An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...) discussed within artforms, but is nonetheless subjective across them. My discussion falls into two parts. First, I offer a psychological account of aesthetic response to art: cultural learning stabilizes this response across individuals who are educated in an artform. Second, I offer a cultural-evolutionary account of the diversity of artforms, adapting Darwin's Principle of the Divergence of Character to explain the multiplicity of art forms. (shrink)

This research explores the adaptation strategies employed by Betawi traditional art performers in Jakarta amidst the challenges posed by the COVID-19 pandemic and the transition to the "New Normal Era." Through direct observations, comprehensive literature reviews, and structured questionnaires disseminated to 211 Betawi traditional art performers, this study investigates how performers have adjusted their practices to adhere to health protocols while continuing to preserve and promote ASEAN's intangible cultural heritage. Statistical analysis, including Structural Equation Modeling (SEM), was employed (...) to assess the relationship between performers' adaptability and various latent variables such as conformity, innovation, ritualism, retreatism, rebellion, authority (AUT), education (EDU), tools (TOOL), health protocols (HEAP), social media (SOCMED), and suitability of performance (SP). The results indicate that Betawi traditional art performers have demonstrated resilience and flexibility by leveraging digital platforms, embracing innovation, and diversifying their income sources. These adaptive strategies not only contribute to the preservation of intangible cultural heritage but also align with Sustainable Development Goals (SDGs) 8 (Decent Work and Economic Growth) and 11 (Sustainable Cities and Communities). Furthermore, the study underscores the broader implications of Betawi performers' adaptability for ASEAN countries, highlighting the promotion of cultural diversity, intercultural dialogue, and economic prosperity within the region. Overall, the findings emphasize the importance of supporting and sustaining traditional art forms in the face of evolving societal challenges, ultimately enriching the cultural landscape and fostering regional solidarity within ASEAN. (shrink)

What do exotic area rugs, handcrafted steel-string guitars, and fiddling have in common today? Many contemporary tradition bearers embrace complexity in form and content. They construct objects and performances that draw on the past and evoke nostalgia effectively but also reward close attention. In Rugs, Guitars, and Fiddling: Intensification and the Rich Modern Lives of Traditional Arts, author Chris Goertzen argues that this entails three types of change that can be grouped under an umbrella term: intensification. First, traditional (...) creativity can be intensified through virtuosity, through doing hard things extra fluently. Second, performances can be intensified through addition, by packing increased amounts of traditional materials into the conventionally sized packages. Third, in intensification through selection, artistic impact can grow even if amount of information recedes by emphasizing compelling ideas-e.g., crafting a red and black viper poised to strike rather than a pretty duck decoy featuring more colors and contours. Rugs handwoven in southern Mexico, luthier-made guitars, and southern US fiddle styles experience parallel changes, all absorbing just enough of the complex flavors, dynamics, and rhythms of modern life to translate inherited folklore into traditions that can be widely celebrated today. New mosaics of details and skeins of nuances don't transform craft into esoteric fine art, but rather enlist the twists and turns and endless variety of the contemporary world therapeutically, helping transform our daily chaos into parades of negotiable jigsaw puzzles. Intensification helps make crafts and traditional performances more accessible and understandable and thus more effective, bringing past and present closer together, helping folk arts continue to perform their magic today. (shrink)

Illustrations: Numerous Colour and 15 B/w Illustrations Description: The volumes of the PROJECT OF HISTORY OF SCIENCE, PHILOSOPHY AND CULTURE IN INDIAN CIVILIZATION aim to discover the central aspects of India's heritage and present them in an interrelated manner. In spite of their unitary look, these volumes recognize the difference between the areas of material civilization and those of ideational culture. The Project is not being executed by a single group of thinkers, methodologically uniform or ideologically identical in their commitments. (...) Rather, contributions are made by different scholars of diverse ideological persuasions and methodological approaches. The Project is marked by what may be called 'methodological pluralism'. In spite of its primarily historical character, this project, both in its conceptualization and execution, has been shaped by scholars drawn from different disciplines. It is the first time that an endeavour of such unique and comprehensive character has been undertaken to study critically a major world civilization. History of art, unlike that of science, is not an accumulation of facts. It comprises concurrences and overlappings cutting across the linearity of time. Based on this premise the essays in this volume delve into the discourse as also forms of creativity in the Indian tradition in terms of both the perennial and the ephemeral aspects of aesthetic experience. The essays form four groups dealing with (a) core concepts which permeate the discourse on aesthetic theories, and having ramifications in many other disciplines and domains; (b) The Rasa theory in the framework of classical philosophical traditions of Vedanta, Mimamsa, Samkhya, and Kashmir Saivism, and (c) the comprehension of the foundational concepts of aesthetic theory, namely, Rasa and Dhvani from the perspectives of Indian thought traditions addressing also music, dance and the visual arts. There is no clear-cut demarcation between the four groups of essays though in their own framework they illustrate a transition from the discourse (sastra) to practice (prayoga) i.e., from theorizing on the nature of aesthetic experience to the process of concretizing it into forms of music, dance, architecture, and painting. The contributions highlight the fact that the history of Indian aesthetic tradition comprises various textual and performing traditions that have flourished in the Indian subcontinent. What we have is not a single history but multiple histories based on various philosophical and methodological approaches adopted by art historians. Some of these histories pertain to the technical details of a given art form, and some with the changes that have occurred in the evolution and development these forms. While some historical accounts focus on the relevant biographical details of the artists, some art histories focus on the social, cultural, political, and even the economic conditions of civilization that determine the nature of an art form. Considering the multi-dimensional and multi-level complexities of Indian civilization and culture, the contributions to this volume have investigated into a number of factors which are directly and indirectly relevant for comprehending the complexities of the Indian aesthetic tradition. (shrink)

Introduction -- From paideia to humanism -- Pietism and the problem of human craft (Menschen-Kunst) -- The harmonious harp-playing of humanity: J. G. Herder -- Ethical formation and the invention of the religion of art -- The rise of the Bildungsroman and the commodification of literature -- Authorship and its resignation in Goethe's Wilhelm Meister -- "The Bildung of self-consciousness itself towards science": Hegel.

