Philosophers of art have had so far little to say about the phenomenon of artists’ statements. Artists’ statements can perform two different functions and often perform both. First, an artist’s statement allows the artist to provide information to viewers that is not necessarily discernible from the work. Second, an artist’s statement can contextualize a work. It can direct the viewer to see, interpret, or appreciate a work in specific ways. Though an artist’s statement cannot compel viewers (...) to have a particular experience of an artwork, it can suggest or guide viewers in a certain direction. This chapter is intended to open up the discussion by pointing out a few areas where our approach to artists’ statements will have a bearing on deeper philosophical questions. (shrink)

In this study, we analyze the development conditions of and trends in Ukrainian scientific art during the ongoing war with the Russian Federation. Based on our own experience, we demonstrate how the emphasis, values, and goals of scientific art shift under martial law. We also highlight the challenges and difficulties faced by Ukrainian artists and researchers who found themselves in the occupied territories. Our own experience involves the promotion of the scientific and artistic project “Nanoart. Science is art” and (...) its transformation into a socio-patriotic project “Nanoart. New symbolism of science.” We use this example to show how trends in art, culture, and science change very quickly under critical conditions. Art during the war has military and liberation themes, while artists and scientists during the war are warriors on the cultural and scientific fronts. (shrink)

Has art theory any function and any importance? A function and importance for who? For the practising artist, theorists, writers on art? Art speak and its place in art theory, art criticism and artists’ statement. - Many tools to create an intersubjective and universal frame of reference to make sense of any art exist., for example art history, labels such as expressionism, impressionism, modern art, contemporary art, Fine art, Visual Arts, Northern Baroque Art, minimalist, post-minimalist, anti-art, anti-anti-art, New Aesthetics, (...) new media, slow art movement, etc and ‘art speak”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 46, no. 2. © 2020 by Feminist Studies, Inc. 327 Callie Danae Hirsch pandemic daydreams Artist’s Statement I am a painter who works in oils and acrylics on canvas and found objects. I am also a photographer as part of my daily practice. My work is an exploration of everything that surrounds me in my daily life, observing the overlooked, honing in and reimagining it. I seek (...) out discarded items on the streets, in parks, and on the beaches around the five boroughs of New York City and imagine their reincarnation. This series, pandemic daydreams, explores my subconscious in a time of profound anxiety. I sometimes drift off into sleep and, upon waking, remember clearly for a moment the scenario the dreamlet contained. A dream fragment during the day, or as I reframe it here as a daydream, allows my subconscious to float to the surface of consciousness. What is revealed is not always easily understood, but now it is the plague that plagues my sleeping life. Strange ideas emerge; comical, nightmarish, filled with chaos and disruption, the invisible made visible, interpreted from brush to canvas. The paintings serve as a visual diary of my psyche during the coronavirus outbreak, created using acrylic on canvas, measuring from 24 by 20 inches to 44 by 36 inches. My quarantine cocoon strolls include Green-Wood Cemetery in Brooklyn, where newly dug soil can be seen on numerous fresh graves as I make my way through the hills seeking fresh air and exercise. Rising smoke from the crematorium is a constant reminder of those we have lost. Migrating birdsong fills my ears, but death hovers in the whirlwind 328 Callie Danae Hirsch around us. Who are we losing today? What will remain of our pre-COVID life and society when this is over? When can we hug each other again? As the pandemic hit, I felt the desire to connect and reflect with others about what we are all losing: our elders, our community members, our friends, our family, and our “IRL” connections with each other. I look forward to the day when this chapter is a distant memory, but for now I will investigate the discomfort of our present moment.  All images shown in this art essay courtesy of Callie Danae Hirsch: Pandemic daydreams i– xvii, 2020. Acrylic on canvas, variable dimensions.  Pandemic daydreams vii, 24 × 36 × 1 inches. left to right  Pandemic daydreams i, 20 × 24 × ½ inches.  Pandemic daydreams xvii, 20 × 24 × ½ inches. this page, top to bottom  Pandemic daydreams xiii, 20 × 24 × ½ inches.  Pandemic daydreams xvi, 20 × 24 × ½ inches. opposite, top to bottom  Pandemic daydreams v, 20 × 24 × ½ inches.  Pandemic daydreams xv, 44 × 36 × 1 ½ inches. left to right  Pandemic daydreams ix, 16 × 20 × ½ inches.  Pandemic daydreams xii, 20 × 30 × 1 ½ inches. left to right  Pandemic daydreams xi, 20 × 24 × ½ inches.  Pandemic daydreams ii, 20 × 24 × ½ inches.  Pandemic daydreams viii, 20 × 24 × ½ inches.  Pandemic daydreams xiv, 20 × 24 × ½ inches. previous page  Pandemic daydreams vi, 20 × 28 × 1 ½ inches.  Pandemic daydreams iii, 20 × 24 × ½ inches.  Pandemic daydreams x, 48 × 36 × 1 ½ inches.... (shrink)

Drawing upon a range of insights from Plato and Aristotle to Gadamer and Ingarden, this phenomenological study examines the nature of artistic creation. Mitscherling and Fairfield also draw heavily upon many artists’ statements regarding their own creative process.

