Philosophy of Visual Art

Contents: - positioning Pound’s contributions to theory – aesthetic organicism - Emerson, Pound, and the aim of language - Confucian philosophy and Pound’s tradition.

How do individuals and communities respond to negative aesthetic experience? Historically, philosophical aesthetics has devoted much thought to positive aesthetic experience, including the beautiful, agreeable, charming, and tasteful. But this is only a partial picture. Some aesthetic experience displeases: the ugly, disgusting, and horrific are but a few examples with which aestheticians have grappled in recent decades. The aversive and visceral nature of disgust has generated particular interest. But as Carolyn Korsmeyer points out in _Savoring Disgust: The Foul & the (...) Fair in Aesthetics_, there is also a paradoxical attraction to that which arouses disgust. Following Kant and Korsmeyer from the Western philosophical tradition, I claim that the aversive-attractive response is integral to disgust’s power to motivate aesthetic engagement. On the one hand, people might feel its force and refuse to engage with that which disgusts. On the other hand, unshakeable interest may spur active responses including the exchange of judgments of taste; protests of a given artist, work, or exhibition; or even violent actions intended to damage or destroy a particular work. While the negative dimension of disgust response is often regarded as a liability from an aesthetic standpoint, disgust also has a corresponding productive dimension that has important implications for communities. In this chapter, I coin the term “generative disgust” in order to explain the productive capacity of disgust to inspire communal, often subcultural, activity. On my view, generative disgust has two orientations – destructive and constructive. Both forms activate the community in question based upon the valence of the group’s comportment towards a particular work of art. As such, destructive generative disgust galvanizes the community and spurs increased activity based upon negative response to art, whereas constructive generative disgust galvanizes the community and spurs increased activity based upon positive response to art. I explore two examples that reveal the dual character of generative disgust in communities: Andres Serrano’s _Immersion (Piss Christ)_ (destructive deployment) and Bryan Fuller’s _Hannibal_ (constructive deployment). In the case of _Piss Christ_, the intensity of generative disgust spurred some Christians to police moral-religious boundaries and restrict aesthetic expression in order to protect a community. Their activity culminated in vandalism and destruction of Serrano’s photograph. In the case of Hannibal, the intensity of generative disgust, combined with hedonic ambivalence inspired the “Fannibals” (the Hannibal fandom) to forge community, make art, and to try to find the show a new home when it was not renewed by NBC. Both instances manifest how generative disgust can incite aesthetic engagement and increase organized activity on the part of subcultural groups. (shrink)

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 (...) for reflection on art in modern culture. Our reconstruc-tion of this debate through the work of these authors allow us to represent, for contemporary thought, a pro-ductive analysis of the history of art and its connection with philosophy, and offers us theoretical perspectives that remain relevant for our understanding of theory, the history of art, and various institutional spheres. (shrink)

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 (...) esta sociedad que han llamado del riesgo, de la seguridad, o de control, introduzca esta categoría a partir de la sospecha de la libertad en la vida privada y pública. De ese modo, partimos de la afirmación de que nos encontramos en un contexto asociado tanto a la precariedad como a la contingencia, es decir, espacios de constante escepticismo e incertidumbre, en donde las experiencias y manifestaciones sensibles emergen como posibilidades y espacios de reflexión crítica. (shrink)

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.

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 (...) the influence of the notion of progress in the territory. He recovers what has been discarded by history to stage what has been rejected and repudiated. Marín's works are presented as a survival strategy that illuminates other ways of thinking about the territory of culture and questions the concept of history as a fixed representation. In this way, it highlights the importance of addressing history and political gestures in the production of contemporary art, and how the exhibition "El Jardín de los senderos que se bifurcan" and the work of Jorge Marín are examples of how art can question and subvert the hegemonic narratives of history and culture. (shrink)

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.

