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  1. La Aracneida, Fernand Deligny y la tentativa de una filosofía gestual.Luis Guerra - 2024 - Arte Individuo y Sociedad 36:15-24.
    This article explores the work and thought of French pedagogue Fernand Deligny (1913-1996), focusing on his last project commonly referred to as the Tentative des Cévennes, developed between 1967-1996. From this experience that Deligny forged together with his collaborators, the article exposes the generation of a particular form of knowledge, a philosophy subordinated to a gestural solidarity network formed by human and non-human bodies, environments and situations, minimal gestures, everyday actions, and contingent events, visible only through a series of aesthetic (...)
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  2. بيداغوجيا القراءة بين الميتودولوجيا والبيبليوثرابيا.مولاي المصطفى البرجاوي - 2016 - Revue Brochures Educatives مجلة كراسات تربوية 1 (2):117-126.
    القراءة أكبر نعمة أنعم الله بها على عباده؛ إذ تمثل أول كلمة نزلت على حبيبنا المصطفى صلى الله عليه وسلم، وهي جملةٌ وجيزةٌ في لفظها، فسيحةٌ في مفهومها، قوله تعالى: ﴿ اقْرَأْ بِاسْمِ رَبِّكَ الَّذِي خَلَقَ ﴾ [العلق:1].بالإضافة إلى أن القراءة قناة مهمة للتواصل بين الأفراد والمجتمعات؛ فهي من العمليات الميتودولوجيا (المنهجية والمهارية)، التي تمكِّن الفرد من الحصول على المعرفة، كما تُسهِم في بناء شخصيته، وتدعيمِ الثقة فيه، وتنميته. كما أن القراءة أداة ووسيلة علاجية فعَّالة، يستخدمها الطبيب والاختصاصي النفسي والاجتماعي (...)
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  3. Ficta and Virtuality: An Ingardenian Ontology of Virtualized Ficta.Hicham Jakha - forthcoming - Rivista di Estetica:1-16.
    In my paper, I establish an Ingardenian phenomenological ontology of virtualized ficta, i.e., fictional entities introduced to virtual gaming. The first Section of my paper provides an ontology of virtualized ficta, focusing primarily on their ‘‘existential moments’’. But in order to have a firm grasp of the ontological aspects grounding the virtual work, it’s important to engage its strata. This is what I attempt to do in Section 1.2. Virtualized ficta’s intentional dependencies are strongly manifest in what I call the (...)
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  4. Frank Gehry’s non-trivial drawings as gestures: drawdlings and a kinaesthetic approach to architecture.Marianna Charitonidou - 2023 - Journal of Visual Art Practice 21 (2):147-174.
    Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and (...)
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  5. Interactive art as reflective experience: Imagineers and ultra-technologists as interaction designers.Marianna Charitonidou - 2020 - Visual Resources 36 (4):382-396.
    The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. Two (...)
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  6. Fantaisies architecturales chez Iakov Tchernikhov : surpasser la mimèsis à travers la phantasia comme agent du progrès.Marianna Charitonidou - 2021 - Nouvelle Revue d'Esthétique 27 (1):131-143.
    L’article examine les « compositions » de Tchernikhov en liant sa recherche constante de nouvelles formes à la capacité de convertir les « fantaisies » en représentations. Contrairement à Aristote, qui conçoit la mimèsis comme l’équivalent de l’entreprise artistique, Tchernikhov perçoit ses « compositions » comme des actes de dépassement de la mimèsis par la phantasia. Les illustrations visionnaires de ses Fantaisies architecturales expriment son intention de remplacer les mots par des images graphiques. Son approche est fondée sur la croyance (...)
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  7. 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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  8. Diffusing the Creator: Attributing Credit for Generative AI Outputs.Donal Khosrowi, Finola Finn & Elinor Clark - 2023 - Aies '23: Proceedings of the 2023 Aaai/Acm Conference on Ai, Ethics, and Society.
    The recent wave of generative AI (GAI) systems like Stable Diffusion that can produce images from human prompts raises controversial issues about creatorship, originality, creativity and copyright. This paper focuses on creatorship: who creates and should be credited with the outputs made with the help of GAI? Existing views on creatorship are mixed: some insist that GAI systems are mere tools, and human prompters are creators proper; others are more open to acknowledging more significant roles for GAI, but most conceive (...)
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  9. Artistic Exceptionalism and the Risks of Activist Art.Christopher Earley - 2023 - Journal of Aesthetics and Art Criticism 81 (2):141-152.
