The author’s practice-led research explores “the act of living.” In order to advance this idea, the author has acquired skills in investigation and expressed her thinking through a descriptive and explanatory visual language. The author’s learning journey, while not unique, has not been an ordinary one. Initial academic failure to achieve in the school education system contributes to choosing a life working on the land and harbouring the belief that she is unable to learn academically. Still, the author has gained (...) a rich base of physical knowledge and experience through the traditional oral route including learning interpersonal communication through body language and vocal tonality. The author has used this intuitive knowledge to develop an arts practice where she explores the bio-cultural links between people and the lands they inhabit, creating works that aim to extend knowing through emphasising the experience and atmosphere of landscape. At this time, when our lives have become increasingly encoded and intellectually based, the author shares a belief with American philosopher Eugene Gendlin (b. 1926) that the “felt sense” can be developed in order to enable us to engage more fully with the world around us. The author explores this idea in her visual art but also realizes the need to express it in writing, both in order to reach a wider public and because of the possibilities offered by the written word to make public which is private and held deep within. (shrink)

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 (...) kind as those that we experience in real life, or of a different, even sui generis kind (i.e., aesthetic emotions); whether it is rational or appropriate to experience emotions in response to art; and what value, if any, there is in art that evokes unpleasant emotions. Although the focus here will be on what, to a first approximation, can be characterized as the “Western mainstream philosophical tradition,” discussion of the role of emotions in art can also be found in different approaches and traditions of thought: from Indian philosophy to cognitive science, to so-called Continental philosophy. (shrink)

In two experiments (total N=693) we explored whether people are willing to consider paintings made by AI-driven robots as art, and robots as artists. Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot v. human agent), (ii) behavior type (intentional creation of a painting v. accidental creation), and (iii) object type (abstract v. representational painting). We found that people judge robot paintings and human painting as art to roughly the same extent. However, people are much (...) less willing to consider robots as artists than humans, which is partially explained by the fact that they are less disposed to attribute artistic intentions to robots. (shrink)

This paper is an extended critical discussion of Jerrold Levinson's historical definition of art. I try out various different avenues of attack; it is not clear whether any of them is ultimately successful.

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 (...) context. (shrink)

This essay argues that, despite the potential for an encounter between Stanley Cavell’s thought and found-footage experimental filmmaking, this has not yet taken place because the early Cavell’s picture of films as autonomous “wholes,” together with his "global-holistic" conception of modernism, prevented him from appreciating the expressive possibilities of filmic fragments. I then argue that these impediments to an encounter with found footage recede in Cavell’s later thought, as he moves away from a concern with modernism and as (...) J. L. Austin’s How to Do Things with Words comes to play a greater role in his film writing. In this late period, Cavell no longer conceives of topics of film criticism as filmic “wholes” but rather, more loosely, along the lines of what Austin called “total speech situations.” I claim that the culmination of this turn lies in Cavell’s writing on the expressive powers of collections. In closing, I demonstrate the possibilities of the late Cavell’s thinking about collections and “passionate utterances” for found-footage filmmaking by discussing Mexican experimental filmmaker Bruno Varela’s Monolito (2019), with particular attention to how Varela uses archival footage to fulfill the exigencies of finding new modes of expression at just the moment when a world is receding from view. (shrink)

Environmental activism is expected to improve society’s well-being and environmental sustainability. Nevertheless, some inappropriate ways of activism, like road blockage, art vandalism, assaults, etc., have been recently conducted and risked causing adverse repercussions, including violence escalation. The current study aims to explore which types of environmental activism are more likely to escalate violence between activists, affected citizens, and police. Bayesian Mindsponge Framework (BMF) analytics was employed to analyze a dataset of 89 blockage, vandalism, and harassment cases in 13 countries in (...) this exploratory study. We discovered that rallies and demonstrations, marches, event disruption, and art vandalism were less likely to escalate violence between protestors, other citizens, and the police. In contrast, road blockades and assaults are more likely to lead to violence escalation. Apart from those, sabotage was found to have an ambiguous relationship with the violence escalation. Based on these results, we suggest that climate activists should be more selective in adopting activism approaches to raise public awareness and support and avoid using tactics that might be counterproductive and reduce public backing, such as road blockage and assaults. Despite the negative impact of art vandalism on violence escalation, we also discussed why art vandalism should not be used since it can curb the effectiveness of artivism, showing misuse of artworks (e.g., paintings, music, films) for environmental activism. (shrink)