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, (...) Doreswamy, Sana Altaf and Aqib Javid Parry form a collection that crosses disciplines and genres to engage in fundamental critique of existing modes of enquiry and conclusion. The texts situate art and design methodologies in particular cultural contexts and in relation to frameworks defined by research methodologies of the sciences and humanities to gain agency for critique and to counter a sense of inevitability that has come to mark the most recent crises. (shrink)

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 (...) transcoloniality of the artistic dynamics animating the region of the Black Island Americas. To this day, avatars of the colonial model persist in the Lesser and Greater Antilles and in the majority of the coastal nations of the Caribbean basin. To a certain extent, these schemes continue to influence the aesthetic-political choices of the region’s visual artists and performers, while providing them with symbolic codes that can be interpreted as signs of belonging to the Afro-Trans American diaspora. It is therefore a challenge to claim any form of diasporic citizenship in such a shifting and uncertain configuration. What is thought to be relevant from an individual or community perspective may prove to be institutionally subversive. In the syncretic tradition of Cuba and Brazil, the same code can be given different semiotic meanings depending on the political and pragmatic context. This article therefore takes an ethno-critical look at the contribution of such practices to the broader framework of archipelagic networks and map zones of Afro-diasporic connectivity in a trans-American context. (shrink)

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

John Carvalho’s Thinking with Images, an Enactivist Aesthetics argues that puzzling artworks can draw us into a special activity – thinking when we don’t know what to think – which is valuable because it takes us beyond our skills and understanding. Enactivism is the theory of mind that best explains such thinking. The book illustrates this proposal with four chapters that detail Carvalho’s highly personal or individual encounters with enigmatic works of art. I raise two concerns. First, the four illustrative (...) chapters say that they are enactivist, but they do not show this. The illustrative chapters detail considerations about the works that are not distinguished by a particular theory of mind and might fit with any number of approaches to works of art. The suggestion that the thinking presented in each chapter is skillful is not explained. Second, the book does not just focus on thinking when we don’t know what to think, it also claims that such thinking frees us from mere looking. But enactivism does not require us to deny that our engagement with particular works in their ‘concrete singularity,’ to use Carvalho’s term, is perceptual. If perception is richly integrated or even continuous with what we understand skillfully or cognitively – and enacted in one’s circumstances – this does not erase differences between perception and thought or between their functions. When we ‘think with’ an individual so that we are engaged with it in its concrete singularity, perception is involved either in the present or the past. There is no need to shunt perception or looking aside as life activities that are just rule-bound, just part of knowing what to think rather than part of our response when we don’t know what to think. (shrink)

This article interrogates how both visual culture and queer futurity can be made visible in and through the Philippine archive as a case in point. It begins by problematizing a paradoxical specter of futurity that seems to haunt more the Global North. But despite such haunting, the Philippines in the Global South continues to have thin to nil (i.e., nearly absent) envisioning toward a queer futurity, for most Filipino LGBTQIA + scholars seem to still be engaged in recovering “lost histories” (...) from the archives and “thick descriptions” of the present, while focusing more on the textual than the visual. The article then proceeds to discuss mobilizing ekphrasis and representation as main conceptual tools in bridging the temporally opposite projects of queer archiving and queer futurity. It analyzes through ekphrastic re-reading the various LGBTQIA + representations from the Philippine archive – that is, a “palimpsestic site” of colonial confrontations, national (re)construction, and potentially global queer critique. These re-readings along the archival grain juxtapose the archival representations as historically authentic vis-à-vis their more present-day representations as visual proxies. Yet more crucially, the potency of these ekphrastic re-readings – in lieu of visually actual – lies in their capacity to reverberate queer possibilities, re-awakening them from their sleep within the archives, and thus re-mobilizing them toward becoming a useful part of academics, activists, and artists’ “shared arsenal” in re-envisioning and, hopefully in time, reifying such past possibilities into future queer actualities anew. (shrink)

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 (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

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

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 (...) devices that were developed during this period: writings, traces, maps, films, interviews, and wanderings. This gestural philosophy would be linked to a series of actions that would constitute an organic system in its apparent material dispersion. The article is organized through a biographical and historical contextualization, to later deploy the theoretical framework of the research and a conclusion. (shrink)

