What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are (...) there limits on what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

Joseph Margolis holds that both artworks and selves are ”culturally emergent entities." Culturally emergent entities are distinct from and not reducible to natural or physical entities. Artworks are thus not reducible to their physical media; a painting is thus not paint on canvas and music is not sound. In a similar vein, selves or persons are not reducible to biology, and thought is not reducible to the physical brain. Both artworks and selves thus have two ongoing and inseparable ”evolutions”—one cultural (...) and one physical. Rather than having fixed ”natures” that remain stable for any purpose other than numerical identity, artworks and selves have ”careers” due to their cultural evolution that change with the course and flux of history, interpretation and reinterpretation. The question for this essay is how a Margolisian encultured artist, who is also an individual ”self," can construct an identifiable ”career” that is both from culture and develops culture constructively in a way that involves an individual, as well as collective, contribution. In answering this question I will provide a theory that shows how Margolis’ work on the artist as cultural agent leaves room for creative innovators within a cultural context. In short, I claim that Margolis’ idea that a person is a thinking-and-doing practitioner that emerges from and works within a cultural context does allow for the agent to use that same context to acquire the tools and skills necessary to make something new. I will then consider how this innovation might be possible by making recourse to some theories of creativity from neuroscience and psychology. This essay will focus on Margolis’ theory of the creative artist as cultural agent as supplemented with an account of the nature of the human being as a raw set of genetic materials and capacity for acquiring cultural competence. My claim is that this is the site for an adequate account of how some encultured persons are able to create exceptional innovations in artistic domains and others are not. I agree with Margolis that it is true that innovation is not possible by any pre- or non-encultured self but I also think that extremes of cultural mastery and innovation, as in the case of highly creative and innovative artists, are not possible without an inborn potentiality to develop to a high level of cultural ability under the right conditions. This is not to deny Margolis’ theory of artists as cultural agents. Indeed, I accept Margolis’ view of the deep importance of culture to the development of the self and to the creative artist wholeheartedly. I also agree that this is a crucial aspect of artistic agency and creativity that has been given short shrift in analytic aesthetics. My intention here is only to answer one question that is still left unanswered after understanding and acknowledging the importance of culture: How do we account for the disparity in ability in cultural agents and artists that cannot be attributed to cultural training and socio-historical factors? How do we account for the existence of the exceptionally creative artist in a situation where the cultural and socio-historical factors are roughly equivalent for others who demonstrate lesser amounts of creativity? (shrink)

Critical thinking involves deliberate application of tests and standards to beliefs per se and to methods used to arrive at beliefs. Pedagogical license is authorization accorded to teachers permitting them to use otherwise illicit means in order to achieve pedagogical goals. Pedagogical license is thus analogous to poetic license or, more generally, to artistic license. Pedagogical license will be found to be pervasive in college teaching. This presentation suggests that critical thinking courses emphasize two topics: first, the (...) nature and usefulness of critical thinking; second, the nature and pervasiveness of pedagogical license. Awareness of pedagogical license alerts the student to the need for critical thinking. Indoctrination is done to students; education is done by students. (shrink)

We are living in an increasingly complex world. How are we able to cope with this complexity and the difficulties that arise from it? Can philosophy and art, classified as the two utmost useless and pointless disciplines, have any (positive) influence on the urgent and pressing problems at hand? And, related to this, if the two have more than just their uselessness in common, how, then, are philosophy and art related? In this article, I will argue that although ‘useless’ disciplines (...) such as philosophy and art have no direct influence on our complex world, they are nonetheless the most important ones, because those working within them practice their insights in an indirect way. Indirect influence may take a little longer, but the impact is much stronger, affecting our thinking and our attitudes from within, as it were. This indirect approach has everything to do with the sort of questions philosophers and artists occupy themselves with. I will show how both address, albeit each in their own way, fundamental questions, and thereby make use of thought experiments. Intuition and imagination play a decisive part in the creative processes that are involved in thought experiments and thinking. It is argued that we all are able to learn a ‘delayed unconscious thinking’ that leads to an artistic attitude; one that will activate an artistic turn. (shrink)

In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be explained primarily by the content of his work, and in particular not by his sporadic observation on aesthetics, but rather by stylistic features of his work formal aspects of his writing. Edoardo Paolozzi’s testimony shows that artists often had a feeling of acquaintance or familiarity with the philosopher, which I think is due to stylistic features of his work, such as the colloquial tone (...) in which Wittgenstein shares his observation with the reader, but also the lack of long-winded arguments or explanations. In the concluding part I suggest that we can read Wittgenstein’s artworks of a specific kind: as philosophical works of art. (shrink)

Why should musical compositions and artistic images be included among the types of expression covered by free speech principles? One way to answer this question is to show how expression in nonverbal media can be functionally similar to other types of verbal expression. But this leaves us with an intuitively unsatisfying explanation of why free speech principles cover nonverbal creative expression that does not functionally emulate literal speech. In this article, as an alternative justification, we develop and defend the (...) idea that musical and pictorial expression‚ much like literal speech, can be media through which people think aloud, as opposed to mere tools for the transmission of thought. We use this proposal to provide a more robust justification for including nonverbal creative expression in the scope of free speech coverage, and we outline some of the practical policy implications that come with adopting this justificatory strategy. (shrink)

