Art and Artworks

Edited by Nicholas Riggle (University of San Diego)
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  1. Heidegger's Revolutionary (Anti-/Counter-/Post-)Modernism.Jussi M. Backman - 2021 - Gatherings: The Heidegger Circle Annual 11:93-101.
    A rejoinder to Harri Mäcklin, "A Heideggerian Critique of Immersive Art".
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  2. Elämästä luopuminen -Biofilosofiasta, epä/elämisestä, toksisesta ruumiillistumisesta ja etiikan uudelleenmuotoilusta.Marietta Radomska & Cecilia Åsberg - 2020 - Niin and Näin 1:39-46.
    Elämä tavataan nähdä kuoleman vastakohtana. Tällaisen kahtiajaon ulkopuolelle mahtuu kuitenkin paljon ontologisia ja eettisiä kysymyksiä, joita on lähdettävä purkamaan toisesta suunnasta. Marietta Radomska ja Cecilia Åsberg ehdottavat suunnaksi biofilosofiaa, jossa elämistä ja kuolemista tarkastellaan yhteen kietoutuneina ja yhdessä muuttuvina.
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  3. Non/Living Matter, Bioscientific Imaginaries and Feminist Techno-Ecologies of Bioart.Marietta Radomska - 2017 - Australian Feminist Studies 32 (94):377-394.
    Bioart is a form of hybrid artistico-scientific practices in contemporary art that involve the use of bio-materials (such as living cells, tissues, organisms) and scientific techniques, protocols, and tools. Bioart-works embody vulnerability (intrinsic to all beings) and depend on (bio)technologies that allow these creations to come into being, endure and flourish but also discipline them. This article focuses on ‘semi-living’ sculptures by The Tissue Culture and Art Project (TC&A). TC&A’s artworks consist of bioengineered mammal tissues grown over biopolymer scaffoldings of (...)
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  4. Non/Living Queerings, Undoing Certainties, and Braiding Vulnerabilities: A Collective Reflection.Marietta Radomska, Mayra Citlalli Rojo Gomez, Margherita Pevere & Terike Haapoja - 2021 - Artnodes 27:1-10.
    The ongoing global pandemic of Covid-19 has exposed SARS-CoV-2 as a potent non-human actant that resists the joint scientific, public health and socio-political efforts to contain and understand both the virus and the illness. Yet, such a narrative appears to conceal more than it reveals. The seeming agentiality of the novel coronavirus is itself but one manifestation of the continuous destruction of biodiversity, climate change, socio-economic inequalities, neocolonialism, overconsumption and the anthropogenic degradation of nature. Furthermore, focusing on the virus – (...)
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  5. Ecos de 60: Impossibilidade macroestrutural, possibilidades microestruturais. Com Júlia M. Rebouças.Gustavo Ruiz da Silva & Mariana Slerca - 2020 - Revista Avesso: Pensamento, Memória E Sociedade 1 (1):160-171.
    Entrevista com Júlia Rebouças, curadora, pesquisadora e crítica de arte.
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  6. Games: Agency as Art. By C. THI NGUYEN. (New York: Oxford University Press, 2020. Pp. Viii + 244. Price £22.99, US $35.00.). [REVIEW]Trystan S. Goetze - forthcoming - The Philosophical Quarterly.
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  7. Artistic Objectivity: From Ruskin’s ‘Pathetic Fallacy’ to Creative Receptivity.Eli I. Lichtenstein - forthcoming - British Journal of Aesthetics:ayaa041.
    While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...)
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  8. Hugo, Hegel, and Architecture.Jose Luis Fernandez - 2021 - Journal of Comparative Literature and Aesthetics 44 (1):153-163.
    This essay aims to contribute comparative points of contact between two influential figures of nineteenth century aesthetic reflection; namely, Victor Hugo’s artful considerations on architecture in his novel Notre-Dame de Paris and G.W.F. Hegel’s philosophical appraisal of the artform in his Lectures on Fine Art. Although their individual views on architecture are widely recognized, there is scant comparative commentary on these two thinkers, which seems odd because of the relative convergence of their historically situated observations. Owing to this shortage, I (...)