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 (...) فيما يعرف بالبيبليوتيرابيا (العلاج بالقراءة). القراءة عملية نفسية عقلية تتضمن القدرةَ على تحويل الرموز المكتوبة إلى رموز منطوقة، وتُعَد القراءة واحدة من العمليات النفسية الأساسية التي تتطلب عددًا من العمليات العقلية اللازمة لظهورها لدى الأطفال العاديين، كما تُعَد القراءة إحدى المهارات الأساسية المكوِّنة للبُعد المعرفي بالنسبة للفرد، وهدفًا رئيسًا من أهداف المدرسة الابتدائية، وطريقة رئيسة من طرق الوصول إلى المعرفة ولعل هذا ما يؤكده أحد الباحثين بقوله: "القراءة ممارَسة ثقافية واجتماعية، وهي ظاهرةٌ صحية في تاريخ الشعوب والأمم، إنها عادةٌ فردية لا تقبَل الوراثة، فليس حتمًا أن تنجب العائلةُ القارئة بكثرة أطفالاً قارئين بكثرة، والعكس صحيح؛ ذلك أن الدراساتِ والواقع يضعان الباحث أمام مفارقةٍ، هي أن العديدَ من الفقراء ينجبون أولادًا لديهم لذَّة القراءة، ويظلون مشدودين للكتاب والمجلة والجريدة والوسائل السمعية - البصرية، متجاوزين عدم توفر الإمكانيات المادية، وتكون النتيجة هي أنهم يحققون أهدافَهم، ويتسلَّقون السلالمَ الاجتماعية. (shrink)

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 (...) ‘‘strata of the virtual work’’. That is, I repurpose Ingarden’s strata of the literary work, the picture, and the film to showcase that virtualized ficta, from the bottom up (i.e., from their pure ontology to aesthetics) are purely intentional entities. In short, I argue for a purely intentional account of virtualized ficta as ficta-made-virtualia, whose ontological status is determined by the creative acts of game developers and gamers. (shrink)

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 (...) Le Corbusier. It sheds light on Miralles, Aalto, Le Corbusier and Gehry’s interest in a holistic understanding of all the parts of an architectural project, which is expressed through their tendency to draw the different sketches concerning the same project on the same sheet of paper. At the core of Gehry’s design approach is the osmosis of function and morphology. This aspect of his design vision could be compared to Alvar Aalto’s design process. At the core of the article are the distinction between communication drawings and conceptual drawings, and Gehry’s concern about achieving an osmosis between function and morphology. The article also investigates Gehry’s use of uninterrupted self-twisting line in his sketches, exploring his intention to enhance a straightforward relationship between the gesture and the decision-making regarding the form of the building. (shrink)

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 (...) concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

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 (...) que la puissance de l’imagination permet à la langue graphique, qui est par ailleurs internationale, de fonctionner comme un précurseur du progrès. L’objectif de l’article est d’élucider comment Tchernikhov traite la tension entre imagination et réalité et d’examiner dans quelle mesure sa production graphique parvient à surmonter la mimèsis à travers la phantasia. La réponse à ces questions pourrait nous aider à expliquer pourquoi Tchernikhov a souvent été jugé comme inclassable et à évaluer à quel point sa démarche reflète les polarités entre les rationalistes et les constructivistes. L’opposition entre « composition » et « construction » permet de mieux comprendre le positionnement à la fois singulier et fondamental de Tchernikov par rapport au constructivisme. L’article met en évidence le fait que le rôle essentiel de la phantasia pour Tchernikhov découle de la valorisation de la « composition » plutôt que la « construction ». (shrink)

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 (...) composition. The chapter demonstrates that this is a misrepresentation of the complex formalist prescriptive idea of the relations between art and ethics. Through its autonomy and imperviousness to external co-opting—which is accomplished by due focus on aesthetic form—art on the formalist account is held to be a paradigm of the liberalist principles of individual freedom and self-fulfillment, thus an inherent means to the good. (shrink)

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 (...) of creatorship in an all-or-nothing fashion. We develop a novel view, called CCC (collective-centered creation), that improves on these existing positions. On CCC, GAI outputs are created by collectives in the first instance. Claims to creatorship come in degrees and depend on the nature and significance of individual contributions made by the various agents and entities involved, including users, GAI systems, developers, producers of training data and others. Importantly, CCC maintains that GAI systems can sometimes be part of a co-creating collective. We detail how CCC can advance existing debates and resolve controversies around creatorship involving GAI. (shrink)

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 (...) their audience's appreciative capacities. What I call the steadfast stance recommends that activist artists have reason to use their privilege of artistic exceptionalism to challenge their audience's expectations, even if this leads to misunderstanding. I claim that a middle position that I call liberal conciliation best balances the demands for actual change placed on activism and the experimental means that artists bring to activism. (shrink)

