Art and Artworks

Edited by Nicholas Riggle (University of San Diego)
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  1. The Art of Mapping between Land and Mind.Francesco Ragazzi (ed.) - 2024 - Venice: Ca' Foscari University Press.
    In the creation of maps, scientific knowledge related to mathematics and physics combines with knowledge specific to graphic or artistic disciplines. Since all maps are artifacts whose aesthetic qualities convey information that simultaneously engages the fields of ontology, epistemology, and politics, they are objects of undeniable interest for philosophical inquiry. Following what has been termed “the cartographic turn in social sciences”, The Art of Mapping Between Land and Mind delves into two intertwining issues. On one side, it examines how the (...)
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  2. Aproximaciones a la historia del arte y el museo: Belting, Danto y Hegel (Approximations to the History of Art and the Museum: Belting, Danto, and Hegel).Carlos Vanegas Zubiría - 2021 - H-Art. Revista de Historia, Teoría y Crítica de Arte 8:305-324.
    In this paper I examine the thesis regarding the end of the history of art, through which Hans Belting frames the museum as a correlate of history, understood as framing art and the role of the museum within the development of a closed and outdated philosophy of history: the phi-losophy of Hegel. On the contrary, I believe that first He-gel and later Arthur Danto not only explain the changing roles of art and the museum but also argue for the need (...)
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  3. Arte precario: la posibilidad de pensar la experiencia deficitaria del mundo contemporáneo.Carlos Vanegas Zubiría & Sara Fernández Gómez - 2023 - In Leandro Sánchez Marín & Jhoan Sebastian David Giraldo (eds.), Ensayos sobre la teoría crítica de la sociedad. A 100 años del Instituto de Investigación Social de Frankfurt. Medellín: Universidad Libre / Politécnico Colombiano Jaime Isaza Cadavid / Ennegativo Ediciones. pp. 715-731.
    En su libro Precariedad, estética y política, Vilar se pregunta por un problema que no es nuevo para el pensamiento crítico del siglo XX: la precariedad. Y llama la atención sobre la importancia de este concepto en el presente en que vivimos, como si fuera un fantasma que sobrevuela el mundo y la historia. Parece ser que la precariedad se presenta con el perfil de lo actual, como si fuera el rostro de las condiciones contemporáneas de existencia. De ahí que (...)
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  4. Aprovechando las lecciones de los antepasados indígenas: el caso de los Bachués (Drawing on the lessons of indigenous ancestors: the case of the Bachués).Carlos Vanegas Zubiría, Sara Fernández Gómez & Carlos Fernández Uribe - 2024 - Visioni Latinoamericane 30:92-109.
    The authors explore the works of a group of Colombian artists of the twentieth century who resort to the references of the Latin American pre-Hispanic world as a plastic strategy of a modern art with strong roots in their own culture. Thus, the Bachué group and the cases of Pedro Nel Gómez and Rómulo Rozo are analyzed as alternatives to the official and prevailing art, with an avant-garde tendency, from a nationalist and indigenist point of view.
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  5. Sobre historia y gestos políticos: A propósito de la exposición Jardín de los senderos que se bifurcan. Actos fundantes y gestos refundantes.Carlos Vanegas Zubiría - 2024 - Dialektika: Revista de Investigación Filosófica y Teoría Social 5 (16):138–148.
    This text takes as an excuse the homonymous exhibition at the Museo de Antioquia, to address the history and political gestures in contemporary art. By addressing some curatorial approaches of the exhibition, it explores the cultural functions of the museum as a place of localization of descriptive and communicative processes about culture, and how the exhibition reveals the negative effects of these functions on cultural processes. The text highlights the presence of the artist Jorge Marín, who in his works questions (...)
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  6. Aproximación al uso de estrategias del Barroco en el arte contemporáneo latinoamericano (Approach to the use of Baroque strategies in Latin American contemporary art).Carlos Vanegas Zubiría - 2024 - Visioni Latinoamericane 30:77-91.
