Results for ' art and the arts'

966 found
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    Levinas and the Faces of Art.Alexander Öhman & Natan Elgabsi - 2024 - Scientia Moralitas 9 (1):161-168.
    Does art have ethical possibilities? Can literature disclose our responsibilityfor other people? This short text aims to unfold some nuances of responsible and irresponsible art as they appear in Emmanuel Levinas's sparse remarks on aesthetics. We examine some common ways of conceiving Levinas's thoughts in literary studies, followed by a closer discussion of his ideas on the possibilities of art in "Reality and Its Shadow" and his late interviews on Vasily Grossman and Sacha Sosno.
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  2. Suffering and the healing art of medicine.Caroline Ong - 2015 - Chisholm Health Ethics Bulletin 21 (1):6.
    Ong, Caroline Whilst the reason and purpose of suffering may never be fully understood, there are ways of enduring, transcending and growing resilience to how it affects us. Our experience of suffering lies in the web of perceptions that involve our physical, spiritual and cosmological beliefs. Referencing Pain Seeking Understanding: Suffering, Medicine and Faith, edited by Margaret E. Mohrmann and Mark J. Hanson, this article gives a brief exploration of some propositions as to why an all-powerful, good God would allow (...)
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  3. Irony and the Work of Art: Hegelian Legacies in Robert Smithson.Shannon Mussett - 2012 - Evental Aesthetics 1 (1):45-73.
    This paper utilizes Robert Smithson's philosophy as a kind of counterpoint, rather than refutation, to many of Hegel's convictions on the nature and function of art in world historical spirit.
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  4. Games and the art of agency.C. Thi Nguyen - 2019 - Philosophical Review 128 (4):423-462.
    Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...)
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  5. Trust and the appreciation of art.Daniel Abrahams & Gary Kemp - 2021 - Ratio 35 (2):133-145.
    Does trust play a significant role in the appreciation of art? If so, how does it operate? We argue that it does, and that the mechanics of trust operate both at a general and a particular level. After outlining the general notion of ‘art-trust’—the notion sketched is consistent with most notions of trust on the market—and considering certain objections to the model proposed, we consider specific examples to show in some detail that the experience of works of art, and the (...)
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  6. Religion, Nonreligion and the Sacred: Art in the Contemporary Rituals of Birth.Anna Hennessey - 2021 - Religions 12 (11):1-15.
    This paper looks at the role of art and material culture in the rituals of birth, first taking into consideration research on material culture in traditional rituals of birth and then turning to the primary topic, which is how art in the contemporary rituals of birth often holds sacred meaning even when the ritual is of a nonreligious nature. A discussion about the sacred in the context of a nonreligious ritual hinges upon an understanding of that which is “sacred”; thus, (...)
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  7. Art and the Working Class.Alexander Bogdanov & Genovese Taylor R. - 2022 - Iskra Books. Translated by Taylor R. Genovese.
    Appearing for the first time in English, Art and the Working Class is the work of Alexander Bogdanov, a revolutionary polymath and co-founder, with Vladimir Lenin, of the Bolshevik faction of the Russian Social Democratic Labor Party. Bogdanov was a strong proponent of the arts, co-founding the Proletarian Culture (Proletkult) organization to provide political and artistic education to workers. In this book, Bogdanov discusses the origins of art, its class characteristics, and how it might be created within a revolutionary (...)
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  8. Art and the body: The Tatsuno Art Project.Akiko Kasuya - 2015 - Argument: Biannual Philosophical Journal 5 (1):267-274.
    The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present contemporary (...)
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  9. Cognitivism and the arts.John Gibson - 2008 - Philosophy Compass 3 (4):573-589.
    Cognitivism in respect to the arts refers to a constellation of positions that share in common the idea that artworks often bear, in addition to aesthetic value, a significant kind of cognitive value. In this paper I concentrate on three things: (i) the challenge of understanding exactly what one must do if one wishes to defend a cognitivist view of the arts; (ii) common anti-cognitivist arguments; and (iii) promising recent attempts to defend cognitivism.
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  10. (1 other version)Cognitive Penetration and the Perception of Art (Winner of 2012 Dialectica Essay Prize).Dustin Stokes - 2014 - Dialectica 68 (1):1-34.
    There are good, even if inconclusive, reasons to think that cognitive penetration of perception occurs: that cognitive states like belief causally affect, in a relatively direct way, the contents of perceptual experience. The supposed importance of – indeed as it is suggested here, what is definitive of – this possible phenomenon is that it would result in important epistemic and scientific consequences. One interesting and intuitive consequence entirely unremarked in the extant literature concerns the perception of art. Intuition has it (...)