To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor (...) of uniqueness, and the contextual factor of appreciative environment. We explore the context of appreciation by performing studies in a museum as well as the lab. We found that contagion made a difference to judgments of artistic value in both settings. These results are congruent with previous empirical research as well as recent philosophical work that defends the artistic significance of authenticity. However, uniqueness only made a difference in the lab setting, but not in the museum. This suggests that the context of appreciation may make a difference to judgments of artistic value. Of broader significance, these studies show the value of experimental philosophical aesthetics and the value of doing in situ empirical research on art. (shrink)

An aesthetic and epistemological departure from ocular centrism has occurred in the wake of current technological evolutions and the posthuman turn. The sonic exploration of the more-than-human takes artists and philosophers beyond anthropomorphism to reveal the hidden patterning of life forms and yet-unfathomed universes. The conflation of nature with culture is one shift that takes place when thinking with sounds and rhythm and studying our environments. On an ontological level, a reordering of subject and object occurs when encountering the (...) reciprocal relationship of sounding. What if culture is actually nature? How does technology connect with botany, and what does it mean to engage the environment with the expanded tactility of the ear? This essay observes current inter-species practices in sound art by revisiting philosopher Susanne Langer’s theory of an embodied and embedded mind. Her “new key” in philosophy emphasizes music as a dynamic sound-pattern to conceptualize a semiology of artistic forms that renders human feeling in regard to non-human antecedents. This serves as a tool to trace the preconceptual substrata of mind, leading us through process-oriented studies of nature and psychophysical affect. Thinking with Langer involves the interconnection of natural systems, behavioural patterns, and human expression, which emerges in art. (shrink)

In this article, it is claimed that by considering Rancière’s understanding of politics of aesthetics alongside Stengers’ conception of the ecology of practices, it is possible to think about the autonomy of artistic practices which would be created and sustained politically. Rancière demonstrates that the artistic autonomy was previously subordinated to a variety of historical imperatives, while Stengers warns about an apolitical mission of the great narrative of the Anthropocene. Both philosophers make a case for talking about the (...) autonomy of artistic practices based on political differing, but in Stengers’ philosophy, the political principle of dissensus is supported by an ecological perspective. She argues for a symbiotic consensus, where the political is defined as being both contradictory and attuned to the situational interconnectedness. In the destructive environment of the Anthropocene, Stengers challenges the tradition of critical reflexivity and proposes a way out – the autonomy of practices that is not universally given but needs to be constantly recomposed together. (shrink)

Seabed mining, the extraction of minerals from the deep-sea floor, is hotly contested. Policymakers have agreed on the need for a regulatory framework. However, traditional ethical theories and principles are not well equipped for the ethics of the alien deep sea. Engaging with the sea means engaging with something abstract that we can only access indirectly. We argue that this invisibility and alienness of the sea and its inhabitants can give new insights into how ethics are done. Rather than getting (...) even more grip on what is already directly known, considering what is outside our usual moral view may be just as valuable. To do so, art can help us think with these unknown and invisible parts of the ecosystem. For that, we describe three cases. The scientist and artist Eugen Ransonnet engaged with the underwater world in the late 19th century. The Victorian flower painter Marianne North's unruly approach greatly influenced the botanic discourse until today. And finally, Christina Stadlbauer's Institute for the Relocation of Biodiversity and her work with the mollusk Pinna Nobilis in Mar Menor, Spain. We describe the Pinna Nobilis video project and the ethical and political opportunities it opens. We propose that engaging with the arts can pave the way towards including the unknown in ethical reflection and, at the same time, how it can rephrase questions that can help us reconsider what is outside of our moral view. (shrink)

In his article “The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types,” Nemesio Puy raises a hypothesis that continuity of the purpose is both a necessary and a sufficient condition for musical work’s identity. Puy’s hypothesis is relevant to two topics in cognitive psychology and experimental philosophy. The first topic is the prevalence of teleological reasoning about various objects and its influence on persistence and categorization judgments. The second one is the importance of an artist’s intention in the (...) categorization of artworks. We tested the teleological hypothesis across three studies. Vignettes in these three studies describe a musical work being changed in some of these aspects: purpose either changed or retained; score either changed or retained; change is made either by the same or a different composer. The results suggest that teleological considerations impact judgments on the persistence of musical works, but this impact appears to be relatively weak. The results also suggest that persistence judgments strongly depend on whether acoustical properties were changed, while whether the change was made by the original composer seems to be relatively unimportant. (shrink)

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

This paper presents and discusses design studio outcomes developed in response to a studio brief linked to the Fun Palace Futures initiative of the Royal British Institute of British Architects (RIBA) in honour of architect Cedric Price and artist Joan Littlewood. The studio brief was collaboratively developed by the authors. Its core question was: How could the thoughts that guided the development and design of the Fun Palace – a project that was never built but is still today cited as (...) a model for thinking flexible and open architecture – be re-interpreted and renewed for the future? This line of thinking guided the initial and experimental research phase, during which students developed an understanding of what indeterminacy is or could be. The paper shows that through the translation of some of the essential principles of the Fun Palace project into pedagogical instruments, students were enabled to approach the questions of indeterminacy in an open and innovative manner. The paper argues that the use of a variety of media, which often went far beyond the conventional architectural pallet, and the introduction of media shifts were crucial in assisting the students in developing their own tools for creating a new kind of open and flexible architecture. The paper presents this pedagogic approach. We show that the conditions of indeterminacy, uncertainty, chance and change, hold potential for framing the design and creation of a new kind of dynamic architecture, and for initiating experimental architectural thinking in a design studio setting. (shrink)