    The authors reflect on the conceptual slippage of the Baroque from the philosophy and history of Latin American art. They appreciate the use and appropriation of its formal and aesthetic strategies in some artists of contemporary art, from which we can think about the current historical processes of the region. -/- Keywords: Latin American Baroque, Contemporary art, appropriation, theatricalization, philosophy and art history.
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  7. Editorial: Rethinking research with methodologies of art practice.Claudia Westermann - 2024 - Technoetic Arts 22 (1):3-7.
    This issue of Technoetic Arts: A Journal of Speculative Research (TA) encompasses eight articles by artists and scholars from around the globe who engage with methodologies of art practice within research that reflects on technological and ecological change, contributing to the discourse on the inclusion of subjective experience in research. The articles by authors Dulmini Perera, Kate Doyle, Nora S. Vaage, Merete Lie, Nikita Peresin Meden, Kristina Pranjić, Peter Purg, Nicolaas H. Jacobs, Marth Munro, Chris Broodryk, Semi Ryu, Rahul Mahata, (...)
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  8. Estética difusa o de la globalización de lo estético.Andrea Mecacci - 2024 - Boletín de Estética (66):7-23.
    Estética difusa es la fórmula que sintetiza la omnipresencia de los fenómenos estéticos en el escenario actual: superada la larga fase del dominio exclusivo del arte como parámetro de los valores estéticos, la contemporaneidad se ha reconocido en una pluralidad de prácticas en las que también lo no estético es pensado y experimentado como estético. El ensayo se propone explorar los aspectos teóricos de este proceso en el que consumo material y consumo in-material confluyen en un único escenario, cotidiano y (...)
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  9. Weaving Artistic Archipelagos in Afro Diasporic Networks.Frédéric Lefrançois - 2022 - Sociocriticism 36 (1-2).
    Through the prism of archipelicity, the artistic production of the Afro-American Diaspora reveals its diffractive potential: at once close to and far from its original origins, it unfolds in the in-between of a double consciousness. In his seminal essay, Paul Gilroy calls for the overcoming of binary oppositions in order to better apprehend the complexity of Afro-diasporic intellectual culture, which he sees as specifically transnational (Gilroy, 1993). As inclusive as this theoretical framework may seem, it is challenged by the inherent (...)
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  10. Malraux, Art, and Modernity.Derek Allan - forthcoming - la Revue des Lettres Modernes 2024.
    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.).
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  11. Schelling's 'Art in the Particular': Re-orienting Final Cause.Nat Trimarchi - 2024 - Cosmos and History 20 (1):416-419.
    Schelling’s Principle of Art returns us to an ancient epic sensibility, laying the foundations for reversing the unrealistic ‘modern mythology’ arguably at the core of humanity’s ecological/existential crisis. This contribution examines how, by detailing his systematic approach to constructing art ‘in the particular’ (art-forms/works). ‘Particularity’ is subject only to the reason inherent in the potences (or consequences) of the affirmation of the whole unity (Principle). Hence Schelling’s ‘affirming principles’ determine boundary conditions for his ‘mythological categories’, revealing why their generalities inform (...)
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  12. State of the Art - Elements for Critical Thinking and Doing.Erich Berger, Mari Keski-Korsu, Marietta Radomska & Line Thastum (eds.) - 2023 - Helsinki: Bioart Society.
    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 (...)
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  13. Two-Dimensional Theories of Art.Thomas N. P. A. Brouwer - 2022 - Thought: A Journal of Philosophy 11 (3):142-149.
    What determines whether an object is an artwork? In this paper I consider what I will call ‘social’ theories of art, according to which the arthood of objects depends in some way on the art-related social practices that we have. Though such a dependence claim is plausible in principle, social theories of art tend to unpack the determining link between artworks and social practices in terms of intentional relations between the objects in question and the people involved in the relevant (...)