Eduard Norden, in the second half of his Agnostos Theos, has maintained with great learning and ingenuity the thesis that predications in the style ‘Thou art ,’ ‘I am ,’ are due to Oriental influence; purely Greek religious language does not go beyond ‘Thou dost ,’ ‘We are indebted to thee for .’ This view appears to be substantially correct. To Oriental influence we may, I think, trace also the custom of stringing together a series of brief predications in or (...) of the second person, for the most part not connected by conjunctions, and producing the effect of a rapid fire of assertions. The earlier Greek examples are not, as a rule, asyndetic. In the Hellenistic age and later we see the other style, as in Catullus 34. 13: ‘tu Lucina dolentibus Iuno dicta puerperis, tu potens Triuia et notho es dicta lumine luna, tu cursu dea menstruo … exples’ 61. 51: ‘te suis tremulus parens inuocat, tibi uirgines zonula soluunt sinus, te timens cupida nouus captat aure maritus’; in Lucretius' proem; in Ovid, Met. IV. 17: ‘tibi enim inconsumpta iuuenta est, tu puer aeternus, tu formosissimus alto conspiceris caelo, tibi cum sine cornibus adstas, uirgineum caput est’; in the invocation of Apollo at the end of the first book of Statius' Thebaid; in Capaneus' prayer to his strong right arm : ; in the Orphic hymns, II. 10-, though they consist mostly of accumulations of epithets; in Menander Rhetor περ πιδειкν : περ [al. Θοραι], περ σ Θνδες, παρ σοкα σελνη τν ετνα λαμβνει; in Valerius Maximus VI. (shrink)

This essay will introduce the biography and works of Tsumura Kimiko (1902-1975), one of the first female professional Noh actors, who threw herself into the male-dominated world and fought against the biased conventions of traditional Noh theater. Not only has she successfully opened the gates to many other female Noh actors, but more importantly, she has reevaluated the artistic value of Noh through her original Noh plays. Precisely, she highlighted the role of natural environment created by the dance accompanied (...) with simple and familiar poetic phrases on the Noh sage. In addition, she redefined the categories of Woman Play (Kazura Mono) and of Warrior Play (Shura Mono) with the main characters in the modern context. Her biography will help us learn how Noh has come to earn its current status of a traditional art form, and explorations of her plays will broaden the canon of Noh plays. (shrink)

In this paper, we present a review of research on the role of traditional and indigenous forms of visual artistic practice in promoting physical health and psychosocial well-being, particularly as it relates to the discipline of art therapy. Using extant literature we present an overview of how art making has historically had a therapeutic role in human lives and how it can inform the modern interpretation and profession of art therapy. Thereafter, we provide a critical review of specific (...) studies that reference traditional and indigenous art forms in art therapy in order to invite discussion, dialogue, and awareness of the role of the arts in human development and the therapeutic role of the arts. Gaps in research areas for further study are proposed. Implications for clinical practice including expanding the scope of traditional forms of creative self-expression and promoting an informed and respectful understanding of the role of these artforms in the profession of art therapy worldwide, are also discussed. (shrink)

This paper argues that in foregoing the questions that emerge from the dialectical relationship between form and meaning, an intrinsic fallacy mistakes the relationship between the arts and education for a simplistic mechanism of signification—a false “ease”—where empty forms are supposedly given meaning by ethical and aesthetic givens as if the pedagogy of art were analogous to an empty room that was (or still needs to be) inhabited. Art’s false “ease” presents a tautology that presumes the relationship between the (...) arts and learning on assumptions that force a false equivalence between (a) the perception of implicit causes that constitute a number of externalised artistic attributes (such as creative, critical, and intuitive forms of thinking and making) by which the arts are instrumentalised, and (b) a number of desired effects that are seen as being equal to the relative value that an arts subject (or discipline) commands in a perceived relationship with the world in terms of its use and therefore function. To counter this distortion this paper makes a case for a pedagogical aesthetics that would unlearn—and thereby exit—the educationalist tautology of art’s false ease. While politically this would mean that the arts are recognized in their ability to think and act outside the traditional notion of schooling as a walled polis, philosophically this represents a challenge to move arts education away from the “spatial” concepts by which dialectical narratives, such as those of form and content, have been hitherto assumed as constructivist signifiers. (shrink)

Transmission of traditional art forms in the modern world has been a major issue in the field of arts education. Different issues have been raised on how to preserve the traditional art forms for f...

