks of emerging technologies like nanotechnology and synthetic biology. We ask to what extent SbD approaches can deal with uncertainty, in particular with indeterminacy, i.e., the fact that the actual safety of a technology depends on the behavior of actors in the value chain like users and operators. We argue (...) that while indeterminacy may be approached by designing out users as much as possible in attaining safety, this is often not a good strategy. It will not only make it more difficult to deal with unexpected risks; it also misses out on the resources that users can bring for achieving safety, and it is undemocratic. We argue that rather than directly designing for safety, it is better to design for the responsibility for safety, i.e., designers should think where the responsibility for safety is best situated and design technologies accordingly. We propose some heuristics that can be used in deciding how to share and distribute responsibility for safety through design. (shrink)

An anthology of writings by proponents and critics of intelligent design creationism.

There are various questions that arise in connection with the “intelligent design” (ID) controversy. This introductory section aims to distinguish five of these questions. Later sections are devoted to detailed discussions of each of these five questions. The first (and central) question is the one that has been discussed most frequently in the news lately: (Q1) Should ID be taught in our public schools? It is helpful to break this general “public school curriculum question” into the following two more (...) specific sub-questions: (Q1.1) Should ID be included in the science curriculum of our public schools? (Q1.2) Should ID be included in some part of our public school curriculum? Of course, these public school curriculum questions should be distinguished from other (perhaps related, but distinct) questions that are often asked about ID. Here is another question that is very frequently discussed, not only in the debate about (Q1), but in the ID controversy generally: (Q2) What is ID? In other words, is ID a scientific theory, a religious doctrine, an.. (shrink)

This chapter contains sections titled: Introduction: The Design Argument The Design Argument in Antiquity Christian Authors Hume's Onslaught William Paley's Natural Theology The Bridgewater Treatises Intelligent Design: A Political Movement Eyes to See No “There” There Blood and Tears Gambling to Non‐existence Natural Selection Natural Selection and Design Postscript: Counterpoint Notes References.

ARGUMENTS FROM DESIGN TO THE EXISTENCE OF GOD MAY TAKE AS THEIR PREMISS EITHER THE EXISTENCE OF REGULARITIES OF COPRESENCE OR THE EXISTENCE OF REGULARITIES OF SUCCESSION. THERE ARE NO VALID FORMAL OBJECTIONS TO A CAREFULLY ARTICULATED ARGUMENT OF THE LATTER TYPE. AGAINST SUCH AN ARGUMENT NONE OF THE OBJECTIONS IN HUME’S "DIALOGUES" HAVE ANY WORTH. THE ARGUMENT MAY HOWEVER GIVE ONLY A SMALL DEGREE OF SUPPORT TO ITS CONCLUSION.

How computer games can be designed to create ethically relevant experiences for players. Today's blockbuster video games—and their never-ending sequels, sagas, and reboots—provide plenty of excitement in high-resolution but for the most part fail to engage a player's moral imagination. In Beyond Choices, Miguel Sicart calls for a new generation of video and computer games that are ethically relevant by design. In the 1970s, mainstream films—including The Godfather, Apocalypse Now, Raging Bull, and Taxi Driver—filled theaters but also treated their (...) audiences as thinking beings. Why can't mainstream video games have the same moral and aesthetic impact? Sicart argues that it is time for games to claim their place in the cultural landscape as vehicles for ethical reflection. Sicart looks at games in many manifestations: toys, analog games, computer and video games, interactive fictions, commercial entertainments, and independent releases. Drawing on philosophy, design theory, literary studies, aesthetics, and interviews with game developers, Sicart provides a systematic account of how games can be designed to challenge and enrich our moral lives. After discussing such topics as definition of ethical gameplay and the structure of the game as a designed object, Sicart offers a theory of the design of ethical game play. He also analyzes the ethical aspects of game play in a number of current games, including Spec Ops: The Line, Beautiful Escape: Dungeoneer, Fallout New Vegas, and Anna Anthropy's Dys4Ia. Games are designed to evoke specific emotions; games that engage players ethically, Sicart argues, enable us to explore and express our values through play. (shrink)

In this essay I suggest that we view design principles in systems biology as minimal models, for a design principle usually exhibits universal behaviors that are common to a whole range of heterogeneous (living and nonliving) systems with different underlying mechanisms. A well-known design principle in systems biology, integral feedback control, is discussed, showing that it satisfies all the conditions for a model to be a minimal model. This approach has significant philosophical implications: it not only accounts (...) for how design principles explain, but also helps clarify one dispute over design principles, e.g., whether design principles provide mechanistic explanations or a distinct kind of explanations called design explanations. (shrink)

