Is there a sensible version of the slogan “Art for art’s sake”? If there is, does it apply to anything? I believe that the answers to these questions are Yes and Yes. A positive answer to the first question alone would not be of interest; an intelligible claim without application does not do us much good. It’s the positive answer to the second question which is, I think, more important and perhaps surprising, since I claim to find art for (...) art’s sake at a time well before most authorities would allow that there was any art at all. But I begin more recently than that. (shrink)

Many Christian thinkers have embraced the notion “art for art’s sake.” Chesterton did not. To the contrary, he saw such an idea as deeply problematic for a Christian aesthetic. In the following article, I will explore some philosophical aspects of the “art for art’s sake” movement and then explain why Chesterton parted company with it.

Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

The essays collected in this volume are written by scholars from a wide range of disciplines (anthropology, archaeology, art history, philosophy and psychology). The papers ostensibly address how to evaluate rock art, but can also be read in the context of offering support for the affirmative in the debate regarding whether aesthetics is a cross-cultural discipline. Two alternative conceptions of the aesthetic provide the underlying antithesis and thesis respectively to all papers. The antithesis holds that the aesthetic pertains to a (...) conception of art that is an historical artefact of eighteenth century Europe. Most of the writers refer to this idea of art in terms of the object of a disinterested gaze (a second-hand reading of Kant), or as ‘art-for-art’s-sake’. The thesis of all papers, be it explicit or implicit, is that the aesthetic is a certain human predisposition or capacity to imbue physical properties with meaning and value; to link the sensuous with the semantic; to find meaning in form (Lamarque pp.27-8, Morphy pp.54, 59.). Some authors extend this beyond the artefact to the perception of nature (see the papers of Heyd, Ogawa, Stone). (shrink)

Abstractabstract:Hegel's end-of-art thesis is arguably the most notorious assertion in aesthetics. I outline traditional interpretive strategies before offering an original alternative to these. I develop a conception of art that facilitates a reading of Hegel on which he is able to embrace three seemingly contradictory theses about art, namely, (i) the end-of-art thesis, (ii) the continued significance of art for its own sake (autonomy thesis), and (iii) the necessity of art for robust knowledge (epistemicnecessity thesis). I argue that Hegel (...) is able to embrace all three theses at once through a conception of the work of art as an internally purposive whole (what I call the "IP View" of art). On the IP View, because of the kind of wholes that artworks are, they (i.a) are valuable for their own sake as ends-in-themselves, (i.b) yield valuable experiences because they are valuable for their own sake, and thereby (i.c) are necessary for robust knowledge. Finally, I suggest that not only does Hegel appear to hold the IP View of art, but also that on such a view, there is a very sensible reason for affirming (one reading of) Hegel's end-of-art thesis as an important means to establishing art's actual significance for robust knowledge against soaring, but unsubstantiable, claims about art's potency with respect to robust knowledge. (shrink)

This paper sketches a Kantian account of forgiveness and argues that it is distinguished by three features. First, Kantian forgiveness is best understood as the revision of the actions one takes toward an offender, rather than a change of feeling toward an offender. Second, Kant’s claim that forgiveness is a duty of virtue tells us that we have two reasons to sometimes be forgiving: forgiveness promotes both our own moral perfection and the happiness of our moral community. Third, we have (...) a duty to withhold forgiveness if with think forgiveness will cause or encourage our offender to wrong us again. This duty to sometimes withhold forgiveness stems from our duty of self-respect, which Kant repeatedly describes as a duty to ourselves to ensure that we are not harmed again. (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)

My aim in this discussion is to argue, not only that government should provide funding for the arts, but a fortiori that it should provide funding for unconventional, disruptive works of art.

How do we prepare engineering students to make ethical and responsible decisions in their professional work? This paper presents an approach that enhances engineering students’ engagement with ethical reasoning by simulating decision-making in a complex scenario. The approach has two principal inspirations. The first is Anthony Weston’s scenario-based teaching. Weston’s concept of a scenario is a situation that changes in response to choices made by participants, according to an inner logic. Scenarios can dynamically explore open-ended complex problems without imposing predetermined (...) results, allowing students to apply their ethical reasoning in a more realistic fashion. The second inspiration is Thi Nguyen’s theory of games. According to Nguyen, games are the “art of agency,” meaning that they provide a structure under which some result is agreed to be valuable, along with prescribed ways of achieving that result, in a relatively low-stakes and temporary social arrangement. By playing many games, Nguyen argues, we can develop a “library of agency,” that is to say, a set of values and means to achieving them that can inform how we make high-stakes decisions in real life. Engaging with carefully designed game scenarios, then, can enable students to practice making ethical decisions within a structured framework, which unfolds in response to their choices, while their decisions are driven by some defined goal. This roleplaying game–based approach thus allows students to build their own ethical libraries of agency, in preparation for professional decision-making. The approach is illustrated using a specific example recently deployed in a seminar on engineered living materials (building materials that incorporate living tissues). The scenario uses techniques from tabletop roleplaying games (e.g. Dungeons & Dragons) for outcome resolution, adventure design, and character creation. Through the game, students practice making difficult decisions in a humanitarian context. (shrink)