Most traditional art forms around the planet are an expression of the spiritual dimension of a culture’s cosmology and the spiritual experiences of individuals. Religious art and iconography often reveal the hidden aspects of spirit as glimpsed through the filter of cultural significance. Moreover, traditional art, although often highly abstract, may actually describe sensory experiences derived in alternative states of consciousness . This article analyzes the often fuzzy concepts of “art” and “spirit” and then operationalizes them in (...) a way that makes them useful for cross-cultural transpersonal research. The fact of the universally abstract nature of traditional art is analyzed and used as a clue to the function of art in expressing and penetrating to the spiritual domain. A “continuum of representational-associational abstraction” model is introduced and described. These concepts are then applied to the author’s experiences with Navajo art and the relation between art and the important Navajo philosophical concept of hozho . A perspective on art and spirit is developed that essentially supports Wassily Kandinsky’s contention that abstract art is the expression of an “inner necessity” of spirit. The article argues for a greater sensitivity among researchers and theorists for the sublime nature of spiritual art.be induced by very different means, including contemplative practices and chemical substances, and yet have different after-effects. Taken together, these ideas lead to the cautious conclusion that some psychedelics can induce genuine mystical experiences sometimes in some people, and that the current tendency to label these chemicals as entheogens may be appropriate. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

In the article, the subject of the study is art. Some problematic points in the conceptualization of this phenomenon in modern science are considered, the available empirical research is evaluated, as well as the interdisciplinary perspective of the study of the phenomenon of art. The problem discussed in the article is the objectification of art as an independent phenomenon, and not only as a "form of social consciousness". The possibilities of such objectification can bring scientists closer to understanding the importance (...) of art for self-expression, human improvement, and survival in a modern post-industrial society. To solve this problem, some results of the well-known monitoring of changes in value structures are used – the World Values Survey, which contains data on value transformations in cross-country comparison. This study has been conducted for about 30 years and provides a broad understanding of the relevant changes. The research methodology is based on interdisciplinary, axiological and systemic approaches, the concept of "centralization" of values is used as a new perspective of the study. The scientific novelty of the study in general and its main provisions in particular boils down to the following: (1) the need to understand art from the point of view of not a form of public consciousness, but as a value included in various value systems is shown the structure of human existence; (2) based on the materials of the World Values Survey, the position of the value of art in the system of values of self-expression and values of self-survival is analyzed (according to R. Inglehart); (3) from the point of view of value transformations or changes occurring in the hierarchies of values, the "position" of art has been revealed, consisting in balancing (harmonizing) "intellectual values", which include art. The main result is as follows: art as a value is not subject to transformation and crisis, according to the results of the World Values Survey. (shrink)

This anthology provides comprehensive coverage of the major contributions of analytic philosophy to aesthetics and the philosophy of art, from the earliest beginnings in the 1950’s to the present time. Traces the contributions of the analytic tradition to aesthetics and the philosophy of art, from the 1950’s to the present time. Designed as a comprehensive guide to the field, it presents the most often-cited papers that students and researchers encounter. Addresses a wide range of topics, including identifying art, ontology, intention (...) and interpretation, values of art, aesthetic properties, fictionality, and the aesthetics of nature. Explores particular art forms, including pictorial art, literature, music, and the popular arts. (shrink)

Adorno’s dialectical approach to aesthetics is perhaps understood better in terms of his monumental work, 'Aesthetic Theory,' which attempts to relate the speculative tradition in philosophical aesthetics to the situation of art in twentieth-century society, than in terms of purely theoretical claims. This paper demonstrates that Adorno embraces the Kantian thesis concerning art’s autonomy and that he criticizes transcendental philosophy. It also discusses how Adorno provides the outlines for a dialectical conception of artistic truth in relation to his argument with (...) Hegel. Adorno’s assessment of the Enlightenment is linked to his interpretation of twentieth-century literature. The conclusion of this paper emphasizes the political implications of Adorno’s position when the philosopher approaches art as a sign of historical truth. (shrink)

China's traditional religious music is deeply rooted in the folk life and labor. Studying the influence of Confucian music aesthetics on ancient religious music and the establishment of modern music aesthetics has an important influence and the significance of learning from it. Studying the music aesthetics of Confucianism in the pre-Qin period can scientifically inherit and carry forward the traditional ritual and music civilization, combine the essence of China's traditional religious music aesthetics with reality, and explore the (...) music theory that meets the needs of today and can promote the healthy development of society. As the most popular and in-depth art form, music plays an inestimable role in the growth of contemporary college students. Firstly, this paper expounds the relationship between Confucian music aesthetics and China's ancient traditional religious music art and puts forward that we should draw nutrition from China's ancient and profound culture to improve the artistic quality of contemporary college students. Then, from the angle of ethics, it explains the deep connotation of Pre-Qin Confucian musical aesthetics, and tries to sort out its ideological system logically, hoping to expand the research of Pre-Qin Confucian musical aesthetics. (shrink)

The article is devoted to the analysis of the influence of the ancient Chinese philosophy of Taiji on artistic creativity and the development of the internal evolution of artistic culture. Taoist philosophy of nature and Confucian ethics synthesized the philosophical core of the traditional Chinese worldview with its emphasis on the simplicity and naturalness of the world order, and formed the fundamental principles of Taiji. Fundamental to Taiji, the concept of Yin and Yang emphasizes the dual nature of the (...) existence of movement and variability as a balance of opposing forces of development. The Taiji philosophy of dialectical development is supplemented by the idea of ​​the genesis of renewal energy - Qi. The main research method is the method of revitalizing traditional systems on a new intellectual basis. The method of diachronic analysis of the social situation that influenced the development of Chinese neorealism in art was used. As a result of the study, the functional significance of the influence of the principles and philosophical ideas of taiji on the evolution of neorealism is described. Using the example of the work of Chinese neorealist artists Xin Dongwan and Zheng Yi, the authors come to the conclusion that there are three driving factors of artistic motivation for creativity: internal, external and subjective. The basic principles of Taiji philosophy and ethics, such as: the naturalness of change without the use of force (Wu Wei), change as the only constant in the existence of the world and its stability, gentleness - help develop the creative power of renewal. The idea is shown that in the ancient Chinese philosophical heritage, Confucianism and Taoism became two full-fledged directions, functionally complementing each other in explaining differences in cultural, political, philosophical and social environments. (shrink)