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  14. Interpreting AI-Generated Art: Arthur Danto’s Perspective on Intention, Authorship, and Creative Traditions in the Age of Artificial Intelligence.Raquel Cascales - 2023 - Polish Journal of Aesthetics 71 (4):17-29.
    Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...)
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  15. Le voyage en Grèce des pensionnaires de la Villa Médicis au xixe siècle : la perception des monuments antiques entre architecture et archéologie.Marianna Charitonidou - 2021 - Anabases 34:147-165.
    L’article vise à retracer les relations entre les pratiques de l’architecture et les pratiques de l’archéologie, en accordant une importance particulière au rôle joué par les antiquités grecques dans la formation intellectuelle des archéologues et architectes du xixe siècle, d’une part, et à la signification du voyage en Grèce, d’autre part. L’article vise à répondre à la question de la spécificité du voyage en Grèce et de sa relation avec l’idée du « Grand tour » et du « retour en (...)
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  16. Merging philosophical traditions for a new way to research music: On the ekphrastic description of musical experience.Andrzej Krawiec - 2024 - British Journal of Aesthetics 64 (1):107-125.
    This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the methodology developed (...)
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  17. The influence of the Pray Codex in the debate about the Shroud of Turin.Tristan Casabianca - 2023 - Sindon 7:26-34.
    The Shroud of Turin is a controversial linen cloth thought by some to be a medieval artifact and by others to be the burial cloth of Jesus of Nazareth. To better explain the reasons why reaching a consensus among experts seems highly unlikely, this paper focuses on the possible relationship between the Shroud of Turin and the Pray Codex, the first illuminated manuscript in Hungarian (c. 1192 – c. 1195). An analysis of the recent literature, including a qualitative survey, highlights (...)
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  18. How to Change an Artwork.David Friedell - forthcoming - In Alex King (ed.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...)
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  19. Art and Ethics: Formalism, in James Harold (ed.) The Oxford Handbook of Ethics and Art.Michalle Gal (ed.) - 2023 - London: Oxford University Press.
    This chapter presents the formalist account of the moral status of an artwork as an aesthetically significant and autonomous form, with due emphasis on the Anglo-American art-for-art’s-sake aesthetic, as it developed between 1870 and 1960. The author shows that the formalist art-is-above-morals approach is a substantive moral stance in itself. Formalist aesthetics is usually presented in the literature as evincing a purist indifference to ethics, construing moral properties as external to art, in opposition to the internal pure properties of art’s (...)
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  20. Turning queries into questions: For a plurality of perspectives in the age of AI and other frameworks with limited (mind)sets.Claudia Westermann & Tanu Gupta - 2023 - Technoetic Arts 21 (1):3-13.
    The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that there are substantial ethical challenges related to bias in the training data, copyright issues, as well as ecological challenges which the technology industry has consistently downplayed over the years. -/- The editorial highlights the distinction between the current AI technology’s reliance on extensive pre-existing (...)
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  21. Tra il foglio vuoto e lo schermo. Type e token alla prova dell’arte post-mediale.Francesco Ragazzi - 2020 - In Giovanni Argan, Maria Redaelli & Timonina Alexandra (eds.), Taking and Denying. Challenging Canons in Arts and Philosophy. Edizioni Ca' Foscari. pp. 277-299.
    What kind of entities are works of art from an ontological point of view? This question has become canonical in the framework of analytic philosophy. One way of answering the puzzle seemed to be conclusive. It is the hypothesis that all, or the majority of artworks can be identified with types embedded into tokens. To begin with, I will survey how the type-token distinction transitioned from semiotics to ontology. Secondly, I will consider how some contemporary art forms contributed to questioning (...)
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  22. La création artistique, pensée et acte.Dominique Berthet - 2023 - Hal Open Science.