In recent years, the concept of “integrity” has been frequently discussed by scholars, and deployed by courts, in the domain of criminal procedure. In this paper, we are particularly concerned with how the concept has been employed in relation to the problem of the admissibility of evidence obtained improperly. In conceptualising and addressing this problem, the advocates of integrity rely on it as a standard of conduct for the criminal justice authorities and as a necessary condition for the state authority (...) to condemn and punish. We raise a series of challenges that need answering before integrity can perform these roles. Our aim is not to show that integrity is useless in normative theorising about the admissibility of evidence, and about the criminal process in general. Rather, it is to give guidance for the elaboration of a theory of integrity that is cogent, coherent, and has useful implications for the process of proof. (shrink)

This chapter examines: (1) the Black Notebooks in the context of Heidegger's political engagement on behalf of the National Socialist regime and his ambivalence toward some but not all of its political beliefs and tactics; (2) his limited "critique" of vulgar National Socialism and its biologically based racism for the sake of his own ethnocentric vision of the historical uniqueness of the German people and Germany's central role in Europe as a contested site situated between West and East, technological (...) modernity and the Asiatic. Heidegger did not break with radical right-wing Germanist thought, as some scholars have argued. He at most placed National Socialism within his narrative of the history of being, metaphysics, and technology, and thereby relativized it without addressing either its uniqueness or its totalitarian structures and practices. Heidegger formulated his own metaphysical and ontological version of Antisemitism during the National Socialist period. This vision was deeply connected with his understanding of the "history of being" and was intensified during and immediately after the Second World War. Heidegger could perceive no difference between the Shoah and the Allied bombing, defeat, and occupation of Germany. Heidegger's post-war philosophy (of home, history and technology) is deeply shaped by, and remained complicit with, his thinking during this period. (shrink)

The ecological crisis is one of the most critical moral concerns of the present. But the concern is not with the environment, or with that which surrounds us; it is not with an objectified nature, in relation to which humans stand as mere passive observers. Rather, ecological concern emerges from recognition that humanity participates in nature, that our behavior in the natural world affects our own present and future as well as the present and future of the biosphere and that (...) we are morally answerable for this behavior, or responsible in, through, and for our participation.1 Understood in these ways, the ecological crisis can be viewed as an unfolding historical process generated by the structural forms and .. (shrink)

Sport poses a number of important and no less significant questions, which, on the face of it, may not necessarily seem very important or significant to begin with – a peculiarity that we believe to be integral to sport itself. This article introduces, explores and outlines the psychoanalytic significance of this peculiarity. It explores how the emotions stirred by sport are intertwined with a realm of fiction and fantasy. Despite its lack of practical utility, sport carries an undeniable gravity, encapsulating (...) the aspirations of communities, nations and continents. As a result, psychoanalysis can be used to critically reflect on the purpose and meaning of sport: that is, why do we need sport, and why, for large sections of the world’s population, do we rely on it? Ultimately, while psychoanalysis maintains a unique relation to a variety of unexpected fields of study – including art, culture and neuroscience – we seek to add to this expanding list of inquiry by including sport in this critical domain. By utilising sport as a platform to elucidate psychoanalytic concepts, it is recognised that sport can also prompt questions for psychoanalysis. In so doing, theoretical discussions on the social, cultural and political dimensions of sport through psychoanalytic theory are introduced and applied. (shrink)

This first piece of 2024 introduces some ideas concerning the role of non-linear thinking in today's fight against the climate crisis. More exactly, it is about the potential power of serendipity, artificial intelligence and the information deluge (that is causing headaches, too) when it comes to humankind's efforts to find solutions for the sake of surviving the paramount crisis.