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)

Inuit artists espouse aesthetic values which are indicative of the degree of their involvement with the western art world and of the non-artistic cultural values which they wish to convey and perpetuate in their own communities. It is in this latter expression that Inuit aesthetics may be studied as a conveyor of Inuit rather than non-Inuit culture. In this paper, the statements made by Inuit woman artists from the Keewatin district are analysed with reference to the values (...) associated with contemporary mainstream fine art and the artists' own assertions regarding the importance of non-artistic values in the art-making process. (shrink)

Performing and creative artists have unique occupational and lifestyle stresses and challenges that can negatively affect self-esteem. Low self-esteem not only has serious implications for their psychological and physical health, it can also affect their performance and creativity. There is a need to establish effective interventions to deal with this issue. To the best of our knowledge, there are no reported studies specific to workshops or interventions on enhancing self- esteem for artists. The Al and Malka Green (...) class='Hi'>Artists’ Health Centre at the Toronto Western Hospital, University Health Network, Toronto, Ontario, Canada, is a unique multidisciplinary and integrative clinic serving the special needs of the artist population. We developed a workshop entitled “Building Confidence and Self Esteem Toolbox Workshop” to address this this need. We then designed a single-blind, randomized, prospective, pilot study to evaluate the effectiveness of the workshop on enhancing self-esteem in artists, and to evaluate the long-term effectiveness of using the recommended tools in maintaining a healthy self-esteem, as well as maintaining physical and emotional health. Both quantitative and qualitative data were collected. A validated “Self-Esteem Checkup” questionnaire was administered pre- and immediately post workshop, as well as at 2, 6, and 12 months post workshop. Open-ended questions were posed to study participants via email at 2 and 12 months following the workshop, and at 6 months in in-person interviews. Thirty-five professional artists consented to participate in the study, with 26 completing all study visits. Mean scores for all time points, and the individual questionnaire statement mean scores for the five timepoints increased significantly immediately post-workshop and remained statistically significantly improved by the by the 3rd follow-up 12 months later. (p<0.001). The mean self-esteem rating score increased significantly post-workshop and remained statistically significantly improved by the 3rd follow-up 12 months later. (p<0.01). Qualitative data showed positive feedback on the utilization of the tools learned in the workshop that helped maintain this improvement over a one-year period. This workshop may be an effective means of addressing the issue of self-esteem in artists. Further controlled studies of larger sample size and longer duration are needed to confirm these findings. (shrink)

Artists, political scientists and art historians share with other professionals the challenge of apprehending and comprehending the complexity of the realities they address in their work. The co‐authors of our article coincide in the prominence they give to disturbing indexical signs (i.e., indications and traces of trauma and normalization in people, in political processes and works of art), as keys of interpretation and problematizing at the basis of their art works, their social work and their historic and political research. (...) They address the challenges and questions they face when interacting with the multiple dimensions inherent to the complex human behaviours, theoretical concepts and artistic statements on which they focus. Finally, they discuss possible aesthetic, ethical and philosophical implications of their proposals and perspectives. (shrink)

Is an artwork simply identical to some physical object? While clearly not viable for art forms like literature and music, the view that artworks are physical objects is appealing for the singular visual arts , since it accords with our intuitions about the nature of visual artworks. A traditional challenge to the view holds that physical objects cannot possess representational properties, and thus visual artworks, most of which do have such properties, cannot be identical to physical objects. -/- In chapter (...) 1 I consider four formulations of this challenge and show that each is readily defeated once we recognize the confusion that underlies it. Arthur Danto has suggested that artworks cannot be physical objects, since two objects with the same physical features might correspond to very different artworks. Danto holds that only interpretation can account for the differences between the works, and thus that artworks are constituted by Interpretation. In chapter 2 I argue that Danto is wrong to claim that viewers' intepretations constitute artworks. To make sense of the fact that interpretation is subject to norms of adequacy, we must hold that the artwork is the object, not the product, of interpretation. A consequence is that a stage of epistemic labor, namely apprehension of the artwork, is required prior to interpretation. In chapter 3, I discuss the process of apprehension and advance a positive view according to which the nature of the artwork Is established by the artist's sanction. The artist creates sanctions through her publicly accessible actions and communications, such as the act of making a physical object with particular features, the presentation of an artist statement to accompany the object, correspondence with curators, and so forth. -/- Through the presentation of a variety of real and hypothetical examples of contemporary artworks, I argue that only the artist's sanction can account for the nature and characteristics of particular works. Moreover, the notion of the artist's sanction is applicable to both contemporary and historical artworks, and helps to bridge the apparent gap between them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in order to (...) make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in order to (...) make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