Honouring the memory of the late Bernard Stiegler, this edited collection presents a broad spectrum of contributions that provide a complex and coherently articulated image of Stiegler's thought which reached beyond the boundaries of academic, artistic and experimental techno-scientific enclaves where it had been originally received. -/- Stiegler's philosophical work encompassed theorization, social diagnosis, planning, practical and territorial experimentation, politics, and aesthetics. In its wake, the essays in this volume celebrate and explore the wealth of this multi-dimensional legacy. They (...) examine the conditions of human life in general, its foundational intermittence, and carry forward Stiegler's post-phenomenological unfolding of the distinctive spatio-temporalities that weave together the epoch we call 'present'. Engaging closely with Stiegler's original impetus for the creation of technologies of care, as well as of communities of knowledge and artistic practice,. (shrink)

This thesis explores the concept of timbre through the lens of analytic philosophical aesthetics and philosophy of music. I argue that timbre should be thought of as providing the grounds for artistic and aesthetic values in music. To this end and firstly, I critique the physical sense of timbre in favour of two anti-realist senses of timbre. These two are the qualitative and the semantic senses which are developed from two of Siedenburg and McAdams’ four senses of timbre. I (...) argue that the qualitative sense of timbre is the experience of the unique qualities of sounds. The semantic sense is that which associates timbres to objects and concepts. Within the semantic sense, I argue for what I call a genealogical sense of timbre which relates timbres to sources and concepts through a history of built up associations. Secondly, these two senses are situated within the artform of music by demonstrating the functions they may fulfil there and how these ground artistic and aesthetic values. Regarding these values, I employ Robert Stecker’s definitions of artistic and aesthetic value. Finally, I summarise the two arguments for why we should think that timbre can provide grounds for aesthetic and artistic value in music. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

What is reality? It is postmodern or poststructuralist philosophers like Roland Barthes, who realized that it only seems that the media present reality in the form of facts, because they actually spread myths. Accordingly, Jacques Derrida made it clear that communication via media is not based on logic, but is characterized by a significant “différance” between a “marque” (trace) of the past and the expectations of the future. Both agreed, that the initial misunderstanding of the concept of reality must be (...) uncovered or "deconstructed". This is more than necessary for them, because media, be it pictures or language, in truth convey values that are culturally and socially significant. They ‘iterate’ these values subliminally, because what shows up are only placeholders and thus mere forms (“structures of graphematic”) that are superficially realised as facts (“stereotypes”). In this way, according to Barthes, we all accept without question the values hidden behind them, so that they can gain a normative power that unconsciously guides our thinking, our decisions and our actions. Afterwards, it is Judith Butler who critically asked: How can we ever escape from this? Given the power of the subliminal dominant discourses, she saw the only effective solution “im Umdeuten” (in reinterpretation) of their subliminal values. In order to finally escape this “parasitic existence at the ritual”, the media philosopher Walter Benjamin already suggested to trigger "Chockwirkungen” (shock effects) in the viewer. It is the German painter Karin Kneffel, so it shall be shown, who has realized this with her series Fruits and Interiors in the most beautiful photorealistic strategy. (shrink)

Purpose of this article is to describe the development of a pedagogical research approach entitled reflective documentation. Context for this inquiry is an Erasmus+ project entitled Pedagogy of Imaginative Dialogues (PIMDI). The practical examples are drawn from the PIMDI project. For fuller appreciation of the multimodal nature of reflective work and reflective documentation, we have created an exposition on Research Catalogue portal. As the outcome of this artistic pedagogical research project, we propose that reflective documentation can be seen in (...) connection with artistic research and visual ethnography as an open-ended process, without the traditional requirement to show what really happened. (shrink)

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 (...) that art must have an aura in its production as is the case in paintings. With this aura, the work of art and not artwork has uniqueness of value. However, the problem arises when information technology becomes a predominant tool for the work of art. Digital art does not consider the aura as the core value in defining something as a work of art. Furthermore, digital artists think that art can exist within a digital object and maintain its uniqueness. Parallel with the latter, this article will describe the dispute and make a clear statement that a work of art in the digital age does not require aura. (shrink)

What is the form of that which can hold, size, and measure what is happening? Are there some gestures that can, in some sense, size what is occurring in absolute fragility? We trace forms that, suddenly, sometimes, can grasp in a vanishing present what cannot be grasped by any other means. Certain art practices can sustain and give shelter, for a while, to an echo of that multiple and unending past. These practices inexist. These inexistences compose artistic configurations, of (...) which the artworks referred to in this book are outstanding examples. The axiomatic declaration of the inexistence of art operates as an act of flight, a subtraction. Undomiciled artistic practices are multiple, infinite, and emancipatory. From these practices, we can find the sub-stance for an infrapolitical anarchitecture that works in constructing a future yet to be imagined. Another world is possible, of course. We must continue to whisper that other worlds are possible because we are already participants in that memory to come. On Gestural Apparatuses works as a mechanism of delay that aims to indicate an operative movement within artistic thinking. (shrink)

In “Artistic Worth and Personal Taste,” Jerrold Levinson develops a problem for those who think we should strive to be “ideal critics” in our aesthetic lives. He then offers several solutions to this problem. I argue that his solutions miss the mark and that the problem he characterizes may not be genuine after all.

