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  1. Portraits in painting and photography.Cynthia Freeland - 2007 - Philosophical Studies 135 (1):95 - 109.
    This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional characterization, (...)
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  • The Modernism of Sport.Andrew Edgar - 2013 - Sport, Ethics and Philosophy 7 (1):121-139.
    In the previous chapter ‘The Beauty of Sport', I made a distinction between classical and modernist aesthetics. The classical is exemplified in eighteenthcentury art criticism and its use of the la...
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  • Cows desiring to be milked? Milking robots and the co-evolution of ethics and technology on Dutch dairy farms.Clemens Driessen & Leonie F. M. Heutinck - 2015 - Agriculture and Human Values 32 (1):3-20.
    Ethical concerns regarding agricultural practices can be found to co-evolve with technological developments. This paper aims to create an understanding of ethics that is helpful in debating technological innovation by studying such a co-evolution process in detail: the development and adoption of the milking robot. Over the last decade an increasing number of milking robots, or automatic milking systems (AMS), has been adopted, especially in the Netherlands and a few other Western European countries. The appraisal of this new technology in (...)
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  • Intuition: The “unseen thread” connecting Emerson and james*: Gregg Crane.Gregg Crane - 2013 - Modern Intellectual History 10 (1):57-86.
    Recent scholarly comment on the relation between Ralph Waldo Emerson and William James offers an either–or choice between conflating the two thinkers in a proto-postmodern, antifoundationalist cast or dividing them into mutually exclusive categories of idealist believer and relativist skeptic. Contending that neither of these positions captures the pragmatist adumbrations in Emerson or the transcendentalist retentions in James, this essay turns to James's annotations of Emerson's writings as a singularly revealing yet largely neglected source of information about the exact nature (...)
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  • Art’s False “Ease”: Form, Meaning and a Problematic Pedagogy.John Baldacchino - 2013 - Studies in Philosophy and Education 33 (4):433-450.
    This paper argues that in foregoing the questions that emerge from the dialectical relationship between form and meaning, an intrinsic fallacy mistakes the relationship between the arts and education for a simplistic mechanism of signification—a false “ease”—where empty forms are supposedly given meaning by ethical and aesthetic givens as if the pedagogy of art were analogous to an empty room that was (or still needs to be) inhabited. Art’s false “ease” presents a tautology that presumes the relationship between the arts (...)
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  • Sport, the Aesthetic and Art: Further Thoughts.Peter J. Arnold - 1990 - British Journal of Educational Studies 38 (2):160 - 179.
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