Results for 'Arte'

982 found
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  1. 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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  2. Heidegger, Art, and Postmodernity.Iain D. Thomson - 2011 - New York: Cambridge University Press.
    Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...)
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  3. The arts of action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    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 (...)
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  4. Art and Politics in Roger Scruton's Conservative Philosophy.Ferenc Hörcher - 2022 - Springer Verlag.
    This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...)
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  5.  40
    The Art of Becoming: Tracing Technological Transformation and His Perception in Society.Raquel Cascales - 2024 - Review of Contemporary Philosophy 23 (2):1768-1785.
    Throughout the past century, technology integration into the human body has experienced remarkable growth, finding its expression through specific artistic movements that have acted as catalysts for acceptance and societal transformation. This article delves into the examination of three paradigm shifts that underpin this profound evolution. The first shift marks a departure from curative treatments for disabilities, shifting towards a focus on augmentative improvements. Subsequently, the second shift propelled the enhancement of healthy bodies, driven by the visionary concept of posthumanism, (...)
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  6. Failed-Art and Failed Art-Theory.Christy Mag Uidhir - 2010 - Australasian Journal of Philosophy 88 (3):381-400.
    An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...)
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  7. Art Criticism as Practical Reasoning.Anthony Cross - 2017 - British Journal of Aesthetics 57 (3):299-317.
    Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...)
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  8. Art: What it Is and Why it Matters.Catharine Abell - 2011 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...)
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  9. Photographic Art: An Ontology Fit to Print.Christy Mag Uidhir - 2012 - Journal of Aesthetics and Art Criticism 70 (1):31-42.
    A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...)
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  10. Art Concept Pluralism.Christy Mag Uidhir & P. D. Magnus - 2011 - Metaphilosophy 42 (1-2):83-97.
    Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...)
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  11.  25
    Arte e terrore. La filosofia dell'arte di Félix Duque e il jazz.Alessandro Bertinetto - 2011 - Tropos 1:67-78.
    This paper has two parts. In the ,rst part, I discuss aspects of Félix Duque’s philosophy of contemporary art. In the second part, I brie-y show that Duque’s arguments about art can be adopted to capture cultural traits of jazz as a performative and improvisatory practice.
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  12. Art, Metaphysics, & the Paradox of Standards.Christy Mag Uidhir - 2013 - In Art & Abstract Objects. Oxford University Press.
    I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...)
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  13. Art For Art’s Sake In The Old Stone Age.Gregory Currie - 2009 - Postgraduate Journal of Aesthetics 6 (1):1-23.
    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 (...)
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  14.  51
    Arte ed estetizzazione nel pensiero di Gianni Vattimo.Alessandro Bertinetto - 2008 - Tropos:127-144.
    Gianni Vattimo ha elaborato l’estetica e la teoria dell’arte del «pensiero debole» soprattutto in alcuni articoli pubblicati nella «Rivista di Estetica» (della quale è stato direttore). Parte di questi saggi è stata poi raccolta nella seconda sezione di una delle sue opere centrali, La fine della modernità, sezione intitolata, significativamente, La verità dell’arte. Le diverse questioni discusse da Vattimo sono infatti attraversate dal filo conduttore del problema della verità dell’arte, nell’epoca del nichilismo, della fine della storia e (...)
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  15. Painful Art and the Limits of Well-Being.Aaron Smuts - 2013 - In Jerrold Levinson, 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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  16. From Art to Information System.Miro Brada - 2021 - AGI Laboratory.
    This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to other areas eg. computer programming. Maximization of uniqueness is minimization of entropy that coincides as well as goes beyond Information Theory (Shannon, 1948). The reusage of logic as a universal principle to minimize entropy, requires simplified architecture and abstraction. Any structures (e.g. plugins) duplicating or dividing functionality increase entropy and so unreliability (eg. British (...)
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  17. Sad Art Gives Voice to Our Own Sadness.Tara Venkatesan, Mario Attie-Picker, George Newman & Joshua Knobe - forthcoming - Cognitive Science.