This discussion interprets William Blake's poetry and painting across the hermeneutic philosophy of Martin Heidegger and his analysis of Dasein. It shows Blake's eighteenth-century discourse to be, like Heidegger's philosophy of Dasein, a radical critique of philosophical, scientific, and artistic thinking. To better understand the connections between Blake and Heidegger, the development of aesthetic philosophy from classical aesthetics through Nietzsche is charted. The parameters of eighteenth-century aesthetics, and the rise of hermeneutics in the nineteenth and early twentieth century, (...) are discussed as a response to the limitations of the neoclassical. On this basis, ideas and practices central to Blake's poetry such as "eternity" and "Albion" are compared to Heidegger's concepts of Dasein in order to shed additional light on the pioneering nature of Blake's work, and to see that he may be understood in terms of later aesthetic philosophies. (shrink)

The ‘Animal Question’ has occupied Western philosophy for more than a decade now. Whether inspired by the rising urgency of the problem of violence towards and exploitation of nonhuman animals perpetuated by science, technology and culture broadly speaking, or by an enthralment with otherness, an increasing number of theorists engage with the concepts of the animal and human–nonhuman relations. These notions become an incessant impetus for creative and critical inquiry and the exploration of philosophical, political, ethical and artistic (...) class='Hi'>thinking. What, however, needs to be asked in the first place is: how can we, as humans, relate to the nonhuman, and more specifically, to nonhuman animals ethically? Is it possible at all? The question of ethics is one of the main driving forces behind The Animal Catalyst: Towards Ahuman Theory, edited by Patricia MacCormack. (shrink)

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 (...) that knowledge about art changes how one aesthetically evaluates artworks. A profound explanation of this intuitive fact is that perceptual experiences vary with artistic expertise. Cognitive penetration provides an explanatory mechanism for this latter effect. What one knows or otherwise thinks about art may affect, in one of two ways sketched below, how one perceives art. Differences in aesthetic evaluation may follow, either because high-level aesthetic properties can be perceptually represented or because they causally depend on low-level perceptible properties. All of this lends credence to the hypothesis that the expert better judges art because she better perceives art. And she better perceives art because she better knows art. (shrink)

The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and graduates scored significantly (...) higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement. Keywords: Creativity, Emotional Creativity, Emotions, Creativeness, Affect, Feelings, Leisure Activities, Creative Ability, Artistic Creativity, Creative Thinking, Creativeness, Aging, Cognitive Deficits, Performance. MeSH Headings: Emotions, Creativity, Leisure, Leisure Activities, Hobbies, Recreation, Affect Affective Symptoms, Creativeness. (shrink)

Emotional creativity (EC) is a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. EC has been found to be related to various constructs across different fields of psychology during the past 30 years, but a comprehensive examination of previous research is still lacking. The goal of this review is to explore the reliability of use of the Emotional Creativity Inventory (ECI) across studies, to test gender differences and to compare levels of EC in (...) different countries. Thirty-five empirical studies focused on EC were retrieved and the coefficients required for the meta-analysis extracted. The meta-analysis revealed that women showed significantly higher EC than men (total N = 3,555). The same gender differences were also found when testing scores from three ECI subscales, i.e. emotional novelty, emotional preparedness and emotional effectiveness/authenticity. When comparing EC in 10 different countries (total N = 4,375), several cross-cultural differences were revealed. The Chinese sample showed a significantly lower average ECI total score than all the other countries. Based on the integration of results, the avenues for future research on EC and the breadth of influence of the concept of EC across different fields of psychology are discussed. Keywords: Emotional Creativity, Review, Meta-Analyses, Meta-Analysis, Definition, Emotional Creativity Inventory, ECI, Reliability, Gender Differences, Cross-cultural, Cross-culture, Personality Traits, NEO Personality Inventory, Big Five, Extraversion, Agreeableness, Openness to Experience, Introversion, Neuroticism, Emotions, Creativity, Cognition, Cognitive Abilities, Affect, Fantasy, Coping, Alexithymia, Anhedonia, Self-understanding, Motivation, Creativeness, Innovative Performance, Creative Ability, Artistic Creativity, Creative Thinking. MeSH Headings: Emotions, Creativity, Affect, Affective Symptoms, Gender, Sex, Gender Identity, Cross-Cultural Comparison, Transcultural Studies, Temperament, Extraversion, Neuroticism, Anhedonia, Creativeness, Cognition, Cognitive Function, Artistic Creativity, Creative Ability, Creative Thinking. (shrink)

