The target paper (building on Ginsburg and Jablonka in JTB 381:55–60, 2015, The evolution of the sensitive soul: Learning and the origins of consciousness, MIT Press, USA, 2019) makes a significant and novel claim: that positive cases of non-human consciousness can be identified via the capacity of unlimited associative learning (UAL). In turn, this claim is generated by a novel methodology, which is that of identifying an evolutionary ‘transition marker’, which is claimed to have theoretical and empirical advantages over other (...) approaches. In this commentary I argue that UAL does not function as a successful transition marker (as defined by the authors), and has internal problems of its own. However, I conclude that it is still a very productive anchor for new research on the evolution of consciousness. (shrink)

"This unique text develops an original theoretical framework for understanding the relationship between trauma and time by combining phenomenological and psychoanalytical traditions. Moving beyond Western psychoanalytical and phenomenological traditions, this volume presents new perspectives on the assessment and treatment of trauma patients. Powerfully illustrating how the temporal dimension of a patient's symptoms has until now been overlooked, the text presents a wealth of research literature to deepen our understanding of how trauma disrupts individual temporal experience. Ultimately, the resulting phenomena that (...) occur, positions time as a transdiagnostic psychological dimension, closely connected to the subject's sense of self. This text will benefit researchers, academics, and educators with an interest in psychoanalysis, phenomenology, and trauma and dissociation studies more broadly. Those specifically interested in the philosophy of the mind, Freud, and psychotherapy will also benefit from this book. Selene Mezzalira has completed PhDs in Philosophy and Clinical Psychology at the University of Padova, Italy, and Ryokan College, USA respectively. She has been a visiting scholar at Columbia University in the city of New York and at the University of California, Irvine, USA"--. (shrink)

Es ist nicht leicht, dieser Studie im Umfang v. 557 Seiten gerecht zu werden. Der behandelte Text der spätbyzantinischen Vierfüßlergeschichte, der in älteren Ausgaben von W. Wagner in dessen Carmina Graeca Medii Aevi (Leipzig 1874) und von Vassiliki Tsiouni als Bd. 15 der Miscellanea Byzantina Monacensia, Diss. London 1970 (München 1972, erschienen 1975) vorlag, umfaßt selbst nur knapp 1100 Verse. Die Autoren, - der eine, George Baloglou, ist Mathematik-professor an der State University of New York, Oswego, der andere, Nick Nicholas, (...) Research Fellow bei den Linguisten an der Universität von Melbourne und Mitarbeiter am Thesaurus Linguae Graecae in Irvine - USA - sind von Haus aus also keine Fachleute für die Herausgabe von Texten der byzantinischen Volksliteratur, vermitteln aber auf so gut wie jeder Seite ihres Werks ihren wissenschaftlichen Impetus und Enthusiasmus, diesem Text bis in die letzten Falten seines Gewands nachzuspüren. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:April 3, 2010 (11:17 am) C:\Users\Milt\Desktop\backup copy of Ken's G\WPData\TYPE2902\russell 29,2 050 red.wpd 1 Gabbay and Woods, eds., The Rise of Modern Logic from Leibniz to Frege, Vol. 3 of the Handbook of the History of Logic (Amsterdam, etc.: North-Holland, 2004). russell: the Journal of Bertrand Russell Studies n.s. 29 (winter 2009–10): 167–90 The Bertrand Russell Research Centre, McMaster U. issn 0036-01631; online 1913-8032 eviews BERTRAND RUSSELL IN RECENT (...) BOOKS ON LOGIC HISTORY Irving Anellis Peirce Edition / Indiana U.–Purdue U. Indianapolis, in 46202–5157, usa [email protected] Dov M. Gabbay and John Woods, eds. Logic from Russell to Church. Vol. 5 of The Handbook of the History of Logic. Amsterdam, etc.: North-Holland, 2009. Pp. xii + 1056. us$260; £157.99; ¤185.95. Leila Haaparanta, ed. The Development of Modern Logic. Oxford and New York: Oxford U. P., 2009. Pp. x + 904. us$150.00. The essay “Bertrand Russell’s Logic” by Andrew D. Irvine in Volume 5 of the Handbook of the History of Logic is one of the shortest in the volume (pp. 1–28). But something of Russell pervades many of the other essays as well, as we might expect given the centrality that Principia Mathematica has occupied in the historiography of logic through much of the twentieth century. This is especially evident in the lengthiest of the essays, Andrea Cantini’s “Paradoxes, Self-reference and Truth in the 20th Century” (pp. 875–1013), and more than tangentially in Dale Jacquette’s “Logic for Meinongian Object Theory Semantics” (pp. 29–76) and Michael Potter’s “The Logic of the Tractatusz” (pp. 255–304). In their preface, the editors of the Handbook explain (p. vii) the rationale for treating Frege and Russell in separate volumes.1 One reason is that it was a matter of simple conveniencez—zto keep the volume covering logic from Leibniz to Frege of manageable size. The other is historical: while admitting that Frege and Russell shared important goals and the philosophical position of logicism, it is noted that Frege’s most important work in logic and foundations was carried out prior to his learning of Russell’s paradox, whereas the entire corpus of Russell’s work, Principiaz included, was designed to a considerable extent in eTorts to deal with the paradox, as was much of the work in logic, set theory, and philosophy of logic that came as a consequence of the discovery of that paradox. Gabbay April 3, 2010 (11:17 am) C:\Users\Milt\Desktop\backup copy of Ken's G\WPData\TYPE2902\russell 29,2 050 red.wpd 168 Reviews and Woods also make explicit the philosophical diTerences between Frege and Russell regarding the epistemological status of axioms as one of the signiWcant diTerences between these two. More particularly, the editors assert (p. viii) that, in the very brief period between publication of the second volume of Frege’s Grundgesetze (1903) and Russell’s Principles of Mathematics (1903), there was a pronounced shift initiated in the goals of mathematical logic, away from naïve apriority of axiom systems, towards study of the limits and properties of formal systems.Thecontributors to these metalogical concerns, Herbrand, Hilbert, and Gödel, among others, are the subject of the bulk of the essays included in Volume 5 of the Handbook. The task that Irvine undertakes is initiated by the eTort to understand the unity of Russell’s technical body of work in mathematics, logic, metaphysics, and epistemology. Thus the discrepancy between the neo-Hegelian concept of relations, inherited from Bradley, with certain types of relationsz—zlogical, spatial, temporal, for examplez—zwith the mathematical understanding of relations, is given as the ground for Russell’s abandonment of idealism in favour of realism (pp. 4–5). For example, there is nothing inherent in two relata, say Abelard and Héloise, which contributes to the relation of love between the pair; rather, its root is found in the mental states of one or the other of the lovers, so that the relation itself is not an intrinsic property of one of the pair. Likewise, Russell reaches this position... (shrink)