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 (...) this approach to the ontology of artworks. Lastly, I will suggest how the nature of types and tokens should be reassessed in order to properly describe artworks in their historical and socially construed nature. (shrink)

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 (...) to subjective or teleological significance. The study also presents a curated collection of literary works and artworks that employ black holes and suns as metaphors, examining the emergence of these metaphorical objects and identifying discursive and epistemological shifts in society. Furthermore, this collaborative research project, involving the Pontifical Catholic University of São Paulo and the Federal Fluminense University in Brazil, and the Charles University in Prague in the Czech Republic, aims to provide a valuable resource for further academic inquiry. (shrink)

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 (...) its essence and identity. Accordingly, Danto and Dickie’s definitions of art emerged from the challenge “to be consistent with art appearing in every possible way.” Both negated the Neo-Wittgensteinians’s proposal to forgo the project of defining art and found the then-new pluralism to be revealing of the essence of art, directing philosophy to art’s nonexhibited infrastructure – beyond the reach of the eye. Across from this, the chapter presents their opposing ideas as revealed through different analyses of the concept of the “artworld”: as an intellectual sphere by Danto versus an institutional one by Dickie. Danto’s internalist/intentionalist ontology begins with the mental and stretches to its embodying material. Opposing it, Dickie’s externalist ontology points to social practices as constituting the artwork, which is attributed with the status of “arthood” by agents in its social sphere. Accordingly, I claim, Danto’s ontology is more versatile than Dickie’s. -/- . (shrink)

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. (...) Este artigo tem como propósito realizar uma aproximação de tais ensaios – recorrendo a uma abordagem cronológica – com vistas a demarcar como eles auxiliam no reconhecimento de certas nuances e articulações de seu pensamento, enfatizando a constante ontológica presente em suas discussões sobre arte. Assim, o trabalho realiza uma visão horizontal sobre o percurso merleau-pontiano de pensamento – transitando da fenomenologia da percepção à ontologia da carne –, com incursões verticais sobre as relações entre percepção, expressão e instituição nos ensaios. A hipótese é que tais temas fornecem a base para a compreensão da arte como experiência de fundação do ser. (shrink)

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 (...) self-portraits in order to propose that her sight (therefore her photography) is a daemonic one, an intermediary between our and other worlds. -/- La fotografía callejera de Vivian Maier nos hace ver una súbita transfiguración de la realidad por la cual las personas, las escenas y las cosas devienen féricas , neologismo que nos permitimos para recoger del inglés el universo de las faeries y traducir a la vez uno de los sentidos del francés féerie , pieza de teatro en la que aparecen seres sobrenaturales (o, en este caso, infranaturales). Esa transfiguración, proponemos, es en rigor una verdadera aparición: una epifanía feérica (siempre carnal) que se despliega en dos direcciones, solar y subterránea. Nos detendremos en el cuerpo de Maier, reflejado en sus autorretratos, para proponer, finalmente, que su mirada es un daimon, intermediaria entre éste y otros mundos. (shrink)

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 (...) in Margolis' aesthetics essays from the late 1950s to the 1970s: the type-token pair and the notion of cultural emergence. On the one hand, we will emphasise Margolis' indebtedness to Peirce's first formulation of the type-token distinction, involving a strong interdependence between the two elements of the pair, as well as an anti-essentialistic, historicised, and contextualised notion of type. On the other hand, we will delve into Margolis' exploration of the concept of emergence and cultural emergence, involving a genuinely pluralistic view of ontology, as well as a non-reductive, continuistic form of naturalism. Finally, we will connect the criticism of the so-called closure of the physical world with Margolis' anti-autonomistic stance in defining artworks. (shrink)

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.

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 (...) five chapters. Chapter 1 lays down its conceptual bases: it explains what learning is taken to be in the current philosophical debate and it points out how Bayesian cognitive science (particularly in its predictive processing formulations) might be well-suited to capture the kind of learning involved in our engagement with the arts. The following chapters test this latter hypothesis with respect to particular art forms, namely literature and literary language (Chapter 2), narrative (Chapter 3), and visual art, music and motor activities (Chapter 4). The fine-grained discussions conducted in each of these areas will enable us to see that the relationship between art and learning is indeed fundamental and pervasive. The final chapter (Chapter 5) examines the consequences of this fact for our understanding of the role of art in our epistemic practices, its ultimate usefulness and value, and its place in the interdisciplinary study of the human mind. The upshot is a novel and wide-ranging picture, both philosophically informed and empirically sound, that bypasses many of the problems and dead ends of the current philosophical debate on the topic and captures the deep sense in which art and learning are interrelated. (shrink)