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  9. Fysis в работите на Хайдегер за Хьолдерлин.Vasil Penchev - 2004 - Философия 13 (3):14-18.
    Хайдегер има цикъл статии, посветени на немския поет Хьолдерлин и обсъждащи отношението на философия и поезия. Една често срещана "дума" в тях е 'природа'. Нейни рзлични конотации в произведения на философа за поета са предмет на изследване.
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  10. "Опит за летене": гравитация и възторженост.Vasil Penchev - 2004 - Philosophical Alternatives 13 (3):80-96.
    Thc articlе is devoted to onе of thе grеatest Bulgarian writers: Yordan Radichkov (1929-2004). Thc choice of Radichckov's work "Attеmpt of flying" is eligiЬie to an philosophical interpretation Ьccause of the following reasons. Radichkov has won public recognition in Bulgaria. Не is а classic of the Bulgarian literature and, to а great cxtent, its fасе abroad. Не has а considcraЬle effect on the Bulgarian culture: from theatre to linguistics and philosophy. His works themselves ring true and eminently philosophically; simultaneously, they (...)
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  11. Хайдегер за картината "Сикстинската мадона".Vasil Penchev - 2005 - Философия 14 (5):42-46.
    «Сикстинската мадона» основава и завършва зданието на църквата , казва Хайдегер . Тя е първото и последното и тя е , която придава зъвършеност. Сред сградата на съществуващото откритост и събраност може да й придаде възможност да се мисли цялостност, смисъл , облик и завършеност.
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  12. The Authority of Pleasure.Keren Gorodeisky - 2019 - Noûs 55 (1):199-220.
    The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...)
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  13. Elizabeth Bartlett and Paul Alexander Bartlett: Two Portraits.Steven James Bartlett - 2021 - Willamette University Faculty Research Website.
    The author shares philosophical and biographical reflections, accompanied by photographs, on the lives of his well-known literary parents, poet Elizabeth Bartlett and writer/artist Paul Alexander Bartlett.
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  14. Where Is the Money? The Intersectionality of the Spirit World and the Acquisition of Wealth.Suleman Lazarus - 2019 - Religions 10 (146):1-20.
    This article is a theoretical treatment of the ways in which local worldviews on wealth acquisition give rise to contemporary manifestations of spirituality in cyberspace. It unpacks spiritual (occult) economies and wealth generation through a historical perspective. The article ‘devil advocates’ the ‘sainthood’ of claimed law-abiding citizens, by highlighting that the line dividing them and the Nigerian cybercriminals (Yahoo-Boys) is blurred with regards to the use of magical means for material ends. By doing so, the article also illustrates that the (...)
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  15. An analysis of Kafka’s Penal Colony and Duchamp’s The Large Glass Through the Concepts of Abstract- Machines and Energeia.Atilla Akalın - 2017 - Medeniyet Art, IMU Art, Design and Architecture Faculty Journal, 3 (1):29-44.
    This study aims to grasp the two distinct artworks one is from the literary field: Penal Colony, written by F. Kafka and the other one is from painting: The Large Glass, designed by M. Duchamp. This text tries to unravel the similarities betwe- en these artworks in terms of two main significations around “The Officer” from Penal Colony and “The Bachelors” from The Large Glass. Because of their vital role on the re-production of status-quo, this text asserts that there is (...)
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  16. Post- i transhumanizm w kontekście wybranych zjawisk artystycznych technokultury.Przemysław Zawadzki & Agnieszka K. Adamczyk - 2019 - Avant: Trends in Interdisciplinary Studies 10 (3).
    Creations of many contemporary artists indicate the emergence of technoculture. Although artistic manifestations of technoculture may appear to be a provocation, they encourage fundamental ontological questions, such as whether a person has unchanging nature; what was and is our relationship to the Other, and what it should be; to what extent can body and mind be altered before they stop being “human”; what is the future of our species. To properly understand the works of technoculture artists, it appears necessary to (...)
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  17. The Standard of Correctness and the Ontology of Depiction.Enrico Terrone - forthcoming - American Philosophical Quarterly.
