A mesure qu'ils avancent dans leur œuvre de prospection, les sémioticiens s'aperçoivent que tout est communication, la langue bien sûr, mais aussi les images, les sons, les objets, les gestes, et que tous ces phénomènes constituent des systèmes de signes qui doivent être étudiés en ramenant chaque message aux codes qui en régissent l'émission et la compréhension. Comprendre les systèmes de signes impose toutefois d'envisager les codes comme des structures, puis de recouvrir à des structures toujours plus vastes, dans un (...) mouvement de régression vers la matrice originelle de toute communication possible, vers un prétendu Code des Codes qui devrait représenter la détermination " naturelle " précédant toute culture. Mais si la sémiotique s'engageait dans cette voie, elle ne pourrait qu'aboutir à la " source " de toute structure possible, forcément non structurée, à ce qu'Umberto Ecco appelle la structure absente. Son livre, tout en refusant ce Code des Codes, essaie de montrer que tout acte communicatif est dominé par la présence massive de codes socialement et historiquement déterminés. La sémiotique découvre ainsi dans la dialectique entre code et message les rapports entre l'univers de signes et l'univers des idéologies, qui se reflètent dans les modes communicatifs préconstitués, et elle relie le monde des choses au monde de la culture, qui formalise les choses non pas pour les reconnaître comme elles sont mais afin de les transformer. Après avoir étudié dans L'œuvre ouverte (1965) les structures des langages expérimentaux de l'art contemporain, Umberto Ecco traite ici l'ensemble des problèmes sémiotiques et ce livre constitue à la fois sa contribution à la recherche en cours et le panorama actuellement le plus vaste et le plus complet sur les préalables constitutifs à toute sémiotique et sur l'état présent du structuralisme. (shrink)

As highlighted by the post-Cartesian discourse across philosophical schools, Western thought has been struggling for a long time with conceiving interconnectedness. The problematic of Western dualism is most apparent with the so-called mind-body problem, but the issue does not only relate to the separation of body and mind but also the separation of living beings from their environments. Asian philosophy, on the other hand, has had a long history of thinking relations. The paper argues that an architectural philosophy that is (...) open for a dialogue with Asian views would allow for a new approach to conceptualising the interconnectedness of minds, bodies, environments, and cultures. Linking Asian and Western aesthetics with a discourse on ecology, and setting it into dialogue with contemporary theories of architecture, the paper also refers to recent research on embodiment that is engaging from a new point of view with the natural sciences, and that appears to confirm positions of traditional Chinese philosophy. Reconsidering traditional Chinese art and aesthetics, the paper suggests, could initiate a new eco-poetic way of thinking the built environment and its design in favour of a future that is more than smart. (shrink)

This text explores four books produced by one of the most prominent semioticians of the previous century, Umberto Eco, in order to create a semiotic meta-theory which enhances a multifarious way of â oereadabilityâ and scientifically justifies the dichotomy between the creation of a work of art and its being read, visualized and experienced by the audience. It begins by treating the â oenarrationâ component as one of the main theoretical challenges of Ecoâ s theory, specifically focusing on the concept (...) of time, seen from the linguistic and semiotic viewpoints. The book also explores Ecoâ s text theory, as well as â oesemiotics properâ, representing an analysis of the â oeencodingâ and â oedecodingâ theories. In addition, it exemplifies the â oeopennessâ and â oecollaborationâ between the writer and the reader, as well as relationships between the creator and audience in all forms of art. The book will appeal to scholars, students, and intellectuals who want to have a detailed knowledge of Ecoâ s overall contribution to semiotics, and seek a â oeformulaâ which would inter-connect informational and code theories with the narration method, so as to create what we call â oeinterpretative semioticsâ today. (shrink)

Entrevista com Júlia Rebouças, curadora, pesquisadora e crítica de arte.

How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in (...) person, for workshops, seminars and discussions. The aim was to find ways to create resilience and concrete actions on how to live through the change in culture, economy and the environment and to find concrete, hands-on methods to deal with the Anthropocene and the environmental crisis. As an outcome of this process, this publication takes a closer look at how we as practising artists, researchers and cultural actors can create elements for critical thinking and doing which can assist us in navigating the complexities of the present. -/- Edited for the State Of The Art Network by Erich Berger, Mari Keski-Korsu, Marietta Radomska and Line Thastum. -/- Produced and published by Bioart Society 2023. (shrink)