In this introduction to The Journal of Aesthetics and Art Criticism special issue on the aesthetics of creative activism, we canvas influential scholarship of political aesthetics to sculpt a broad typology of six interconnected mechanisms by which art might intervene in the world. We label these: Documentation, Disruption, Recognition, Participation, Imagination, and Beauty. Each has a compelling tradition of theory and application, augmented, extended, and sometimes challenged by the thirteen fresh and provocative contributions in the special issue. Yet, we ask, (...) if both politically minded artists and culturally minded activists are convinced of the power of art to provoke social change, and if we live a world that by almost all measures is now saturated with politically inclined, aesthetically informed practices, interfaces, objects, and texts, why does art not seem to be making a difference? Clearly, we need to think harder about the relationships between art and action, a task the articles assembled here call upon us to take seriously. (shrink)

Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are (...) right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut’s claim because it entails an implausibly strong medium specificity thesis. (shrink)

This article explores the work and thought of French pedagogue Fernand Deligny (1913-1996), focusing on his last project commonly referred to as the Tentative des Cévennes, developed between 1967-1996. From this experience that Deligny forged together with his collaborators, the article exposes the generation of a particular form of knowledge, a philosophy subordinated to a gestural solidarity network formed by human and non-human bodies, environments and situations, minimal gestures, everyday actions, and contingent events, visible only through a series of aesthetic (...) devices that were developed during this period: writings, traces, maps, films, interviews, and wanderings. This gestural philosophy would be linked to a series of actions that would constitute an organic system in its apparent material dispersion. The article is organized through a biographical and historical contextualization, to later deploy the theoretical framework of the research and a conclusion. (shrink)

The article presents the idea that works of art are technologies for self-transformation and contextualises this idea within the discursive field of “aesthetic thinking”. It takes L. A. Paul’s concept of “transformative experiences” as a reference point and analyses the materiality of music as an example for an artistic medium through which these transformations can be initiated in a paradigmatic way. Contemporary philosophies of art by Alva Noë, Georg Bertram, and Christoph Menke, all dealing with the influence of (...) art on the self, are referenced and tentatively mapped onto one another, followed by a final presentation of twelve theses that subsume the leading ideas. (shrink)

Violence turns hope and expectation into guilt and shame. This publication discusses the outcome of a philosophical and artistic investigation into complex patterns of behaviour. Negative connotations and positive aspects of guilt and shame are connected convincingly to the artistic process which is used by the artist to produce new work. As a consequence, a different light is shed on the concepts of guilt and shame. The author shows in an intriguing way how adapting an artistic attitude (...) can help us think in a more peaceful and independent manner. Over Schuld en Schaamte (On Guilt and Shame) thus offers a new surprising insight how violence can be transformed into hope and more rewarding practices. (shrink)

In this paper, I challenge standard views of the moral badness of sentimentality defended by art critics and philosophers. Accounts based on untruthfulness and self-indulgence lack the resources to both explain the badness of bad sentimentality and to allow that there are benign instances. We are sometimes permitted to be sentimental even though it is self-serving. A non-moralistic account should allow for this. To provide such an account, I first outline a substantive view of the ideal of unsentimentality by turning (...) to Rainer Maria Rilke’s Letters on Cézanne. Rilke celebrates the artist for his unsentimental love of his subjects and “untiring objective wakefulness” to them. I then turn to Iris Murdoch’s ethics of attention (itself influenced by Rilke) to explain why this ideal is so difficult to live up to in practice, the various ways that we fall short, and what our failures mean. What Murdoch contributes is both a sense that the lovingly attentive attitude that Rilke describes is morally—and not just artistically—important and a compassionate account of the human egocentrism that inhibits it. By thinking of sentimentality as a failure of moral attention, we can appreciate how particular instances differ from one another. Sentimentality can console us in difficult times or can gratify our egos; it can be a form of escapism or can rigidly enclose reality; and it can be harmlessly self-serving or a selfish failure to morally attend to the other when it counts. I conclude by outlining some ways that being seen with Cézanne-like moral attention can matter to us. (shrink)

Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind (...) of knowledge and practices are involved in art and technological innovation. It argues that technological innovation is indeed “technical”, but, if conceptualized as techne, can be understood as art and performance. It is argued that in practice, innovative techne is not only connected to episteme as theoretical knowledge but also has the mode of poiesis: it is not just the outcome of human design and intention but rather involves a performative process in which there is a “dialogue” between form and matter and between creator and environment in which humans and non-humans participate. Moreover, this art is embedded in broader cultural patterns and grammars—ultimately a ‘form of life’—that shape and make possible the innovation. In that sense, there is no gap between science and society—a gap that is often assumed in STS and in, for instance, discourse on responsible innovation. It is concluded that technology and art were only relatively recently and unfortunately divorced, conceptually, but that in practices and performances they were always linked. If we understand technological innovation as a poetic, participative, and performative process, then bringing together technological innovation and artistic practices should not be seen as a marginal or luxury project but instead as one that is central, necessary, and vital for cultural-technological change. This conceptualization supports not only a different approach to innovation but has also social-transformative potential and has implications for ethics of technology and responsible innovation. (shrink)