Objections arise to the concept of artistic intention based upon the psychology of a period. Here too we experience trends or volitions which can only be explained by precisely those artistic creations which in their own turn demand an explanation on the basis of these trends and volitions. Thus "Gothic" man or the "primitive" from whose alleged existence we wish to explain a particular artistic product is in truth the hypostatized impression which has been culled from the works of art (...) themselves. Or it is a question of intentions and evaluations which have become conscious as they find their formulation in the contemporary theory of art or in contemporary art criticism. Thus these formulations, just like the individual theoretical statements of the artists themselves, can once more only be phenomena parallel to the artistic products of the epoch; they cannot already contain their interpretation. Here again this parallel phenomenon would, in its entirety, represent an extraordinarily interesting object of humanistic investigation, but it would be incapable of defining in detail a methodologically comprehensible volition. So, too, the view of art which accompanies a period's artistic output can express the artistic volition of the period in itself but cannot put a name to it for us. This view can be of eminent significance when we are seeking a logical explanation for the perception of tendencies dominating at a given time and thus also for the judgment of artistic volition at that time, which must also be interpreted.Erwin Panofsky, the renowned art historian, was professor at the Institute for Advanced Study, Princeton University, until his death in 1968. Among his many books and articles are Meaning in the Visual Arts, Early Netherlandish Painting, and Renaissance and Renascenes in Western Art. Kenneth Northcott is professor of German and comparative literature at the University of Chicago and the translator of Arnold Hauser's Sociology of Art . Joel Snyder is chairman of the committee on general studies in the humanities at the University of Chicago. (shrink)

Challenging topics in museums can guide museum professionals in developing modern methods of displaying their heritage, but also in offering reinterpretations of existing collections. The public also looks for challenging topics—injustice, loss, pain, or death—and many museums manage to attract visitors by offering them places to debate, reflect, or take action. These topics, if presented in an exhibition, could engage practising artists in an ideological exchange with the museum institution. Our statement is that artists with curatorial interest can (...) scrutinise the ways in which cultural heritage is revealed or interpreted for the contemporary public. The uncomfortable or uncertain aspects of recent and contemporary history are of great interest for contemporary artists and we assume that the Communist era in Romania could be further interpreted by artists in future museum places. (shrink)

Mathematics has a long track record of refining the concepts by which we make sense of the world. For example, mathematics allows one to speak about different senses of "sameness", depending on the larger context. Phenomenology is the name of a philosophical discipline that tries to systematically investigate the first-personal perspective on reality and how it is constituted. Together, mathematics and phenomenology seem to be a good fit to derive statements about our experience that are, at the same time, (...) well-defined, precise, and significant to our inner lives. However, there are difficulties stemming from the fact that phenomenology deals with inherently subjective things. Phenomenological investigations seem to lose their appeal when trying to approach them in the clear-cut way afforded by mathematics. How to overcome this obstacle? We argue that the Arts play a special role in mediating between the precise statements of mathematics and the sometimes fuzzy nature of our experience. Mathematics and art are complementary ways to come to a comprehensive understanding of reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to David Elliott’s “Music Education as/for Artistic Citizenship”Richard ColwellThe September issue of the Music Educators Journal contained an article by David Elliott entitled “Music Education as/for Artistic Citizenship”1 that I believe warrants considerable discussion by individuals conversant with the philosophy of music education in 2014.The journal is not known for its coverage of philosophy and an article in the Music Educators Journal is likely to influence far more (...) individuals than the Wayne Bowman and Anna Lucia Frega Oxford Handbook of Philosophy in Music Education. Some of the statements may be misleading and/or readers unfamiliar with philosophy may misunderstand the present rationale for music education in the schools. There is a difference between advocacy and philosophy.Elliott has long been a close friend and I have admired his writings for decades. The article struck me as misplaced in MEJ and I immediately contacted Elliott about it. He replied that the article was based on a speech he had recently given and that the editors of the journal had asked that it be included in an early edition. [End Page 105]The basic thrust of the article appears to be philosophical with Elliott’s argument for praxial music education and his worry about teaching great works and great artists under some rubric connected with aesthetic education. I do not think this is what he means as he would support musical criticism. The attempt to reach the public directly through multiple approaches assumes that criticism is artificial and public taste natural.The opening paragraphs suggest that music education can be used in the service of additional or alternative aims and these appear to be unlimited. The basic ideas seem to contradict Elliott in his chapter on Music Education Philosophy in the McPherson andWelch Oxford Handbook of Music Education (2012) where he states, that “if everything counts, then nothing counts (p 68).” The MEJ article is a long-list of possibilities with an emphasis on three themes—music making for the betterment of social well-being, music making for social justice, and the infusion of school music with an ethic of care—three areas he felt were under-emphasized in his classic text Music Matters.Thus, there are a number of areas where I would seek clarification realizing that describing music education philosophy in fifty minutes is impossible if not misleading.The title indicates a plea for artistic citizenship. One can easily find artistic citizenship in every country in the world: Venezuela is a present example where artistic citizenship is promoted through social programs using great music supported by the World Bank and others and resulting in a reasonable type of citizenship based on the poll numbers for ex-President Chavez. I assume that Elliott supports the West-East Divan Orchestra project that brings together students from Mid-East countries where artistry for great music has little to do with the political and religious citizenships of sending countries.Valid examples are cited for protest songs that have addressed injustices through the centuries and against government practices. If the point is that music can expand our horizons, great. When possible, I would suggest that music be used that leads to greater growth: growth in musical understanding or in this instance, positive citizenship. Music can have both political and social meanings and the music used should have a positive objective in mind. Elliott might conclude that music education is divorced from the real world and too often it is. Dewey wanted a connection and that connection would have included making music for one’s own satisfaction or playing in the town band as well as listening to live and recorded music that dominated the first half of the 20th century.What seems important in education, in music, and in philosophy is that we build on the best ideas and writings available to us. Culture can be changed and may need to be. Kurt Vonnegut learned as a prisoner during WWII that culture [End Page 106] was as separate from the brain as a Model T Ford, and it could be tinkered with. It is an easy jump from there to believing that a culture can... (shrink)