    People tend to show greater liking for expressions of sadness when these expressions are described as art. Why does this effect arise? One obvious hypothesis would be that describing something as art makes people more likely to regard it as fictional, and people prefer expressions of sadness that are not real. We contrast this obvious hypothesis with a hypothesis derived from the philosophical literature. On this alternative hypothesis, describing something as art makes people more inclined to appropriate it, i.e., to (...)
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  18. Entitled Art: What Makes Titles Names?Michel-Antoine Xhignesse - 2019 - Australasian Journal of Philosophy 97 (3):437-450.
    Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...)
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  19.  74
    Art, Technology, and Trans-Death Options.Reyes Espinoza - 2019 - In Dalila Honorato, María Antοnia González Valerio, Marta De Menez & Andreas Giannakoulopoulos, TABOO ‒ TRANSGRESSION ‒ TRANSCENDENCE in Art & Science 2018. Corfu, Greece: Ionian University Publications. pp. 194-199.
    Death across human history is codified and controlled by religion, dogma, or social￾political circumstances. However, it is possible to take death out of these realms, instead dying how one wishes. One can design their own death. I will argue that human trans-death can be an intentional performance by persons and that this intentional performance can be combined with the newest and most novel methods of preserving a consciousness. This thesis opens possibilities for future exhibitions and live performances combining art and (...)
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  20. Art or Porn: Clear division or false dilemma?Hans Maes - 2011 - Philosophy and Literature 35 (1):51-64.
    Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...)
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  21. Estética, arte y consumo. Su dinámica en la cultura contemporánea.José Ramón Fabelo-Corzo & Alicia Pino Rodríguez (eds.) - 2011 - Puebla, Pue., México: Colección La Fuente, BUAP.
    El presente libro, editado de manera conjunta por la Facultad de Filosofía y Letras de la BUAP y el Instituto de Filosofía de La Habana, reúne algunos de los principales resultados del Proyecto de Investigación Coordenadas epistemológicas para el análisis estético de la cultura y su relación con el consumo, coordinado por el Grupo de Investigación sobre Estética, Cultura y Arte, perteneciente a la institución cubana, con la colaboración de los cuerpos académicos de Estética y Arte y La (...)
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  22. Conceptual Art (Taylor’s Version).Sherri Irvin - 2025 - In Brandon Polite, Taylor Swift and the Philosophy of Re-recording: The Art of Taylor's Versions. Bloomsbury.
    Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...)
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  23. Art Forms Emerging: An Approach to Evaluative Diversity in Art.Mohan Matthen - 2020 - Journal of Aesthetics and Art Criticism 78 (3):303-318.
    An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...)
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  24. Monuments as commitments: How art speaks to groups and how groups think in art.C. Thi Nguyen - 2019 - Pacific Philosophical Quarterly 100 (4):971-994.
    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 (...)
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  25. 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 socialist (...)
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  26. Defining Art.Thomas Adajian - 2015 - In Anna Christina Ribeiro, The Bloomsbury Companion to Aesthetics. Bloomsbury Academic. pp. 39-54.
    Overview of the definition of art and its relationship to definitions of the individual art forms, with an eye to clarifying the issues separating dominant institutionalist and skeptical positions from non-skeptical, non-institutional ones. Section 2 indicates some of the key philosophical issues which intersect in discussions of the definition of art, and singles out some important areas of broad agreement and disagreement. Section 3 critically reviews some influential standard versions of institutionalism, and some more recent variations on them. Section 4 (...)
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  27. Art (Entrée académique).Constant Bonard & Steve Humbert-Droz - 2020 - Encyclopédie Philosophique.
    Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...)
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  28. Malraux, Art, and Modernity.Derek Allan - forthcoming - la Revue des Lettres Modernes 2024.
    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.).
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  29. Enriching Arts Education through Aesthetics. Experiential Arts Integration Activities for Early Primary Education.Marina Sotiropoulou-Zormpala & Alexandra Mouriki - 2019 - London, UK: Routledge.