There is a broad consensus, within the interlocking system of art institutions, on the goals viewed as worth achieving. Artists, for example, will strive to realize broadly formalist values in their work; critics will strive to discern and articulate the achievement of such values; dealers will strive to discover and promote artists whose work successfully reflects these standards; and collectors will strive to acquire and exchange such work.The long-range effect of this tightly defended consensus is that the art practitioners who (...) share it determine - through their shared values and practices, and the economic and social factors that determine them - the criteria of critical evaluation for all art that aspires to entry into existing art institutions. I shall describe this as a state of critical hegemony. That is, the socioeconomically determined aesthetic interests of these individuals define not only what counts as "good" and "bad" art, but what counts as art, period. (shrink)

Carine Defoort, Mario Wenning, and Kai Marchal offer three ways of engaging with Chinese and Buddhist Philosophy in Early Twentieth-Century German Thought and the philosophical, hermeneutical, and historical issues it attempted to articulate and address.1 This work is historical with a contemporary philosophical intent: to reexamine a tumultuous contested epoch of philosophy’s past in order to reconsider its existing limitations and alternative possibilities. One dimension of this book is the investigation of constellations and entanglements of historical forces and concepts for (...) the sake of articulating critical models and alternatives for the present.2 In the book, I contested the modern self-image of philosophy... (shrink)

In this paper, I outline a theory of social kinds. A general theory of social kinds has to set out at least three conditions: existence conditions, persistence conditions, and identity conditions. For the sake of expediency, I focus on the existence and persistence conditions. The paper is organized just as life: first with existence, then persistence. I argue that anti-realism is more attractive than realism as an account of the existence conditions, despite the fact that realism has been under-appreciated. (...) Then I argue for a particular theory of the persistence conditions, which I call the basic overlapping traits theory (BOTT), based on an analogy to an approach to personal identity. The upshot of the argument is that from an anti-realist metaphysics we have the capacity to discuss a wider diversity of social phenomena. (shrink)

Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. (...) In particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified. (shrink)

Committing to contribute to promoting the 11th progressive cultural element – environmental-healing value – and building the eco-surplus culture for sustainable development, the AISDL Team (represented by Drs. Minh-Hoang Nguyen and Quan-Hoang Vuong) has collaborated with Discover Sustainability to launch “Environmental Sustainability Needs Humanities” Topical Collection. In contributing to the generation of knowledge that aids the social transitions toward an eco-surplus utopia, the Topical Collection welcomes various types of articles across disciplines, including Research, Reviews, Perspectives, Comments, Brief Communications, Case Studies, (...) Registered Reports, and Data Notes that are related but not limited to these issues: - Socio-cultural and economic issues that help mitigate and adapt to climate change and prevent biodiversity loss - Socio-cultural and economic issues that support the development and implementation of nature-based solutions and artificial technologies for achieving environmental sustainability - Factors that help restore the connection between nature and humans, such as science, art, literature, and lived experiences - The psychology towards climate change, biodiversity loss, social transition, and technological transformation - The roles of creativity, serendipity, and knowledge management in sustainability transformation - Sustainable financing mechanism for climate change mitigation and adaptation as well as biodiversity conservation - The roles of urban and rural humans in addressing climate change and biodiversity loss - Global agreement, national commitments, and local actions for addressing climate change and biodiversity loss. (shrink)

In this article I critically discuss Professor Oladele Abiodun Balogun’s reflections on the proper final ends of doing philosophy and related sorts of abstract, speculative, or theoretical inquiry. Professor Balogun appears to argue that one should undertake philosophical studies only insofar as they are likely to make a practical difference to people’s lives, particularly by contributing to politico-economic development, or, in other words, that one should eschew seeking knowledge for its own sake. However, there is one line of thought (...) from Professor Balogun, about philosophy being able to make life meaningful, that I argue ultimately––perhaps contrary to his intentions––entails that it can be appropriate to some degree to pursue philosophy that is unlikely to ameliorate poverty and similar social ills. My central aims in this article are to identify Professor Balogun’s strongest argument against pursuing any knowledge for its own sake and to argue that an appeal to meaningfulness constitutes a strong, competing reason to seek out some of it. (shrink)

Nietzsche has been associated with naturalism due to his arguments that morality, religion, metaphysics, and consciousness are products of natural biological organisms and ultimately natural phenomena. The subject and its mental life are only comprehensible in relation to natural desires, drives, impulses, and instincts. I argue that such typical natu-ralizing tendencies do not exhaust Nietzsche’s project, since they occur in the context of his critique of “nature” and metaphysical, speculative, and scientific naturalisms. Nie-tzsche challenges otherworldly projections of this-worldly beings, as (...) his naturalistic in-terpreters claim, but further the idolization of immanent worldly natural phenomena, in-cluding science itself. “Nature” is an idealization of natural organisms and environments in which its construction, projection, and interpretation is forgotten. Nietzsche strategical-ly uses naturalistic scientific strategies of explanation and demystification, while demys-tifying science, positivism, and naturalism for the sake of life. These do not provide either certainties or foundations for knowledge or life. Naturalism would be anti-natural if it denies of multiplicity and conflict of the forces of life, bracketing the natural and his-torical conditions of existence, and the interpretive and perspectival character of life and knowledge. The nexus of nature and history in Nietzsche is better clarified through his portrayal of the feeling of life and its intensification, attenuation, and transformation in relation to the forces and conditions of life, which encompass processes of socialization and interpretive and artistic individuation in the context of a life. (shrink)