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  23. O gesto inaugural da arte (e uma visão da época) pelas mãos de Sulawesi.Gabriel Herkenhoff Coelho Moura - unknown
    ENSAIO DISPONIBILIZADO NA REVISTA GUARU (2021): A luz adentra as cavernas e mostra imagens nas pedras. A mera aparência, quimera. Vemos no fundo perfis da verdadeira experiência da necessidade da caça em uma natureza vivida na nudez de seus ciclos e humores, sem controle. Nossos olhos aterram-se em javalis, búfalos-anões, bisões, cavalos, humanos-bichos, contornos de mãos – rastros de animais mágicos cujo vigor permanece nos traços gravados em pigmentos pretos e avermelhados. Temos diante de nós a descoberta de uma forma (...)
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  24. Danto and Dickie: Artworld and Institution.Michalle Gal - 2021 - In Lydia Goehr & Jonathan Gilmore (eds.), A Companion to Arthur C. Danto. Hoboken: Wiley. pp. 273–280.
    This chapter presents the meeting points and conflicts between Arthur Danto’s philosophy of art and George Dickie’s avowedly succeeding theory. Its focus is on the internalist-externalist debate on the ontology of the artwork as created and perceived within the artworld. It shows that both Danto and Dickie developed anti-formalist theories, that contributed to the demise of aesthetic modernism. Inverting the formalist distinction between internal and external properties of the artwork, they classified the sensuous properties of the artwork as secondary in (...)
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  25. A restituição do espetáculo do mundo na arte: dimensões ontológicas da percepção, expressão e instituição nos ensaios de Merleau-Ponty sobre pintura.Gabriel Herkenhoff Coelho Moura - 2022 - Sofia 11 (2):p. 1-25.
    Ao longo da trajetória intelectual de Merleau-Ponty, as reflexões sobre arte cumprem um papel crucial em sua preocupação de restituir o espetáculo do mundo, através da volta ao brotamento do sentido do ser na experiência antepredicativa do ser humano dada na percepção. Um sinal disso é que, em cada um dos momentos de seu pensamento, ele escreveu um ensaio no qual o tema central é a contribuição da expressão artística para uma reflexão filosófica interessada na abertura humana corporal no mundo. (...)
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  26. Emoções Musicais.Federico Lauria - 2023 - Compêndio Em Linha de Problemas de Filosofia Analítica, Ricardo Santos e David Yates (Eds.), Lisboa: Centro de Filosofia da Universidade de Lisboa.
    A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...)
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  27. Why Joseph Margolis Has Never Been an Analytic Philosopher of Art.Roberta Dreon & Francesco Ragazzi - 2022 - JOLMA - The Journal for the Philosophy of Language, Mind, and the Arts 3 (2):333-364.
    In this paper, we support a continuistic reading of Joseph Margolis' philosophy, defending the claim that in the 1970s, Margolis tackled the issues suggested by the analytic philosophy of art from an original theoretical perspective and through conceptual tools exceeding the analytical framework. Later that perspective turned out to be a radically pragmatist one, in which explicitly tolerant realistic claims and non-reductive naturalism converged with radical historicism and contextualism. We will endorse this thesis by focusing on two important concepts appearing (...)
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  28. (2 other versions)Opposition.Andrew Milward - 2022 - Andrewmilward.Net.
    This essay develops a conceptual structure which is primarily delineated by the extremes of pure opposition and pure non-opposition. The former involves pure denial, destruction, and rejection, while the latter involves pure ignorance, indifference, and affirmation. Both of these extremes can, however, be mitigated by another conceptual element: an ethical demand whose form varies according to the field in which opposition takes place. The essay shows how these extremes along with the mitigating ethical demand can be seen to operate within (...)
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  29. From the Notebooks (1).Andrew Milward - 2020 - Andrewmilward.Net.
    This work is a short compilation of notes from my own notebooks. It was shown at the Museum of Futures' annual visual literature exhibition for 2020 on the subject of notational literature and the (un)finished draft. The notes selected discuss note taking itself, art, and themes from my essays.
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  30. Manet's Bar.Andrew Milward - 2017 - Andrewmilward.Net.
    Manet's Bar is a very short essay which shows how vision may operate in the scene depicted by Manet's Un bar aux Folies Bergère.