    Enriching Arts Education through Aesthetics examines the use of aesthetic theory as the foundation to design and implement arts activities suitable for integration in school curricula in pre-school and primary school education. This book suggests teaching practices based on the connection between aesthetics and arts education and shows that this kind of integration promotes enriched learning experiences. -/- The book explores how the core ideas of four main aesthetic approaches – the representationalist, the expressionist, the formalist, and the postmodernist – (...)
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  30. Art, Artists and Pedagogy.C. Naughton, G. Biesta & David R. Cole (eds.) - forthcoming - London, UK: Routledge.
    This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level.
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  31. Art and Cultural Heritage: An ASA Curriculum Diversification Guide.Erich Hatala Matthes - 2017 - American Society for Aesthetics, Curriculum Diversification Guides.
    Art is saturated with cultural significance. Considering the full spectrum of ways in which art is colored by cultural associations raises a variety of difficult and fascinating philosophical questions. This curriculum guide focuses in particular on questions that arise when we consider art as a form of cultural heritage. Organized into four modules, readings explore core questions about art and ethics, aesthetic value, museum practice, and art practice. They are designed to be suitable for use in an introduction to philosophy (...)
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  32. Art and Emotion.Filippo Contesi - 2018 - Oxford Bibliographies in Philosophy.
    The study of the arts in philosophy has often concentrated on the role that emotions (and affective responses more generally) play in art’s creation and value. Philosophical theories of art have sometimes even defined art in terms of its capacity to elicit or express emotions. Philosophers have debated such questions as what it is to express an emotion in art; whether emotions form part of the value of an artwork; whether the emotions involved in art appreciation are of the same (...)
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  33. The Art of Immoral Artists.Shen-yi Liao - 2024 - In Carl Fox & Joe Saunders, Routledge Handbook of Philosophy and Media Ethics. Routledge. pp. 193-204.
    The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we should not always (...)
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  34. Art as Its Own Interpretation.Nicholas Maxwell - 2003 - In Andreea Ruvoi, Interpretation and Its Objects.: Studies in the Philosophy of Michael Krausz. Rodopi.
    In this article I argue that a work of art provides the best interpretation of itself - more faithful than any other scholarly interpretative work.
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  35. The Art of Fugue by Johann Sebastian Bach as an artistic expression of the juncture of beyng in Martin Heidegger’s philosophy.Andrzej Krawiec - 2022 - Polish Journal of Aesthetics 64 (1):103-118.
    Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as (...)
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  36. Can art become theoretical?Clinton Peter Verdonschot - 2021 - Internationales Jahrbuch für Philosophische Anthropologie 11 (1):109-126.
    Art-science, as its name suggests, combines art with science. The idea of combining art and science raises the question whether the outcome, art-scientific works, can succeed against a standard properly belonging to them. In other words: can there be such a thing as an art-scientific work, or do such works merely belong to either art or science while superficially seeming to belong to the other sphere as well? Surprisingly perhaps, these concerns overlap with a chief point of contention as regards (...)
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  37. AI Art is Theft: Labour, Extraction, and Exploitation, Or, On the Dangers of Stochastic Pollocks.Trystan S. Goetze - 2024 - Proceedings of the 2024 Acm Conference on Fairness, Accountability, and Transparency:186-196.
    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 (...)
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  38. Arte, política y sociedad de consumo. El caso de Andy Warhol.José Ramón Fabelo Corzo - 2011 - Memoria, Revista de Política y Cultura 249 (249):37-39.
    Andy Warhol (1928-1987), considerado por muchos como el más importante y emblemático artista estadounidense, sigue despertando, a más de 20 años de su muerte, un renovado interés interpretativo, acompañado de no pocas polémicas que evidencian criterios encontrados y lecturas diversas. Siendo el principal representante del Pop Art, Warhol concentró en sí mismo y en su obra los atributos fundamentales de toda una nueva etapa del desarrollo del arte, caracterizada por una especie de salto mortal desde lo que había sido (...)
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  39. Digital Art and Their Uniqueness without Aura.Ahmad Ibrahim Badry & Akhyar Yusuf Lubis - 2018 - In Melani Budianta, Manneke Budiman, Abidin Kusno & Mikihiro Moriyama, Cultural Dynamics in Globalized World. Routledge. pp. 89-95.