Contemporary art can seem chaotic: it may be made of toilet paper, candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts, or language. Immaterial argues that, despite these unruly appearances, making rules is a key part of what many contemporary artists do when they make their works, and these rules can explain disparate developments in installation art, conceptual art, time-based (...) media art, and participatory art. -/- Sherri Irvin shows how rules are now an artistic medium: they are part of the work's structure and shape what it expresses. Rules are meaningful in themselves and help to activate the meanings of non-art materials and found objects, so audiences need to know about the rules to get the most out of their art experiences. Loss of information about the rules, like loss of a chunk of marble, can seriously damage the work, and preserving rules as well as objects is reshaping how museums maintain their collections. Where rules collide with real-world circumstances, they may be broken maliciously, mistakenly, or for good reasons, threatening the work's meanings and sometimes its very existence. -/- Should we celebrate the prominence of rules in contemporary art? Irvin argues that, while rules aren't always used well, they can be used to create distinctive meanings and provide powerful immersive experiences not achievable through any other means. (shrink)

The theory of visual perception that Irvin Rock develops and supports in this book with numerous original experiments, views perception as the outcome of a process of unconscious inference, problem solving, and the building of structural descriptions of the external world.

A methodology is shown to evaluate the quality of the continuous improvement plans in schools of the upper medium type. For this, a rubric validated by expert judgment and Alpha de Crombach was prepared. The results obtained show the distribution of the quality level of the PMC, as well as the most recurring errors during the planning process.

Snodgrass et al.’s commentary makes explicit one of the major problems in consciousness research; that there seem to be just as many definitions of basic terms are there are people in the field. Although Snodgrass et al.’s position appears at odds with the views expressed in Irvine , many of their arguments are actually consistent with the proposed views, or else fail to engage with them as a consequence of the shifting goal posts of what basic terms mean.

Irvine looks at various Stoic techniques for attaining tranquility and shows how to put these techniques to work in our own life.