    Activist artists often face a difficult question: is striving to change the world undermined when pursued through difficult and experimental artistic means? Looking closely at Adrian Piper's 'Four Intruders plus Alarm Systems' (1980), I will consider why this is an important concern for activist art, and assess three different responses in relation to Piper’s work. What I call the conciliatory stance recommends that when activist artists encounter misunderstanding, they should downplay their experimental artistry in favor of fitting their work to (...)
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  10. 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. Venice: 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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  11. Black Holes: Artistic metaphors for the contemporaneity.Gustavo Ruiz da Silva & Gustavo Ottero Gabetti - 2023 - Unigou Remote 2023.
    This paper investigates the cultural significance of black holes and suns as metaphors in continental European literature and art, drawing on theoretical insights from French continental authors such as Jean-François Lyotard and Ray Brassier. Lyotard suggests that black holes signify the ultimate form of the sublime, representing the displacement of humanity and our unease with our place in the cosmos. On the other hand, Brassier views black holes as a consequence of the entropic dissolution of matter, reflecting physical reality's indifference (...)
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  12. A real eye opener. La fotografía de Vivian Maier.Pablo Pavesi - 2017 - Boletín de Estética 13 (40):61-75.
    Vivian Maier’s street photography shows us a sudden transfiguration of reality, by which persons, scenes and things become faerical (neologism that also receives one of the senses of the French féerie , a play where supernatural, or, in this case, also infranatural creatures appear). We propose that this transfiguration is an apparition – a faerical epiphany (always earthy and fleshy) that follows two ways, one sunny and luminous, the other obscure and subterranean. We will examine Maier’s body, reflected in her (...)
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  13. 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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  14. El espacio de la ficción es el tiempo del espectador: la reflexividad de la mirada a la cámara en 'Un verano con Mónica'.David Vázquez Couto - 2021 - Ars Longa. Cuadernos de Arte 30:309-323.
    Summer with Monika (Ingmar Bergman, 1952) was a point of reference for filmmakers searching new ways of filmmaking during the 1960s and 1970s because it anticipated the characteristic reflexivity of cinematic modernity because of the protagonist’s look at the camera. By unexpectedly bursting into the narrative, this gaze becomes a self-conscious strategy aimed at disarticulating not only the cinematic fiction, but also Monika’s fiction, which has symbolically appropriated the imaginary world projected by cinema.
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  15. Art and Learning: A Predictive Processing Proposal.Jacopo Frascaroli - 2022 - Dissertation, University of York
    This work investigates one of the most widespread yet elusive ideas about our experience of art: the idea that there is something cognitively valuable in engaging with great artworks, or, in other words, that we learn from them. This claim and the age-old controversy that surrounds it are reconsidered in light of the psychological and neuroscientific literature on learning, in one of the first systematic efforts to bridge the gap between philosophical and scientific inquiries on the topic. The work has (...)
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  16. 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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  17. Gadamer's Truth and Method: A Polyphonic Commentary.Cynthia R. Nielsen & Greg Lynch (eds.) - 2022 - Lanham: Rowman & Littlefield Publishers.
    Gadamer's Truth and Method: A Polyphonic Commentary offers a fresh look at Gadamer's magnum opus, Truth and Method, which was first published in German in 1960, translated into English in 1975, and is widely recognized as a ground-breaking text of philosophical hermeneutics. The volume features essays from fourteen scholars--both established and rising stars--each of which cover a portion of Truth and Method following the order of the text itself. The result is a robust, historically and thematically rich polyphonic reading of (...)
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  18. 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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  19. Lisa Bufano and Aimee Mullins: disability and the aesthetic of non-human-like prostheses.Chiara Montalti - 2022 - Debates in Aesthetics 17 (2):15-36.
    The essay aims to examine possible readings of disability in the context of visual art, especially regarding bodies prosthetised in unexpected ways. To do that, I will analyse two performances, participated/created by Lisa Bu- fano and Aimee Mullins, which employ prosthetics that distance them from the mimicry of human limbs. I will briefly contextualize them in the history of prosthetics. I will observe how their peculiarity and non-human forms can serve aesthetic and destabilizing purposes regarding the contours of disability. I (...)
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  20. 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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  21. Interpreting Art.Sam Rose - 2022 - London, UK: University College London Press.
    Art interpretation in practice, not theory. -/- How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. -/- Ranging widely, (...)
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  22. Contemporary Art: Ontology.Sherri Irvin - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd ed., Vol. 2. Oxford University Press. pp. 170-172.
    The ontology of visual artworks might be thought comparable to the ontology of other sorts of artifacts: a work of painting seems to be materially constituted by a particular canvas with paint on it, just as a spoon is constituted by a particular piece of metal. But recent developments have complicated the situation, requiring a new account of the ontology of contemporary art. These developments also shed light on the ontology of works from earlier historical eras. This article discusses Artworks (...)