My paper focuses on the following famous passage from Friedrich Nietzsche’s “Truth and Lying in a Non-Moral Sense”: “What, then, is truth? A mobile army of metaphors, metonyms, and anthropomorphisms” (OTL 1). I will show that John Dewey entirely agrees with this statement. Dewey and Nietzsche has a rich and novel understanding of metaphor, metonymy, simile, and such that they use to comprehend the creation of linguistic meanings, the identity of things, the creation of objects (essences, eidos, etc.), cause and (...) effect, free will, and necessity as serving anthropomorphic purposes. My conclusion presents Dewey as a gay scientist joining Nietzsche in making creative use of the genetic method. The result of is a surprisingly poetic and rhetorical interpretation of Dewey that should not astonish anyone who reads him carefully. We arrive at this radical reading of Deweyan pragmatism by a metaphorical transfer from Nietzsche as the more familiar source domain to Dewey as the target domain. All along the way, things will fall into place if we carefully distinguish our anoetic experience of existence from the cognitive linguistic meanings, identities, and essences we create from our experience of existence. (shrink)

In Australia, the university ethics approval process is guided by the National Statement on Ethical Conduct in Human Research. The National Statement does not provide a hurdle to be overcome or avoided, nor is it a Godzilla-like monster that must be slain for truth to survive. Rather the National Statement provides an affirmation of an abiding respect for all life and a mechanism for beginning the intelligent questioning, theorization and contextualization for a work of art. Focusing specifically on the emergent (...) discipline of artistic research, this article addresses the question of how the supervisory process may take on the ‘spirit’ of the National Statement to engender genuine ethical debate, rather than merely focus on the instrumental obstacles that seem to get in the way of the research. It specifically addresses the emergent field of artistic research and the concomitant resistance to ethical regulation of artistic research, in which bureaucratic instrumentalism and compliance or censorship are considered to potentially emasculate the vitality of an art work and the ability of art to serve as a truthsayer or agent provocateur. In this, the attitude of the supervisor toward research ethics in artistic research is considered a key factor in determining their students attitudes towards the ethics process. This article will present several initiatives undertaken with the intent of more fully engaging supervisors and students with research ethics. (shrink)

The paper’s authors are composers operating within the field of experimental music. Their music is created from the use of limited materials placed into repetitive structures involving cyclic pitch patterns and sustained tone textures. This reductive approach to composition provides a fertile area for discussions of temporality, as the music functions outside of standard teleological narrative structures thereby prompting more varied subjective temporal experiences for listeners. The paper will take as its starting point the experience of the listener, rather than (...) the musical score, enhancing discussions from Thomas Clifton’s Music as Heard.1 This angle is particularly relevant when discussing minimal works, as the score does not (and is not intended to) give an indication to what the auditory experience will be, it simply acts as what pianist Philip Thomas describes as a ‘prescription for action’ for the performers.2 Drawing particularly upon work on the temporal experience by Merleau-Ponty (after Husserl), the paper discusses how phenomenological approaches can provide effective insight into the experience of sustained tone and repetitive music. By discussing notions of retention and protention, the two composers will explore how this permeates their compositional approach, particularly in relation to the use of repetition, examining the different types of musical materials used by the composers and how this affects the temporalities experienced upon performance. Points of similarity and variance between the two outlooks are explored in detail, providing an in-depth discussion as to how attitudes towards temporality can result in nuanced differences in output. Fundamental essences are clarified and discussed in relation to other composers’ work, and in particular American composer James Tenney’s work in applying a phenomenological model upon the listening experience is considered alongside the central discussion. The results of this investigation provide both clear artistic statements on the role of phenomenological thought in the creative process, and also tentative starting points for further discussion on experiential temporalities in minimal and experimental musics. (shrink)

This book provides a comprehensive view of the aesthetic realm, placing the various major artforms within the setting of nature and the built environment as they arise within the field of experience. Each chapter displays the regional ontology of the form considered: the comprehensive set of eidetic features that limn the space of the art. It draws upon artists' statements, writings of key figures in the history of philosophy--including Plato, Hegel, Dewey, and Heidegger-and writings from various commentators on (...) art. This volume is unique in its systematic and phenomenological approach, and in how it addresses aesthetics writ large. (shrink)

These words are a collaborative effort to think across different practices of knowing and sensing. They don’t pretend to compose a complete article. They are simply an assemblage that wants to open spaces for dwelling, for connecting, for dissenting. As such it gravitates around the images of Daniel Brittany Chávez’s performance: “Quisieron Enterrarnos … ”, his artist statement and Rolando’s notes on precedence, trans* and the decolonial. In this conversation, we are allies and accomplices in thinking through trans* as a (...) prefix both of non-binary transgender identity and from Rolando Vázquez’s conceptions of trans* from decolonial thought at praxis. In conversation, we offer this assemblage not from a space of tension but from a space of mutually nurturing decolonial praxis. (shrink)

Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today’s hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why collaboration has become so integrated into (...) a greater understanding of creative artistic practice. It draws on an emerging generation of contributors—from the arts, art history, sociology, political science, and philosophy—to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bioshock and the Art of RaptureGrant TavinorI am Andrew Ryan, and I am here to ask you a question. Is a man not entitled to the sweat of his brow? "No!" says the man in Washington, "It belongs to the poor." "No!" says the man in the Vatican, "It belongs to God." "No!" says the man in Moscow, "It belongs to everyone." I rejected these answers; instead, I chose (...) something different. I chose the impossible. I chose Rapture! A city where the artist would not fear the censor; where the scientist would not be bound by petty morality; where the great would not be constrained by the small! And with the sweat of your brow, Rapture can become your city as well.Andrew Ryan, opening BioshockIBioshock is the Masterpiece of recent gaming. Genre-wise the game is a first person-shooter survival-horror game—already a complicated mix of gaming forms—and Bioshock is excellent in these gaming terms: playing the game is a consistently engaging, challenging, and tense experience. The narrative of the game, set in Rapture, a dystopian city beneath the sea, fits perfectly with this interactive gaming form. The premise of Bioshock is a parody of Ayn Rand's objectivist novel Atlas Shrugged. Led by the magnate Andrew Ryan, the industrialists, artists, and scientists have retreated from the world and built Rapture through sheer force of will. But when the player enters the city at the beginning of the game, it is evident that nature is pushing back, and that the sea is slowly but surely retaking Rapture, while its citizens have become corrupted by the arts and sciences the city was built upon: as genetically manipulated "splicers" they now creep through Rapture's darkened halls bemoaning their lost humanity. Andrew Ryan "chose the impossible," [End Page 91] and inevitably his hubris is being repaid by the recalcitrance of human nature and the impermanence of human achievement. Much of the immense fun of Bioshock derives from the irony of an objectivist utopia running amok.The immediate visual impact of Bioshock, depending on its employment of cutting-edge high definition 3D computer graphics, is striking. The aesthetic qualities of the water, in particular, have drawn wide praise. The world of Rapture is also presented through an engaging and excellent style. To depict this decaying world, Bioshock draws on the architectural motifs and cultural themes of 1930s and 1940s America. Portrayals of decaying art deco facades, faded Hollywood socialites, and echoes of Hearst, Hughes, and Citizen Kane, are combined with period music and philosophical and literary references to produce a coherent artistic statement.Two features of Bioshock bear out its unique artfulness as a game. First is the role in the game-world of the Little Sisters: cute little girls that pose a game obstacle with which the player must decide how to deal. In Bioshock, the task of harvesting the game-world resources needed to survive is given a moral dimension in that the resources can be extracted only from the Little Sisters by killing them, and so a key part of the gameplay rests on an emotionally provocative moral choice. The second artful aspect of the game that warrants special attention is a narrative twist partway through the game where it becomes evident that player's principle sympathetic source of information in the game-world is a dissemblance. Bioshock has an interactive twist on an untrustworthy narrator, which clouds and complicates the decisions the player has made in Rapture. Rather than an actor, the player-character is a pawn in someone else's game. At the forefront of both of these aspects of Bioshock are considerations of freewill and morality.To really appreciate the art of Bioshock we need to understand its nature as a game, and moreover, to treat the gaming nature seriously and with sympathy. Bioshock is a videogame, and it is also clearly art; but it is not as if the game is art despite its being a videogame and that the art is a mere gloss or veneer. Rather, Bioshock's nature as a game allows it to be art of a distinctive kind. Treating videogames as a kind... (shrink)

Might architecture be reconceived as a form of performance? I draw upon Nelson Goodman’s writing on architecture—including his account of architectural notation—and David Davies’s performance theory, which claims that artworks should be considered not as products made by generative performances, but rather as the performances themselves. I tie the exemplification that Goodman identifies as the primary way architectural works ‘mean’ to the role of the architectural ‘score’, recast not as a mere ‘constraint’ but as integral to the creative processes by (...) which architecture establishes an ‘artistic statement’ and a distinctive ‘virtual’ realm. In so doing, I reconcile such a position with an aesthetics of reception, whereby the situated encounter with the physical building is seen as essential to the critical retrieval of any given architectural performance. I test this position against a late work by Sigurd Lewerentz, completed when he was in his eighties, and examine the extraordinary lengths necessitated by his idiosyncratic imperative not to cut any bricks, thereby articulating an artwork every bit as radical as contemporaneous works by conceptual artists. (shrink)