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 (...) this fact, it is of significance to consider the tension between creativity and mimesis in image practices from an intercultural perspective. (shrink)

This book offers a new definition of metaphor-as an ontological and visual construction, whose roots are external visual forms, and its motivation is our attachment to forms. This definition, which Michalle Gal names “visualist,” challenges the ruling conceptualist theory of metaphors and places a new emphasis on how we experience rather than understand metaphors. In doing so, she responds to the visual turn that is taking place in literature and the media, demanding that the visual become a site of philosophical (...) analysis. This focus on the external visual world allows Gal to employ visual theories to capture the essence of metaphor. She looks beyond conceptual or semantic mechanism, and returns to theories of Arnheim and Gombrich and the current evolution of ideas about the visual or material and embodied cognition. Proposing to see visual metaphors in their basic form, she uses a new externalist terminology of ontology, visuality, composition, affordance, construction, and emergence. Setting out a new theory that takes into account that humans are visual no less than cognitive creatures, Visual Metaphors and Aesthetics lays the foundation for a new vocabulary to talk about metaphors. (shrink)

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 (...) the text as a whole, valuable both for scholarship and teaching. (shrink)

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 (...) possibility to applying the dialectic between art and nature as it is unfolded in Hegel’s Aesthetic to a more insidious constellation — namely, what Marxists came to refer to as second nature: the world of commodities, in which man-made things appear to those who produce them as a naturalised and repressive opposite, a pseudo nature, an alienated solidified history. (shrink)

Metamorphosis as it is represented by some pre-historical artists seems problematic for our occidental point of view. In fact, it seems to be strongly against identity and law of non-contradiction. Becoming in general is also viewed as an error or exception by our classic point of view. This very claim can conduct to theories of non-classical logic. Deleuze and Guattari in their monumental work had tried to offer enormous contributions in order to comprehend the becoming phenomenon. Through a pre-historical representations (...) analysis, with also an intrusion in contemporary art's field, I want to confront with possible metamorphosis representations remain theoretically founded in the deleuzian proposal in dialogue with phenomenological inquiry. New principle of individuation and analysis of expression provide new looks to arisen problems with classical logic and metamorphosis representations, which will be acceptable and comprehensible as art shows. (shrink)

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 (...) will especially mention their potentiality regarding disabled bodies’ mobility in space and their relationship with tools. The association between a disabled body and non-human traits carries several symbolic meanings and might also produce risks. Generally, they can update the perspectives on the crafting of creative assemblages that start from impaired bodies. In conclusion, I will observe how Bufano’s art entails more promises on an ethico-political level. (shrink)

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 (...) formalism”, focusing on the thinking of leading aestheticists, Walter Pater, Oscar Wilde, and James Whistler. These three thinkers defined artwork as a form saturated with an inextricable content, viz. opaque form. (shrink)

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 (...) as Events, Artworks as Abstract Entities, and Artworks and Norms. (shrink)

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 (...) Experience, and The Body in Contemporary Art. (shrink)

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 (...) portrait; these are the “posing sitter,” who holds the actual physical pose, but also point out the use of a “posing effect” in the image, which I call the “posed sitter.” Third, I address the worry of posing as a source of inauthenticity and demonstrate how this can be reframed in order to lay bare its capacity for enhancing truthfulness. The pose then need not be regarded with suspicion of artifice that clouds the authenticity of the sitter; instead, it can offer an approach to truthfully portray the sitter. (shrink)

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 (...) parallels and differences between the two cultural traditions helps to better understand the moral dimension of qiyun aesthetics. (shrink)