What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a (...) wealth of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium. (shrink)

This essay begins with the claim that intercultural dialogue is an art rather than a science or technique and it attempts to point out what it takes to learn the art of intercultural dialogue. In PART ONE some basic forms of intercultural dialogue are presented which correlate to some basic forms of human life, such as family, politics, economy, science, art and religion. Also a few common traits about how intercultural dialogue is practised today are specified. PART TWO (...) is pointing out that cultural pluralism is not merely a political ideology, but rather a realistic political attitude towards the social realities in all cultures. Cultural pluralism means to accept that a certain variety of different forms of life is existing already within every culture, country or nation. Further it it argued that any society whether it is governed by a modern democracy or by a more traditional political system, such as a monarchy, needs some ethical, legal and political orientation in order to guarantee civil liberties, but also to limit civil, economic and political freedom. A common normative orientation being based on ethical ideals, principles, norms and values can only be established by philosophy and jurisprudence and neither by science nor by religion and neither by democracy nor by economy alone. Finally, PART THREE presents and discusses shortly a few reflections about three philosophical models of dialogue by Buber, Jaspers and Gadamer which are relevant to intercultural dialogue, to interreligious dialogue and last, but not least to philosophical dialogue. (shrink)

In her new book, Mrs. Langer has boldly chosen to orient aesthetics toward a reconsideration of artistic creation and the "making of the artistic symbol." Philosophy of art is impossible, she contends, until we return to the source of art, the artist at work in his studio; and deal patiently and realistically with his problems and achievements. Only then will we be able to understand, through clarifications of the concepts involved in art creation--"expression," "creation," "import," "vitality," "organic form," "symbol"--the nature (...) of a work of art and its relation to the beholder. (shrink)

Hailed as one of America's original art forms, film has the distinctive character of crossing high and low art. But film has done more than this. According to American philosopher Stanley Cavell, film was also a place where America in the 1930s and 1940s did its thinking, a tradition that was taken up and enriched throughout world cinema. Can film indeed think? That is, can film do the work of philosophy? Following Cavell's lead to think along the tear of (...) the analytic-continental traditions, this book draws from both sides of the philosophical divide to reflect on this question. Spanning generations and disciplines, pondering everything from art house classics to mainstream blockbusters, "Thinking Film: Philosophy at the Movies" aims to fling open the doors to this conversation on all sides. (shrink)

The art of memory started with Aristotle’s questions on memory. During its long evolution, it had important contributions from alchemists, was transformed by Ramon Llull and apparently ended with Giordano Bruno, who was considered the best known representative of this art. This tradition did not disappear, but lives in the formulations of our modern scientific theories. From its initial form as a method of keeping information via associations, it became a principle of classification and structuring of knowledge. This principle, which (...) we here name differentiation with stratification, is a structural design behind classical mechanics. Integrating two different traditions of science in one structure, this physical theory became the modern paradigm of science. In this paper, we show that this principle can also be formulated as a set of questions. This is done via an analysis of theories, based on the epistemology of observational realism. A combination of Rudolph Carnap’s concept of theory as a system of observational and theoretical languages, with a criterion for separating observational languages, based on analytical psychology, shapes this epistemology. The ‘nuclear’ role of the observational laws and the differentiations from these nucleus, reproducing the general cases of phenomena, reveals the memory art’s heritage in the theories. Here in this paper we argue that this design is also present in special relativity and in quantum mechanics. (shrink)

According to Marxist philosophy, everything in the world is universally connected and in perpetual motion. Chinese society has gone through a long history of civilizational development. Since the modern era (1840-1919), great changes have taken place in the civilizational development of China. The transformation of social forms depends on the transformation of culture, and the approximation of culture to modernity is a prerequisite for the modernization of society. Thus, the development of society inevitably causes changes in art and culture; (...) and vice versa, the progress of art and culture, in turn, contributes to the progress of society. A clear and complex line has been traced in the development of Chinese painting over the centuries: from a high degree of integration to gradual differentiation leading to conflict, and then to integration. The development of Chinese painting as a whole shows a transformational trend from tradition to modernity, developing in a tortuous way. In this paper, a combination of research methods is used for research, mainly documentary research, descriptive research, comparative research and case study. Considering the features and trends of Chinese painting at different stages of development, we can more accurately judge the direction of development of modern Chinese painting and find ways to integrate tradition and modernity. (shrink)