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

This is a précis of Immaterial: Rules in Contemporary Art (Oxford, 2022). Contemporary art can seem like a wilderness of unwieldy installations, decaying materials, immersive environments, and audience participation. It can be hard to know what to focus on and how to assess the value or meaning of what we encounter, since so many artworks use non-art materials and techniques and defy familiar conventions. In Immaterial: Rules in Contemporary Art, I argue that these developments, disparate as they may seem, can (...) be understood by shifting our focus to the rules that artists articulate in creating and deploying their works. Rules have become an artistic medium that artists customize to achieve specific artistic statements and aesthetic effects. Rules are partly, and sometimes wholly, constitutive of the very structure of the artwork; grasping the rules associated with a work is thus crucial to understanding its nature. Articulating these rules, which may be quite specific and fine-grained, is part of the act of artmaking, and the rules bear meaning just as essential physical objects do. (shrink)

The article discusses the theoretical background of some postmodern art practices of appropriation. In the writings of art critics' like Douglas Crimp, Craig Owens, or Rosalind Krauss, as well as in some artists' statements (Peter Halley, Sherrie Levine), there was a strong repudiation of the so-called "modern" concepts of originality, immediacy of meaning or authorship. As a result of the influence of poststructuralist theories, such concepts of modern art as the idea of original expressivity of medium and form, (...) together with the search to go beyond conventional codes, were replaced by ideas of intertextuality, iterability, there is no way to go beyond conventional codes of communication resulted in turning towards another strategy, i.c. a play with the code. In the works of some theoretically informed postmodern artists' this criticism towards the "utopian" ideas of modern art assumed the form of pastiche and appropriation of celebrated works of modern art, so that the fact of cultural mediation in our reading of artworks was comming well apparent. The modern concept of "pure visuality" was replaced by textual attitudes and the concept of allegory which was drawn from Walter Benjamin. However, thinking about visual works in terms of textuality only may be a too narrow view. Textual categories seem to suit well those works which came under the strong influence of conventionalist theories, but it may be claimed that images put a demand for a more complex and specific theoretical attitude, like for example one proposed by Barthes in his text "The Third Meaning". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Mask of Enlightenment: Nietzsche’s ZarathustraKathleen Marie HigginsThe Mask of Enlightenment: Nietzsche’s Zarathustra, by Stanley Rosen; 286 pp. New York: Cambridge University Press, 1995, $18.95 paper.In Ecce Homo Nietzsche remarks that he wants to be read the way good old philologists read Horace. Stanley Rosen has fullled this Nietzschean wish. His Mask of the Enlightenment interprets Nietzsche’s Thus Spoke Zarathustra with astute attention, and it delivers on Rosen’s (...) stated aim of avoiding both the obscurantism of postmoderns and the selective attention of analytic philosophers. It is philological in the best sense, balancing its consideration of detail with a sense of the book’s larger context, as well as the context of textual predecessors to whom Nietzsche refers and responds.Rosen reads Nietzsche as a fundamentally political thinker, who seeks to transform humanity’s collective circumstances. The ultimate goal of this effort [End Page 193] is “to breed a new race of mankind” that would supersede the decadent existing race (p. 56). This positive aim, however, requires the destruction of the existing race to make room for the new one.Zarathustra, according to Rosen, is an artistic statement of these aspirations and a tactic for achieving them. From the beginning, Zarathustra calls for the appearance of the superman and the destruction of contemporary European culture. Aware of how far his contemporaries are from the superman, Zarathustra utilizes a double rhetoric, concealing his real intent from all but the select few.Zarathustra addresses noble lies to the crowd, which make his doctrines appear to be afrmative and salvational, but try to seduce the majority to their own self-destruction. Preaching the coming of the superman and the doctrine of eternal recurrence (the view that time recurs cyclically), Zarathustra’s real purpose is to accelerate nihilism and hasten the destruction of current European culture. This aim, however, is concealed by the seemingly afrmative character of these doctrines.Zarathustra’s esoteric message rests on Nietzsche’s materialistic reductionism, according to Rosen. Nietzsche understands reality, fundamentally, to be nothing but chaotic uctuations among accumulating points of force. Even the expression “will to power” suggests a more coherent ontological structure than reality exhibits. The doctrine of “will to power” is an exoteric idea that conceals Nietzsche’s belief that the world is a chaos of uctuating points of force. Will, subjectivity, and physics are all illusions that disguise a cruel and uncaring world.The doctrine of eternal recurrence, in its esoteric sense, reects this vision. Claiming that the sequence of temporal events recurs endlessly, the doctrine is an image for the universe’s spontaneous being, which has no inherent value. This vision is nihilistic, for it implies the illusory status of our subjective selves, any sense of progress, and even our scientic theories. If reality is ultimately chaos, our lives are meaningless.So understood, the doctrine of eternal recurrence is not obviously compatible with Zarathustra’s call for the superman. The superman project is doomed to fail, since eternal recurrence implies that the condition of decadence will recur, even if a superman is generated at some point. Eternal recurrence is also incompatible with amor fati, the love of fate that Zarathustra preaches. Eternal recurrence is an image of chance, of the random happening of force-points, while amor fati is a deterministic vision. Chance and necessity are the same in their human signicance. Both deny human freedom. Chance means that our behavior arises from the un-ordered movements of force points.One of the achievements of Rosen’s book is its mapping of such tensions within Zarathustra, tensions that motivate the drama of the book. These tensions are numerous. Zarathustra preaches the superman to those he seeks as followers, but followers are inherently incapable of the superman’s creative [End Page 194] spontaneity. Zarathustra’s bombast, used to attract attention, is in tension with the subtlety of his actual message. The activism implied by Zarathustra’s preaching is at odds with the fatalism of amor fati. The rank-ordering of human types, a feature of Zarathustra’s elitism, is incompatible with his inner doctrine that the world is chaos.Rosen concludes that some of these tensions... (shrink)

This chapter contains section titled: The Structure of the Focus of Appreciation Performance and Appreciation Ontology After Empiricism.