This research essay was published in the monograph dedicated to the first major exhibition dedicated to photography and drawings by theAkbar Padamsee in India after his demise early 2022 at the age of 91. “Searching for the present, where?...” is drawn from The Guild and some important private collections. The exhibition is a tribute to Padamsee’s commendable contribution to the Indian art. This is also the first time the photographs and drawings spanning from over a decade are contextualised in an (...) exhibition form. Padamsee’s previous exhibition of photographs at The Guild was in 2006, titled, Akbar Padamsee, Photographs 2004-2006. This exhibition celebrates Padamsee’s cognitive pondering of body as form. Curator Srajana Kaikini delicately brings in art historical and philosophical discourses around human form and representation while delving into varied dimensions of artist’s practice. “These series of drawings and photographs speak about the body as a place of being and becoming. These are figurations, subjects set in motion. In this world view of the self, perhaps social signifiers like clothes, location, context and thinking of the body singularly may be perceived superfluous. Embodiment of the self, here, is presupposed. The interest is, therefore, to look for when and where these embodiments become present to us. While some drawings bring to us glimpses from other selves - lives enmeshed in sanchaari bhaavas (fleeting emotions), the photographic images speak in their own language trying to grow from the moment captured into new kinds of beings, creating their own sthaayi bhaavas (foundational emotions). They are not so much abstract as they are intentional – they need us to speak to them, for them to speak to us.” Excerpt from the Curatorial note by Srajana Kaikini. (shrink)

In the quest for mental peace and philosophical insight, the most profound approach is to let the mind function freely, without the interference of a controlling thinker. This essay explores the philosophical and cognitive implications of an unimpeded mind, drawing from Eastern traditions such as Zen Buddhism and Taoism, alongside contemporary cognitive science. It argues that the natural rhythm of thought is disrupted by the ego’s need for control, leading to mental fragmentation and turbulence. By embracing the concept of “no-mind” (...) or non-interference, individuals can achieve a harmonious flow of consciousness. Contemporary cognitive science supports this view, showing that reducing self-referential thinking enhances cognitive flexibility and emotional regulation. This harmonious state, akin to the flow experienced by top athletes and artists, offers a path to greater psychological well-being and deeper philosophical understanding. (shrink)

The aim of this paper is to show that Shaftesbury’s thinking about liberty is best understood in terms of self-mastery. To examine his understanding of liberty, I turn to a painting that he commissioned on the ancient theme of the choice of Hercules and the notes that he prepared for the artist. Questions of human choice are also present in the so-called story of an amour, which addresses the difficulties of controlling human passions. Jaffro distinguishes three notions of self-control (...) that are present in the story of an amour. Although I agree with many aspects of Jaffro’s interpretation, I question his conclusion that self- control in the Stoic sense is best reserved for ‘moral heroes.’ I propose an alternative developmental interpretation, according to which all human beings are on an intellectual journey aimed at personal and moral improvement. My interpretation takes seriously that for Shaftesbury philosophy is meant to be practical and help improve our lives. I end by arguing that rather than trying to situate Shaftesbury’s concept of liberty within debates among compatibilists and incompatibilists it is more promising to understand it in terms of self- mastery and thus regard it as a version of positive liberty. (shrink)

Filmmaking with Artificial Intelligence Image Generation Models In just about one year, OpenAI’s release of ChatGPT 4 has caused panic in our daily lives. After a year, OpenAI introduced Sora, a moving image-generating model from text, similar to DALL-E for still images. Even though Sora is not yet available to the public, the very potential itself has raised issues in film production from the perspectives of producers and studios, as well as directors, actors, writers, and editors. In this chapter, the (...) role and expected impact of AI video generation technologies, such as OpenAI Sora and Stable Diffusion 3, will be considered in regard to filmmaking. To discuss these issues, it is necessary to further analyze the concept of artificial intelligence, what it means, and how it is misunderstood by the general public. These misunderstandings also lead to sci-fi fantasy and doomsday talk, adding nothing valuable to the debate. Once this concept is defined, the argument of why an artificial general intelligence akin to a human being is unlikely will be set, mostly referring to Hubert Dreyfus and David Chalmers. However, even though the good old-fashioned AI seems impossible, the AI tools we have now seem to be enough to cause many of the problems that the thought of a complete artificial intelligence also brings forth. It is important to treat these tools as tools and not entities in their current forms to focus on the more practical problems regarding human labor, interaction, and experience in the world. In this regard, it is important to look back in history to see how technology has shifted ways of making films. When thought of as such, it becomes clearer that these tools will likely not end human involvement in the practice of creating art but transform the methods and aesthetics of film production, challenging conventions in both artistic and commercial works in some ways and exaggerating them in others. Furthermore, the chapter will consist of the investigation of the impact of various AI tools on human creativity. Regarding human creativity, commercial films will most likely go through a paradigm shift. Production companies will most likely regard this shift as a way of improving performance and production. However, this advancement poses dire questions in the field and pursuit of creating art. AI tools help automate and accelerate the filmmaking process at the cost of filmmaking as an art form. The discussion will address why commercial filmmaking will see a paradigm shift and loss of some human labor, but in an optimistic world of philosophical thought, film as fine art will gain much in return. This is because AI tools in their current and foreseeable state are not capable of willing to make art due to their limitations regarding embodied cognition, experience, unconsciousness, and intuition. These things make us what we are more than we think. There is no better way to explain why human beings make art than to show how tools do not matter but the ideas and the will to do it. -/- . (shrink)