Our goal in this paper is to articulate a novel account of the ordinary concept ART. At the core of our account is the idea that a puzzle surrounding our thought and talk about art is best understood as just one instance of a far broader phenomenon. In particular, we claim that one can make progress on this puzzle by drawing on research from cognitive science on dual character concepts. Thus, we suggest that the very same sort of phenomenon that (...) is associated with ART can also be found in a broad class of other dual character concepts, including SCIENTIST, CHRISTIAN, GANGSTER, and many others. Instead of focusing narrowly on the case of ART, we try to offer a more general account of these concepts and the puzzles to which they give rise. Then, drawing on the general theory, we introduce a series of hypotheses about art concepts, and put those hypotheses to the test in three experimental studies. (shrink)

A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...) hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

Many traditional martial artists assert that MMA is not a martial art, denying that the ‘martial skill’ of MMA constitutes a ‘martial art’, and citing the sportive and entertainment aspects of MMA competitions as antithetical to the spirit of martial arts, lacking the integrity, discipline, and tradition found in martial arts. Today, these criticisms are even more relevant in light of the fact that the typical MMA fighter no longer practices a single discipline but is versed in a variety (...) of techniques and utilizes a variety of strength and conditioning modalities. In addition, with the development of social media and mainstream media’s acceptance of MMA as a legitimate sport, MMA is now more than ever about entertainment. We argue that MMA is a martial art, but it is not always practiced as one. By drawing upon Socrates’ distinction in Plato’s Gorgias between ‘knacks’ and ‘crafts’, we clarify the difference between ‘martial skills’ and ‘martial arts’. Using this distinction, we examine whether the sportive and entertainment aspects of MMA are, in fact, antithetical to the spirit of martial arts. We argue that the latter is, but the former is not. (shrink)

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

In this article, I explore the relationship between dance and the work of Nelson Goodman, which is found primarily in his early book, Languages of Art. Drawing upon the book’s first main thread, I examine Goodman’s example of a dance gesture as a symbol that exemplifies itself. I argue that self-exemplifying dance gestures are unique in that they are often independent and internally motivated, or “meta-self-exemplifying.” Drawing upon the book’s second main thread, I retrace Goodman’s analysis of dance’s relationship (...) to both notation in general and also Labanotation in particular. My argument is that dance gives the false impression of being notational, or is “meta-notational.”. (shrink)

Matthew Kieran addresses a number of key topics in aesthetics including the nature of originality, beauty, artistic knowledge and truth, the moral content of art, and the standards of taste. His treatment of each topic is informed by the thesis that the value of art is to be found in the insights that it provides. The structure of each chapter is to canvas a few positions (usually including one that would represent a counter position to his thesis), before presenting (...) an interpretation of the topic that is compatible with his positive thesis regarding art’s value as insight. (shrink)

This article investigates a tension that arises in Hegel’s aesthetic theory between theoretical and practical forms of reason. This tension, I argue, stems from Hegel’s appropriation of an Aristotelian framework for a historically unfolding social teleology which puts practical reason to work for the aims of theoretical reason. Recognizing that this aspect of Hegel’s dialectic is essential in overcoming problems left in Kant’s transcendental idealism, the appearance of incongruence does not lessen. Grouped together with absolute spirit, Hegel positions art as (...) a transitory mode of mind, a vehicle, which aims to raise spirit to the higher cognition of philosophy. When the unfolding absolute concept becomes too complex for articulation in the material, art must end, as spirit’s message can be expressed only through the non-material form of philosophy. This study focuses on the ambivalence found in Hegel’s writings regarding his account of historical completion. Though Hegel sees in the Absolute a metaphysical solution to the unity of subject and object, the practical aspects of the unity appear to falter when philosophy becomes the dominant mode of expression at the close of a historical cycle. In Lectures on the History of Philosophy, Hegel links his notion of the Absolute, albeit with modification, to Aristotle’s nous. As described in De Anima, this entails a progression in which active and possible intellect rise to the level of the eternal, while passive intellect, the imaginative element, passes on with the body. Because the architecture of Aristotle’s nous, which is not in line with his defense of poetry, is integrated into the blueprint of Hegel’s absolute, an unresolved tension emerges in the spirit of art. A divergence of aims is forced to the surface through Hegel’s application of a template for achievement of theoretical knowledge, with an end in the universal, to a form of practical knowing which has an end in the particular. (shrink)

The question of how to demarcate science from pseudo-science commands relatively little attention today. In the philosophy of logic, by contrast, the problem of demarcating the logical constants is less skeptically regarded. In aesthetics, where the problem is how to demarcate art from non-art, the question as to whether the problem is a real one or a pseudo-problem also continues to be debated. This paper discusses the hypothesis that the demarcation questions in these three areas are parallel, or at least (...) similar enough to be interesting. Some arguments for the conclusion that the demarcation problem is a pseudo-problem are considered, as are some demarcation proposals of a deflationist or minimalist sort. All are found wanting. (shrink)