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  11. Kant and the Art of Schematism.Samantha Matherne - 2014 - Kantian Review 19 (2):181-205.
    In the Critique of Pure Reason, Kant describes schematism as a (A141/B180–1). While most commentators treat this as Kant's metaphorical way of saying schematism is something too obscure to explain, I argue that we should follow up Kant's clue and treat schematism literally as Kunst. By letting our interpretation of schematism be guided by Kant's theoretically exact ways of using the term Kunst in the Critique of Judgment we gain valuable insight into the nature of schematism, as well as its (...)
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  12. 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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  13. Literature and the Passing of Time: Reflecting on the Temporal Nature of Art.Derek Allan - manuscript
    The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.
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  14. Repatriation and the Radical Redistribution of Art.Erich Hatala Matthes - 2017 - Ergo: An Open Access Journal of Philosophy 4:931-953.
    Museums are home to millions of artworks and cultural artifacts, some of which have made their way to these institutions through unjust means. Some argue that these objects should be repatriated (i.e. returned to their country or culture of origin). However, these arguments face a series of philosophical challenges. In particular, repatriation, even if justified, is often portrayed as contrary to the aims and values of museums. However, in this paper, I argue that some of the very considerations museums appeal (...)
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  15. Distant Dinosaurs and the Aesthetics of Remote Art.Michel-Antoine Xhignesse - 2024 - British Journal of Aesthetics 64 (3):361-380.
    Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of (...)
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  16. Kitsch and the Social Pretense Theory of Bullshit Art.Lucas Scripter - 2021 - Polish Journal of Aesthetics 4 (63):47-67.
    This essay argues that bullshit art is a meaningful concept that differs from bullshitting about art, although the two may occur in tandem. I defend what I call the social pretense theory of bullshit art. On this view, calling a work of art ‘bullshit’ highlights a discrepancy between the prestige accorded a work of art and its nonsense character. This category of aesthetic criticism plays a unique role that cannot be identified with kitsch but bears only a contingent connection to (...)
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  17. Virtue, situationism, and the cognitive value of art.Jacob Berger & Mark Alfano - 2016 - The Monist 99 (2):144-158.
    Virtue-based moral cognitivism holds that at least some of the value of some art consists in conveying knowledge about the nature of virtue and vice. We explore here a challenge to this view, which extends the so-called situationist challenge to virtue ethics. Evidence from social psychology indicates that individuals’ behavior is often susceptible to trivial and normatively irrelevant situational influences. This evidence not only challenges approaches to ethics that emphasize the role of virtue but also undermines versions of moral cognitivism, (...)
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  18. Analysis, Hegel and the Seventh Art.Kobe Keymeulen - 2021 - Psychoanalytische Perspectieven 39 (2):217-237.
    This paper investigates the significance of filmic analysis in the contemporary theoretical paradigm inspired by Slavoj Žižek, which we term ‘Transcendental Materialism’. After characterising its distinct peculiarities within the history of psychoanalysis and film theory, we demonstrate the limitations of previous (possible) answers, arguing they are partly formulated in response to confrontations with other paradigms. Our own approach is then informed by a study of another popular object of analysis in Transcendental Materialism – the joke. We show how Freud’s understanding (...)
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  19. The Arts and the Radical Enlightenment.Arran Gare - 2007/2008 - The Structurist 47:20-27.
    The arts have been almost completely marginalized - at a time when, arguably, they are more important than ever. Whether we understand by “the arts” painting, sculpture and architecture, or more broadly, the whole aesthetic realm and the arts faculties of universities concerned with this realm, over the last half century these fields have lost their cognitive status. This does not mean that there are not people involved in the arts, but they do not have the (...)
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  20. Subversive Humor as Art and the Art of Subversive Humor.Chris A. Kramer - 2020 - The Philosophy of Humor Yearbook 1 (1):153–179.
    This article investigates the relationships between forms of humor that conjure up possible worlds and real-world social critiques. The first part of the article will argue that subversive humor, which is from or on behalf of historically and continually marginalized communities, constitutes a kind of aesthetic experience that can elicit enjoyment even in adversarial audiences. The second part will be a connecting piece, arguing that subversive humor can be constructed as brief narrative thought experiments that employ the use of fictionalized (...)
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  21. Crowther and the Kantian Sublime in Art.C. E. Emmer - 2008 - In Valerio Rohden, Ricardo R. Terra, Guido Antonio Almeida & Margit Ruffing (eds.), Recht und Frieden in der Philosophie Kants: Akten des X. Internationalen Kant-Kongresses. Berlin, Germany: De Gruyter.
    Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.
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  22. Play, Skill, and the Origins of Perceptual Art.Mohan Matthen - 2015 - British Journal of Aesthetics 55 (2):173-197.
    Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...)
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  23. Art and the Unknown.Dan J. Bruiger - manuscript
    Abstract: The purpose of this essay is to explore the nature and role of art as a human phenomenon from a broadly cognitive perspective. Like science and religion, art serves to mediate the unknown, at once to embrace and to defend against the fundamental mystery of existence. Thus, it may challenge the status quo while generally serving to maintain it. Art tracks the individuation of subjectivity, serving the pleasure principle, yet is appropriated by the collective’s commitment to the reality principle. (...)
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  24. Lynton Crosby and the Dark Arts of Democracy.Joe Saunders - 2018 - In Joe Saunders & Carl Fox (eds.), Media Ethics, Free Speech, and the Requirements of Democracy. Routledge.
    This paper explores the political campaigning strategies of Lynton Crosby, and argues that they pose a threat to democracy. In doing so, I looks to shed light on Crosby’s tactics, but also to elucidate exactly what is anti-democratic about them. I argue that there are two worrying aspects to this. The first involves Crosby’s lack of respect for voters’ beliefs, interests and values, whereas the second concerns his propensity for avoiding debate.
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  25. Art Historical Explanation Of Paintings And The Need For An Aesthetics Of Agency.Daniel Davies - 2004 - Postgraduate Journal of Aesthetics 1 (3):86-98.
    Why should a person, and in the context of this conference particularly an art historian, take seriously the notion of the aesthetic, its discovery and/or rediscovery? Aesthetics might after all be considered at best something of a distraction from bread and butter historical and sociological analysis, and at worst entirely incompatible with it. Pursuing the line further it might be urged that, since on the one hand aesthetics is about 'how things appear'—i.e. is subject to individual predilection, taste and feeling—and (...)
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  26. The Death of Immortality and the Mystery of Art’s Temporal Transcendence.Derek Allan - manuscript
    It has long been recognised that great art, whether visual art, literature or music, has a special capacity to “live on” – to endure – long after the moment of its creation. Thus, our world of art today includes, for example, ancient Mesopotamian sculpture, Shakespeare’s plays, and the music of medieval times. How does this capacity to endure operate? Or to ask that question another way: what does “endure” mean in the case of art? The Renaissance concluded that art endures (...)
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  27. Causality and the reduction to art of Simon Stevin's mechanics.Maarten Van Dyck - 2020 - In Karel Davids, Fokko Jan Dijksterhuis, Ida Stamhuis & Rienk Vermij (eds.), Rethinking Stevin, Stevin rethinking : constructions of a Dutch polymath. Nuncius. pp. 155-181.
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  28. Art, aesthetics, and the medium: comments for Nguyen on the art-status of games.Christopher Bartel - 2021 - Journal of the Philosophy of Sport 48 (3):321-331.
    Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...
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  29. Adrian Piper and the Rhetoric of Conceptual Art.Vid Simoniti - 2018 - In Cornelia Butler & David Platzker (eds.), Adrian Piper: A Reader. Museum of Modern Art Press. pp. 244-271.
    How can conceptual art contribute to political discourse? By the late 1960s, New York conceptual artists like Adrian Piper were faced with this difficult question. Conceptual artistic experiments seemed removed from the anti-war, anti-racist and feminist struggles, while personally many artists became increasingly involved in activism. I revisit the knotty relationship between art and politics through a close analysis of Piper's work in this period. Against the received view, I argue that Piper's early work was remarkably devoid of political concerns, (...)
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  30. Affect, Belief, and the Arts.Rami Gabriel - 2021 - Frontiers in Psychology 2.
    The cultural project is a therapeutic melding of emotion, symbols, and knowledge. In this paper, I describe how spiritual emotions engendered through encounters in imaginative culture enable fixation of metaphysical beliefs. Evolved affective systems are domesticated through the social practices of imaginative culture so as to adapt people to live in culturally defined cooperative groups. Conditioning, as well as tertiary-level cognitive capacities such as symbols and language are enlisted to bond groups through the imaginative formats of myth and participatory ritual. (...)
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  31. Radical History and the Politics of Art.Gabriel Rockhill - 2014 - New York: Columbia University Press.
    The primary objective of this book is to open space for rethinking the relationship between art and politics. It seeks to combat one of the fundamental assumptions that has plagued many of the previous debates on this issue: that art and politics are distinct entities definable in terms of common properties, and that they have privileged points of intersection, which can be determined once and for all in terms of an established formula. This common sense assumption is rooted in a (...)