This text takes as an excuse the homonymous exhibition at the Museo de Antioquia, to address the history and political gestures in contemporary art. By addressing some curatorial approaches of the exhibition, it explores the cultural functions of the museum as a place of localization of descriptive and communicative processes about culture, and how the exhibition reveals the negative effects of these functions on cultural processes. The text highlights the presence of the artist Jorge Marín, who in his works questions (...) the influence of the notion of progress in the territory. He recovers what has been discarded by history to stage what has been rejected and repudiated. Marín's works are presented as a survival strategy that illuminates other ways of thinking about the territory of culture and questions the concept of history as a fixed representation. In this way, it highlights the importance of addressing history and political gestures in the production of contemporary art, and how the exhibition "El Jardín de los senderos que se bifurcan" and the work of Jorge Marín are examples of how art can question and subvert the hegemonic narratives of history and culture. (shrink)

This paper provides an account of improvisational artistry in live dance performance that construes the contribution of the dance performer as a kind of agency. Andy Clark’s theory of the embodied and extended mind is used in order to consider how this account is supported by research on how a thinking-while-doing person navigates the world. I claim here that while a dance performer’s improvisational artistry does include embodied and extended features that occur outside of the brain and nervous system (...) that this can be construed as “agency” rather than “thought.” Further I claim that trained and individual style accounts for how this agency acquires its artistic nature. This account thus contributes to the philosophy of improvisation in dance performance in a way that includes motor as well as cognized intentions. (shrink)

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 (...) we rely on them to fulfill their commitments to act for aesthetic reasons — rather than for, say, financial, social, or political reasons. We feel most thoroughly betrayed by an artist, not when they make bad art, but when they sell out. This teaches us something about the nature of trust in general. According to many standard theories, trust involves thinking the trusted to be cooperative or good-natured. But trust in aesthetic sincerity is different. We trust artists to be true to their own aesthetic sensibility, which might involve selfishly ignoring their audience’s needs. Why do we care so much about an artist’s sincerity, rather than merely trusting them to make good art? We emphasize sincerity when wish to encourage originality, rather than to demand success along predictable lines. And we ask for sincerity when our goal is to discover a shared sensibility. In moral life, we often try to force convergence through coordinated effort. But in aesthetic life, we often hope for the lovely discovery that our sensibilities were similar all along. And for that we need to ask for sincerity, rather than overt coordination. (shrink)

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, I (...) argue for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

The chapter provides an overview on what it means to be in a world that is uncertain, e.g., how under conditions of limited understanding any activity is an activity that designs and constructs, and how designing objects, spaces, and situations relates to the (designed) meta-world of second-order cybernetics. Designers require a framework that is open, but one that supplies ethical guidance when ‘constructing’ something new. Relating second-order design thinking to insights in philosophy and aesthetics, the chapter argues that second-order (...) cybernetics provides a response to this ethical challenge and essentially it entails a poetics of designing. //// 'A Poetics of Designing' is part of the first book-length collection of texts in Design Cybernetics. It introduces the subject from the point of view of aesthetics. Importantly, the chapter argues that second-order cybernetics circumvents the necessity for a muse inspired artist or genius as a mediator between higher spirits and life, in favour of artists and designers who have true agency. //// Cybernetics is often associated with AI, which is, however, only one of the branches that developed on the basis of the interdisciplinary research begun in the 1940s and entitled cybernetics. I hope the chapter contributes to a better understanding of the second-order cybernetics that has been conceived in close relationship with art and design from the late 60s onwards. (shrink)

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...) is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)

Friedrich Nietzsche was among the figures from the history of nineteenth century philosophy that, perhaps surprisingly, some of the Vienna Circle’s members had presented as one of their predecessors. While, primarily for political reasons, most Anglophone figures in the history of analytic philosophy had taken a dim view of Nietzsche, the Vienna Circle’s leader Moritz Schlick admired and praised Nietzsche, rejecting what he saw as a misinterpretation of Nietzsche as a militarist or proto-fascist. Schlick, Frank, Neurath, and Carnap were in (...) different ways committed to the view that Nietzsche made a significant contribution to the overcoming of metaphysics. Some of these philosophers praised the intimate connection Nietzsche drew between his philosophical outlook and empirical studies in psychology and physiology. In his 1912 lectures on Nietzsche, Schlick maintained that Nietzsche overcame an initial Schopenhauerian metaphysical-artistic phase in his thinking, and subsequently remained a positivist until his last writings. Frank and Neurath made the weaker claim that Nietzsche contributed to the development of a positivistic or scientific conception of the world. Schlick and Frank took a further step in seeing the mature Nietzsche as an Enlightenment thinker. (shrink)

Is there a distinction between “art” and “craft,” where the former is motivated by something like “genuine” or “authentic” creativity and the latter by, at best, skill and skill alone, and at a worst, a fumbling attempt to fit in with popular modes of expression? In this paper, I suggest that there does seem to be such a distinction. In particular, I attempt to show that genuine creativity, and so, genuine art—in varying respects—is motivated by a certain recognition of what (...) we might understand as the most universal, and perhaps the most important property of all human beings: the brutal fact that our lives are limited; in the end, we all die. To show why I think this is the case, I have divided my paper into three parts. In the first, I briefly explain why we might view mortality as our most pressing issue and concomitantly, why we might understand it to be the driving force behind not only our desire to procreate, but also, to create. In the second part of the paper, I do something that is not strictly “philosophical”—I canvas a number of remarks by poets and writers who, like myself, are convinced that death is our primary muse, but not necessarily in a morbid, or despairing respect—in fact, we see that this is quite the opposite in some cases (c.f. Nabokov, 1966). Why do I do this? Because it seems obvious to me that we should ask the actual artists about what motivates them, rather than putting words into their mouths. In the third and final part of the paper, I offer a brief philosophical explanation of why and how—in light of sections one and two—we might begin to distinguish between genuine art and craft. -/- . (shrink)