This article examines Hegel’s aesthetic judgment of the German romantic painter Caspar David Friedrich, which only first came to light in 1995 with the publication of the separate edition of the Ascheberg transcript of Hegel’s first lecture course on aesthetics, held at the University of Berlin in the winter semester of 1820/21. Firstly, before interpreting Hegel's criticism in more detail, I consider the current state of research on the relationship between Hegel and Caspar David Friedrich. It is striking to note (...) how little resonance Hegel’s judgment has found in the secondary literature. Going beyond some of the more speculative results of earlier scholarship, I show that by consulting a number of overlooked original German sources and documents from the years 1820-1821 it is possible to precisely determine those paintings of Caspar David Friedrich that Hegel would have known about and even viewed in person at that time. By comparing Hegel’s criticism in the Ascheberg transcript with these particular paintings of Friedrich viewed by Hegel in Dresden, and by furthermore reading this criticism in the larger context of Hegel's considerations on style and the topic of mysteriousness in painting, I argue that a number of consequences can be drawn from the philosopher’s two key reproaches of severity and affectation that are significant for both Hegel scholarship and Caspar David Friedrich research. (shrink)

The aim of this work is to understand the retraction phenomenon in the arts and humanities domain through an analysis of the retraction notices – formal documents stating and describing the retraction of a particular publication. The retractions and the corresponding notices are identified using the data provided by Retraction Watch. Our methodology for the analysis combines a metadata analysis and a content analysis (mainly performed using a topic modeling process) of the retraction notices. Considering 343 cases of retraction, we (...) found that many retraction notices are neither identifiable nor findable. In addition, these were not always separated from the original papers, introducing ambiguity in understanding how these notices were perceived by the community (i.e., cited). Also, we noticed that there is no systematic way to write a retraction notice. Indeed, some retraction notices presented a complete discussion of the reasons for retraction, while others tended to be more direct and succinct. We have also reported many notices having similar text while addressing different retractions. We think a further study with a larger collection should be done using the same methodology to confirm and investigate our findings further. (shrink)

In this paper, I show that, in a number of publications in the early 1950s, Margaret Macdonald argues that art does not admit of definition, that art is—in the sense associated with Wittgenstein—a family resemblance concept, and that definitions of art are best understood as confused or poorly expressed contributions to art criticism. This package of views is most typically associated with a famous paper by Morris Weitz from 1956. I demonstrate that Macdonald advanced that package prior to Weitz, indeed, (...) prior to any other philosopher of art of the period. Despite this, Macdonald’s contribution is nowhere to be found in the subsequent literature on the definition of art. In closing, I raise the prospect that Macdonald was in fact the primary influence on the development of Weitz’s critique of the definitional project. (shrink)

Collingwood’s aim in The Principles of Art is “to answer the question: What is art?” (p. 1) The answer Collingwood offers to that question, that art is the expression of emotion, has become notorious for its implausibility. I consider one objection against this theory, namely that it is unclear what is rendered art by this definition: for it sometimes appears to define art too broadly, containing all utterances and gestures; but at other times to define art too narrowly, excluding much (...) of what we intuitively consider art. -/- I argue that this objection is mistaken, because it is founded upon a misunderstanding of the sort of project in which Collingwood is engaged. I propose a new reading, via his philosophical methodology, under which ‘art’ is differentially rather than binarily realisable. According to this new reading, art is something found in every human experience or activity, but to a greater or lesser extent. I close by suggesting one reason why Collingwood’s project under this reading is more philosophically interesting than it is under the standard reading, namely that it can give a better account of borderline cases of art. (shrink)

This study resumes the discussion undertaken by Ulpiano Bezerra de Menezes, historian, archaeologist and museologist at the University of São Paulo, the first to “decolonize the history of Art in the Americas”. At the same time, this resumption is in charge of paying homage to this researcher who found the mistakes and gaps left by European scholars who were at the service of Eurocentric colonialism and its Eurocentric culture. However, the central objective of this text is to contribute to (...) this process of decolonization, expanding the discussion that began in the 1980s. To this end, here, the chapter that opens the work História geral da arte no Brasil, edited by Walter Zanini, whose title is Art in the pre-colonial period, and which completes decades. (shrink)

There is a well-documented Pre-Reflective Hostility against Machine Art (PRHMA), exemplified by the sentiments of fear and anxiety. How can it be explained? The present paper attempts to find the answer to this question by surveying a considerable amount of research on machine art. It is found that explanations of PRHMA based on the (alleged) fact that machine art lacks an element that is (allegedly) found in human art (for example, autonomy) do not work. Such explanations cannot account (...) for the sentiments of fear and anxiety present in PRHMA, because the art receiver could simply turn to human art for finding the element she is looking for. By contrast, an explanation based on the idea that machine art is “symbolically” a threat to human survival can be successful, since the art receiver’s turning from machine art to human art does not eliminate the (alleged) “symbolic” threat machine art poses for human survival. If there is a pre-reflective belief or feeling that machine art is such a threat, then it is perfectly understandable why humans exhibit a pre-reflective hostility against machine art. (shrink)

Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...) being “autographic.” Second, other artworks such as musical or literary works seem to be copyable without any such limitations: for example, two identical copies of a novel could each equally be a genuine instance of that novel; such works are “allographic,” in Goodman’s terminology. Nevertheless, it seems clear enough that a deeper understanding of both kinds of artworks requires the pursuit of analogies or similarities between them, in spite of their differences. Any such analogies that may be found will provide critical tests for more general theories about the nature of artworks. I show how to resolve such analogies for the orientational concept of inversion. (shrink)

This paper is concerned with the aesthetic and discursive gap between music and contemporary art, and the recent attempts to remedy this in the field of New Music through a notion of “New Conceptualism.” It examines why, despite musical sources being central to the emergence of conceptual artistic strategies in the 1950s and ’60s, the worlds of an increasingly transmedial “generic art” and music have remained largely distinct. While it takes New Music’s New Conceptualism as its focus, it argues that (...) the perspective on New Music it takes has wider implications in music and art. It begins by defining what exactly “New Music” refers to, and outlines some of the conditions for the recent rise of conceptualism in New Music. It then takes the work of the composer Johannes Kreidler as a key example of some artistic tendencies and theoretical presuppositions in New Conceptualism. Following this it draws on work in the field of sound studies in order to critically examine the theoretical attempt to connect New Music with contemporary art that is found in the notion of “Music in the Expanded Field.” To conclude it offers some reflections on how a more robust conversation between contemporary art and New Music can begin to be conceived. (shrink)

Christian B. Miller has noted a “realism challenge” for virtue ethicists to provide an account of how the character gap between virtuous agents and non-virtuous agents can be bridged. This is precisely one of Han Feizi’s key criticisms against Confucian virtue ethics, as Eric L. Hutton argues, which also cuts across the Aristotelian one: appealing to virtuous agents as ethical models provides the wrong kind of guidance for the development of virtues. Hutton, however, without going into detail, notes that the (...) notion of rituals in the Confucian tradition may be able to sidestep Han Feizi’s criticism. In this essay, I wish to explore not only how the notion of rituals, alongside its corollaries in Xunzi’s Confucian program for ethical cultivation, indeed addresses Han Feizi’s criticism, but also observe that Aristotle’s tragic poetry plays functionally equivalent roles in his own understanding of ethical upbringing. I will begin by considering Han Feizi’s critique of ethical cultivation in virtue ethics as such and how it poses a specific problem for the acquisition of the ‘constitutive reasoning’ shared by Aristotle and Xunzi. I will then briefly note that this problem trades on the synthetic structure of human nature found in both Aristotle and Xunzi (the rational/irrational parts of the soul and the heartmind/five faculties), which grounds the way they understand ethical action and agency. Finally, I will suggest how both Aristotle and Xunzi understand the role of the arts in their extensive programme of ethical cultivation, allowing them to respond to Han Feizi’s attack as too narrow a construal of their respective ethical projects. It is hoped that, through this, we may gain a better sense of how more recent virtue ethicists may similarly draw on aesthetic resources for ethical development. (shrink)

The tragic death in Tolstoy's writings has helped both Max Weber and György Lukács in characterizing the modern pathos as a tragic contemplation of the emptiness of life. Through Tolstoy's readings, Weber and Lukács found an interesting source of denying arts and modern sciences autonomy, considering, from the aesthetics sphere, the meaningless of this new immanent reality. Both has assumed Tolstoy main theme from the same perspective, contrasting ancient and modern worldviews. Max Weber presented this theme in his disenchantment (...) of world theory and Lukács, in a very similar way, following the paradox of religious needing as a mainline. -/- O tema da morte trágica, presente nos escritos de Liev Tolstói, auxiliou tanto a Max Weber como a György Lukács a caracterizarem o pathos moderno de pressentimento da morte como uma contemplação do vazio. Weber e Lukács encontraram, através das leituras de Tolstói, uma interessante maneira de questionar a autonomia da arte e da ciência moderna, considerando pela esfera estética, como se mostra sem sentido a recente realidade imanente. Ambos assumiram o tema central das obras de Tolstói segundo uma mesma imagem, derivada do contraste entre o mundo antigo e o moderno. Max Weber adequou esse tema a sua teoria do desencantamento do mundo e Lukács, de modo muito semelhante, seguindo seu conceito do paradoxo da necessidade religiosa. (shrink)

In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project (...) does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only masters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. (shrink)

RAAAF [Rietveld Architecture-Art-Affordances] is an interdisciplinary studio that operates at the crossroads of visual art, experimental architecture and philosophy. RAAAF makes location- and context-specific artworks, an approach that derives from the respective backgrounds of the founding partners: Prix de Rome laureate Ronald Rietveld and Socrates Professor in Philosophy Erik Rietveld.