This essay reviews the domain of the literary contrasting it with other intellectual discourses; especially philosophy. It establishes the superiority of literature over philosophy. And mentions the philosophies informing literature. The essay is written consciously with copious endnotes, contrary to current ways of writing. The essay proper is simple; the endnotes often mock jargon and mimic pedantry.

In 2020, an international team of intercultural philosophers and African linguists created a multilinguistic game named Adinkra. This name refers to a medieval rooted symbolic language in Ghana that is actively used by the Akan and especially the Asante among them to communicate indirectly. The Akan is both the meta-ethnic name of the largest Ghanaian cultural-linguistic group of which the Asante is an Akan cultural subgroup and of a Central Tano language of which Asante-Twi is a dialect. The Adinkra symbols, (...) which have permeated Akan life and the arts, can be found e.g. on Asante royal staffs and gold weights. They are also loosely connected to Akan proverbs. The game Adinkra aims to enhance its players’ intercultural communicative, and moral philosophical understanding by matching Adinkra symbols with Akan proverbs. It was created for educational and therapeutical purposes. This article focusses on the rules, the making of Adinkra, its aims and objectives. The objective of this article is twofold. First, it focusses on the game itself. It elaborates on what its rules are and the content of the game. It also focusses on how playing the multilinguistic game, Adinkra can enhance intercultural understanding and communication. It, furthermore, concentrates on the results of a pilot reception study of this game in the Netherlands among intercultural groups of players. This study has proven that the Adinkra game stimulates creative thinking, engagement in dialogue and reflective ethical thinking. For this reason, the authors believe that it has a lot to contribute to intercultural educational programs with a focus on intercultural communication, philosophy and arts in both Africa and the global North. Finally, a section is devoted to the question of how the Adinkra game was developed and methodologically grounded in Gadamer’s playful hermeneutics, and the theories of the Wheel of the Intercultural Art of living and (African) Indigenous Religions. Secondly, the article focusses on the game’s oral-literary storytelling context and Akan moral ideas. It then throws the searchlight on the creative, therapeutic value and its potential to serve as a ‘cultural detox’. The authors and game makers think that being introduced to an African communitarian ethos hidden in the Adinkra symbols and Akan proverbs can help its players to develop a critical eye for the highly individualistic ethos of Western culture that, among others, is promoted by neoliberal thinking and praxis. The word praxis is used by the authors in the meaning found in educational contexts. Adinkra’s players are stimulated to reflect upon a different moral idea, which can change their mindset and put them into action to contribute to social awareness and societal change. (shrink)

Nietzsche has been associated with naturalism due to his arguments that morality, religion, metaphysics, and consciousness are products of natural biological organisms and ultimately natural phenomena. The subject and its mental life are only comprehensible in relation to natural desires, drives, impulses, and instincts. I argue that such typical naturalizing tendencies do not exhaust Nietzsche’s project, since they occur in the context of his critique of “nature” and metaphysical, speculative, and scientific naturalisms. Nietzsche challenges otherworldly projections of this-worldly beings, as (...) his naturalistic interpreters claim, but further the idolization of immanent worldly natural phenomena, including science itself. “Nature” is an idealization of natural organisms and environments in which its construction, projection, and interpretation is forgotten. Nietzsche strategically uses naturalistic scientific strategies of explanation and demystification, while demystifying science, positivism, and naturalism for the sake of life. These do not provide either certainties or foundations for knowledge or life. Naturalism would be anti-natural if it denies of multiplicity and conflict of the forces of life, bracketing the natural and historical conditions of existence, and the interpretive and perspectival character of life and knowledge. The nexus of nature and history in Nietzsche is better clarified through his portrayal of the feeling of life and its intensification, attenuation, and transformation in relation to the forces andconditions of life, which encompass processes of socialization and interpretive and artistic individuation in the context of a life. (shrink)