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  23. Body.Sherri Irvin - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd ed., Vol. 1. Oxford University Press. pp. 410-414.
    The body is relevant for aesthetics from two perspectives. We experience and assess bodies aesthetically from the outside; and we have aesthetic experiences of and through our bodies from the inside. In experiences of one’s own body, these perspectives often intersect in interesting ways. From both perspectives, the body is a site where aesthetic and ethical considerations are deeply intertwined. This article includes discussion of Beauty and the Body, Aesthetic Body Practices, Body Aesthetics and Gender Construction, Somatic Dimensions of Aesthetic (...)
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  24. 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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  25. The Moral Dimension of Qiyun Aesthetics and Some Kantian Resonances.Xiaoyan Hu - 2019 - Proceedings of the European Society for Aesthetics 11:339–374.
    In this paper, I suggest that the notion of qiyun (spirit consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience and work. By projecting Kant’s, and Schiller’s somewhat modified Kantian philosophy of aesthetic autonomy and the moral relevance of art into the qiyun-focused context, we shall see that reflection on (...)
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  26. The Dialectic of Consciousness and Unconsciousness in Spontaneity of Genius: A Comparison between Classical Chinese Aesthetics and Kantian Ideas.Xiaoyan Hu - 2017 - Proceedings of the European Society for Aesthetics 9:246–274.
    This paper explores the elusive dialectic between concentration and forgetfulness, consciousness and unconsciousness in spontaneous artistic creation favoured by artists and advocated by critics in Chinese art history, by examining texts on painting and tracing back to ancient Daoist philosophical ideas, in a comparison with Kantian and post-Kantian aesthetics. Although artistic spontaneity in classical Chinese aesthetics seems to share similarities with Kant’s account of spontaneity in the art of genius, the emphasis on unconsciousness is valued by classical Chinese artists and (...)
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  27. Beyond Representation: Reconsidering Loehr's Periodisation of Chinese Painting.Xiaoyan Hu - 2017 - Proceedings of ICA 2016 ‘Aesthetics and Mass Culture’ (E-Book), 2016.
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  28. The Notion of 'Qi Yun' (Spirit Consonance) in Chinese Painting.Xiaoyan Hu - 2016 - Proceedings of the European Society for Aesthetics 8:247–268.
    ‘Spirit consonance engendering a sense of life’ (Qi Yun Sheng Dong) as the first law of Chinese painting, originally proposed by Xie He (active 500–535?) in his six laws of painting, has been commonly echoed by numerous later Chinese artists up to this day. Tracing back the meaning of each character of ‘Qi Yun Sheng Dong’ from Pre-Qin up to the Six Dynasties, along with a comparative analysis on the renderings of ‘Qi Yun Sheng Dong’ by experts in Western academia, (...)
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  29. Символизация успеха в современном кинематографе.Gennady Bakumenko - 2018 - Dissertation, Armavir State Pedagogical University
    The set of symbols of success is a set of cultural determinants of activity and their functioning is connected with the fundamental functions of culture as a system of historically developing supra-biological programs of life. The relevance of considering the symbolization of success in modern cinema is due to several factors. First, according to the majority of art historians and film theorists, cinema remains the leading, most widespread form of art throughout the 20th and 21st centuries. If we understand art (...)
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  30. Museums and the Shaping of Contemporary Artworks.Sherri Irvin - 2006 - Museum Management and Curatorship 21:143-156.
    In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a (...)
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  31. The Ontological Diversity of Visual Artworks.Sherri Irvin - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave Macmillan. pp. 1-19.
    Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...)
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  32. 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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  33. Deleuze's 'Difference and Repetition -Irfan Ajvazi.Irfan Ajvazi - 2021 - Idea Books.
    Deleuze's 'Difference and Repetition -Irfan Ajvazi.
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  34. 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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  35. Ugliness Is in the Gut of the Beholder.Ryan P. Doran - 2022 - Ergo: An Open Access Journal of Philosophy 9 (5):88-146.
    I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...)
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  36. 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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  37. Del muro al grafiti en la obra de Antoni Tàpies.Raquel Cascales - 2019 - Arte, Individuo y Sociedad 3 (31):625-641.
    El estudio de los grafitis de Antoni Tàpies que se lleva a cabo en este artículo pretende profundizar en un aspecto poco considerado de la obra del autor y, sin embargo, crucial para comprender el conjunto de su obra. Esta perspectiva permite destacar el interés del artista por superar la separación entre arte y vida, recontextualizándolo más allá de la corriente informalista en las que se le ha encasillado y acercándolo a los movimientos internacionales del arte de acción. Para explicar (...)