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  31. AI’s Role in Creative Processes: A Functionalist Approach.Leonardo Arriagada & Gabriela Arriagada-Bruneau - 2022 - Odradek. Studies in Philosophy of Literature, Aesthetics, and New Media Theories 8 (1):77-110.
    From 1950 onwards, the study of creativity has not stopped. Today, AI has revitalised debates on the subject. That is especially controversial in the artworld, as the 21st century already features AI-generated artworks. Without discussing issues about AI agency, this article argues for AI’s creativity. For this, we first present a new functionalist understanding of Margaret Boden’s definition of creativity. This is followed by an analysis of empirical evidence on anthropocentric barriers in the perception of AI’s creative capabilities, which is (...)
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  32. Philosophical Scepticism and the Photographic Event.Dawn M. Wilson - 2012 - In Jan-Erik Lundström & Liv Stoltz (eds.), Thinking Photography - Using Photography. Centrum för Fotografi. pp. 98-109.
    The puzzle that concerns me is whether it is possible to establish a substantive difference between photographic images and other kinds of visual image, which can explain the special epistemic and aesthetic qualities of photographs, without giving way to scepticism about photographic art. In this essay I offer a philosophical account of the photographic process which is able to resolve this tension. I use this account to argue that, while some photographs are mind independent, mind independence is not a defining (...)
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  33. Kreativität und Mimesis. Das Bildschaffen in interkultureller Perspektive.Zhuofei Wang - 2022 - Image. Zeitschrift für Interdisziplinäre Bildwissenschaft 36:102-111.
    As two concepts that are both distinct and intertwined, creativity and mimesis have their own history of development. In the visual arts, both refer primarily to the principles, methods, and procedures of image production. The production of images is neither entirely arbitrary nor entirely plannable, but has its own logic, which lies between work and reality, the inner world and the outer world as well as tradition and innovation. The relevant discourses are influenced by the respective cultural-historical frameworks. Due to (...)
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  34. L’orecchio e lo sguardo. Introduzione a una fenomenologia dell’immagine sonora.Elia Gonnella - 2022 - Roma RM, Italia: Aracne.
    I suoni e le immagini sembrano appartenere a due forme dell’esperienza profondamente distinte. Due registri sensoriali antitetici cui corrispondono due fenomeni accostabili, ma mai completamente unibili. Eppure si ricorre spesso all’espressione immagine sonora, che cosa si intende precisamente? Esiste un punto in cui i suoni e le immagini si appartengono reciprocamente? Può un’immagine risuonare e un suono essere anche un’immagine? Il testo cerca di rispondere a questi quesiti scavando e intarsiando una concettualizzazione dell’immagine sonora attraverso un dialogo con la semiotica, (...)
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  35. Towards a Materialist Theory of Art.Florian Endres - 2019 - Continental Thought and Theory: A Journal of Intellectual Freedom 2 (4):50-61.
    Art, for Hegel, is not only distinct but self-distinguishing of and from nature – it happens in and through the latter. It liberates us from being merely natural creatures, and it does so by a dynamic of a cut or break - even though this liberation is achieved only through natural sensuousness, and hence, keeps us tethered to nature in some particular way. Inspired by Todd McGowan’s emphasis on the central role of contradiction in Hegel’s philosophy, this paper considers the (...)
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  36. (1 other version)La Rue est à nous.Filippo Fimiani - 2021 - Rivista di Estetica 2 (77):59-76.
    periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...)
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  37. Martens, J., Rietveld, R., & Rietveld, E. (2022). A conversation on collaborative embodied engagement in making art and architecture: Going beyond the divide between ‘lower’ and ‘higher’ cognition. In K. Bicknell & J. Sutton (Eds.) Collaborative Embodied Performance: Ecologies of Skill (pp. 53–68). London,: Methuen Drama.Janno Martens, Ronald Rietveld & Erik Rietveld - 2022 - Londen, Verenigd Koninkrijk: Methuen Drama.