Committing to contribute to promoting the 11th progressive cultural element – environmental-healing value – and building the eco-surplus culture for sustainable development, the AISDL Team (represented by Drs. Minh-Hoang Nguyen and Quan-Hoang Vuong) has collaborated with Discover Sustainability to launch “Environmental Sustainability Needs Humanities” Topical Collection. In contributing to the generation of knowledge that aids the social transitions toward an eco-surplus utopia, the Topical Collection welcomes various types of articles across disciplines, including Research, Reviews, Perspectives, Comments, Brief Communications, Case Studies, (...) Registered Reports, and Data Notes that are related but not limited to these issues: - Socio-cultural and economic issues that help mitigate and adapt to climate change and prevent biodiversity loss - Socio-cultural and economic issues that support the development and implementation of nature-based solutions and artificial technologies for achieving environmental sustainability - Factors that help restore the connection between nature and humans, such as science, art, literature, and lived experiences - The psychology towards climate change, biodiversity loss, social transition, and technological transformation - The roles of creativity, serendipity, and knowledge management in sustainability transformation - Sustainable financing mechanism for climate change mitigation and adaptation as well as biodiversity conservation - The roles of urban and rural humans in addressing climate change and biodiversity loss - Global agreement, national commitments, and local actions for addressing climate change and biodiversity loss. (shrink)

Greek philosophical tradition, not only the Aristotelian one, is strongly associated with proportion (Eco, 1993: 90). This principle of symmetry is generalisable; forasmuch as it is used as a normative rule in figurative arts. Nonetheless, the proportion for Ancient Greeks does not only describe a mathematical relation, but also represents a metaphysical principle. Thus, beauty is the measurement of the elements of the external form (in the case of tragedy, the meter, the symmetry of the parts, the number of syllables, (...) the number of verses) as well as the aesthetic harmony which the play transmits as total to the spectators (in the same case, the content must be neither superior nor inferior to the chosen form; otherwise the form would give the impression of grotesque or inadequate). (shrink)

Environmental activism is expected to improve society’s well-being and environmental sustainability. Nevertheless, some inappropriate ways of activism, like road blockage, art vandalism, assaults, etc., have been recently conducted and risked causing adverse repercussions, including violence escalation. The current study aims to explore which types of environmental activism are more likely to escalate violence between activists, affected citizens, and police. Bayesian Mindsponge Framework (BMF) analytics was employed to analyze a dataset of 89 blockage, vandalism, and harassment cases in 13 countries in (...) this exploratory study. We discovered that rallies and demonstrations, marches, event disruption, and art vandalism were less likely to escalate violence between protestors, other citizens, and the police. In contrast, road blockades and assaults are more likely to lead to violence escalation. Apart from those, sabotage was found to have an ambiguous relationship with the violence escalation. Based on these results, we suggest that climate activists should be more selective in adopting activism approaches to raise public awareness and support and avoid using tactics that might be counterproductive and reduce public backing, such as road blockage and assaults. Despite the negative impact of art vandalism on violence escalation, we also discussed why art vandalism should not be used since it can curb the effectiveness of artivism, showing misuse of artworks (e.g., paintings, music, films) for environmental activism. (shrink)

Beginning with the work of Olafur Eliasson, with particular reference to the recent exhibition “Trembling Horizons” but not limited to it, a number of works representative of an artistic vision that might be called eco-logical are analyzed. Not only by explicitly thematizing the issue of the environmental crisis, Eliasson's works seem to materially express the demands of theorists who question how art can actively respond to the need for a shift in outlook that characterizes current events. Starting from the idea (...) of art as praxis, which allows the viewer to regard himself or herself and to place himself or herself in relation to what surrounds us – human and non-human – Eliasson's works act on the intrinsic objecthood of the work itself by creating a relationship with otherness and datity. They generate, therefore, a feeling of proximity, which concretizes a meaning of creativity in a transformative and site-specific sense; they promote an eco-logic that has its basis in a nomadic and depotentiated vision of subjectivity, engendering a feeling of interconnectedness and care. It will be argued in this paper the need to rethink art in these terms by hypothesizing a particular efficacy of some works that actively work in public space: places where the split between nature and culture has taken place, urban and public space are privileged contexts to actively promote the overcoming of this fracture and generate ethically responsible, already intrinsically ecological subjects. (shrink)

In the present condition of planetary environmental crises, violence, and war, entire ecosystems are annihilated, habitats turn into unliveable spaces, and shared “more-than-human” vulnerabilities get amplified. Here and now, death and loss become urgent environmental concerns, while the Anthropocene-induced anxiety, anger, and grief are manifested in popular-scientific narratives, art, culture, and activism. Grounded in the theoretical framework of queer death studies, this article explores present grief imaginaries and engagements with more-than-human death, dying, and extinction, as they are interwoven through contemporary (...) art. It is there where an ecological ontology of death is being exposed and ethical territories of eco-grief unfold. (shrink)