Although the notion of spatiality has always lurked in the background of discussions of literary form, the self-conscious use of the term as a critical concept is generally traced to Joseph Frank's seminal essay of 1945, "Spatial Form in Modern Literature."1 Frank's basic argument is that modernist literary works are "spatial" insofar as they replace history and narrative sequence with a sense of mythic simultaneity and disrupt the normal continuities of English prose with disjunctive syntactic arrangements. This argument has been (...) attacked on several fronts. An almost universal objection is that spatial form is a "mere metaphor" which has been given misplaced concreteness and that it denies the essentially temporal nature of literature. Some critics will concede that the metaphor contains a half-truth, but one which is likely to distract attention from more important features of the reading experience. The most polemical attacks have come from those who regard spatial form as an actual, but highly regrettable, characteristic of modern literature and who have linked it with antihistorical and even fascist ideologies.2 Advocates of Frank's position, on the other hand, have generally been content to extrapolate his premises rather than criticize them, and have compiled an ever-mounting list of modernist texts which can be seen, in some sense, as "antitemporal." The whole debate can best be advanced, in my view, not by some patchwork compromise among the conflicting claims but by a radical, even outrageous statement of the basic hypothesis in its most general form. I propose, therefore, that far from being a unique phenomenon of some modern literature, and far from being restricted to the features which Frank identifies in those works , spatial form is a crucial aspect of the experience and interpretation of literature in all ages and cultures. The burden of proof, in other words, is not on Frank to show that some works have spatial form but on his critics to provide an example of any work that does not. · 1. Frank's essay first appeared in Sewanee Review 53 and was revised in his The Widening Gyre . Frank's basic argument has not changed essentially even in his most avante-garde statements; he still regards spatial form "as a particular phenomenon of modern avante-garde writing." See "Spatial Form: An Answer to Critics," Critical Inquiry 4 : 231-52. A useful bibliography, "Space and Spatial Form in Narrative," is being complied by Jeffrey Smitten .· 2. This charge generally links the notion of spatial form with Wyndham Lewis and Ezra Pound, the imagist movement, the "irrationality" and pessimistic antihistoricism of modernism, and the conservative Romantic tradition. Frank discusses the complex motives behind these associations in the work of Robert Weimann and Frank Kermode in his "Answer to Critics," pp. 238-48. W. J. T. Mitchell, editor of Critical Inquiry, is the author of Blake's Composite Art, and The Last Dinosaur Book: The Life and Times of a Cultural Icon. The present essay is part of Iconology: The Image in Literature and the Visual Arts. "Diagrammatology" appeared in the Spring 1981 issue of Critical Inquiry. Leon Surette responds to the current essay in "‘Rational Form in Literature’". (shrink)

This essay discusses the ethics of traditional Chinese medicine. After a brief remark on the history of traditional Chinese medical ethics, the author outlines the Confucian ethics which formed the cultural context in which traditional Chinese medicine was evolving and constituted the core of its ethics. Then he argued that how Chinese physicians applied the principles of Confucian ethics in medicine and prescribed the attitude a physician should take to himself, to patients and to his colleagues. In (...) the last part of the essay he discusses the characteristics of traditional Chinese medical ethics. Keywords: Confucian, China, humaneness, compassion, virtues CiteULike Connotea Del.icio.us What's this? (shrink)

Develops a theory of culture based on a metaphysics that elaborates on the Platonic and Confucian traditions. In Metaphysics of Goodness, Robert Cummings Neville extends Alfred North Whitehead’s project of cultural studies, which was based on a new metaphysics that Whitehead developed in Adventures of Ideas. Neville’s focus is value or goodness in many modes. The metaphysics treated in this book derive from the Platonic and Confucian traditions, with significant modifications of Whitehead, Peirce, Dewey, Confucius, Xunzi, and Zhou Dunyi. Part (...) one develops a theory of form based on a metaphysics of harmony. Part two elaborates a theory of art based on a metaphysics of beauty. Part three sketches a theory of personhood based on a metaphysics of obligation. Part four discusses civilization in a systematic way based on a metaphysics of flourishing. Throughout the book, Neville elaborates a theory of interpretation that is inspired by Peirce, Dewey, and Xunzi but is not limited to their ideas. While the reasoning of the book is concise, it employs methodologies from many kinds of philosophy, art criticism, ethics, and cultural studies, and sees philosophy as needing to learn from all these disciplines. “Neville’s work is informed by a lifelong engagement with the most important philosophers in history, including Plato, Aristotle, Whitehead, and Dewey. Here, he offers an important argument that there is beauty not only in how people see the world, but also in the world itself.” — Kevin Schilbrack, Appalachian State University. (shrink)

"The problem of art in the modern era," according to the opening of Audrey Wasser's The Work of Difference: Modernism, Romanticism, and the Production of Literary Form, "is the problem of the new". Citing the familiar maxim of Ezra Pound, "make it new," Wasser locates in the problem of novelty the problem of modern art as such. Modernity inherits its fixation on the new from a longer tradition, which for Wasser begins with the German romantics in the wake of Kantian (...) aesthetics. Crucial for Wasser is the way in which the romantic philosophers, particularly Friedrich Schlegel and other contributors to the Athenaeum, attempted to resolve the problems with the Kantian system by "invest[ing] the literary with the... (shrink)

Modern scientific medicine is increasingly challenged by complementary and alternative therapies. Reviewing policy options for contemporary healthcare development, the World Health Organization's first global strategy on traditional and alternative medicine, released in May 2002, advocates integration. However, experience in East Asia, the only part of the world where state of the art modern scientific facilities are commonly found alongside thriving traditional practices, reveals that medical integration can take several forms. To clarify the available policy options, this article (...) categorizes those forms, identifying three types of integration (unification, equalization and subjugation), plus one type of non-integration (marginalization). It marks out a zone of balanced healthcare development that cuts across two of the integrationist types, and comprises non-discriminatory state treatment of separate but linked sectors of traditional and modern medicine. The article closes by exploring arguments for and against locating state policy in this zone, and holds that policy should be situated here for medical practices that can meet broadly acceptable professional standards, demonstrate an existing social demand, and generate an adequate supply of medical practitioners, possibly through some state subsidy. (shrink)