It is truly critical and crucial to analyze the revolutionary and radical role of technology in defining the aesthetic experience of modern man. Printmaking has initiated mass communication of visuals, and photography has re-defined realism, creating an alternate possibility of ‘seeing’ other than physically being with the object itself. Virtual reality and other artificial platforms are further facilitating this change in unpredictable ways. Inevitably, the criteria for aesthetic appreciation has transcended its traditional norms, related to concepts like ‘originality’ and asks (...) critical questions addressing the newer problems of aesthetics, in the background of mechanical reproduction and the irrevocable alteration it has brought to the sensorial experience of the new age. This article attempts to trace the status of these questions by analyzing the historiography of photographs, and graphic prints and their relationship with the new aesthetic idiom as well. (shrink)

Development ethics is concerned with the justification of development in terms of different normative issues. Mahatma Gandhi was the greatest among all who contributed to the Indian nationalism movement. The focus of this article is to show that Mahatma Gandhi can be regarded as a third world precursor of development ethics. To facilitate the purpose, the writer will try to show first that Gandhi’s theory of ahimsa acts as a foundational ethics of his entire development thought, because it is against (...) arbitrary consumerism and unsustainable resource use. Then the writer will analyze three important concepts of Gandhi – sarvodaya, swadeshi and satyagraha – which are the three principles of sustainable development, an important aspect of development ethics. Through its preference to the essential unity and equality of all earthly creatures, the principle of sarvodaya shows an empathetic approach towards natural world. The swadeshi spirit is handy in getting support for the national economic planning. To fight against injustices, Gandhi resorted to the method of satyagraha. Hence it became a technique that made the foundation of development ethics (that is, ahimsa) practical. Before drawing the conclusion, the writer will briefly evaluate Gandhi’s development thought that will also depict how Gandhi pioneered development ethics. (shrink)

In this paper, I argue the importance of competition and cooperation cannot be denied as they both are instrumental in making any business transaction. Because two parties always set for themselves different priorities to a business transaction, business has been thought of in terms of competition. But cooperative action is also important, because in the case of cooperative activities the overall total is greater (though the outcomes differ) if we do cooperate than if we do not. Hence humans form cooperative (...) groups to compete for scarce resources. Those business firms, where employees take specialized, interdependent jobs and work together to compete in the free market, produce higher quality products and show greater work efficiency. Hence friendly cooperation is needed to compete more efficiently against other individuals or groups. It is for this reason people should value more in belonging to a group, practicing teamwork, helping others, etc. They should put more value on cooperation than competition though both competition and cooperation are natural to man. (shrink)

From the publisher: -/- This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today. -/- In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that exclude the (...) world outside. But through careful attention to early twentieth-century connoisseurship, aesthetics, art education, design, and art in colonial Nigeria and India, Rose builds an expanded account of form based on its engagement with the social world. Art and Form thus opens discussions on a range of urgent topics in art writing, from its history and the constructions of high and low culture to the idea of global modernism. Rose demonstrates the true breadth of formalism and shows how it lends a new richness to thought about art and visual culture in the early to mid-twentieth century. -/- “This book is a gem. It gives the most comprehensive and accessible account of the importance of form in the last hundred years of writing about art. It should be compulsory reading not just for art historians, but also for aestheticians and anyone interested in visual culture.” —Bence Nanay, author of Aesthetics as Philosophy of Perception -/- “This is an exceptionally wide-ranging and successful study of a central topic in the history of modernism. Rose moves with enviable facility between archival research and historical concerns and a crisply incisive discussion of the status and integrity of the key ideas. The final section, which extends the story outward into new areas, will be an invaluable spur to future research.” —David Peters Corbett, author of The World in Paint: Modern Art and Visuality in England, 1848–1914 -/- “It’s time we had a sophisticated account of form in the modern visual arts to replace the crude caricatures that have dominated the literature on so-called modernist formalism. Sam Rose supplies this with precision (in his careful readings of modernist texts that have too often been oversimplified) and imagination (in relating them to wider, sometimes surprising, contexts). Demolishing the notion that formalism must be escapist, he provides a cogent explanation for how the study of the Old Masters could go hand in hand with the theorization of a modern art. This lucidly written book not only challenges preconceptions about formalism but shows why we cannot ignore the question of form in discussions of the visual arts up to and including the present day.” —Elizabeth Prettejohn, author of Art for Art’s Sake: Aestheticism in Victorian Painting -/- “A brilliant and timely account of aesthetic form and formalism. Debates about form are fundamental to modernism, and indeed to the story of the arts in the twentieth and twenty-first centuries, yet until now we have been lacking a sustained investigation of how this came to be. Art and Form is a great work of art history, and it will also prove indispensable to literary scholars, philosophers, and cultural critics.” —Rebecca Beasley, author of Ezra Pound and the Visual Culture of Modernism. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, (...) the central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

he relationship between decadence and aesthetics is an intimate and complex one. Both the stock figure of the aesthete and the aestheticism of ‘art for art’s sake’ are classic decadent tropes with obvious sources in figures such as Théophile Gautier, Walter Pater, Joris-Karl Huysmans. Yet the links between aesthetics and decadence are more conflicted than might first appear: historically, aesthetics has served both as a site for the theorisation of decadence and as the basis of an attempt to stem (...) it. The purpose of this chapter is to examine these intricate ties. (shrink)