    This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals (...)
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  18. Teatro y Estética del Oprimido. Homenaje a Augusto Boal.José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.) - 2016 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Este libro inaugura la serie Homenaje de la Colección La Fuente. Con él se busca reconocer, de manera particular, al pensador, dramaturgo y director brasileño Augusto Boal (1931-2009), creador del teatro y la estética del oprimido, genuina aportación cultural latinoamericana que mucho tiene que ver con ese particular lugar de enunciación que es Nuestra América y sus siempre actuales expectativas emancipadoras. El libro fue precedido y nutrido por un Coloquio que en mayo de 2014 reunió a importantes especialistas y seguidores (...)
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  19. Pornography and Melancholy.Hans Maes - forthcoming - Apa Newsletter on Feminism and Philosophy.
    Section 1 proposes a new philosophical account of melancholy. Section 2 examines the reasons why one might think that pornography and melancholy are incompatible. Section 3 discusses some successful examples of melancholic pornography and makes the case that feminist pornographers are particularly well-placed to produce such material.
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  20. San Alberto Magno y las bellas artes.David Torrijos-Castrillejo - 2020 - de Medio Aevo 14:117-129.
    This article aims to address the widespread thesis according to which medieval scholastics would not handle the idea of fine art. Based on a suggestion by Anzulewicz, the author shows how Albert the Great did understand the peculiarity of fine arts and put them in close relationship with liberal arts. There are fine arts, such as music, which are sought after for their own sake and can, therefore, be considered as fully liberal. In contrast to them, there are other arts (...)
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  21. QATIPANA: Devenir e Individuación sobre los encuentros entre los aparatos técnicos y sistemas naturales en el arte Latinoamericano.Renzo Filinich Orozco - manuscript
    This essay unfolds on the fundamental question that invariably dominates today's discussions, about new technology and its ability to have a transformative effect in all areas of contemporary life and in human beings themselves. Obviously, the true qualitative novelty of the technological advances that occur before our eyes lies not only in the emergence of new artistic practices related to one or another scientific research. Its essence consists in the fact that these practices, when interacting with each other, begin to (...)
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  22. Seeing Double: Assessing Kendall Walton’s Views on Painting and Photography.Campbell Rider - 2019 - Undergraduate Philosophy Journal of Australasia 1 (1):37-47.
    In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies with (...)
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  23. Spur, Zeugnis Und Imagination: Der Erkenntniswert von Dokumentarfilmen.Íngrid Vendrell-Ferran - 2020 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 65 (1).
    In diesem Aufsatz argumentiere ich für die These, dass alle Dokumentarfilme darauf abzielen, uns Erkenntnis über einen Aspekt der Realität zu vermitteln. Dieser These zufolge sind Dokumentarfilme – im Unterschied zu anderen Filmgattungen – der Wirklichkeit verpflichtet. Vor diesem Hintergrund sollen in diesem Aufsatz zwei Aspekte genauer untersucht werden: zum einen, wie der kognitive Wert von Dokumentarfilmen genauer zu verstehen ist, und zum anderen, inwiefern ausgehend von diesem epistemischen Aspekt Unterscheidungskriterien zwischen Dokumentarfilmen und anderen Filmgattungen entwickelt werden können. Der Aufsatz (...)
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  24. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
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  25. Games and the Art of Agency.C. Thi Nguyen - 2019 - Philosophical Review 128 (4):423-462.
    Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...)
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  26. Enriching Arts Education Through Aesthetics. Experiential Arts Integration Activities for Early Primary Education.Marina Sotiropoulou-Zormpala & Alexandra Mouriki - 2019 - London, UK: Routledge.
    Enriching Arts Education through Aesthetics examines the use of aesthetic theory as the foundation to design and implement arts activities suitable for integration in school curricula in pre-school and primary school education. This book suggests teaching practices based on the connection between aesthetics and arts education and shows that this kind of integration promotes enriched learning experiences. -/- The book explores how the core ideas of four main aesthetic approaches – the representationalist, the expressionist, the formalist, and the postmodernist – (...)