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  38. Empathie.Íngrid Vendrell-Ferran - 2022 - In Siegmund Judith (ed.), Handbuch Kunstphilosophie. UTB.
    Dieser Beitrag handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...)
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  39. Really Boring Art.Andreas Elpidorou & John Gibson - 2022 - Ergo: An Open Access Journal of Philosophy 8 (30):190-218.
    There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...)
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  40. The Modern Paradigm of Art and Its Frontiers.Gizela Horvath - 2019 - In Mario do Rosario Monteiro (ed.), Modernity, Frontiers and Revolutions. Boca Raton London New York Leiden: pp. 314-324.
    Abstract The awakening of art to self-awareness and the statement of its autonomy are modern phenomena. The way we think about art in the modern age may be derived from the Kantian “beauty without concept”. Beautiful art is the work of the genius, who creates a work of art that is valuable in itself and is admired in museums by the public. That which I call here “the modern paradigm of art” is based on an absence: the non-conceptuality of the (...)
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  41. “Improvisation and Installation Art”.Elisa Caldarola - 2021 - In Alessandro Bertinetto & Marcello Ruta (eds.), The Routledge Handbook of Philosophy and Improvisation in The Arts. New York, Stati Uniti: Routledge.
    This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. Not only (...)
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  42. On Experiencing Installation Art.Elisa Caldarola - 2020 - Journal of Aesthetics and Art Criticism 78 (3):339-343.
    This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.
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  43. La estética y el arte de regreso a la Academia.José Ramón Fabelo-Corzo & Bertha Laura Álvarez Sánchez (eds.) - 2014 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Los materiales que integran este libro provienen del II Encuentro de Egresados realizado en el verano de 2012 por la Maestría en Estética y Arte de la BUAP. Regresaban a su academia los que alguna vez fueron sus estudiantes. Venían con el propósito de reencontrarse con los avances investigativos de sus profesores y a traer ellos mismos los resultados de la continuidad de su trabajo de investigación. Algunos dejaron también en el encuentro una muestra de su arte. El ciclo de (...)
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  44. Understanding Modern Art: Exploring the Strange and the Disturbing.Jakob Zaaiman - 2020 - London, UK: HarfieldAcademic.
    This book is intended to be a simple & easy-to-read guide to everything you need to know to understand & appreciate MODERN CONTEMPORARY ART. The aim is to explain the key ideas underlying the principles of modern contemporary art, so that you can meaningfully evaluate and enjoy contemporary artworks on their own terms. Anyone with an interest in any of the arts can benefit from this book: you do not need to have specialist background knowledge or artistic training. We will (...)
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  45. Visual Metaphors and Cognition: Revisiting the Non-Conceptual.Michalle Gal - 2019 - In Kristof Nyiri & Andras Benedek (eds.), Perspective on Visual Learning, Vol. 1. The Victory of the Pictorial Aga. Budapest, Hungary: pp. 79-90.
    The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing non-conventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various kinds of (...)
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  46. L'immagine-inazione. Lo spazio e il tempo nel passaggio dall'image-mouvement all'image-temps in Gilles Deleuze.Fabio Vergine - 2019 - In Enrico Giannetto (ed.), La memoria del cielo. Catania CT, Italia: pp. 1-18.
    Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...)
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  47. No Time to Move: Motion, Painting and Temporal Experience.Jack Shardlow - 2020 - Philosophy 95 (3):239 - 260.
    This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict motion in (...)
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  48. Curating Interdisciplinarity in Literature-Art: a Review of Mukhaputa.Srajana Kaikini - 2018 - Rupkatha Journal On Interdisciplinary Studies in Humanities 10 (2):251 - 259.
    This is a philosophical review of the exhibition dedicated to Literature – Art titled Mukhaputa (Cover page) held on occasion of the Manipal International Literature and Arts Platform 2017 in Manipal, India. The curatorial strategy of the exhibition explores the intersectional relationships between literature and visual arts at large. The context of this critical review is the recent past of modern literature journals in print that encouraged artists and illustrators to converse with literature and in turn poets and authors to (...)
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  49. Art in the time of Disease.Srajana Kaikini - 2014 - Journal for Cancer Research and Therapeutics 10 (1):229 -231.
    An invited editorial on the depiction of disease in art history which would then become the symbol of this redemptive philosophy.
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  50. Spur, Zeugnis und Imagination: Der Erkenntniswert von Dokumentarfilmen.Ingrid Vendrell Ferran - 2020 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 65 (1):147-167.
    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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