This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism of (...) mind and body is surpassed by following a Spinozistic theory of affects. In this respect, the dissertation has both theoretical and practical dimensions. Since art(s) of becoming are bodies without organs which constitute their own lines of flight through a process of minoration, the concepts of body, affect, becoming, and intensity are central to this study. For the same reason, this is an attempt to show the intersections of philosophical, political and aesthetic domains in Deleuze’s theory of sensation which is part of his general practice of philosophy, that is, a quest for establishing an ontology of immanence as opposed to identitarian metaphysics. (shrink)

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 different (...) roles—in which 'art' is both a general category able to stage the features of sense in general and a particularly striking example of the alteration sense undergoes in our times—make available for Nancy different perspectives on the question of sense. On the one hand, the general category of 'art' allows Nancy to construct a characterology of sense around terms such as surprise and novelty; on the other, the appeal to the fractal practice of the 'contemporary arts' supports the project of giving an account of sense.This paper analyses the effects on Nancy's conception of sense of these different appeals to 'art' and the practice of 'the contemporary arts.' Are the locales from which these different perspectives on sense take shape compatible? In what ways do they inflect each other or, alternatively, undermine the perspectives of the other on the question of sense? Finally, what do these two strands tell us about what Nancy expects of 'art' and what would happen to his ontology of sense without the different appeals he makes to it? (shrink)

This paper addresses the question of whether a general method is capable of accommodating the vast array of contexts in which art objects are studied. I propose a framework for such a general method, which is, however, limited to a specific research task: reconstructing the circumstances under which a culturally and/or temporally distant or “exotic” art object becomes interesting (or menacing) to look at. The proposed framework is applied to evaluate Anthony Forge’s essays on the visual art of the Abelam. (...) The essays played a central role in the rekindling of anthropological interest in visual art, but they have also been subject to criticism for forcing on Abelam art Western categories that distort the role art objects play in the Abelam world. Assessing the corpus in terms of the proposed framework allows me to exemplify the main differences between a pragmatic and a semantic approach to gaining access to the efficacy of culturally or temporally distant art. (shrink)

I reply to Andrea Baldini's critical discussion of my "Street Art: The Transfiguration of the Commonplaces" (2010) by taking up the question: what is "the street" in street art? I argue that the relevant notion of the street is a space whose function it is to facilitate self-expression. I show how this clarifies and extends the theory developed in Riggle (2010). I then argue, contra Baldini, that street art is not always subversive, and when it is, it is not always (...) in virtue of its challenging the co-opting of public space by commercial art. (shrink)

In Foucault, thought is spatial, and unfolds within the density of becoming, in the void that separates the subject and the object. It is ontologically independent from the authority of the contemplating self, the ‘I’. Thought is a being of its own, and comes from the outside – the world of relationships. The present study poses to itself the following question: if thinking indeed comes from the outside, then under what condition thinking can encounter itself – its colour, texture and (...) topography? That is, under what condition can man encounter himself and the world? Since this problem does not have its origin in Foucault’s work, this work does not arrive at any conclusion merely by analysing and evaluating his work alone. Rather, it aims to explore how Foucault has incorporated Kant and Nietzsche into his thinking, on the one hand, and contextualises him within the Western tradition in general and his responses to contemporaries Deleuze and Derrida, in particular, on the other. Consequently, this study is limited by the sheer weight of its own problematisation. However, the problem of ‘under what condition thought encounters itself?’ is here posed not for the sake of constituting a form of knowledge on it, but rather, it is asked from the point of view of ethics. This, in fact, demands a reordering of the forms of ontology that Foucault has developed at different stages of his career. There are three forms of ontology in Foucault’s work: the first analyses man as the subject of truth; the second takes up man as the subject of power; and the third analyses man as an ethical being. The present study reverses the order and examines his work in its totality from the standpoint of his later writings that deal with the problem of truth and ethics. It tries to connect two problems that pop up at different stages of Foucault’s career. The Order of Things asks the question, “what is man?” and in his later writings Foucault labours on the question, “how should I live my life?” This study tries to relate these two questions, as it unfolds itself. (shrink)