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 (...) critics inspired by the Daoist idea of ‘Wu Wei’ (acting without conscious intention or effort). As the Qing painter Wang Yuanqi (1642–1715) claimed when admitting his failure to copy the Yuan master Ni Zan (1301–1374), Ni Zan’s success in natural and untrammelled expression lies ‘in between having an intention and not having one’. A similar idea about the dialectic of consciousness and unconsciousness in artistic spontaneity was suggested by Heinrich von Kleist’s On the Marionette Theatre (1880), which demonstrated that while self-consciousness might disturb and hinder the naturalness of artistic expression and thus encourage affectation, it does not mean that there is no role for consciousness. Although the views on unconsciousness in art and the co-play of consciousness and unconscious in artistic creation by Schelling, Schiller, Goethe, and even Nietzsche might get inspirations from Kant’s hidden view of the unconscious, Kant’s emphasis on the harmonious cooperation between imagination and understanding disguises his inexplicit idea of the unconscious. This paper will demonstrate that while in both Classical Chinese and European cultural contexts, artists, critics and philosophers talk about the same elusive relation, the philosophical explanations of the same phenomenon are essentially distinctive. (shrink)

‘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, (...) I establish ‘spirit consonance’ as the rendering of ‘Qi Yun’. By examining texts on painting by significant critics in Chinese art history, and by referring to specific works by painters from the Six Dynasties up to the Yuan Dynasty, I present the merits and demerits of the different interpretations by Western experts, and explore the essence of ‘Qi Yun’. Once the painter successfully captures ‘spirit consonance’ as the essential character or ‘internal reality’ of the object, and transmits it into the work, ‘Qi Yun’ further implies the expressive quality of the work beyond formal representation. Additionally, the fusion of expressive and representative functions also leaves space for further explaining the aesthetic interaction among artist, object, work, and audience. From the Six Dynasties onwards, Chinese painters have practised the expressive pursuit beyond epresentation on the basis of the unification of ‘Qi Yun’ (spirit consonance) and formal representation, although spirit consonance was valued more highly than formal likeness. (shrink)

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 (...) as a figurative comprehension of reality, its process and result, which is expressed in works, then the symbolization of success in cinema can be considered one of the most common practices for representing the determinants of activity through a figurative comprehension of reality. An analysis of this process in modern cinematography reveals the mechanisms of functioning of one of the elements of the totality of joint life programs as a segment of modern culture, limited by the boundaries of film communication. Secondly, the development of cinematography largely determines the fundamental changes in the culture of the 20th century. and there is no reason to believe that its influence is diminishing in recent times. Consequently, modern cinema remains one of the most important areas of cultural life, the study of which allows expanding scientific understanding of the patterns of changes taking place in culture. Thirdly, the development of information and communication technologies at the end of the 20th century. led to the fact that the value complexes of traditional cultures of different peoples of the world and expansive global neoplasms of a supranational nature (mass, elite, corporate, fandom, etc.) are simultaneously transmitted into the space of personal culture. Cinema in the new conditions only strengthened its position as the leading relay of value complexes. The special socio-forming qualities of cinema were noted both by its pioneers (L. Delluk, A. Dovzhenko, Ch. Chaplin, S. Eisenstein, etc.), scientists (B. Balash, V. A. Gottwald, E. M. Samuylenko, etc.) , and the ideologists of cultural revolutions at the beginning of the 20th century. G. Turner, in particular, drew attention to the fact that “to achieve control over the everyday representation of the world for a nation means to acquire strong power over the representation of individuals about themselves and about each other”, referring to the threat to the integrity and coherence of an individual’s understanding of the world under the pressure of foreign cultural domination over film communication. In this regard, the search for ways to relevantly measure the trends in the development of modern culture by marking in cinema the cultural determinants of activity, which are the symbols of success, seems to be an urgent theoretical and scientific-practical task, the solution of which expands the predictive potential of culture and its projective possibilities. (shrink)

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 (...) significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

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 (...) stipulative authority regarding the features and boundaries of their works. This results in ontological variation among visual artworks. Any claim to the effect that all works belong to the same ontological category will thus come out false or uninformative. Interesting, substantive claims about ontological status can be made only in relation to specific works; that is, we must consider the ontological status of each contemporary artwork individually. The only general ontological claim that can be made about visual artworks (and also about artworks in other forms) is that they belong to the sort of thing that artists create. But this is not a substantive ontological claim. (shrink)

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 (...) such judgements unfold in the course of communication and reflection. My reading draws Kant much closer to debates in the philosophy of art on the semantic dimension of artworks. Here, illuminating the way in which aesthetic judgements about art can play a role in conceptual revision allows us to make sense of the way in which modern artworks contest concepts rather than merely presenting or expressing them. (shrink)

Deleuze's 'Difference and Repetition -Irfan Ajvazi.