In this paper, I interrogate the question of how aesthetics might be used in terms of an antifascist project. The exposition includes two main steps. First, drawing on the work of Umberto Eco and Sven Reichardt, I introduce a perspective on fascism, in which I identify its character as synthetico-paradoxical. Then, I utilize Jacques Rancière’s conception of aesthetics as politics to show how a decentralized understanding of what makes good art can disrupt fascism by appealing to the sense of re-recognition (...) of the individual political subject. (shrink)

In this short essay I connect Perry Zurn’s work on curiosity with trans history, activism, and art to bridge trans curiosity with eco curiosity in the form of transecological curiosity. I discuss examples from trans art, literature, music, and ecopoetics.

Environmental activism is crucial in increasing awareness of environmental degradation and preventing actions that harm the environment. A radical environmentalist movement has emerged within the community of activists. They advocate using illegal measures to attain their goals. This paper discusses these radical environmentalist groups’ motivations, their actions and their consequences. Activities that many consider unacceptable, such as art vandalism and road blockades, may result in adverse outcomes and diminish public support for environmental endeavors. We propose an alternative solidarity approach whereby (...) activists focus their efforts on disseminating information to the general public on climate change and other environmental issues, advocating for the adoption of eco-surplus culture, and fostering cooperation among governments, businesses, and individuals to develop effective solutions. (shrink)

The global ecological crisis is the greatest challenge humanity has ever had to confront, and humanity is failing. The triumph of the neo-liberal agenda, together with a debauched ‘scientism’, has reduced nature and people to nothing but raw materials, instruments and consumers to be efficiently managed in a global market dominated by corporate managers, media moguls and technocrats. The arts and the humanities have been devalued, genuine science has been crippled, and the quest for autonomy and democracy undermined. The resultant (...) trajectory towards global ecological destruction appears inexorable, and neither governments nor environmental movements have significantly altered this, or indeed, seem able to. The Philosophical Foundations of Ecological Civilization is a wide-ranging and scholarly analysis of this failure. This book reframes the dynamics of the debate beyond the discourses of economics, politics and techno-science. Reviving natural philosophy to align science with the humanities, it offers the categories required to reform our modes of existence and our institutions so that we augment, rather than undermine, the life of the ecosystems of which we are part. From this philosophical foundation, the author puts forth a manifesto for transforming our culture into one which could provide an effective global environmental movement and provide the foundations for a global ecological civilization. (shrink)

Human relationships with cars are multifaceted and morally fraught. Cars serve multiple functions, and generate experiences characteristic of both fine art and everyday aesthetic experience – but they’re also the roots of dire eco-social ills. Recent theories tend to undermine the aesthetic aspects of human-automobile relationships in order to emphasize cars’ ethically problematic effects. But cars’ shameful consequences need not cancel out their beauty or their relevance to aesthetic theories. I suggest that David Hume’s aesthetic tenets demonstrate how and why (...) cars are beautiful, foregrounding considerations that automobile aesthetics can’t afford to ignore but that risk being obscured by cars’ positively and negatively charged status. For instance, Hume underscores rational choice as an element of aesthetic experience: we can choose how and when to experience cars’ beauty or ugliness. According to Hume, utility tends to inspire sentiments of beauty; and what is ethically good is most useful to humanity at large. But tension arises from this principle, as Hume finds that even socially harmful phenomena are yet aesthetically interesting. This provocative tension is at the heart of the aesthetic appreciation of cars, and is part of what makes such appreciation worthwhile. Hume paves the way to a realistic aesthetics of automobiles that can account for their problematic effects while refusing to downplay their aesthetic potential. This paper was presented at the 2011 Meeting of the American Society for Aesthetics in Tampa, Florida. (shrink)

The present study was carried out to revive the old art of dyeing with natural dye obtained from barks of Bombax ceiba Linn. locally known as semal tree. The commercialization of the present process will be helpful for their viable application in handloom and textile industries. Further, this will also have great impact especially for the economic growth of the rural dyer communities. In the present study, Cotton fabric was pre treated with eco friendly and non eco friendly mordants. The (...) various shades were obtained. The name of the shade and shade code was obtained by matching the shade card presented by Asian paint India. Colour strength of dyed cotton fabric was measured in terms of L, a, b colour scale by using hunter lab instrument Hunterlab EasyMatchQC Colour flex EZ 45 0, Reflectance . mode. The dyed samples have shown good to excellent and poor to good fastness properties Dr. Yogesh Vadwala | Dr. Namrita Kola "Dyeing of Cotton with Natural Dye Obtained from Barks of Bombax Ceiba Linn locally known as Semal" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-1 | Issue-4 , June 2017. (shrink)