The aim of this article is to mount a challenge to gesture-first hypotheses about the evolution of language by identifying constraints on the emergence of symbol use. Current debates focus on a range of pre-conditions for the emergence of language, including co-operation and related mentalising capacities, imitation and tool use, episodic memory, and vocal physiology, but little specifically on the ability to learn and understand symbols. It is argued here that such a focus raises new questions about the plausibility of (...) gesture-first hypotheses, and so about the evolution of language in general. After a brief review of the methodology used in the article, it is argued that existing uses of gesture in hominid communities may have prohibited the emergence of symbol use, rather than ‘bootstrapped’ symbolic capacities as is usually assumed, and that the vocal channel offers other advantages in both learning and using language. In this case, the vocal channel offers a more promising platform for the evolution of language than is often assumed. (shrink)

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences have aesthetic qualities. The body features centrally in aesthetic experiences of visual art, theatre, dance and sports. It is also deeply intertwined with one's identity and sense of self. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays by contributors in (...) philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. They explore bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence. -/- Contents: Maria del Guadalupe Davidson, "Black Silhouettes on White Walls: Kara Walker’s Magic Lantern"; A. W. Eaton, "Taste in Bodies and Fat Oppression"; C. Winter Han, "From 'Little Brown Brothers' to 'Queer Asian Wives': Constructing the Asian Male Body"; Deborah L. Rhode, "Appearance as a Feminist Issue"; Shirley Anne Tate, "A Tale of Two Olympians—Beauty, 'Race,' Nation"; Glenn Parsons, "The Merrickites"; Stephen Davies, "And Everything Nice"; Tobin Siebers, "In/Visible: Disability on the Stage"; Jill Sigman, "Live, Body-Based Performance: An Account from the Field"; Barbara Gail Montero, "Aesthetic Effortlessness"; Peg Brand Weiser and Edward B. Weiser, "Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports"; Yuriko Saito, "Body Aesthetics and the Cultivation of Moral Virtues"; George Yancy, "White Embodied Gazing, the Black Body as Disgust, and the Aesthetics of Un-Suturing"; Richard Shusterman, "Somaesthetics and the Fine Art of Eating"; Ann J. Cahill, "Sexual Desire, Inequality, and the Possibility of Transformation"; Sheila Lintott and Sherri Irvin, "Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness" -/- . (shrink)

Consciousness is now a hot topic in both philosophy and the cognitive sciences, yet there is much controversy over how to measure it. First, it is not clear whether biased subjective reports should be taken as adequate for measuring consciousness, or if more objective measures are required. Ways to benefit from the advantages of both these measures in the form of ‘Type 2’ metacognitive measures are under development, but face criticism. Research into neurophysiological measures of consciousness is potentially very valuable, (...) but often hindered by its dependence on behavioural measures that are themselves controversial. Newer informational measures are theoretically interesting, but as yet not easily applicable, while other measures of consciousness are designed for application in clinical cases . Although much optimism accompanies research into measures of consciousness, the controversies and methodological problems reviewed here suggest that making progress in this area may be more difficult than is often acknowledged. (shrink)

Open Access: This article argues for an aesthetic approach to resisting oppression based on judgments of bodily unattractiveness. Philosophical theories have often suggested that appropriate aesthetic judgments should converge on sets of objects consensually found to be beautiful or ugly. The convergence of judgments about human bodies, however, is a significant source of injustice, because people judged to be unattractive pay substantial social and economic penalties in domains such as education, employment and criminal justice. The injustice is compounded by the (...) interaction between standards of attractiveness and gender, race, disability, and gender identity. -/- I argue that we should actively work to reduce our participation in standard aesthetic practices that involve attractiveness judgments. This does not mean refusing engagement with the embodiment of others; ignoring someone’s embodiment is often a way of dehumanizing them. Instead, I advocate a form of practice, aesthetic exploration, that involves seeking out positive experiences of the unique aesthetic affordances of all bodies, regardless of whether they are attractive in the standard sense. I argue that there are good ethical reasons to cultivate aesthetic exploration, and that it is psychologically plausible that doing so would help to alleviate the social injustice attending judgments of attractiveness. -/- This essay was the winner of the 30th Anniversary of the American Society for Aesthetics Feminist Caucus Committee Feminist Research Essay prize in 2020. (shrink)

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...) pursue moral aims. (shrink)

Introspective and phenomenological methods are once again being used to support the use of subjective reports, rather than objective behavioural measures, to investigate and measure consciousness. Objective measures are often seen as useful ways of investigating the range of capacities subjects have in responding to phenomena, but are fraught with the interpretive problems of how to link behavioural capacities with consciousness. Instead, gathering subjective reports is seen as a more direct way of assessing the contents of consciousness. This article explores (...) three different ways of gathering subjective reports that have been discussed in recent literature on consciousness, including immediate retrospection (Schwitzgebel [2007]) and two types of introspective training (Overgaard et al. [2004]; Schwitzgebel [2008]). Although not an exhaustive survey of the range of introspective methods now used, the discussion below highlights a range of general methodological problems with introspective methods, many identified up to a century ago. It is argued that none of the methodological problems established in earlier criticisms of the use of subjective reports have been dealt with, yet are still valid criticisms. Given that this is not the first time proponents of introspective, subjective measures of conscious have failed to answer these criticisms, this raises the question of whether the goal of providing a measure of consciousness is a methodological muddle worth pursuing. (shrink)

Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...) But considering it in relation to conceptual art sheds light on its achievements and one notable limitation. In the realm of appropriation, the fact that the re-recordings exhibit both close resemblance to and subtle differences from the originals has prompted an intensity of close listening by audience members, with distinctive aesthetic experiences in the realm of the uncanny. In the realm of participation, Swift has creatively motivated her fans to abandon her beloved original albums, and the fans have in turn evolved a variety of strategies to shift their allegiance to the new versions and hold each other accountable. When it comes to institutional critique—the movement in conceptual art that highlights and challenges the power structures governing art institutions—Swift’s project has raised awareness of troubling and exploitative power dynamics in the music industry. However, consideration of historical precursors of Swift’s institutional critique may lead us to question some elements of her self-presentation as a victim of gendered exploitation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionSherri Irvin, Guest Editor (bio)The idea for this special issue of the Journal of Aesthetic Education had its origins in the December 2007 event “The Art of Performance: Symposium in Honor of Jim Hamilton,” organized by Sandra Lapointe and Marcelo Sabatés and hosted by the Department of Philosophy at Kansas State University with the kind support of President Jon Wefald and the dean of the Faculty of Arts and (...) Sciences. The symposium was designed to celebrate the 2007 publication of Jim Hamilton’s The Art of Theater by Blackwell, as well as his many years of leading experimental theater programs for Kansas youth. Noël Carroll, David Davies, Aaron Meskin, and I were critics in an author-meets-critics session on The Art of Theater at the symposium, while Paul Thom was a critic for a session on the book at the 2007 Annual Meeting of the American Society for Aesthetics.The Art of Theater bears the stamp of Hamilton’s dual roles as a philosopher and an avid participant in contemporary theater practice. It is a philosophically sophisticated and richly informed treatment of the theoretical issues surrounding the practice of theater. It contributes greatly to filling what was a rather glaring hole in the philosophical literature: whereas music has received quite extensive treatment in recent decades, only a few philosophers have ventured into the complex territory of theater.Hamilton holds that theater is an independent form of art: theatrical performances are artworks in their own right, not subsidiary to or derivative of works in any other form (particularly literature). The process by which a theatrical performance is constructed, he suggests, involves such an extensive array of decisions by the performing company—including decisions about whether and how to make use of any preexisting text in the performance—that no text or literary work can be thought of as “the work” that is performed. Instead, the company’s activities generate the only work [End Page 1] at issue: namely, the performance itself. When a performance seems to bear a special relation to some repeatable entity, such as Hamlet, we should understand this as a relation the performance bears not to some literary text but to a tradition of other performances that have been collected under the Hamlet rubric. Accordingly, basic understanding of a theatrical performance does not require prior acquaintance with a text or literary work; spectators can have basic understanding of a performance as long as their responses demonstrate that they have followed what is happening as the performance itself unfolds. Spectators lacking extensive acquaintance with recent text-based theatrical practices, then, need not be stigmatized as lacking the resources to appreciate works of theater.In this issue Hamilton’s précis of the book is followed by the contributions of five critics who challenge the book’s central theses. The critics ask, Does Hamilton provide sufficient reason to reject the claim that at least some performances are of literary works, and can a satisfactory ontology of theater be developed if this claim is rejected? Even if theatrical performances are not of some text-based literary work, could they be of some other work, perhaps a work of theater that is generated through the performance practices of a company? Should spectators who follow what is happening moment-to-moment in a given performance, but fail to recognize that the performance parodies or satirizes some literary work, be said to have even basic understanding of what they have seen?Hamilton’s extensive replies to the critics will, I think, serve as a valuable supplement to the book, clarifying some of its central arguments and, in some instances, supplying new arguments for its theses. In particular, he points out that he did not intend for the book to provide a definitive argument for the thesis that theatrical performances are never performances of some other work; instead, he takes this thesis to emerge from a careful examination of theatrical practice. The aim of the book is to explore the implications of the thesis and to show how identification and appreciation of theatrical performances are possible if it is true. In this spirit, many of his claims should be given... (shrink)