Observing certain affinities with Plato’s Alcibiades I , this paper argues that a distinction between care (epimeleia ) of the soul and philosophy as its art (technê ) is reflected in Aristotle’s Protrepticus . On the basis of this distinction, it claims that two notions of philosophy can be distinguished in the Protrepticus : philosophy as epistêmê and philosophy as technê . The former has the function of contemplating the truth of nature, and Aristotle praises it as the natural telos (...) of human beings; whereas philosophy as technê helps nature to accomplish the end it designed for human beings. It emerges that according to Aristotle in the Protrepticus philosophy is the art of making oneself coincide with one’s nature as a human being. (shrink)

The status of art in Plato's philosophy has always been a difficult problem. As a matter of fact, he even threw the poets out from his ideal state, a passage that has led some interpreters to assess that Plato did not develop a proper philosophy of art. Nevertheless, R. G. Collingwood, wrote an article titled “Plato's Philosophy of Art”. How can it be? What could lead one of the most important aesthetic scholars of the first half of the twentieth century (...) to make this thesis about Plato? To understand Collingwood's position at that time, I will review it in a new light: his own philosophy of art at that moment as it was propounded in Outlines of a Philosophy of Art, a work he published that same year. I will also examine how Collingwood's position changed when he returned to the same subject in 1938, on the publication of The Principles of Art. Finally, I will end this article defending the correctness of Collingwood's earlier interpretation of Plato's position on art. (shrink)

Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product of (...) art-attempts that are subject to failure, Mag Uidhir derives implications for many domains in the philosophy of art. He argues that artworks cannot be abstract objects, since abstract objects cannot participate in causal relations and thus can’t be the product of art attempts: one can’t coherently intend or attempt to create something that exists eternally. Things that we think of as repeatable artworks, then, can’t be abstract types: instead, Mag Uidhir proposes, every artwork is concrete, but some are tied together by a relation of relevant similarity. In this symposium, Mag Uidhir replies to three critics, David Davies, Sherri Irvin and Keith Lehrer. All three critics examine the relevant similarity relation that Mag Uidhir proposes to account for artworks that we treat as repeatable, while also considering a variety of other issues. (shrink)

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 (...) because it is timeless – impervious to change, “eternal”, “immortal” – and this solution, which was ratified without question by Enlightenment philosophers of art such as Hume and Kant, still lingers on in some quarters today. But developments since the nineteenth century have gravely weakened the credibility of the proposition that art is immortal, and the idea is now effectively dead. This leaves us with a major dilemma: if art is not impervious to change, how exactly does it endure? If the time-honoured solution of immortality is no longer viable, what alternative explanation can we find to replace it? -/- This paper explains why immortality is dead, describes our contemporary dilemma, and briefly canvasses a possible solution. (shrink)

This contribution focuses on three aspects of Nietzsche’s art of living that have become relevant today especially in the United States (but not only here): first, regarding some facets of the economic-political conditions of any contemporary art of living; second, the widespread adoption of Nietzsche’s notion of self-overcoming and artistic self-design in entrepreneurship and individual’s lives; and third, how his notion of ‘incorporation’ has been further developed in current approaches to habit design. Eventually I will show via the example of (...) Anthony Robbins that some notions of Nietzsche’s art of living have become most popular outside of academia, namely in the commercial industries of what has been called ‘self-growth’ or ‘self-development.’. (shrink)

The ‘museal’ approach to art has been attacked from many angles in the last decade; the main issue raised by most of these attacks was that such an approach would promote a certain idea of art which has little to do with real-life or the layman’s interest. Some artists have protested by stepping out of the museum space with projects deliberately designed as non-museum items (performance, land-art, public art etc.). Art, however, is always meant for a public, so, as an (...) “unfortunate” consequence, those artists who wished to become famous were not able to avoid certain art institutions, such as museums, galleries, curators or critics. Until now. The internet, especially Facebook, provide genuinely new options/ opportunities for the virtual display of art pieces, an option that artists are eager to take advantage of. In the following, I will present the process of expansion of the public artistic sphere, I will attempt to show why Facebook serves well as a public artistic arena, and finally, I will present some salient Facebook-art-projects. The presented projects will include works by a street artist (Banksy), a performance artist (Gusztáv Ütő) and a graphic designer (Dan Perjovsky). These three artists are intrigued by current social issues, which are usually reflected in their works, also they all wish to spread their messages to the widest possible public. On of their favorite channels is the Facebook Wall. (shrink)