Energy politics lie at the heart of human activity. In a time of ecological and energy crises, it is fundamental to realise that our reality systems are always open to change and that, in order to respond to the challenges of a changing energy landscape, we must explore the full possibilities of technology in a radical way. This analysis aims to consider the ethical implications of energy and technology, presenting an urgent case for cosmotechnical pluralism, that is the diversification of (...) world-views, knowledges, technologies in the realm of global politics. To reconstruct the world and its politics around the existence of several ways of navigating and conceiving it, literally leads to a change in reality. The notion of cosmotechnics will present a way of conceiving of the cosmic, epistemic and technic order as interconnected: in this spirit, this exploration will travel through the prisms of cosmology, epistemology, morality, to subsequently enter into the room where energy policies are created. By employing this tripartite framework, policy directions will be suggested on the path towards energy justice in the hope of shining some light on what moral practices of policy-making in the field of energy politics could look like. (shrink)

The rapidly declining biosphere integrity, representing one of the core planetary boundaries, is alarming. One of the most widely accepted measures to halt the rate of biodiversity loss is to maintain and expand protected areas that are effectively managed. However, it requires substantial finance derived from nature-based tourism, specifically visitors from urban areas. Using the Bayesian Mindsponge Framework (BMF) on 535 Vietnamese urban residents, the current study examined how their biodiversity loss perceptions can affect their willingness to pay for the (...) entrance fee and conservation in protected areas. We found that perceived environmental degradation, loss of economic growth, loss of nature-based recreation opportunity, and loss of knowledge as consequences of biodiversity loss has indirect effects on paying willingness through the mediation of the attitude towards conservation. Especially, the perceived knowledge loss also has a direct positive influence on the willingness to pay for the entrance fee and conservation. In contrast, perceived loss of health is negatively associated with the attitude towards conservation. Based on these findings, we suggest that building an eco-surplus culture among urban residents can be a promising way to generate more finance from nature-based tourism for conservation in protected areas and ease the domestic government's and international organizations' funding allocations problems. (shrink)

The notion of ecological civilisation has become central to Chinese efforts to confront and deal with environmental problems. However, ecological civilisation is characterized by its proponents in different ways. Some see it as simply an adjunct to the existing system designed to deal with current ecological crises. Its more radical proponents argue for a socialist ecological civilisation that should be developed globally and transform every part of society, changing the way people perceive, live and relate to each other and to (...) nature, and the goals they aspire to. Ecological civilisation is a translation of the Russian notion of ecological culture, and tracing the history of ecology and the concept of culture in the Soviet Union, particularly in the 1920s, I will support this more radical view, arguing that ecological civilisation is not only underpinned by eco-socialism; it provides the means to clarify the meaning of socialism generally in a way that accords with deep assumptions of Marx’s critique of capitalism. That this notion has been officially embraced within China establishes a tradition of socialist thought that now has the potential to challenge and replace global capitalism. (shrink)

Researchers are increasingly trying to understand both the emotions that we experience in response to ecological crises like climate change and the ways in which these emotions might be valuable for our (psychical, psychological, and moral) wellbeing. However, much of the existing work on these issues has been hampered by conceptual and methodological difficulties. As a first step toward addressing these challenges, this review focuses on eco-anxiety. Analyzing a broad range of studies through the use of methods from philosophy, emotion (...) theory, and interdisciplinary environmental studies, the authors show how looking to work on anxiety in general can help researchers build better models of eco-anxiety in particular. The results of this work suggest that the label “eco-anxiety” may be best understood as referring to a family of distinct, but related, ecological emotions. The authors also find that a specific form of eco-anxiety, “practical eco-anxiety,” can be a deeply valuable emotional response to threats like climate change: when experienced at the right time and to the right extent, practical eco-anxiety not only reflects well on one’s moral character but can also help advance individual and planetary wellbeing. (shrink)

Environmentalists can make individuals more eco-friendly by dispelling many of the myths and misconceptions about the natural world. By learning what in nature is and is not dangerous, and in what contexts the danger is real, individuals can come to aesthetically appreciate seemingly unappreciable nature. Since aesthetic attraction can be an extremely valuable tool for environmentalists, with potentialbeyond that of scientific education, the quest for an eco-friendly is neither unnecessary nor redundant. Rather, an eco-friendly aesthetic ought to be pursued in (...) conjunction with other efforts to protect nature. (shrink)