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...) strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

This research primarily identified the current employment profile of the graduates of Master of Arts in Filipino of Polytechnic University of the Philippines (2017-2020). Specifically, it sought to determine the progress on their professional status and the relevance of institutional and academic factors to it. This descriptive study utilized purposive sampling and involved an iterative process of frequency distribution, percentage, rank, and average weighted mean. This study found out that the majority of the respondents: are currently employed before and (...) after they took up MAF; are permanent/regular teachers in public secondary schools; have received job promotions and salary increase after graduating; and have acquired several professional skills and values relevant to their profession. The study generally concludes that the program has succeeded in providing quality education to its respondents as analyzed from their positive feedbacks. The researchers, however, recommend improving areas relative to influencing graduates to conduct and publish studies in refereed journals, be active members of discipline-related organizations, and attend several conferences, workshops, seminars, etc. Keywords: Curriculum, Master of Arts in Filipino, Polytechnic University of the Philippines, Professional Development, Tracer Study. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 219-220 [Access article in PDF] Jack Zupko. John Buridan: Portrait of a Fourteenth-Century Arts Master. Notre Dame: University of Notre Dame Press, 2003. Pp. xix + 446. Cloth, $70.00. Paper, $40.00. What does the name "John Buridan" call to mind? For many, including medievalists, not much at all—at best, perhaps, a set of apparently unrelated ideas: nominalism; an impetus theory of (...) projectile motion; and a peculiar account of the will (although "Buridan's ass," the indecisive donkey caught between two equally appetizing bales of hay, is not found in Buridan's writing). In correcting this ignorance—an injustice to arguably the most famous and influential philosopher of the early-to-mid-fourteenth century—the temptation might have been to articulate Buridan's "positions" on "the big questions," allowing readers to fit Buridan into received categories. Thankfully, the present work, the first book-length study of Buridan in any language, resists this temptation. The John Buridan that emerges from Jack Zupko's skillful "exercise in philosophical portraiture" doesn't serve to simply fill gaps in our awareness of the historical record, but to enlighten and challenge our understanding of the practice of philosophy and the study of its history.Zupko emphasizes throughout that Buridan was a teacher, a master of arts in Paris. Buridan's pedagogical concerns help make sense of his central work in logic. As the basis for his arts lectures, Buridan chose Peter of Spain's Summulae Logicales, but in commenting on Peter, Buridan moves beyond creative exegisis to comprehensive renovation. Buridan (c. 1300-c. 1361) naturally wanted to accommodate terminist or via moderna supposition theory; but more importantly, he wanted a logic text that would set out a general plan of philosophical inquiry, "a compendium of methods, a 'how-to' book for the philosopher" (135). Buridan thus designed his own Summulae de Dialectica as a new authoritative logic text, and Zupko persuasively argues that its "nominalism" should be understood as less a set of doctrines in theoretical logic, than a program of logical practice, an education in logic as the ars artium, the universal intellectual tool.Zupko's portrait of "Buridan's vision of the philosophical enterprise" is thus appropriately divided into two parts. The first summarizes Buridan's method as described in the individual treatises of his Summulae. The second displays the method in practice, rehearsing and evaluating some of Buridan's arguments on various subjects. Many scholars will gravitate first to the latter part, where Zupko offers important interpretations and clarifications of Buridan's views. In these chapters, Zupko helps us to appreciate, among other things: how the problem of universals served to help Buridan define the scope of philosophy (ch. 10); the philosophical modesty of Buridan's account of the intellectual soul's presence in the body (ch. 11); the relationship between Buridan's epistemology and the skepticism of his Parisian contemporary Nicholas of Autrecourt (ch. 12); the sense in which Buridan is an "empiricist," viz an epistemic naturalist and reliabilist (ch. 13); how Buridan regarded moral psychology as applied physics, treating virtue as a kind of impetus (ch. 14); how Buridan's account of freedom can be regarded as a "perfection" of Thomistic intellectualism (ch. 15).Throughout these discussions, Zupko always keeps in sight his larger purpose of illustrating Buridan's conception of philosophical inquiry. Zupko makes much of the fact that [End Page 219] Buridan never wrote as a theologian, remaining his entire career in the arts faculty, where he wanted logic to organize secular inquiry. As Zupko notes, in this way Buridan's scholastic project seems to prefigure the "modern." But Buridan seems modern in another way as well. As Zupko points out in his "Introduction," though a cleric, Buridan never joined a religious order, so that his ideas developed independently of the Franciscan and Dominican traditions. He was, then, a teacher without a tradition—at least without deliberate allegiance to tradition, although he was in many ways the product of traditional scholastic intellectual discipline.Perhaps this... (shrink)