In the history of Chinese philosophy, Mozi calls music a “waste of resources,” considering it an aristocratic extravagance that does not benefit the everyday people. In its defense, Confucians highlight music’s moral and metaphysical qualities, arguing that music aids in moral cultivation and that music’s form mimics the structure of reality. The aim of this paper is to show that Korean philosophers provide yet another reason to think music is important. Music, and art in general, was used to express a (...) national identity at a time Korean philosophers were beginning to develop their own aesthetic consciousness in the seventeenth and eighteenth centuries. A cultural movement called Joseonpoong (조선풍), “Joseon wind”, marked a shift away from Sinocentrism and towards Korea’s own unique value and practices. The new attempt to justify art’s value apart from its relationship to morality or metaphysics set Joseon thinkers apart from their Chinese predecessors. Using art for identity expression allowed the Koreans to reconceive art’s value while Sinocentric cosmological and cultural views were being challenged with the introduction of western knowledge. Art also became a tool for reversing hermeneutic injustice as new artistic practices and standards allowed the Koreans to meaningfully engage with previously neglected aspects of their lived lives. (shrink)

In this paper, I explore the philosophical apprehension of the face through art history in order to signal a moment of rupture in the contemporary times of the face and its signifying relationship to the subject. Drawing from Francis Galton’s nineteenth century photographic experiments on analytical portraiture, one sees how the face when conceived as an atlas, functions very differently for the subject and its recognition than when understood as a mere image. With the advent of futuristic technology like AI (...) and machine learning feeding in much of our technocratic imaginations, where does the face and its constituency lie? Modernist artists found in the face, various motivations of their own – it was a field to explore their own subjectivities and those inclined towards the transcendental managed to liberate the subject from its image i.e. the face. This manner of freeing the subject of its image and thinking of the face as a structure of the subject, has potential to help us imagine new kinds of polyvalent subjectivities, as can be seen in works of contemporary artist- philosophers like Hito Steyerl. This paper articulates this journey of the face which began its story as the constitutive technology of the subject in the 19th century but today find its best reckoning as an insufficient one, in our quest for understanding new post-humanist subjectivities. (shrink)

This article explores the meeting of two approaches towards philosophy and education: the philosophy for children approach advocated by Lipman and others, and Schmid’s philosophical concept of Lebenskunst. Schmid explores the concept of the beautiful or good life by asking what is necessary for each individual to be able to develop their own art of living and which aspects of life are significant when shaping a good and beautiful life. One element of Schmid’s theory is the practical application of philosophy (...) through the notions of Bildung, reflection, prudence and practical wisdom, as well as the requirement for each individual to take responsibility for actively shaping their life as an artwork. In this sense, each person is the artist responsible for living their own beautiful life. We argue that there are useful parallels between Schmid’s concept of the art of living and P4C, such as the ideal of a holistic philosophy that is “lived.” The pragmatic approach of P4C focuses on the embodied learner who practices critical, caring and creative thinking. Both P4C and Schmid’s theory are reminiscent of the Aristotelian notion of practical wisdom, which allows for an approach to an education for life that prepares students to develop their own art of living. (shrink)

In 2018, the Art Gallery of Ontario retitled a painting by Emily Carr which contained an offensive word. Controversy ensued, with some arguing that unsanctioned changes to a work’s title infringe upon artists’ moral and free speech rights. Others argued that such a change serves to whitewash legacies of racism and cultural genocide. In this paper, I show that these concerns are unfounded. The first concern is not supported by law or the history of our titling practices; and the second (...) concern misses the mark by ignoring the gallery’s substantial efforts to avoid just such an outcome. Picking up on a suggestion from Loretta Todd, I argue that we can use Aboriginal Title as a model for thinking about the harms perpetuated by cultural appropriation, and the practices we should adopt to mitigate them. (shrink)

ABSTRACT "Why can’t I decide to be happy?" This is the question that encapsulates the meaning behind Gabriele’s story, the main character of the novel Il film delle emozioni (The Movie of Emotions; Calabretta 2007a, in Italian). Gabriele is a victim of his negative emotions, and is completely in the power of his self-blame and self-devaluative thinking, which he learns to change only at the end of the novel, thanks to creativity and to the artistic expression of his (...) own traumatic experiences (see Sparrow and Wegner 2006). The novel tells of Gabriele’s several attempts at writing, first, the script of an autobiographical "educational" movie on emotion regulation; and then at transforming it into a novel. In reality, it reveals itself as a book popularizing the most recent scientific knowledge on psychology of emotions; as a dramatization of a scientist’s life—of his interior, interpersonal, and social conflicts (as well as political ones); and as a dramatization of the creative process of writing. As we will see in this article, The Movie of Emotions is a very particular novel that has much to do with creativity viewed in three different aspects—creativity in the novel’s structure, creativity in the process of the novel’s creation, and proposed techniques to increase creativity. (shrink)