The "semiotic threshold" is U. Eco's metaphor of the borderline between the world of semiosis and the nonsemiotic world and hence also between semiotics and its neighboring disciplines. The paper examines Eco's threshold in comparison to the views of semiosis and semiotics of C. S. Peirce. While Eco follows the structuralist tradition, postulating the conventionality of signs as the main criterion of semiosis, Peirce has a much broader concept of semiosis, which is not restricted to phenomena of culture but includes (...) many processes in nature. Whereas Eco arrives at the conclusion that biological processes, such as the ones within the immune system, cannot be included in the program of semiotic research, Peirce's broader defmition of semiosis has meanwhile become thefoundation of semiotic studies in biology and medicine and hence in biosemiotics and medical semiotics. (shrink)

Eco-Rational Education proposes an educational response to climate change, environmental degradation, and desctructive human relations to ecology through the delivery of critical land-responsive environmental education. -/- The book argues that education is a powerful vehicle for both social change and cultural reproduction. It proposes that the prioritisation and integration of environmental education across the curriculum is essential to the development of ecologically rational citizens capable of responding to the environmental crisis and an increasingly changing world. Using philosophical analysis, particularly environmental (...) philosophy, pragmatism, and ecofeminism, the book develops an understanding of contemporary issues in education, especially inquiry-based learning as pedagogy, diversifying knowledge, environmental and epistemic justice, climate change education, and citizenship education. -/- Eco-Rational Education will be of interest to researchers and post-graduate students of social and political philosophy, educational philosophy, as well as environmental philosophy, ethics, and teacher education. (shrink)

Since the early Medieval Time people contested theological legitimation and rational discursive discours on authority as well as retreated to refuges to escape from any secular or ecclesiastical authority. Modern attempts formulated rational legitimation of authority in several ways: pragmatic authority by Monteigne, Bodin and Hobbes, or the contract authority of Locke and Rousseou. However, Enlightened Anarchism, first formulated in 1793 by the English philosopher William Godwin fulminated against all rational restrictions of human freedom and self-determination. However, we do not (...) analyze anarchism by the ‘what’ and the ‘why’, but by looking for the best actual approach of Anarchist’s ‘Promised Land’. Furthermore, we follow the footsteps of Thoreau’s Walden Pond experiment considered as a place of salvation and prototype of 19th century romantic’s extreme individualism towards Leopold’s ethics of the land. Indeed, Thoreau’s and later Muir’s concepts of refuges are tightly connected to territorial and temporal bio-regional constraints and imply an internally organized public area based on mutualism and Hannah Arendt’s agape. From these ideas of refuges, Aldo Leopold formulated his Land-ethics that claimed integrity and autonomy of the ‘Land’. His foundation is a prototype of the eco-centric free space version of eco-anarchism as formulated by Bookchin. In order to formulate a philosophical foundation of eco-anarchism we reject Newtonian homogeneous space-temporal conception, preceding the whole Modern discours about authority and state. On the contrary, we adopt the pluralistic Leibnizian space-time from which thinking-humans do not dissociate themselves, but participate as part of the rational infrastructure of eco-refuges. In eco-refuges, citizen belong to the civil society that stays in equilibrium with the landscape and all forms of biological life. Space is the boundary condition of human activity and determines how borders, environmental organization and institutes are sustained. Space has its proper essence of sustainability, unity and integrity. The individual feelings of security are embedded in a timelike tradition and evolution of the free space, while individual particular conceptions of space and time integrate into the social processes of identification with the refuge. Therefore, the creation of eco-refuges transforms the actual world of national authorities into a world of anarchistic democratic eco-regional homelands. (shrink)

Spirituality connotes praxis informed by religious or faith convictions. This can transform the individual and society at large. Christian spirituality is centered on how a person’s relationship with the God of Jesus Christ informs and directs one’s approach to existence and engagement with the world. The ecosystem concerns humanity and relationship with it is invariably influenced by faith or religious informed praxis. The reality of climate change is convincing many people that humankind’s common homeland needs to be treated with care (...) and respect if created beings are to have a congenial habitat now and in the future. This article avers that Christian spirituality can contribute to eco-friendly behavior through re-formation of the behavior of people and emboldening their goodwill as regards the responsibility of all towards the care of the earth. Finally, this research proffers a three-fold model of eco-spirituality - scriptural, selfcontrol, and sacramental approaches to the earth – as a contribution towards stemming the tide of ecological assaults on creation. Textual analysis is the method used in this research. (shrink)