    Modern technology plays an important role in our daily lives. Many people use technology for their works, interactions, and special interests such as art. Art as a discipline, which expresses human emotion and creative side, takes a new form for its contextualization with the help of information technology. A neologism for this discipline is “digital art.” Some experts who employ a traditional value in their aesthetical perspective consider this new approach unlikely. Walter Benjamin, an eminent figure from this group, stated (...)
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  40. Why Art Became Ugly.Stephen R. C. Hicks - 2004 - Navigator 6 (10).
    For a long time critics of modern and postmodern art have relied on the "Isn't that disgusting" strategy. By that I mean the strategy of pointing out that given works of art are ugly, trivial, or in bad taste, that "a five-year-old could have made them," and so on. And they have mostly left it at that. The points have often been true, but they have also been tiresome and unconvincing—and the art world has been entirely unmoved. -/- Of course, (...)
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  41. 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 standing participants in these (...)
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  42. Trust and sincerity in art.C. Thi Nguyen - 2021 - Ergo: An Open Access Journal of Philosophy 8:21-53.
    Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...)
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  43. Art in the time of Disease.Srajana Kaikini - 2014 - Journal for Cancer Research and Therapeutics 10 (1):229 -231.
    An invited editorial on the depiction of disease in art history which would then become the symbol of this redemptive philosophy.
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  44. Arte, filosofía indígena y derechos de la naturaleza.Fausto César Quizhpe Gualán - 2021 - Quito, Ecuador: Universidad Andina Simón Bolívar Sede Ecuador.
    Este trabajo presenta una propuesta biologizada del arte y la Filosofía Indígena desde el pueblo kichwa Saraguro, con el fin de discutir especialmente los fundamentos de los derechos de la naturaleza. Aunque, hay que resaltar que, el sitio de enunciación no es estrictamente el lugar descrito; porque la matriz de discusión es el Sumak Kawsay que involucra a Latinoamérica en general. La metodología que se usa es la transdisciplinar. El orden de desarrollo está enmarcado en una primera parte que (...)
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  45. 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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  46.  40
    Culinary Arts: A Motivator Towards Community-Based Festival Attendance and Sustainability.Ibraheem Kukoyi, Abioye Adedipe, Tajudeen Yusuf & Opeyemi Ijaya - 2024 - International Journal of Home Economics, Hospitality and Allied Research 3 (2):193-207.
    This study investigates motive factors attracting people to community-based festivals characterized by culinary activities and underscore its contribution to sustaining tourism activities in the study area. Multistage sampling technique was adopted for sample selection. Kayo-Kayo Festival in the Epe area of Lagos State was purposively selected, purposive and availability sampling technique was used to select household head and one additional adult from 25 households respectively within the host community. Convenience sampling method was further used to select 100 festivals attendees, making (...)
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  47. "Else-Where": Essays in Art, Architecture, and Cultural Production 2002-2011.Gavin Keeney - 2011 - Newcastle upon Tyne: Cambridge Scholars Press.
    “Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main repression (...)
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  48. Arte Conceptual.Elisa Caldarola - 2018 - Enciclopedia de la Sociedad Española de Filosofía Analítica.
    La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, (...)
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  49. Interpreting Art.Sam Rose - 2022 - London, UK: University College London Press.
    Art interpretation in practice, not theory. -/- How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. -/- Ranging widely, (...)
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  50. How Art Teaches: A Lesson from Goodman.Markus Lammenranta - 2019 - Paths From the Philosophy of Art to Everyday Aesthetics.
    In “How Art Teaches: A Lesson from Goodman”, Markus Lammenranta inquires if and how artworks can convey propositional knowledge about the world. Lammenranta argues that the cognitive role of art can be explained by revising Nelson Goodman’s theory of symbols. According to Lammenranta, the problem of Goodman’s theory is that, despite providing an account of art’s symbolic function, it denies art the possibility of mediating propositional knowledge. Lammenranta claims that Goodman’s theory can be augmented by enlarging it with an account (...)
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