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  27. Beyond the Imagery: The Encounters of Kierkegaard and Dostoevsky with an Image of the Dead Christ.Wojciech Kaftanski - 2014 - Dostoevsky Journal. An Independent Review 14 (1): 110–129.
    Through an analysis of Kierkegaard’s and Dostoevsky’s approaches to the theme of the death of Christ – one of the major leitmotifs in the debate of their contemporaries conveyed through theological and philosophical considerations, but also expressed in novels and in art – I show how the thinkers comprehended and articulated in their works the religious challenges awaiting the modern man.
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  28. Necessity of Origins and Multi-Origin Art.Joshua Spencer & Chris Tillman - 2019 - Inquiry: An Interdisciplinary Journal of Philosophy 62 (7):741-754.
    ABSTRACTThe Necessity of Origins is the thesis that, necessarily, if a material object wholly originates from some particular material, then it could not have wholly originated from any significantly non-overlapping material. Several philosophers have argued for this thesis using as a premise a principle that we call ‘Single Origin Necessity’. However, we argue that Single Origin Necessity is false. So any arguments for The Necessity of Origins that rely on Single Origin Necessity are unsound. We also argue that the Necessity (...)
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  29. The Carpenter as a Philosopher Artist: A Critique of Plato's Theory of Mimesis.Ilemobayo John Omogunwa - 2018 - Philosophy Pathways 222 (1).
    Plato’s theory of mimesis is expressed clearly and mainly in Plato’s Republic where he refers to his philosophy of Ideas in his definition of art, by arguing that all arts are imitative in nature. Reality according to him lies with the Idea, and the Form one confronts in this tangible world is a copy of that universal everlasting Idea. He poses that a carpenter’s chair is the result of the idea of chair in his mind, the created chair is once (...)
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  30. Myths of Complexity.Claudia Westermann - 2011 - Design Ecologies 1 (2):267-284.
    The following article takes up a dialogue that was initiated in the first issue of Design Ecologies, evolving in relation to questions of design within a context of concepts of complexity. As the first part of the article shows, this process of taking up a dialogue – through reading and writing – can be considered a question of design. This is elaborated alongside de Certeau’s concepts of ‘tactics’ and ‘strategies’. Further, in relation to questions emerging from the previous issue of (...)
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  31. Resonances of the Unknown.Claudia Westermann - 2011 - Kybernetes 40 (7/8):1189-1195.
    Purpose – The purpose of this paper is to discuss the relevance of second-order cybernetics for a theory of architectural design and related discourse. -/- Design/methodology/approach – First, the relation of architectural design to the concept of “poiesis” is clarified. Subsequently, selected findings of Gotthard Günther are revisited and related to an architectural poetics. The last part of the paper consists of revisiting ideas mentioned previously, however, on the level of a discourse that has incorporated the ideas and offers a (...)
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  32. Critica, tendencia y propaganda. Textos sobre arte y comunismo 1917-1954.Juan Jose Gomez Gutierrez - 2008 - Sevilla, España: ISTPART Doble J.
    Esta historia de la relación entre arte y comunismo a través de los escritos de sus principales exponentes abarca el periodo comprendido entre la Revolución de Octubre y el fin del estalinismo e incluye una amplia selección de escritos teóricos, directivas políticas, manifiestos, etc., muchos de ellos inéditos hasta ahora en castellano. El volumen comienza con ejemplos de la relación entre las vanguardias artísticas y el Partido Comunista; continúa con las diferentes formulaciones de la cultura socialista ante la estabilización del (...)
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  33. The PCI Artists. Antifascism and Communism in Italian Art. 1944-1953.Juan José Gómez Gutiérrez - 2015 - Newcastle upon Tyne, Reino Unido: Cambridge Scholars Publishers.
    This book examines the artistic policies of the Italian Communist Party (PCI) during the early post-war years (1944-1951), after the defeat of Fascism in Europe and the outbreak of the Cold War. It brings together theoretical debates on artists’ political engagement and an extensive critical apparatus, providing the reader with an historical framework for wider reflections on the relationship between art and politics.