Robert (Robby) P. Tangtingco’s article was called Bergaño’s dictionary “a work of art” in Lost and Found in Translation in the 18th century. The first thing that they observed is the various dialects or languages used by their countrymen. They were assigned to different regions of the Philippines, and one of them was Fray Diego Bergaño. He was designated to Pampanga where he successfully produced a Kapampangan dictionary called “Arte dela Lengua Pampanga”. From the stated dictionary, the reseacher look (...) for words that were related to food due to the reason that Pampanga is known for its mouthwatering food and delicacies. The dictionary was used as a reference for the translation to the English language. Moreover, various dictionaries were used to look for their translated Filipino language. Due to the rapid changes and modernization, loyalty and love to our own country, specifically language, is slowly fading and dying. With this, the researcher continued the study following the due process. First, she looked for each word related to food in Bergaño’s dictionary. Second, she categorized each food according to rice,grains, seafood, edible animal or insect, fruits and vegetable, herbs, cooking utensils, the process of cooking and preparing food, Pampanga’s delicacies and food, and other terminologies that are related to food. Next, six respondents from Pampanga were invited to join a Zoom meeting. They were asked if which among the words listened to were related to food. Furthermore, the researcher sought if the words used are still being applied or not nowadays. (shrink)

For Plato mimesis is the appearance of the external image of things. In his view, the reality was not to be found in the world of objects but in the realm of ideas. Therefore, Plato sees the arts as an occupation that is inferior to science and philosophy, but that is also a potential source of corruption. His concept of imitation, although it evolved over time, led him to take an increasingly dogmatic and intolerant position regarding artistic creation. His (...) notion that poetry is morally dangerous establishes the foundations for a didactic critique, which tends to flourish in societies undergoing political crises. Plato wrote his works during an age of instability and decline; an age when the role of Athens as the leading power in the Mediterranean was beginning to be questioned. Through an analysis of Ion and Books II, III, and X of The Republic, this essay explores the epistemological and moral —rather than aesthetic— nature of Plato’s judgment on the value of Poetry and the Arts. (shrink)

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest (...) different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen. (shrink)

In the present essay I suggest that the main reason why history failed to develop societies in harmony with Nature, including our internal nature as well, is that we failed to evaluate the exact basis of the factor ultimately governing our thoughts. We failed to realise that it is the worldview that ultimately governs our thoughts and through our thoughts, our actions. In this work I consider the ultimate foundations of philosophy, science, religion, and art, pointing out that they were (...) and can be again in harmony with each other if their ultimate tasks are specified. I specify here the first task of philosophy as considering the philosophical significance of the ultimate principles of physics, biology and man/society. These ultimate principles are in direct connection with the ultimate questions of religion. I show that the fundamental nature of art makes it able to perceive the ultimate destination of mankind and the Universe, the world-to-be. I propose that philosophy, religion and art together are able to supply us with an inter-subjective picture of the world-process, including the inter-subjective picture of the future of mankind and the Universe. Care is taken to enlighten the possible role of values in founding scientific research in the frame of present wide-ranging discussions. The result is found that universal values of respect for existence, life and reason represent the inevitable basis of science. The exact foundations of a new, integral worldview are outlined, involving the worldprocess-picture, Nature-picture, images of man, society, self, history and manipulation. A list of our common tasks for founding the Integral Culture is proposed. (shrink)

It was the summer of 1984, the American dollar was strong, and this was my first venture to Europe. I found her and didn't even know I was searching for her. Mysteriously she crossed my path one day in Rome. I should confess though- at this point in my life, I am an uneasy Protestant.

This new book by Nathan Crick explores the integral relationship between philosophical pragmatism and rhetoric. Unlike Robert Danisch’s earlier work on the topic, Pragmatism, Democracy, and the Necessity of Rhetoric (University of South Carolina Press 2007), Crick’s project focuses almost exclusively on the rhetorical resources found in John Dewey’s pragmatist philosophy. To trace the connections between pragmatism and rhetoric, the first obstacle the author must overcome is the time-honored tradition whereby philosophers denigrate rhetoric or sophistry because it deals only (...) with appearance and persuasion, not with truth and knowledge. The second is that Dewey wrote very little about rhetoric per se, even though he highlighted the importance of communication to democracy in The Public and Its Problems (1927) and praised eloquence in Art as Experience (1940). Still, sparking a conversation between scholars of rhetorical studies and philosophical pragmatism, particularly Dewey’s version, is among the most significant goals of the work. ‘In fact’, Crick writes in the introduction, ‘one of the core arguments of this book is that it is only by bringing rhetoric to Dewey, and by creating something new through transaction, that we can produce a novel perspective on the arts of rhetoric and of democracy’ (10). The work is organized into three main sections: i) on rhetoric and politics, ii) on rhetoric and science and iii) on rhetoric and art. Download PDF. (shrink)