The design ideas of the postmodern era reflect the general trends of socio-cultural reality, namely the loss of traditional moral guidelines, disharmony and destructiveness combined with absurdity, a sense of crisis, abyss and uncertainty conveyed in signs and in spatial coordinates. Design products become installations in which the viewer is a direct participant, sometimes even the creator. Postmodern design denies finitude, noting the plurality, uncertainty and fluidity of the world. The paradox of postmodern design culture is (...) expressed in a combination of diametrically opposite things, sometimes even mutually exclusive. The era of postmodern design culture has recorded the fusion of "high" and "low" art, the emergence of new trends - neo-conceptual art, art installation, lowbrow art, performance art, digital art, telematic art - has affected. It should be noted the immersion in virtual reality in particular, as a result of the perception of the concept of postmodernism. After all, the purpose of designer items and their perception has already been changed in accordance with the needs of a person in the postmodern world. A striking example is the coronavirus epidemic, which has become the central theme of successful design projects. After all, a protective mask as a medical device becomes the object of design solutions that transform it into a means of self-expression, or the manifestation of social characteristics, or the result of digital achievements.. (shrink)

ABET 2000 Criteria encourages development of proficiency in professional responsibility in engineering as part of the undergraduate curriculum. This paper discusses the use of industrially sponsored capstone design projects to encourage active discussion of professional responsibility in engineering that naturally occurs during the engineering design process. The paper also discusses student participation in designing responses and approaches to issues such as engineering ethics. The paper includes specific examples of topics addressed by students and the approaches developed (by students) (...) in addressing these issues. (shrink)

Solving actual moral problems is not simply a matter of choosing the “best” of several possible responses. It is also a matter of devising possible responses. Design practice in engineering affords important lessons about addressing practical problems.

Personal Information Management Systems (PIMS) aim to facilitate the sharing of personal information and protect privacy. Efforts to enhance privacy management, aligned with established privacy policies, have led to guidelines for integrating transparent notices and meaningful choices within these systems. Although discussions have revolved around the design of privacy-friendly systems that comply with legal requirements, there has been relatively limited philosophical discourse on incorporating the value of privacy into these systems. Exploring the connection between privacy and personal autonomy illuminates (...) the instrumental value of privacy and highlights the importance of intentionally embedding the value of privacy into these systems. To translate the value of privacy into concrete design requirements, this study constructs a values hierarchy consisting of values, norms, and design requirements. After analyzing the relationships between privacy and autonomy and identifying norms, the design requirements translated from the norms associated with the components of personal autonomy are specified at the lowest layer. These requirements include a design to prevent unauthorized access and dark patterns and to provide effective and efficient notices and choices. The findings contribute to expanding the requirements for designing the aspect of privacy as a legal requirement to incorporate the value of privacy into systems. (shrink)

When proponents of Intelligent Design (ID) theory deny that their theory is religious, the minimalistic theory they have in mind (the mini-ID theory) is the claim that the irreducibly complex adaptations found in nature were made by one or more intelligent designers. The denial that this theory is religious rests on the fact that it does not specify the identity of the designer—a supernatural God or a team of extra-terrestrials could have done the work. The present paper attempts to (...) show that this reply underestimates the commitments of the mini-ID Theory. The mini-ID theory, when supplemented with four independently plausible further assumptions, entails the existence of a supernatural intelligent designer. It is further argued that scientific theories, such as the Darwinian theory of evolution, are neutral on the question of whether supernatural designers exist. (shrink)

As algorithms pervade numerous facets of daily life, they are incorporated into systems for increasingly diverse purposes. These systems’ results are often interpreted differently by the designers who created them than by the lay persons who interact with them. This paper offers a proposal for human-centered algorithm design, which incorporates human and social interpretations into the design process for algorithmically based systems. It articulates three specific strategies for doing so: theoretical, participatory, and speculative. Drawing on the author’s work (...) designing and deploying multiple related systems, the paper provides a detailed example of using a theoretical approach. It also discusses findings pertinent to participatory and speculative design approaches. The paper addresses both strengths and challenges for each strategy in helping to center the process of designing algorithmically based systems around humans. (shrink)

De-Signing Design: Cartographies of Theory and Practice throws new light on the terrain between theory and practice in transdisciplinary discourses of design and art. The collection brings together a selection of essays on spatiality, difference, cultural aesthetics, and identity in the expanded field of place-making and being.

We briefly present three problems related to promiscuous trust in connection to germane notions of honesty and competence in systems design.