I argue for the conditions that eco-sabotage (sabotage involving the protection of animals or the environment) must meet to be a morally permissible form of activism in a liberal democracy. I illustrate my case with Jessica Reznicek and Ruby Montoya’s oil pipeline destruction, the Sea Shepherd Conservation Society’s whale hunt sabotage, and the Valve Turners’ pipeline shut-off, climate necessity-defense. My primary contention is that just as it is permissible to destroy an attacker’s weapon in self- or other-defense, it is permissible (...) to engage in some forms of eco-sabotage. Taking inspiration from just war theory, I use the conditions of just cause, reasonable chance of success, proportionality, necessity, and discrimination to both conceptualize eco-sabotage as defense and illustrate the justificatory burden the eco-saboteur must meet. Often eco-sabotage is doubly pro-tanto wrong because it is illegal and involves property destruction. Overcoming these hurdles is particularly difficult because in seemingly bypassing democratic means of dispute resolution, the eco-saboteur seemingly coerces the other members of society by forcing idiosyncratic views upon them. Non-anthropocentric eco-sabotage grounded in defense of animal rights has mixed results regarding the democratic objection just described. I argue that anthropocentric eco-sabotage, grounded in defense of human rights, has the best chance of overcoming this objection, provided a persuasive case can be made for its reasonable chance of success. Passing a reasonable chance of success also causes problems for non-anthropocentric eco-sabotage grounded in species defense, while non-anthropocentric eco-sabotage grounded in defense against animal suffering has a lighter justificatory burden. (shrink)

This paper is a philosophical discussion about the link between utopianism and responsibility. It argues that our time demands a strong practice of political responsibility in both organizations and society based on what has been called ‘real utopianism’. It takes as a starting point Hans Jonas’ critique of utopianism. Keeping in mind the horrors of the Second World War this Jewish thinker disconnected the principle of responsibility from the idea of utopianism, and connected it to a ‘heuristics of fear’ – (...) we should be careful with ‘wild’ new technologies, but also with new utopian perspectives. In a second step Jonas’ predecessors and utopian thinkers Martin Buber, Ernst Bloch and Ernest Callenbach are revisited. They show that a fully conceptualized idea of utopianism includes at least three dimensions of responsibility: subsistence, justice and spirituality. I then argue that if one digs deeper into the work of Jonas, it seems that the concept of responsibility in fact implies the courage to overcome a heuristics of fear. This paper therefore argues that there is no need to radically disjunct responsibility from utopianism and that the concept of responsibility actually opens a path to ‘real utopianism’. Such a concept of responsibility can best be supported by a confessionally neutral but nonetheless spiritual eco-humanist worldview that develops a new attitude towards nature, in which (eco)asceticism, morality and spirituality become intertwined. (shrink)

Considers that in ecosystem, landscape and global ecology, an energetics reading of ecological systems is an expression of a cybernetic, systemic and holistic approach. In ecosystem ecology, the Odumian paradigm emphasizes the concept of emergence, but it has not been accompanied by the creation of a method that fully respects the complexity of the objects studied. In landscape ecology, although the emergentist, multi-level, triadic methodology of J.K. Feibleman and D.T. Campbell has gained acceptance, the importance of emergent properties is still (...) undervalued. In global ecology, the Gaia hypothesis is an expression of an organicist metaphor, while the emergentist terminology used is incongruent with the underlying physicalist cybernetics. More generally, an analytico-additional methodology and the reduction of the properties of ecosystems to the laws of physical chemistry render purely formal any assertion about the emergentist and holistic nature of the ecological systems studied. (shrink)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

This is Part 1 of an article aimed at defending Marx against orthodox Marxists to reveal the possibilities for overcoming capitalism. It is argued that Marx’s general theory of history as technological determinism along with his call for the dictatorship of the proletariat is inconsistent with his profound insights into alienation and commodity fetishism as the foundations of capitalism. Humanist Marxists focused on the latter in opposition to Orthodox Marxists, but without fully acknowledging this inconsistency and its implications, failed to (...) realize the full potential of Marx’s work. The outcome has been the triumph of “neoliberalism,” effectively a synthesis of the worst aspects of capitalism with Soviet managerialism. Here I argue that eco-Marxists should combine humanistic Marxism with the defence of genuine science to revive a tradition of thought going back to Aleksander Bogdanov and Ernst Bloch, and to Marx himself. However, traditional Marxists’ lack of appreciation of the importance of the “superstructure” has hindered even eco-Marxists from developing the culture required to replace capitalism. In Part 2 I will argue that the call for an “ecological civilization” brings into focus what is required: a realistic vision of the future based on ecological concepts. -/- . (shrink)