Block [Block, N. . Two neural correlates of consciousness. Trends in Cognitive Science, 9, 46–52] and Snodgrass claim that a signal detection theory analysis of qualitative difference paradigms, in particular the exclusion failure paradigm, reveals cases of phenomenal consciousness without access consciousness. This claim is unwarranted on several grounds. First, partial cognitive access rather than a total lack of cognitive access can account for exclusion failure results. Second, Snodgrass’s Objective Threshold/Strategic model of perception relies on a problematic ‘enable’ approach to (...) perception that denies the possibility of intentional control of unconscious perception and any effect of following different task instructions on the presence/absence of phenomenal consciousness. Many of Block’s purported examples of phenomenal consciousness without cognitive access also rely on this problematic approach. Third, qualitative difference paradigms may index only a subset of access consciousness. Thus, qualitative difference paradigms like exclusion failure cannot be used to isolate phenomenal consciousness, any attempt to do so still faces serious methodological problems. (shrink)

How have the world's great thinkers, politicians, mathematicians, and religious figures reached their transformative moments of insight? Are there lessons to be learned from their experiences? William B. Irvine takes up these questions and others that relate to what he calls "aha moments," guiding us through the most striking examples of instantaneous intellectual breakthroughs that have shaped human civilization.

In this paper, I examine various popular notions concerning the ethics of investing. I first consider and reject the absolutist view that it is always wrong to invest in evil companies and the view that what makes investments in evil companies morally objectionable is the fact that by making such investments, investors are taking steps to benefit from the wrongdoing of others. I then defend the view that what makes certain investments morally objectionable is the fact that by making such (...) investments, investors enable others to do wrong. According to this view, when weighing the purchase of a certain company's stock, investors should ask themselves the following question: Would this sort of investment, if made by many people, enable others to do wrong? If the answer to this question is yes, and if an investor nevertheless makes the investment in question, he can justifiably be accused of moral wrongdoing. (shrink)

This paper argues for a position of ‘dark pessimism’ towards introspective reports playing a strong justificatory role in consciousness science, based on the application of frameworks and concepts of measurement. I first show that treating introspective reports as measurements fits well within current discussions of the reliability of introspection, and argue that introspective reports must satisfy at least a minimal definition of measurement in order to play a justificatory role in consciousness science. I then show how treating introspective reports as (...) measurements makes it possible to identify the foundational methodological problems that underlie much of the current philosophical and scientific debate about the status of introspective evidence in studying consciousness. I argue that these problems prevent introspective reports from playing a strong justificatory role and resolving long-standing debates in consciousness science, both in contemporary work and in the future. (shrink)

This paper is aimed at identifying how a model’s explanatory power is constructed and identified, particularly in the practice of template-based modeling (Humphreys, Philos Sci 69:1–11, 2002; Extending ourselves: computational science, empiricism, and scientific method, 2004), and what kinds of explanations models constructed in this way can provide. In particular, this paper offers an account of non-causal structural explanation that forms an alternative to causal–mechanical accounts of model explanation that are currently popular in philosophy of biology and cognitive science. Clearly, (...) defences of non-causal explanation are far from new (e.g. Batterman, Br J Philos Sci 53:21–38, 2002a; The devil in the details: asymptotic reasoning in explanation, reduction, and emergence, 2002b; Pincock, Noûs 41:253–275, 2007; Mathematics and scientific representation 2012; Rice, Noûs. doi:10.1111/nous.12042, 2013; Biol Philos 27:685–703, 2012), so the targets here are focused on a particular type of robust phenomenon and how strong invariance to interventions can block a range of causal explanations. By focusing on a common form of model construction, the paper also ties functional or computational style explanations found in cognitive science and biology more firmly with explanatory practices across model-based science in general. (shrink)

I argue that there can be appropriate aesthetic experiences even of basic somatic experiences like itches and scratches. I show, in relation to accounts of aesthetic experience offered by Carroll and Stecker, that experiences of itches and scratches can be aesthetic; I show that itches can be objects of attention in the way that normative accounts of the aesthetic often require; and I show, in relation to accounts of the aesthetic appreciation of nature offered by Carlson and Carroll, that aesthetic (...) experience of itches and scratches can be appropriate. I argue that attention to the domain of somatic experience is worthwhile, in that it offers the prospects of significant aesthetic satisfaction, and I suggest that even attention to unpleasant experiences like itches and pains may be aesthetically rewarding. (shrink)

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

Arien Mack and Irvin Rock make the radical claim that there is no conscious perception of the visual world without attention to it.

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)