Istanbul is home to a multimillion dollar transnational music industry, which every year produces thousands of digital music recordings, including widely distributed film and television show soundtracks. Today, this centralized industry is responding to a growing global demand for Turkish, Kurdish, and other Anatolian ethnic language productions, and every year, many of its top-selling records incorporate elaborately orchestrated arrangements of rural folksongs. What accounts for the continuing demand for traditional music in local and diasporic markets? How is tradition produced (...) in twenty-first century digital recording studios, and is there a "digital aesthetics" to contemporary recordings of traditional music? -/- In Digital Tradition: Arrangement and Labor in Istanbul's Recording Studio Culture, author Eliot Bates answers these questions and more with a case study into the contemporary practices of recording traditional music in Istanbul. Bates provides an ethnography of Turkish recording studios, of arrangers and engineers, studio musicianship and digital audio workstation kinesthetics. Digital Traditions investigates the moments when tradition is arranged, and how arrangement is simultaneously a set of technological capabilities, limitations and choices: a form of musical practice that desocializes the ensemble and generates an extended network of social relations, resulting in aesthetic art objects that come to be associated with a range of affective and symbolic meanings. Rich with visual analysis and drawing on Science & Technology Studies theories and methods, Digital Traditions sets a new standard for the study of recorded music. Scholars and general readers of ethnomusicology, Middle Eastern studies, folklore and science and technology studies are sure to find Digital Traditions an essential addition to their library. (shrink)

The subject of the study is the Sonata for flute and piano "Pan's Flute" by J. Mouquet. The purpose of the study is to consider the traditional pastoral techniques that the composer uses in his composition. When writing the article, both general research methods (analytical, deductive, inductive, etc.) and musicological (holistic, intonation, harmonic, genre, structural and compositional) were used. Methodologically important in writing the article were the works of A. G. Korobova. Based on the works of the scientist in (...) the Sonata of J. Muke analyzed the pastoral topic of the composition, and also determined its pastoral model. The culturological approach was carried out on the basis of the research of V. V. Azarova, O. A. Gagarina, V. A. Zakharova. With the help of him, certain French traditions were derived in the article, which influenced the work of J. Flour. In the scientific article, for the first time, an attempt is made to analyze one of the most famous compositions of J. Mouquet – the Sonata "Pan's Flute". In this work, two aspects are considered in detail – verbal and actually musical. In both aspects, there are connections with the French pastoral musical and theatrical tradition, as well as a commonality in the symbolic interpretation of neoanticism and neobucolics with the works of C. Debussy. During the analysis, it was found that J. Muke applied an anti-politicized pastoral model. Pastoral topics are found at different levels of composition – intonation, tonal-harmonic, textural, timbre, formative, dramatic. This article can be used in the field of art criticism for further study of the work of J. Mouquet, French music of the turn of the XIX – XX centuries and in the study of pastoral musical works. Analysis of the Sonata by J. Muke will also be useful in performing practice for a better understanding of the composer's idea and the dramaturgy of the composition. (shrink)

Digital art examines the transformation of traditional art forms into new modes of expression through digital technologies. The article analyzes the impact of the digital environment on contemporary art, how creators benefit from this medium, and how art evolves into new forms in conjunction with technology. Unlike traditional art forms, digital art provides artists with the opportunity to create visual expressions through “zeros and ones.” In this environment, they can realize their ideas more conveniently, and (...) the resulting artworks become more accessible to people. The digital environment offers not just a technological tool but a new intellectual and spiritual platform for artists and viewers. Emerging in the 1950s-60s with the development of computer technologies, digital art has expanded over time through its interactive forms, transforming aesthetic perceptions. The digital realm broadens the boundaries of human creativity, establishing new harmonies between art and technology. The article covers the historical development of digital art, its impact on contemporary practices, and its future prospects. This new form of creativity reflects how technology influences aesthetics and supports human intellect. (shrink)

During the last century, most Western artists abandoned the traditional forms of Western art. Two closely related questions arise at once: why did artists do this, and were they right to? Scruton is famous for arguing that the answer to the latter question is no. His response to the former question is, by contrast, little known. In this paper, I investigate Scruton's discussions of it, arguing that a more complex and equivocal picture of the relationship between tradition and (...) modernity quickly emerges. Scruton actually gives two mutually inconsistent genealogies of the flight from tradition. The first, surprisingly, is inconsistent with Scruton's defence of traditional forms, as well as with a number of his other commitments. The second coheres better with his other commitments, and on one version is consistent with his traditionalism. To vindicate his traditionalism this way, however, Scruton would be constrained to make an interesting and significant commitment. (shrink)

Traditionnellement associée en histoire de l’art et esthétique à l’expression du mouvement, la forme serpentine connaît dans la deuxième moitié du xix e siècle jusqu’au tournant du siècle une vive actualité dans le champ esthétique général, et, en particulier, l’esthétique académique, où elle est qualifiée d’« image du mouvement ». Cette postérité vive est toutefois polymorphe, mais aussi paradoxale : convoquée tant par l’esthétique scientifique que métaphysique qui s’opposent alors comme esthétique d’en bas et d’en haut, la forme serpentine y (...) relève de différents concepts et traditions, et se trouve renouvelée, départageant respectivement une conception du côté du cinéma naissant et de l’image en mouvement, et, de l’autre côté, ses antipodes aux sources du bergsonisme. (shrink)