The argument from design stands as one of the most intuitively compelling arguments for the existence of a divine Creator. Yet, for many scientists and philosophers, Hume's critique and Darwin's theory of natural selection have definitely undermined the idea that we can draw any analogy from design in artifacts to design in nature. Here, we examine empirical studies from developmental and experimental psychology to investigate the cognitive basis of the design argument. From this it becomes clear (...) that humans spontaneously discern purpose in nature. When constructed theologically and philosophically correctly, the design argument is not presented as conclusive evidence for God's existence but rather as an abductive, probabilistic argument. We examine the cognitive basis of probabilistic judgments in relationship to natural theology. Placing emphasis on how people assess improbable events, we clarify the intuitive appeal of Paley's watch analogy. We conclude that the reason why some scientists find the design argument compelling and others do not lies not in any intrinsic differences in assessing design in nature but rather in the prior probability they place on complexity being produced by chance events or by a Creator. This difference provides atheists and theists with a rational basis for disagreement. (shrink)

Artificial placenta technologies (also termed ‘artificial wombs’) for use in place of conventional neonatal intensive care are increasingly closer to first-in-human use. There is growing ethical interest in partial ectogestation (the use of an artificial placenta to continue gestation of an underdeveloped human entity extra uterum), however, there has been little reflection on the ethical issues in the design of the technology. While some have noted the importance of such reflection, and others have noted that a ‘value sensitive (...) class='Hi'>design’ approach should be preferred, they have not elaborated on what this means. In this article, we consider what a value sensitive design approach to artificial placenta design might encompass. We believe that applying this framework to the topic at hand raises theoretical and substantive ethical questions that merit further elucidation. Highlighting that there is a careful need to separate preferences from values and that our intervention should be considered only a starting point, we explore some of the values that could be used to make ethical design choices about the artificial placenta: efficacy, compassion and accessibility. (shrink)

We argue that considering only a few ‘big’ ethical decisions in any engineering design process — both in education and practice — only reinforces the mistaken idea of engineering design as a series of independent sub-problems. Using data collected in engineering design organisations over a seven year period, we show how an ethical component to engineering decisions is much more pervasive. We distinguish three types of ethical justification for engineering decisions: (1) consequential, (2) deontological or non-consequential, and (...) (3) virtue-based. We find that although there is some evidence for engineering designers as ‘classic’ consequentialists, a more egocentric consequentialism would appear more fitting. We also explain how the idea of a ‘folk ethics’ — a justification in the second category that consciously weighs one thing with another — fits with the idea of the engineering design process as social negotiation rather than as technological progress. (shrink)

Despite the once-common idea that a universal ideography would have numerous advantages, attempts to develop such ideographies have failed. Here, we make use of the biological idea of fitness landscapes to help us understand the nonevolution of such a universal ideographic code as well as how we might reach this potential global fitness peak in the design space.

This paper starts from the presupposition that moral codes often do not suffice to make agents understand their moral responsibility. We will illustrate this statement with a concrete example of engineers who design a truck’s trailer and who do not think traffic safety is part of their responsibility. This opinion clashes with a common supposition that designers in fact should do all that is in their power to ensure safety in traffic. In our opinion this shows the need for (...) a moral philosophy that helps engineers to interpret their responsibility and think more critically about it. For this purpose we will explore the moral philosophy of Alasdair MacIntyre, which is particularly interesting because he locates the beginning of moral thinking in the daily practice of a profession. This is consistent with the history of moral codes, for codes are also the product of moral reflection by professionals. We will use MacIntyre’s philosophy to (1) explain what is wrong with the designers’ understanding of their responsibility and (2) show a possible way to bring their reflection to a more self-critical level. We will also inspect MacIntyre’s proposal critically. (shrink)

Historically, the dynamic between philosophy of artificial intelligence and its practical application has been essential for the development of both, and thus the encounter between theory of AI and architectural/urban theory should be a site of considerable productivity. However, in many ways, it is not. This is due to two primary factors, one arising from each side of this encounter. First, legacies of overly-anthropomorphic models of AI permeate design discourses, where issues of how well AI can be constrained to (...) social issues of philosophy of mind exclude more foundational and cross-cultural questions about artificial intelligence as material process in the physical world that could inform new philosophical insights. Concurrently, the mobilization of investment in “Smart Cities” discourses dominates the space of application of AI at urban scale in ways that prematurely fixes solutions in the skeuomorphic image of architectural and urban conventions. To break this impasse, we held a series of think-tanks, workshops, and design charettes that brought together leading figures in philosophy of artificial intelligence, urban design, and commercial AI platforms. The goal was to re-think from first principles how alternative philosophical models of AI as a distributed, discontinuous, landscape-scale technology in a direct encounter with the applications in contexts of ecological sensing, automation’s impact on urban form, and issues of algorithmic governance. The design brief for this research establishes a generative framework for conceiving how embedded machine sensing and intelligence is already changing urban form and could change it in the future. The framework focuses on issues of urban zoning and architectural programming, data modeling and governance, platform cognition and design, and how these inform shifts in dynamics of public and private institutions. (shrink)