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  32. (Zen And The Art Of) Post-Modern Philosophy: A Partially Interpreted Model.N. Nyberg - manuscript
    Wittgenstein once wrote, “a wheel that can be turned though nothing else moves with it, is not part of the mechanism,” and Nyberg’s explanation as to why Hilary Putnam’s answer to the question of whether we might intelligibly suppose ourselves to be “brains in a vat” is wrong takes us, by way of Wittgenstein’s statement, to the intersection of metaphysics and epistemology, i.e., to the very cornerstone of western philosophy, where we find, waiting for us, the absolute I of solipsism. (...)
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  33. Painful Art and the Limits of Well-Being.Aaron Smuts - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
    In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that painful art (...)
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  34. Art and the Impossible.Boran Berčić - 2021 - Croatian Journal of Philosophy 21 (61):155-177.
    In this article author contrasts possibilism (the view that art is about the logically possible and that it cannot be about the impossible) with impos- sibilism (the view that art can be and sometimes is about the logically impossible as well). Author argues in favor of possibilism. The main insight is that since impossible objects are necessarily non-existent art cannot be about them, it has to be about something that can exist. Also, author formulates five more detailed views about the (...)
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  35. Values of Art and the Ethical Question.Hallvard Lillehammer - 2008 - British Journal of Aesthetics 48 (4):376-394.
    Does the ethical value of a work of art ever contribute to its aesthetic value? I argue that when conventionally interpreted as a request for a conceptual analysis the answer to this question is indeterminate. I then propose a different interpretation of the question on which it is understood as a substantial and normative question internal to the practice of aesthetic criticism.
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  36. Dickie’s Institutional Theory And The “Openness” Of The Concept Of Art.Alexandre Erler - 2006 - Postgraduate Journal of Aesthetics 3 (3):110-117.
    In this paper, I will look at the relationship between Weitz’s claim that art is an “open” concept and Dickie’s institutional theory of art, in its most recent form. Dickie’s theory has been extensively discussed, and often criticized, in the literature on aesthetics, yet it has rarely been observed – to my knowledge at least – that the fact that his theory actually incorporates, at least to some extent, Weitz’s claim about the “openness” of the concept of art, precisely accounts (...)
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  37. Playing with Fire: Art and the Seductive Power of Pain.Iskra Fileva - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
    I discuss the aesthetic power of painful art. I focus on artworks that occasion pain by “hitting too close to home,” i.e., by presenting narratives meant to be “about us.” I consider various reasons why such works may have aesthetic value for us, but I argue that the main reason has to do with the power of such works to transgress conversational boundaries. The discussion is meant as a contribution to the debate on the paradox of tragedy.
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  38. The Liberal Arts, the Radical Enlightenment and the War Against Democracy.Arran Gare - 2012 - In Luciano Boschiero (ed.), On the Purpose of a University Education. Australian Scholarly Publishing Ltd. pp. 67-102.
    Using Australia to illustrate the case, in this paper it is argued that the transformation of universities into businesses and the undermining of the liberal arts is motivated by either contempt for or outright hostility to democracy. This is associated with a global managerial revolution that is enslaving nations and people to the global market and the corporations that dominate it. The struggle within universities is the site of a struggle to reverse the gains of the Radical Enlightenment, the (...)
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  39. The Poles of Idea and Reality (and the De-futurising of Art and Humanity).Nat Trimarchi - 2023 - Cosmos and History: The Journal of Natural and Social Philosophy 19 (1):426-457.
    Fred Polak’s futurology takes up where F. W. Schelling’s claims about the ‘modern mythology’ leaves off. Linking these, I argue Art and humanity’s joint meaning crisis originates in ‘symbolic idealism’, de-futurising both and crippling humanity’s attempts to develop a proper internal ‘narrative order of goods’ needed for our survival. Polak’s tracing of how various forms of Expressionism emerged from Impressionism in later modernism, transforming our images of reality and the future, vindicates Schelling’s earlier claims that our symbolic mode of ‘worlding’ (...)
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  40. (1 other version)Liberal arts and the failures of liberalism.James Dominic Rooney - 2024 - In James Dominic Rooney & Patrick Zoll (eds.), Beyond Classical Liberalism: Freedom and the Good. New York, NY: Routledge Chapman & Hall.
    Public reason liberalism is the political theory which holds that coercive laws and policies are justified when and only when they are grounded in reasons of the public. The standard interpretation of public reason liberalism, consensus accounts, claim that the reasons persons share or that persons can derive from shared values determine which policies can be justified. In this paper, I argue that consensus approaches cannot justify fair educational policies and preserving cultural goods. Consensus approaches can resolve some controversies about (...)