It was [Maria] Edgeworth’s deeply personal motive in writing Harrington that made possible the special self-reflexive quality that informs her novel. In the act of reviewing her role as a reader and a writer of anti-Semitic portraits, she was able to recognize a tradition of discourse she had at once inherited and perpetuated. And only by recognizing such a tradition was she able both to subvert it in Harrington and to articulate for future writers the way to move beyond it. (...) In short, she boldly turned her personal self-examination into a cultural critique: she diagnosed a disorder in “the imaginations of the good people of England,”4 and in so doing she issued a challenge and founded a new tradition. In Harrington Edgeworth inquires into the trials that the English imagination must undergo if it is to exorcise the powerful figure of Shylock, and thereby issues a challenge taken up in subsequent novels : the tradition I am designating “the novel of Jewish Identity” attempts to articulate, investigate, and subvert The Merchant of Venice’s function as the English master text for representing “the Jew.” Maria Edgeworth, Harrington, vol. 9 of Tales and Novels , p. 148; hereafter cited by page number. Michael Ragussis, professor of English at Georgetown University, is the author of The Subterfuge of Art: Language and the Romantic Tradition and Acts of Naming: The Family Plot in Fiction . He is currently working on a book-length study entitled “Figures of Conversion: Jewish Identity and British Fiction.”. (shrink)

As an aspect of civic humanism, the liberal arts comprehended the skills necessary to realize the common good of free citizens within a free society, the mental habits basic to citizenship as preached and taught in the classical, medieval, and Renaissance worlds. The liberal arts formed people with the virtues proper to civic life. The Church has never been quiet about these issues. In every age Christians have addressed themselves to what the human animal is that such a being can (...) be trained in civic virtue, and how this can best be done, why Christians should care, and what Faith has to say on such matters as profane learning. This book's essays explore how the various Christian Traditions have taken up the question of liberal learning by setting it within the context of their own peculiar idioms and histories."--from back book cover. (shrink)

This theoretical work by the prominent art historian first appeared in 1934 as Vie des formes. As Jean Molino indicates in his "Introduction," it contains "in condensed form a great specialist's global vision of his field of study". The book is divided quite neatly into six chapters, with the core chapters on matter and mind framed by chapters on space and time, which are framed in turn by "The World of Forms" in the beginning and "In Praise of Hands" (...) at the end. (shrink)

Commented article: ZHENG, X. D. Theoretical Evaluation of Art Education from the Perspective of Traditional Chinese Philosophy. Trans/Form/Ação: revista de filosofia da Unesp, v. 47, n. 4, “Eastern thought”, e02400123, 2024. Available at: https://revistas.marilia.unesp.br/index.php/transformacao/article/view/15024.

Ours is an age full of desires but impoverished in its understanding of where those desires lead—an age that claims mastery over the world but also claims to find the world as a whole absurd or unintelligible. In The Vision of the Soul, James Matthew Wilson seeks to conserve the great insights of the western tradition by giving us a new account of them responsive to modern discontents. The western— or Christian Platonist—tradition, he argues, tells us that man is an (...) intellectual animal, born to pursue the good, to know the true, and to contemplate all things in beauty. Wilson begins by reconceiving the intellectual conservatism born of Edmund Burke’s jeremiad against the French Revolution as an effort to preserve the West’s vision of man and the cosmos as ordered by and to beauty. After defining the achievement of that vision and its tradition, Wilson offers an extended study of the nature of beauty and the role of the fine arts in shaping a culture but above all in opening the human intellect to the perception of the form of reality. Through close studies of Theodor W. Adorno and Jacques Maritain, he recovers the classical vision of beauty as a revelation of truth and being. Finally, he revisits the ancient distinction between reason and story-telling, between mythos and logos, in order to rejoin the two. Story-telling is foundational to the forms of the fine arts, but it is no less foundational to human reason. Human life in turn constitutes a specific kind of form—a story form. The ancient conception of human life as a pilgrimage to beauty itself is one that we can fully embrace only if we see the essential correlation between reason and story and the essential convertibility of truth, goodness and beauty in beauty. By turns a study in fundamental ontology, aesthetics, and political philosophy, Wilson’s book invites its readers to a renewal of the West’s intellectual tradition. (shrink)

Mainly known for its links to the periodical market and radical politics, this article recontextualizes the editorship of William Nicholson (1753–1815) in terms of its roots in the metropolitan natural philosophical circles of the second half of the 18th century as well as its impact on experimenters and men of science after 1797. The article argues that Nicholson's editorship of the Journal of Natural Philosophy, Chemistry, and the Arts was a means to expand his philosophical significance among natural philosophers at (...) home and abroad—and was, in fact, a form of epistemological subversion that challenged the “Banksian Learned Empire.”. (shrink)

This research aims to study art and religious philosophy by analyzing the significance of Aboriginal dot painting, Sichuan opera makeup, Chinese traditional sculpture and Shu embroidery. A particular emphasis is placed upon their crucial importance for understanding the essence of various societies as well as their main spiritual and cultural tenets. The data for this study was gathered using a qualitative approach, targeted toward online museums and cultural websites, focusing on images of artworks to determine the parameters of symbolic (...) elements in terms of culture and religion. Purposeful sampling was used to identify pieces of art that not only have meaningful religious symbolisms but also different cultural backgrounds. Such sampling assures that the study embodies a wide representation of religious semiotics and a better understanding of the interaction between art and spirituality. This study shows that irrespective of culture, one can identify an analogy of how signs and icons work with the message from the divine, which is further preserved from the sacred. These art symbols embody theological metaphors on ethical, aesthetic, and cultural dimensions and express semantic meanings across cultures. Since the data for the study was limited to only online sources and predefined cultural artefacts, it may lack the field intensity of first-hand observation across cultures. Future research should identify multiple data sources and conduct additional cross-cultural comparisons of more cultures and other forms of art. (shrink)