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  34. Batallas culturales en torno al clasicismo.Juan José Gómez Gutiérrez - 2008 - Fragmentos de Filosofía 6 (6):115-142.
    Los valores fascistas calaron, de un modo u otro, en todas las manifestaciones del arte italiano de entreguerras. Sin embargo, no todas las manifestaciones del arte fascista fueron el resultado de nacionalismo exacerbado, provincialismo y aislacionismo. Los conceptos de ‘romanità’, ‘italianità’, ‘latinità, o ‘mediterraneità’, que caracterizaban la producción cultural italiana de esos años, actuaron originalmente como matriz de estilos diferentes y susceptibles de diversas interpretaciones.
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  35. The Politics of Abstract Art. Forma 1 and the Italian Communist Party.Juan José Gómez Gutiérrez - 2012 - Cercles. Revista D’Història Cultural 15 (15):111-135.
    Este artículo examina el papel del grupo de artistas abstractos Forma 1 en relación con la política cultural del Partido Comunista Italiano durante la posguerra, como ejemplo de los intentos de superar la dicotomía establecida en Italia entre arte abstracto y realismo socialista y producir una alternativa a la confrontación entre ambos discursos estéticos. Mientras los artistas realistas socialistas subrayaban la necesidad de expresar contenidos políticos explícitos con un estilo que asegurase su máxima legibilidad para una audiencia de masas, los (...)
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  36. Picasso en Italia, 1936-1948. Del Guernica al arte socialista.Juan José Gómez Gutiérrez - 2016 - Goya 356 (356):252-263.
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  37. Políticas del urbanismo lúdico. Contracultura y ciudad del situacionismo al neohistoricismo (1943-1989).Juan José Gómez Gutiérrez - 2017 - Arquitectura, Ciudad y Entorno 12 (35):121-136.
    Este artículo ofrece una introducción histórica a la teoría y la práctica situacionista en conexión con la arquitectura funcionalista, las economías urbanas, ejemplos de acción política contracultural y su reincorporación a las lógicas de organización tecnocrática de las ciudades. Ello permite definir, desde una perspectiva histórica, algunas claves interpretativas de los rasgos ideológicos y económicos fundamentales de los sistemas urbanos contemporáneos, lo cual, a su vez puede establecer un contexto desde el que reflexionar sobre las posibilidades actuales de un urbanismo (...)
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  38. D'une graphie qui ne dit rien. Les ambiguïtés de la notation chorégraphique.Frédéric Pouillaude - 2004 - Poetique 1 (137):99-123.
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  39. Games: Agency as Art.C. Thi Nguyen - 2020 - New York: Oxford University Press.
    Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable about us. (...)
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  40. The Aesthetic and Cognitive Value of Surprise.Alexandre Declos - 2014 - Proceedings of the European Society for Aesthetics 6:52-69.
    It is a common experience to be surprised by an artwork. In this paper, I examine how and why this obvious fact matters for philosophical aesthetics. Following recent works in psychology and philosophers such as Davidson or Scheffler, we will see that surprise qualifies as an emotion of a special kind, essentially “cognitive” or “epistemic” in its nature and functioning. After some preliminary considerations, I wish to hold two general claims: the first one will be that surprise is somehow related (...)
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  41. Beardsley on Literature, Fiction, and Nonfiction.Szu-Yen Lin - 2016 - Journal of Aesthetics and Culture 8 (1).
    This paper attempts to revive interest in the speech act theory of literature by looking into Monroe C. Beardsley's account in particular. Beardsley's view in this respect has received, surprisingly, less attention than deserved. I first offer a reconstruction of Beardsley's account and then use it to correct some notable misconceptions. Next, I show that the reformulation reveals a hitherto unnoticed discrepancy in Beardsley's position and that this can be explained away by a weak version of intentionalism that Beardsley himself (...)
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  42. Decadence & Aesthetics.Sacha Golob - forthcoming - In Desmarais & Weir (eds.), Decadence. Cambridge University Press.
    he relationship between decadence and aesthetics is an intimate and complex one. Both the stock figure of the aesthete and the aestheticism of ‘art for art’s sake’ are classic decadent tropes with obvious sources in figures such as Théophile Gautier, Walter Pater, Joris-Karl Huysmans. Yet the links between aesthetics and decadence are more conflicted than might first appear: historically, aesthetics has served both as a site for the theorisation of decadence and as the basis of an attempt to stem it. (...)