    RAAAF [Rietveld Architecture-Art-Affordances] is an interdisciplinary studio that operates at the crossroads of visual art, experimental architecture and philosophy. RAAAF makes location- and context-specific artworks, an approach that derives from the respective backgrounds of the founding partners: Prix de Rome laureate Ronald Rietveld and Socrates Professor in Philosophy Erik Rietveld.
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  38. The Inauguration of Formalism: Aestheticism and the Productive Opacity Principle.Michalle Gal - 2022 - Journal of Comparative Literature and Aesthetics 2 (24):20-30.
    This essay presents the Aestheticism of the 19th century as the foundational movement of modernist-formalist aesthetics of the 20th century. The main principle of this movement is what I denominate “productive opacity”. Aestheticism has not been recognized as a philosophical aesthetic theory. However, its definition of artwork as an exclusive kind of form—a deep, opaque form—is among the most precise ever given in the discipline. This essay offers an interpretation of aestheticism as a formalist theory, referred to here as “deep (...)
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  39. The Truthful Portrait: Can Posing Be a Tool for Authenticity in Portraiture?Aurélie J. Debaene - 2021 - The Journal of Aesthetics and Art Criticism 79 (4):440-451.
    This article explores the compatibility of posing and authenticity in portraiture. Often understood as a source of inauthenticity, I propose that posing in fact functions as an artistic tool that can support a truthful portrayal. My argument first discusses authenticity in relation to portraiture through the lens of Bernard Williams’s idea of “truthfulness,” which relies on his notions of “accuracy” and “sincerity.” Second, I introduce a phenomenology of posing. I identify two aspects of posing that can be present in the (...)
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  40. Vasily Kandinsky: Around the Circle.Ekin Erkan - 2022 - AEQAI.
    A review of the recent exhibition of Wassily Kandinsky's artworks at the Guggenheim Museum, with interest in Kandinsky's career-wide separation of form from content.
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  41. On Conceptual Revision and Aesthetic Judgement.Sabina Vaccarino Bremner - 2021 - Kantian Review 26 (4):531-547.
    This paper calls into question the view typically attributed to Kant that aesthetic judgements are particularist, resisting all conceptual determination. Instead, it claims that Kant conceives of aesthetic judgements, particularly of art, as playing an important role in therevisionof concepts: one sense in which aesthetic judgements, as Kant defines them, ‘find a universal’ for a given particular. To understand the relation between artistic judgements and concepts requires that we consider what I call Kant’s diachronic account of aesthetic ideas, or how (...)
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  42. Disintegrating the Linear: Time in Simon Finn’s Instability.Marilyn Stendera - 2018 - In Exhibition Catalogue - Simon Finn's Instability.
    The art of Simon Finn has always had a markedly temporal dynamic. Vast structures built and annihilated again and again across different media, their fragmentation across space and time simultaneously methodical and darkly chaotic. Roiling waters and eldritch surfaces held captive in their unrest. Finn’s works render cycles of construction and disintegration, of stasis and motion, in ways that shed light upon the underlying structures of our experience of time while shattering simplistic notions of linearity. This is nowhere more apparent (...)
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  43. Defending Games: Reply to Hurka, Kukla and Noë.C. Thi Nguyen - 2021 - Analysis 81 (2):317-337.
    This is my reply to commentators in the symposium on my book, GAMES: AGENCY AS ART. The symposium features commentary by Thomas Hurka, Quill Kukla, and Alva Noe, and originally appeared in Analysis 81 (2).
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  44. 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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  45. 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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  46. 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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  47. 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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  48. 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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  49. 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 - 2022 - The Philosophical Quarterly 72 (1):240-243.
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  50. Artistic Objectivity: From Ruskin’s ‘Pathetic Fallacy’ to Creative Receptivity.Eli I. Lichtenstein - 2021 - British Journal of Aesthetics 61 (4):505-526.
    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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