The issue of corporate responsibility has long been discussed in relationship to universities, but generally only in an ad hoc fashion. While the role of universities in teaching business ethics is one theme that has received significant and rather constant attention, other issues tend to be raised only sporadically. Moreover, when issues of corporate responsibility are raised, it is often done on the presumption of some understanding of a liberal arts mandate of the university, a position that has come under (...) much attack in recent years. The purpose of this article is to investigate more systematically the nature of the obligations that the university has to promote more responsible corporate behaviour. It does so on the basis of a reinterpretation of the liberal arts tradition from a critical theory perspective. This entails: (1) an initial conceptualization of the roles and functions of the university; (2) an examination of these functions at two formative periods of the liberal arts tradition, the medieval university and the rise of the modern university in Germany in the early 19th century; (3) an investigation of ruptures in the understanding and practices of the liberal arts tradition, resulting in large part from the rise of the bureaucratic state and the industrial capitalist economy; (4) a reinterpretation of the liberal arts tradition from a critical theory perspective; and (5) a systematic elaboration of the obligations of the university vis-à-vis corporations based upon the university's key functions of teaching, research, formation and professional development. (shrink)

The standard definition of knowledge and the concept of objective knowledge, as they were described in the epistemology sprung from the Vienna Circle, are too restricted in comparison with our natural disposal to admit different beliefs as reliable. The main guilt for this state of arts in epistemology belongs to the so- called, in Wolterstorff’s terms, “doxastic ideal”, namely, the traditional picture of the ideally formed beliefs. Locke’s view of entitlement was the modern expression of this ideal and Hume’s (...) analysis of beliefs about future was its first powerful criticism. If we succeed in rejecting this ideal, then it become possible to extend the epistemological analysis over other sorts of beliefs, religious beliefs included. (shrink)

Commented article: ZHENG, X. D. Theoretical Evaluation of Art Education from the Perspective of Traditional Chinese Philosophy. Trans/Form/Ação: revista de filosofia da Unesp, v. 47, n. 4, “Eastern thought”, e02400123, 2024. Available at: https://revistas.marilia.unesp.br/index.php/transformacao/article/view/15024.

Notkers um 1000 entstandene Bearbeitung der spätantiken »Consolatio Philosophiae« steht in der Tradition der karolingischen Rezeption, die die »Consolatio« zur Vermittlung christlicher Bildung im Rahmen des didaktischen Konzepts der artes liberales nutzt, und bedeutet gleichzeitig eine Innovation: Notker bedient sich tradierter Techniken der Texterschließung, indem er auf die Glossierungstypen lateinischer Textkommentare zurückgreift. Zugleich bezieht er die althochdeutsche Volkssprache in Form von Kommentar und Übersetzung in seine Texterklärung ein und nutzt die Lektüre der »Consolatio« als Ausgangspunkt für theoretische Wissensvermittlung, vor allem (...) auf dem Gebiet des Trivium und philosophisch-theologischer Fragenkomplexe. Seine Bearbeitung ist die erste umfassende Werkinterpretation zur »Consolatio«. Die vorliegende Studie ist die erste Monographie zu diesem Text seit dem Buch von Ingeborg Schröbler (1953). Sie bestimmt Notkers Ort innerhalb der Textgeschichte der »Consolatio« unter Einbeziehung zum Teil noch ungedruckter lateinischer Kommentare und arbeitet in Detailanalysen und im systematischen Überblick die formal-technischen und inhaltlichen Charakteristika seiner Bearbeitung vor dem Hintergrund der St. Galler Bildungstradition, der Unterrichtsmethoden und der wissenschaftlichen Entwicklungen seiner Zeit heraus. (shrink)

This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to “frequency-based” music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as “defective” implementations of frequency-based music. The (...) presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. We would like to present evidence to the contrary—in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious and social studies. Much of the data has not been translated into Western languages. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Collective music-making is rare and exceptional. The foundation of timbre-based music seems to have vocal roots and rests on “personal song”—a system of personal identification through individualized patterns of rhythm, timbre, and pitch contour, utilized like a “human voice”—whose sound enables the recognition of a particular individual. The instrumental counterpart of the personalized singing tradition is the jaw harp tradition. The jaw harp is the principal musical instrument for at least 21 ethnicities in Russia, who occupy over half the territory of the country. The evolution of its TO forms the backbone for the development of timbre-based music art. Here, we provide the acoustic, socio-cultural, geographic, and chronological overview of timbre-based music. (shrink)

In the article the parameters of the crime novel and crime story that were used by the postwar German novel of the investigation were highlighted and analyzed. The transformation of the range of problems of criminal literature in the new conditions is showed on the material of such works as ‘Aula‘ Kant, ‘Der Fall d’Arthez‘ G.-E. Nossack ‘Buridan’s ass‘ G. de Breun, ‘Gruppenbild mit Dame‘ G. Boell, ‘Black ass‘ L. Rinzer et al. It is demonstrated which formal elements that organize (...) the system of images, time-space and the intersection of ‘voice streams‘, the texts succeed from the twentieth-century enlightenment ‘postpitaval’s‘ prose. Traditions of Schiller, Goethe and others expressed through the ideological setting of the novel of the investigation, the duality of its structure and the relationship of narrative plans. The narrators of investigation novel work for underlining their detachment; they are out of the events and cherish their independence. Masks and aliases are actively used with the view of creating of the effect of ‘non-presence‘. Authors play with the grammatical forms: I am - you are - he is. Therefore, the novel of investigation adopts the social agenda and coherence with the historical period from the tradition of a criminal novel. Ethical measures used by narrators to evaluate the events described are succeeded from tradition as well. Some elements, which stay relevant, are used as productive. (shrink)