Adorno’s dialectical approach to aesthetics is perhaps understood better in terms of his monumental work, 'Aesthetic Theory,' which attempts to relate the speculative tradition in philosophical aesthetics to the situation of art in twentieth-century society, than in terms of purely theoretical claims. This paper demonstrates that Adorno embraces the Kantian thesis concerning art’s autonomy and that he criticizes transcendental philosophy. It also discusses how Adorno provides the outlines for a dialectical conception of artistic truth in relation to his argument with (...) Hegel. Adorno’s assessment of the Enlightenment is linked to his interpretation of twentieth-century literature. The conclusion of this paper emphasizes the political implications of Adorno’s position when the philosopher approaches art as a sign of historical truth. (shrink)

The goal of this paper is to clarify the role wrong plays in Hegel ’s system of right, as both a form of freedom and the transition to morality. Two approaches will be examined to explore wrong in practical philosophical terms: First, one could take the transition to be descriptive in nature. The transition describes wrong as a realized fact of the human condition that one inherits from the outset. Second, one could see it as prescriptive. Actual wrongdoing would be (...) essential for the subject’s progression to becoming moral. Though both are most likely the case, emphasis is given to the latter since it represents the actualization of potential. Furthermore, it will be suggested that wrong plays a similar role as that which alienation does in the Phenomenology of Spirit; both bridge the will as abstract personality with the moral point of view. (shrink)

I contend that there are important moral reasons for individuals, organisations and states to aid others that have gone largely unrecognised in the literature. Most of the acknowledged reasons for acting beneficently in the absence of a promise to do so are either impartial and intrinsic, on the one hand, being grounded in properties internal to and universal among individuals, such as their pleasure or autonomy, or partial and extrinsic, on the other, being grounded in non-universal properties regarding an actual (...) relation to the agent, such as common membership in a family or culture. In contrast, I articulate and defend the existence of two unrecognised reasons for beneficence that can take the form of being impartial and extrinsic. One is that a being’s capacity to be part of a sharing relationship with us can provide some reason to help it, and another is that a sharing relationship qua relationship is an end-in-itself that can provide some reason to help another. I differentiate these considerations from one another and from the more standard reasons for beneficence, provide arguments for thinking that they are central to beneficence, and rebut objections that are likely to be offered by friends of the more standard reasons. (shrink)

Where Gillo Dorfles sees an ‘aesthetic quotient’ able to promote a right relationship between man and nature, and nature and artefact, the concept of objectualization accounts for the ambivalent consequences of man’s appropriation of nature, occurring in the shaping of reality. This concept appears in the arts but also in the production of ordinary man-made objects. The latter recalibrates our own understanding of art and nature. Starting from a definition of objectualization, the hypothesis of an equation between ar- tificiality and (...) aesthetics will be found. Taking into account Dorfles’s claim about redeeming the unnatural as nature in its being the product of man’s creativity, we will assess his works focusing on the case of the artefact and graphic-musical object. Dorfles’s theory will be applied without following the different levels of analysis entirely: phenomenological, since the relationship between men, objects and machine is intentional; functional, as art depends on the role, determining a significance inside social condition, but on a symbolic or formal level, insofar as determining a stable presence of the significance at the level of the aspect, the shape becoming a mirror of men. In the end our own aesthetic constitution will be found together with the recalibration of the relationship with nature and the world through an idea of form combining artificialness and naturalness. (shrink)

Richard Wollheim threatened George Dickie's institutional definition of art with a dilemma which entailed that the theory is either redundant or incomprehensible and useless. This article modifies the definition to avoid such criticism. First, it shows that the definition's concept of the artworld is not vague when understood as a conventional system of beliefs and practices. Then, based on Gaut's cluster theory, it provides an account of reasons artworld members have to confer the status of a candidate for appreciation. An (...) authorised member of an artworld has a good reason to confer the status on an object if it satisfies a subset of criteria respected as sufficient within this artworld. The first horn of the dilemma is averted because explaining the reasons behind conferral cannot eliminate references to the institution, and the second loses its sharpness, as accepting partial arbitrariness of the conferral does not deprive the theory of its explanatory power. (shrink)

Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys’s concept of social sculpture and Marcuse’s idea of society as a work of art can be complemented by Abreu’s project of a musical orchestra as a social ideal and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey, with D’Annunzio also touching upon them with his State of Fiume, for (...) which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research. (shrink)

Kahneman's 'Asian disease' has nothing to do with Asians or their diseases; it is disrespectful of the basic principles of psychology. The attendant research--fooling people--is not science. Here I show how to build a science of the mind.

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 (...) for what I take to be the main flaws in the theory. In what follows I present arguments for that claim, looking briefly at the position of both authors with respect to the concept of art, then showing how they relate to each other, and what implications this has for Dickie’s institutional theory, and more generally for the traditional project of characterising art. (shrink)