Here is, we think, the point. It doesn't matter for what reason the writer or painter or lover destroys the creation: the real point is that destruction itself, like a gigantic statement. It is, in fact, something of an excitation, a stimulation to further thought: what is this ACTION about?' What do Stéphane Mallarmé, Antonin Artaud, Meret Oppenheim, Asger Jorn, Yoko Ono, Tom Phillips and Martin Arnold have in common? Whereas a wealth of critics have diagnosed contemporary art's preoccupations with (...) madness, depression and self-abuse as well as its tendency to cultivate an (anti- )aesthetics of the negative, the excremental and the abject (say, from the Vienna Action Group to Serrano, McCarthy or Delvoye), much less attention has been paid to how modern and contemporary artists and public have thrived on the destruction, disfiguration and obliteration of work by the artists and/or by that of others. From Artaud's 'terminal' notebooks to the recent upsurge in 'erasure poetics', the history of 'undoing' art deserves to be recounted in a positive mode and rescued from popular narratives of the decline and death of the avant-garde. (shrink)

This chapter contains section titled: Notes Toward a Definition of “Art” The Values of Art Conclusions: The Case Against Contextualism.

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)

Today, many visual artists are giving the cold shoulder to the static, isolated concept of visual art and searching instead for novel, dynamic connections to different image strategies. Because of that, visual art and aesthetics are both forced to reconsider their current positions and their traditional apparatus of concepts. In that process, many questions surface. To mention a few: Could the characteristics of an artistic image and its specific manner of signification be determined in a world which is entirely (...) aesthetisized? What would be the consequences of a variety of image strategies for aesthetic experience? Would it be possible to develop a form of cultural criticism by means of artistic activities in a culture awash in images? In order to answer such questions, aesthetics as a philosophy of art needs to transform its field into a critical philosophy of topical visual culture. As an impetus to such a reinterpretation of the visual working area, the L & B Series organized three symposia evenings under the title “Exploding Aesthetics”, in cooperation with De Appel Center for Contemporary Art, Amsterdam. Besides the presentations and discussions from these symposia, this volume includes various arguments, positions, and statements in both articles and interviews by a variety of visual artists, designers, advertising professionals, theorists and curators. The participants are: Mieke Bal, Annette W. Balkema, Peg Brand, Experimental Jetset, Liam Gillick, Jeanne van Heeswijk, Martin Jay, KesselsKramer, Friedrich Kittler, Maria Lind, Wim Michels, Nicholas Mirzoeff, Planet Art, Joke Robaard, Annemieke Roobeek, Remko Scha, Rob Schröder, Henk Slager, Richard Shusterman, Pauline Terreehorst, Wolfgang Welsch and Marie-Lou Witmer. (shrink)

This book is not only a major twentieth-century contribution to Dostoevsky’s studies, but also one of the most important theories of the novel produced in our century. As a modern reinterpretation of poetics, it bears comparison with Aristotle.“Bakhtin’s statement on the dialogical nature of artistic creation, and his differentiation of this from a history of monological commentary, is profoundly original and illuminating. This is a classic work on Dostoevsky and a statement of importance to critical theory.” Edward Wasiolek“Concentrating on the (...) particular features of ‘Dostoevskian discourse,’ how Dostoevsky structures a hero and a plot, and what it means to write dialogically, Bakhtin concludes with a major theoretical statement on dialogue as a category of language. One of the most important theories of the novel in this century.” The Bloomsbury Review. (shrink)

The text describes an experimental form of combining sociological research with collective artistic activity during the 17th Lublin Night of Culture. The study involved collecting TST (twenty statement tests) from festival participants. The "bridge" element between research and artistic activity was the choice of a framework identity or a counterpoint to the test – in the form of an aphorism. The artistic activity took the form of a flash mob using symbols identifying participants with selected aphorisms, and then proposing new (...) identifications. The last one broke all the previous ones, creating an ephemeral community. (shrink)

A User's Guide to Capitalism and Schizophrenia is a playful and emphatically practical elaboration of the major collaborative work of the French philosophers Gilles Deleuze and Felix Guattari. When read along with its rigorous textual notes, the book also becomes the richest scholarly treatment of Deleuze's entire philosophical oeuvre available in any language. Finally, the dozens of explicit examples that Brian Massumi furnishes from contemporary artistic, scientific, and popular urban culture make the book an important, perhaps even central text within (...) current debates on postmodern culture and politics.Capitalism and Schizophrenia is the general title for two books published a decade apart. The first, Anti-Oedipus, was a reaction to the events of May/June 1968; it is a critique of "state-happy" Marxism and "school-building" strains of psychoanalysis. The second, A Thousand Plateaus, is an attempt at a positive statement of the sort of nomad philosophy Deleuze and Guattari propose as an alternative to state philosophy.Brian Massumi is Professor of Comparative Literature at McGill University. (shrink)