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  43. Fake Views—or Why Concepts Are Bad Guides to Art’s Ontology.Michel-Antoine Xhignesse - 2018 - British Journal of Aesthetics 58 (2):193-207.
    It is often thought that the boundaries and properties of art-kinds are determined by the things we say and think about them. More recently, this tendency has manifested itself as concept-descriptivism, the view that the reference of art-kind terms is fixed by the ontological properties explicitly or implicitly ascribed to art and art-kinds by competent users of those terms. Competent users are therefore immune from radical error in their ascriptions; the result is that the ontology of art must begin and (...)
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  44. Machine Art or Machine Artists? Dennett, Danto, and the Expressive Stance.Adam Linson - 2016 - In Vincent Müller (ed.), Fundamental Issues of Artificial Intelligence (Synthese Library). Berlin: Springer. pp. 441-456.
    As art produced by autonomous machines becomes increasingly common, and as such machines grow increasingly sophisticated, we risk a confusion between art produced by a person but mediated by a machine, and art produced by what might be legitimately considered a machine artist. This distinction will be examined here. In particular, my argument seeks to close a gap between, on one hand, a philosophically grounded theory of art and, on the other hand, theories concerned with behavior, intentionality, expression, and creativity (...)
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  45. Appearance and History: The Autographic/Allographic Distinction Revisited.Enrico Terrone - 2018 - British Journal of Aesthetics 58 (1):71-87.
    Nelson Goodman notoriously distinguished between autographic works, whose instances should be identified by taking history of production into account, and allographic works, whose instances can be identified independently of history of production. Scholars such as Jerrold Levinson, Flint Schier, and Gregory Currie have criticized Goodman’s autographic/allographic distinction arguing that all works are such that their instances should be identified by taking history of production into account. I will address this objection by exploiting David Davies’ distinction between e-instances and p-instances of (...)
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  46. CPHL504 Philosophy of Art I Photocopy Packet (Edited by V.I. Burke).Victoria I. Burke (ed.) - 2014 - Toronto, anada: Ryerson University.
    This collection of writings on aesthetics includes selections from Theodor Adorno, Walter Benjamin, Mikhail Bakhtin, Sigmund Freud, Martin Heidegger, Amy Mullin, Friedrich Nietzsche, and Frederich Wilhelm Joseph von Schelling. This collection may still be available as a print-on-demand title at the Ryerson University bookstore.
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  47. PHIL4230 Photocopy Packet Surrealism (Edited by V.I. Burke).Victoria I. Burke (ed.) - 2011 - Guelph: University of Guelph.
    This out-of-print, two-volume, photocopy packet, in the area of "Surrealism and the Politics of the Particular" includes readings on language, meaning, and surrealism from Adorno, Benjamin, McCumber, Breton, Heidegger, Freud, Kristeva, Ricouer, and Bataille.
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  48. Ugo Nespolo: a proposito di rappresentazioni.Elisa Caldarola - 2015 - Rivista di Estetica 58.
    An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guardar Manzoni" (1974); "Il museo: Fontana" (1975). It is claimed that such works embody meditations on the concept and the varieties of representation, that they prompt critical reflections on the role of museums in art-making, and that they suggest an alternative route to that of the 'dematerialization' of the art object for the understanding of contemporary art.
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Artworks
  1. Art, Aesthetics, and the Medium: Comments for Nguyen on the Art-Status of Games.Christopher Bartel - forthcoming - Journal of the Philosophy of Sport:1-11.
    Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...
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  2. Art and Objects: A Manifesto.Said Mikki - manuscript
    We develop a series of theses on the philosophical aesthetics of design art. A sketch of an outline of a theory of objects is drawn from within a naturalistic worldview, that of abstract materialism and the general, still ongoing, quest to build a comprehensive philosophy of nature encompassing not only the physical world, but also culture, art, and politics.
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