This work is about the philosophical aspects of Giovanni Urbani‟s thought, that is those reflections which constantly refer to Martin Heidegger‟s philosophy. The interest in these theoretical aspects doesn‟t stem from the necessity to determine whether Urbani has correctly understood the heideggerian lectio, but rather from a necessity of thought; the necessity to explain, in an originary way, how that particular kind of knowledge that develops through the experience of conservation is able to enrich and make speculative activity more fruitful. (...) Urbani‟s research, indeed, seems to find answers where the philosopher‟s thought stops, drifting toward mysticism. Thus the present work underlines the peculiar and original way Urbani understands Heidegger‟s lesson, starting just from the point where the theoretical aspects of their reflections start to diverge, and the idea that the conditions to build a new man and a new model of rationality are to be found within science substitutes the heideggerian waiting for the new coming of the Sacred, which is to happen in poetry: the knowledge and experience of conservation become the testing ground of this research, to which the duty to produce an «advance in civilization» has been entrusted. (shrink)

On the differing practices and assumptions in the academic specialisms of environmental studies and STS.

There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...) art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

A work of Vietnamese art crossed the million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity for Vietnamese art amidst many problems. Even though the media in Vietnam has discussed the problems enthusiastically, there is a lack of literature from Vietnamese academics on the subject, especially from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market through the lens of art frauds. Thirty-five (...) cases of fraudulent paintings were found on the news and in stories told by art connoisseurs. The qualitative analysis of the cases has shown that the economic value of Vietnamese paintings remains high despite the controversial claims about their authenticity. Here, the Vietnamese authority seems indifferent to the problem of art frauds, which make the artists more powerless. While the involvement of foreign actors in the trading of Vietnamese art does not reduce the intensity of the problem, it seems to continue to drive the price higher. The results have implications on the system of art in Vietnam, the current state of art theft in Vietnam, and the perception of Vietnamese people on art. (shrink)

Metamorphosis as it is represented by some pre-historical artists seems problematic for our occidental point of view. In fact, it seems to be strongly against identity and law of non-contradiction. Becoming in general is also viewed as an error or exception by our classic point of view. This very claim can conduct to theories of non-classical logic. Deleuze and Guattari in their monumental work had tried to offer enormous contributions in order to comprehend the becoming phenomenon. Through a pre-historical representations (...) analysis, with also an intrusion in contemporary art's field, I want to confront with possible metamorphosis representations remain theoretically founded in the deleuzian proposal in dialogue with phenomenological inquiry. New principle of individuation and analysis of expression provide new looks to arisen problems with classical logic and metamorphosis representations, which will be acceptable and comprehensible as art shows. (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)

In the last twenty years, a large number of studies have investigated judgments of the identity of various objects (e.g., persons, material objects, institutions) over time. One influential strand of research has found that identity judgments are shaped by normative considerations. People tend to believe that moral improvement is more compatible with the continuity of identity of a person than moral deterioration, suggesting that persons are taken to be essentially morally good. This asymmetry is often referred to as the (...) “Phineas Gage effect”. However, normativity extends beyond morality. In particular, it is unknown whether changes in aesthetic value have a similar impact on identity judgments. We investigate whether works of art would be analogously seen as essentially aesthetically valuable. We ran four studies (N=1264) to explore whether aesthetic considerations have a similar influence on judgments of the identity of artworks. We presented the participants with stories describing either a painting or a musical work which undergoes changes and becomes either more or less aesthetically valuable. Overall, we found only mixed evidence for the Phineas Gage effect in relation to the aesthetic value of artworks. Other factors, such as moral value, seem to have a bigger impact on judgments of persistence. (shrink)

Nineteenth-century optical toys that showcase illusions of motion such as the phenakistoscope, zoetrope, and praxinoscope, have enjoyed active “afterlives” in the twentieth and twenty-first centuries. Contemporary incarnations of the zoetrope are frequently found in the realms of fine art and advertising, and they are often much larger than their nineteenth-century counterparts. This article argues that modern-day optical toys are able to conjure feelings of wonder and spectacle equivalent to their nineteenth-century antecedents because of their adjustment in scale. Exploring a (...) range of contemporary philosophical toys found in arts, entertainment, and advertising contexts, the article discusses various technical adjustments made to successfully “scale up” optical toys, including the replacement of hand-spun mechanisms with larger sources of motion and the use of various means such as architectural features and stroboscopic lights to replace traditional shutter mechanisms such as the zoetrope’s dark slots. Critical consideration of scale as a central feature of these installations reconfigures the relationship between audience and device. Large-scale adaptations of optical toys revise the traditional conception of the user, who is able to tactilely manipulate and interact with the apparatus, instead positing a viewer who has less control over the illusion’s operation and is instead a captive audience surrounded by the animation. It is primarily through their adaptation of scale that contemporary zoetropes successfully elicit wonder as scientific spectacles from their audiences today. (shrink)