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  41. The Possibility Conditions of an Ethics of Belief.Valentin Arts - 2024 - Dissertation, Vrije Universiteit Amsterdam
    This dissertation explores the question of whether we bear moral responsibility for our beliefs and how this responsibility is possible. Since we cannot directly choose our convictions, some have argued that we have no obligations concerning what we believe. However, we frequently hold each other accountable for our beliefs. Philosophers have responded to the argument against ‘belief duties’ in various ways. One response is that we are responsible for how we influence our beliefs. Another argues that moral responsibility does not (...)
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  42. The Living Image in Bio-Art and in Philosophy.Vid Simoniti - 2019 - Oxford Art Journal 42 (2):177-196.
    What role do images play in philosophical persuasion? With the advent of bio-art in the 1990s, a new vista opened up for this age-old puzzle: the possibility of creating images through bioengineering of living matter. Here, I test the critical intentions of bio-artists by setting up a comparison between, on the one hand, bio-art, and on the other, bioethics, a philosophical discipline, which developed at around the same time as this new artform. I argue there is an aspect of ethics--'the (...)
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  43. Lord, Lewis, and the Institutional Theory of Art.Peggy Zeglin Brand - 1981 - Journal of Aesthetics and Art Criticism 40 (3):309-314.
    In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...)
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  44. Arthur Danto and the End of Art.Raquel Cascales - 2019 - Newcastle upon Tyne, Reino Unido: Cambridge Scholar Publishing.
    To get a comprehensive understanding of the core concept of “the end of art”, this book analyses the intellectual trajectory of Arthur Danto, highlighting his successive achievements in philosophy of action, philosophy of history and philosophy of art. If, as Danto says, everything is extensively associated with everything else, it is impossible to avoid putting the philosophy of art in relation with his whole philosophical system. -/- .
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  45. The Politics of Abstract Art. Forma 1 and the Italian Communist Party.Juan José Gómez Gutiérrez - 2012 - Cercles. Revista D’Història Cultural 15 (15):111-135.
    Este artículo examina el papel del grupo de artistas abstractos Forma 1 en relación con la política cultural del Partido Comunista Italiano durante la posguerra, como ejemplo de los intentos de superar la dicotomía establecida en Italia entre arte abstracto y realismo socialista y producir una alternativa a la confrontación entre ambos discursos estéticos. Mientras los artistas realistas socialistas subrayaban la necesidad de expresar contenidos políticos explícitos con un estilo que asegurase su máxima legibilidad para una audiencia de masas, los (...)
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  46. Impressions Of Reflection And The End Of Art: A Re-Evaluation Of Hume’s Standard Of Taste.Gary Jaeger - 2004 - Postgraduate Journal of Aesthetics 1 (1):25-31.
    In his 'Of the Standard of Taste' David Hume seems to make the paradoxical claim that even though the sentiments an agent feels in response to an artwork are subjective and unique, and it cannot be said that such sentiments are either correct or incorrect, there is a standard upon which art can be judged, which is at least partly determined by these sentiments.
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  47. Nature, Fine Art, and The Other One: A Defense of the Artistic Sublime in Kant.Shelby Alexis Blevins - manuscript
    In the Critique of the Power of Judgment, Immanuel Kant characterizes the sublime as a negative pleasure derived from the encounter with something absolutely great. Some scholars have claimed that Kant’s notion of the sublime only applies to objects in nature (Abaci 2008, 239). Others contend that the object that provokes the sublime experience is not confined to objects of nature since the sublime is an experience in the mind (Clewis 2010, 169). This paper argues that Kant’s Critique and the (...)
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  48. How did the arts originate? The group demarcation and the scientific account.Terence Rajivan Edward - manuscript
    Why did human beings first begin making art? In this paper, I present two accounts of its origins, one of which connects the arts to the desire for group demarcation and another to scientific impulses.
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  49. "Michelangelo's Pieta," Christianity and the Arts.Don Michael Hudson - 2001 - America's Guide to Christian Expresssion 8 (4):24.
    It was the summer of 1984, the American dollar was strong, and this was my first venture to Europe. I found her and didn't even know I was searching for her. Mysteriously she crossed my path one day in Rome. I should confess though- at this point in my life, I am an uneasy Protestant.
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  50. 'Art' in Nancy's 'first philosophy': The artwork and the praxis of sense making.Alison Ross - 2008 - Research in Phenomenology 38 (1):18-40.
    For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder); second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. These two (...)
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