Plato’s statements on art have met with countless commentators and almost as many different interpretations. In most cases, comments and hints that are scattered through various dialogues are taken out of context and played off against each other – depending on whether the intention is to portray Plato as a modern art lover or as an ageing political reactionary. In the face of the confusing range of contending opinions, there is an urgent need to examine and clarify the textual (...) basis in Plato. For this purpose, a meticulous analysis of Book 10 of the Politeia is initially carried out – the only part of the corpus of Plato’s works that is concerned with art in detail and exclusively. The results are surprisingly clear. The corrupting and dangerous aspect of art is not attributed to individual artists or a specific artistic orientation, nor to the style of the depiction, nor to the content that is narrated or presented; instead, it is ascribed to its essential nature as the μίμησις of a μίμησις. Since even the objects of sense perception are imitations of the archetypal Ideas, which are ultimately accessible only to rational cognition, the artist is an imitator of something imitated. He merely touches on the appearance of a reality that is in turn already a defective, mutable and ephemeral imitation of the only true, immutable and eternal archetypal Ideas. As the imitation of an imitation, art is insurmountably distant from truth and knowledge, ontologically and therefore also epistemologically worthless and useless – and also damaging, because it attempts to shackle us and domesticate us at a level three steps below truth. However, it not only holds us captive, but also corrupts us even further by appealing not to reason, but to the lower part of the soul with its desires and affections. It is because of this that it is corrupting and dangerous, initially for the individual character and individual spiritual welfare, and ultimately – through the individual – also for human society as a whole. Art thus creates precisely the situation which for the philosopher represents the fundamentally distorted condition from which he is attempting to liberate people. Art is constantly re-fastening the shackles that the philosopher releases. This is why art has to be excluded from Plato’s ideal state, with philosophy alone taking its place. The condemnation of all forms of art could not be expressed more clearly. Despite this, repeated efforts have been made to weaken the condemnation or even disprove its existence, either in order to save art from Plato or, conversely, to save Plato from condemning art. To achieve this, alleged contradictions between Books 10 and 3 of the Politeia have been pointed out ; a differentiation or alteration in Plato’s understanding of the concept of μίμησις has been postulated; and reference has been made to passages in Plato’s works in which, it is claimed, the philosopher concedes that art has direct access to the world of the Ideas or in which he speaks of the artist’s divine inspiration , as well as the numerous passages that discuss Beauty . Finally, it is claimed that Plato did not condemn all art, but only a certain contemporary trend in art , or more generally, only illusionistic art in contrast to an abstract form of art – namely Egyptian art . In the second part of the study, these lines of argumentation are discussed individually and in detail and their content is tested. In each case, the findings obtained initially in the analysis of Book 10 of the Politeia are confirmed. The present study does not offer any new hypotheses; instead, its goal is to use a detailed and differentiated examination of the relevant texts to clearly distinguish Plato’s view of art from later neo-Platonic views, as well as from obfuscations created by modern interpreters, in order to obtain a secure basis for future investigations of Plato’s view of art in particular, as well as of ancient aesthetics in general. The extensive review of the secondary literature also documents part of the history of twentieth-century scholarship. (shrink)

A dazzling anthology of statements by writers, artists, philosophers, and scientists which attempts to exhibit the diversity and complexity of the "modern tradition." Selections from one hundred authors are arranged thematically ranging over the topics of symbolism, realism, nature, cultural history, the unconscious, myth, self-consciousness, existence, and faith. The ambitiousness of this anthology reflects its shortcoming. Most of the selections are so short that it is difficult to get more than a superficial "feel" of the ideas and men (...) represented.—R. J. B. (shrink)

Mobile technologies and networks facilitate the delocalization of traditional power structures within an economic frame. This shift usually incorporates the discourse of the body creation as well. Our bodies are constructs in which individuals as well as and social perceptions and projections, reality and fiction fuse together. In a similar way, we doubt about the representation of reality and highly editable and generative images. Nonetheless, some forms of bio-power can be identified in contemporary constructed mental images such as race or (...) ethnicity usually linked to religious or linguistic differences that are traditionally used as borderline zones. Many examples can be traced back to representations of both fauna and populations of the new world in colonial America. This phenomenon has also emerged in representations of cyberspace even though Internet is advertised as a place in which traditional distinctions and imbalances in power between individuals have been effaced. If Zizek's statement is true that in order to capture the spirit of an age you should not look to explicit social structures but rather to the ghosts that haunt us, and live in a region of nonexistent entities, the topic of globalization should not put aside issues of immigration and multiple representations of race. This situation is inherent to the present and future construction of both cyberspace and public physical space. Media imaginaries create a myriad of information that also includes artificial savages. This fact constitutes what some artists provocatively call a rather explosive universe of cultural misunderstanding under a new world border. (shrink)