Founded in 1993, ELEKTRIK: Turkish Journal of Electrical Engineering and Computer Sciences, has gradually become better known and is fast establishing itself as a research oriented publication outlet with high academic standards. In a modest attempt to advance this trend, this special issue of ELEKTRIK brings together five papers exemplifying the state of the art in artificial intelligence (AI). Written by experts, the papers are especially aimed at readers interested in gaining a better appraisal of the applications side of the (...) AI enterprise. In all papers there is a strong emphasis on measuring the benefits of the proposed approaches in experimental contexts. The papers broadly fall into five actively researched, contemporary domains of AI: pattern recognition, genetic algorithms, fuzzy sets, intelligent design, and agents. (shrink)

In the seventeenth century, Newton used bis famous prism to found the physics of spectral light, thus revolutionising our thinking about colours; more than a hundred years later, Goethe protested against Newton's theory and discovered a number of new prismatic colour phenomena. Did these episodes in the history of science have any influence on the visual arts? For a decade now my visits to art museums have had an agenda: I have been looking for nineteenth-century paintings with certain spectral (...) colour (which will be described in the first half of this paper). While my search has been unsuccessful in traditional Western art, I found what I was looking for in Japa­nese art: in woodblock prints by Hokusai and Hiroshige. This is surprising; little Western science had reached Japan in their time. The second half of the paper pre­sents this riddle, which I am nowhere near solving. Even without a solution, however, a riddle can be instructive. In this case, it may help to bring into focus the fascinating exchange between two distant cultures. Much has been written on the cultural relativ­ity of colour perception, colour systematisation and colour aesthetics; I want to intro­duce a new and so far unknown case that might contribute to this debate - though the debate itself remains beyond the scope of this paper. (shrink)

The chapter challenges hyperbolic claims about the centrality of appreciation of beauty to Buddhism. Within the texts, attitudes are more mixed, except for a form of 'inner beauty' - the beauty found in the expression of virtues or wisdom in forms of bodily comportment. Inner beauty is a stable presence throughout Buddhist history, practices, and art.

In the field of phenomenology philosophers more and more frequently show interest in early Christian thought – including apophatic theology – which, in result, affects the understanding of the role and significance of art. „Invisibility” in art and the manifestation of God through the work of art is a mystery which cannot be satisfactorily explained by traditional philosophical aesthetic models. Negative theology, together with its key apophatic way brings a new perspective of understanding art into contemporary aesthetic debates. Its 'reductive' (...) application can be found especially in the theory of the icon. Paweł Florenski's icon analysis and Jean-Luc Marion's category of the ‘saturated phenomenon’ converge in many points. Henry Dume ry’s henological reduction which is complementary to, but at the same time exceeds Edmunda Husserl's reductions, extends the horizon of the 'invisible' dimension of art by the relation the Spirit (intelligibility) makes with Transcendence. In the article I will show the cohesion of contemporary phenomenological thought, early Christian apophatics and the theory of the icon. I will also consider whether an aesthetic and theological framework so structured could be valid and useful as a general philosophical theory of art. (shrink)

Since the advent of media archeology, a deep-seated bifurcation has found one end of the field arguing for the interventionist and appropriative weaponization of media whereas the other side has championed a “total war” with technology itself, insisting that new media’s military-industrial roots inherently color its drivability. Here, I implore a moment within the cultural history of net.art and post-internet art to examine how contemporaneous queries about control after militarism and decentralization, as prognosticated by Paul Virilio and Gilles Deleuze, (...) are part of a more deeply entrenched discourse on neural nets, predictive processing algorithms and machine learning, which the current media theory and post-cinema literature has yet to rigorously respond to. Simultaneously parsing philosophical and media sociology corollaries to ground this overview, I push for more attention towards psychopower, autosurveillance and algorithmic governmentality while distancing critique from the standard Foucauldian discourse of biopower. (shrink)

Leo Strauss’ controversial theory of esoteric philosophy, as presented in Persecution and the Art of Writing, sparked a fierce debate. Opponents and proponents of the theory utilised a wide range of perspectives to support their arguments. By investigating esoteric philosophy from a sociolinguistic perspective, this paper introduces a novel perspective to the Strauss dispute. In PAW Strauss is mistaken regarding esotericism and its role in philosophy. On one hand it is reasonable to endorse Strauss’ persuasive account on the origins of (...) esoteric writing. The Straussian account provides a plausible sociological background as to why philosophy, per se became an esoteric fliedH. On the other hand it seems as Strauss ascribed undue significance to possible clandestine massages that may be found within works of philosophy because philosophy is mostly already done in an esoteric linguistic space. (shrink)