Arthur C. Danto, philosopher and art critic for The Nation from 1984-2009, offered interpretations of artworks by a wide array of artists, including Eva Hesse, Judy Chicago, and Cindy Sherman, whose "disturbatory" works were either ignored or denounced by mainstream critics at the time. Danto's championing of feminist art was deliberate and delightful; he openly endorsed the Guerilla Girls! His feminist art critical writings ultimately shaped the early development of what has come to be known as "feminist aesthetics" particularly his (...) focus on defiant artworks by female artists who sought to reclaim agency and expression of the female body. He revived interest in the neglected topic of beauty while simultaneously advancing radical political goals within the artworld. His call to arms urged art viewers to experience the new--what he often called "art on the edge and over"--wherein, "The experience of art becomes a moral adventure rather than merely an aesthetic interlude" (in Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s, 1996). (shrink)

Overview of the definition of art and its relationship to definitions of the individual art forms, with an eye to clarifying the issues separating dominant institutionalist and skeptical positions from non-skeptical, non-institutional ones. Section 2 indicates some of the key philosophical issues which intersect in discussions of the definition of art, and singles out some important areas of broad agreement and disagreement. Section 3 critically reviews some influential standard versions of institutionalism, and some more recent variations on them. Section 4 (...) discusses some recent reductionist approaches to definitional questions, which advocate a shift of philosophical focus from the macro- to the micro-level —from art to the individual art forms. Section 5 outlines an alternative, non-institutionalist and non-reductionist approach to definitional questions. (shrink)

With rising portmanteaux such as Ecosophy and ecolinguistics, a significant trend that aims to blend ecology with multiple disciplines continues to be on the ascent since the last century. The recent challenge to the anthropocentric worldview is a crucial motivation for such blends. With the upheaval of "genetic information," the information system that formerly bolstered and maintained anthropocentrism is now challenging its tenets. The term eco refers to the critical relationships between humans and nonhumans, between microscopic and macroscopic worlds. Ecolinguistics (...) studies the relation between eco and how we communicate about ecological entities and processes. Many studies have revealed how language and communication influence the environment and its nonhuman inhabitants. Critical Discourse Analysis (CDA henceforth), for instance, has exposed the role of language in reducing and promoting racism, social inequalities, and sexism. In a larger framework, Ecosophy provides intellectual and empirical insights that can give succinct access to unmuted communications in a more-than-human world by participating in more-than-mammal philosophies of survival, living, and dying. The paper will explore Dona Haraway's notion of SF (an abbreviation for speculative fabulations, string figures, speculative philosophy, and situated feminism) and Gregory Bateson's relational thesis of "double descriptions" to unite 'eco' and 'language' with each other. This will be done by suggesting alternative ways of approaching CDA and possible linguistic renovations (for instance, Prof. S. Veeramani’s notion of relexifying terms to promote environmental sensitivity and awareness). (shrink)

Do cinematic representations of the natural world only put us in further remove from nature? A phenomenological approach shows that nature screened can produce a richer understanding of human–nature relations as these unfold in visual contact. If vision accesses the world in a unique relationship of sight, in which our contact with the world is defined by vision prior to any other interaction, the cinema offers a special setting for a phenomenology that seeks to draw-out the significance of human relations (...) with the world of nature that come before utility or action. A detailed analysis of the opening sequence of Terrence Malick’s The New World demonstrates how the act of viewing positions the viewer in relation to what she sees. This position, prior to action and with the impossibility to act is seen here as an ethical position, a position of responsibility in the Levinasian sense. Merleau-Ponty’s phenomenology of vision is put here to use alongside the hermeneutic phenomenology of Heidegger and the existential responsibility of Levinas, while subverting Levinas’ anthropocentrism and rejecting Heidegger’s limiting view of technology. The approach taken in this essay, of bringing phenomenology into productive and reflexive interaction with ecology and with film is dubbed an “eco-film-phenomenology.”. (shrink)

Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...) postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

This is Part 2 of an article aimed at defending Marx against orthodox Marxists to reveal the possibilities for overcoming capitalism. It is argued that Marx’s general theory of history is inconsistent with his profound insights into alienation and commodity fetishism as the foundations of capitalism. Humanist Marxists focused on the latter in opposition to Orthodox Marxists, but without fully acknowledging this inconsistency and its implications, failed to realize the full potential of Marx’s work. The outcome has been the triumph (...) of “neoliberalism”, effectively a synthesis of the worst aspects of capitalism with Soviet managerialism. In Part 1 of this article I critiqued orthodox Marxism and utilized recent scholarship examining the penultimate drafts of Capital to reinterpret his work. The legacy of orthodox Marxism is still standing in the way of efforts to replace capitalism, however. In Part 2 I argue that the call for an “ecological civilization” brings into focus what is required: a realistic vision of the future based on ecological concepts. (shrink)

Climate change and environmental degradation are threatening the existence of humanity. The youth have the potential and capability to play a pivotal role in tackling these challenges. Therefore, the current study aims to examine how school and family environmental education can enhance environmental knowledge, willingness to take action, and pro-environmental behaviors among children and young people. The Bayesian Mindsponge Framework (BMF) analytics was utilized on a nationally representative dataset of 2069 Vietnamese primary, secondary, and high school students. The analysis results (...) suggest that school and family environmental education is beneficial for improving students’ environmental knowledge and willingness to take environmental actions. Notably, the effect of school education is more substantial for cultivating environmental knowledge, whereas family education has a stronger impact on raising students’ willingness than school education. Students with higher levels of environmental knowledge are more likely to conduct pro-environmental behaviors only when they are willing to take environmental actions. If students are unwilling to act, higher environmental knowledge is negatively associated with the likelihood of pro-environmental behavior. Following these findings, we call for coordinated education efforts of schools and families to cultivate students’ eco-surplus culture. The education efforts should be implemented along with exposing students to environmental settings and encouraging them to read environmental books. (shrink)

For Malraux, modernity in art is not only about modern art; it is also about the birth of what he aptly terms “the first universal world of art.” This event was a consequence of the process of metamorphosis which is central to Malraux’s account of the relationship between art and time. The article explains this event, noting also that modern aesthetics has not provided an explanation. (This is the English version of the final which will be in French.).

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism of (...) mind and body is surpassed by following a Spinozistic theory of affects. In this respect, the dissertation has both theoretical and practical dimensions. Since art(s) of becoming are bodies without organs which constitute their own lines of flight through a process of minoration, the concepts of body, affect, becoming, and intensity are central to this study. For the same reason, this is an attempt to show the intersections of philosophical, political and aesthetic domains in Deleuze’s theory of sensation which is part of his general practice of philosophy, that is, a quest for establishing an ontology of immanence as opposed to identitarian metaphysics. (shrink)

Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of übersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the übersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the ambiguity of (...) reality are related to each other in a dynamic way. It is in this reflexive dynamics that we constantly remodel our reality. Tools we use are our creative abilities and our powers of imagination. In our choices and solutions we show which aspects of reality we find important and how we communicate these values. The outcome of this investigation is a new perspective on the art of installation and a new insight in Wittgenstein's notion of übersichtliche Darstellung. Because of this combination, the book is itself an artwork: an InstallationPackage. The book is distributed by Ideabooks Amsterdam, Isbn 978 90 804240 3 6. Remodel[l]ing Reality is included in Special Collections, Allard Pierson Museum Amsterdam. (shrink)

Many eco-pagans explain their intimate relationship with aspects of the natural environment in terms of spirits of place. Such relationships emerge from a situated embodied knowing that enables eco-pagans to think with place; the ambiguity of that phrase is productive. While this process consists in both using a place as a tool to think with and thinking together with a place, it simultaneously defies dualist reduction. These examples of situated embodied knowing challenge conventional dualist notions and we are led to (...) a relational notion of personhood where the self emerges from a matrix of bodymind and place. Because theorising embodied knowing in eco-paganism pushes us beyond ontological dualism, it demands an embodied epistemology and a model of embodied cognition. Philosopher and psychologist Gendlin provides the former, while my enactive process model answers for the second. The enactive process model synthesises Gendlin's process philosophy with the work of Varela and colleagues, who understand cognition as ‘embodied action’, a process they call ‘enactive’. Eco-pagan practice can awaken us from the dualistic dream that we are separate from the ‘wisdom of the body’ and thus models a strategy for re-embodiment. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

The study of the arts in philosophy has often concentrated on the role that emotions (and affective responses more generally) play in art’s creation and value. Philosophical theories of art have sometimes even defined art in terms of its capacity to elicit or express emotions. Philosophers have debated such questions as what it is to express an emotion in art; whether emotions form part of the value of an artwork; whether the emotions involved in art appreciation are of the same (...) kind as those that we experience in real life, or of a different, even sui generis kind (i.e., aesthetic emotions); whether it is rational or appropriate to experience emotions in response to art; and what value, if any, there is in art that evokes unpleasant emotions. Although the focus here will be on what, to a first approximation, can be characterized as the “Western mainstream philosophical tradition,” discussion of the role of emotions in art can also be found in different approaches and traditions of thought: from Indian philosophy to cognitive science, to so-called Continental philosophy. (shrink)

This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...) proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love. (shrink)