Results for 'Indian performing arts'

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  1. Dancing with Nine Colours: The Nine Emotional States of Indian Rasa Theory.Dyutiman Mukhopadhyay - manuscript
    This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when (...)
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  2. Mindfulness as a Pedagogical Tool: Kuchipudi Indian Classical Hindu Dance.Sabrina D. MisirHiralall - 2015 - Arts in Religious and Theological Studies (ARTS) Journal 1 (27):33-39.
    Contemplative pedagogy is necessary in the dance world because it can be a very dangerous place without it. Dance students who aim to sustain the so-called “right”body image too often develop a physical obsession that leads to dangers like bulimia and anorexia. Moreover, the stresses of performing on stage, combined with other pressures of daily life, may overwhelm dancers to the point where they might feel depressed or even suicidal. Thus, it is vital to develop a pedagogy that thinks (...)
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  3. Performance Art Nach 1945 Aktionstheater und Intermedia.Thomas Dreher - 2001 - Munich, Germany: Wilhelm Fink.
    The outline of the development of Performance Art features happenings in New York and Vienna in the sixties as well as body art and performances with closed circuits in the seventies (among others). Action Art, Environmental Theater and Intermedia are the terms defining the main characteristics of the works discussed. The research method is mainly based on Intertextuality (Mikhail Mikhailovich Bakhtin) and Systems Theory (Niklas Luhmann).
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  4. Toward A Deweyan Theory of Ethical and Aesthetic Performing Arts Practice.Aili Bresnahan - 2014 - Journal of Aesthetics and Phenomenology 1 (2):133-148.
    This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things: The unity Dewey ascribed to all intelligent practices (including artistic practice) and The observation that many aspects of the work of performing artists of Dewey’s time include features (“dramatic rehearsal,” action, interaction and habit development) that are part of Dewey’s characterization of the moral life. This does not deny the deep import that Dewey ascribed to aesthetic experience (both (...)
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  5. Installation Art and Performance: A Shared Ontology.Sherri Irvin - 2013 - In Christy Mag Uidhir (ed.), Art & Abstract Objects. Oxford University Press. pp. 242-262.
    This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...)
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  6.  78
    Narot, Copyrighted, All Rights Reserved: On the Tension between Music Copyright and Religious Authority.John T. Giordano - 2017 - Fourth Princess Galyani Vadhana International Symposium August 30Th- September 1St.
    This essay investigates the tensions between traditional music and its modern codification as intellectual property. It will begin by considering the myths concerning the divine source of music. In traditional music and in folk music, music is closely connected to religious ritual. In these rituals the source of the music is recognized and attributed to certain deities. For instance, in Thai traditional music, the Wai Khru ceremony venerates the Duriyathep or devatas drawn from Indian mythology: Phra Visawakarm, Phra Panjasinghkorn, (...)
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  7. ART(S) OF BECOMING: PERFORMATIVE ENCOUNTERS IN CONTEMPORARY POLITICAL ART.İbrahim Okan Akkin - 2017 - Dissertation, Middle East Technical University
    This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism of (...)
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  8. The art, poetics, and grammar of technological innovation as practice, process, and performance.Coeckelbergh Mark - 2018 - AI and Society 33 (4):501-510.
    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 (...)
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  9. David Davies, art as performance.Reviews by Robert Stecker & John Dilworth - 2005 - Journal of Aesthetics and Art Criticism 63 (1):75–80.
    In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in spite of some (...)
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  10. Factors Affecting MAPEH Students’ Performance in Integrated Art Education.Louie Gula, Joan M. E. Bonganciso, Ma Cristina C. Senoran, Shiella M. B. Gorge & Kevin R. Sumayang - 2022 - Journal of Teacher Education and Research 17 (1):1-6.
    This study aims to find out the factors that hinder students in learning Integrated Art Education. A descriptive research design was utilized in the conduct of the study. The researcher prepared a questionnaire with 15 closed-ended- questions that could be answered objectively. The study discovered that the students would learn more when they feel that they belong to a certain group. Interests in a subject also matter, the more you are interested in a particular subject, the more you will learn (...)
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  11. The Art of Indian Asia: Its Mythology and Transformations.Heinrich Zimmer & Joseph Campbell - 1956 - Philosophy and Phenomenological Research 17 (2):269-271.
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  12.  45
    The Queerness of Art and the Foucauldian origins of Judith Butler's notion of Performativity; An overview.S. Shafi - 2024 - Tattva Journal of Philosophy 16 (1):21-38.
    By deploying the methodology of Judith Butler's notion of performativity, this article intends to understand the possibility of the concept of queerness beyond the possibilities of gender studies and queer theory and to develop a concept transcending the limits of identity. It is undeniable that Foucault's concept of disciplinarity is one of the major precursors of the notion of performativity, which is a more focused tool for what Foucault broadly devised. Both thinkers explain how the subject is a construction by (...)
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  13. Performance, Citizenship and Activism in Chile.Paulina Bronfman - 2023 - Santiago . Chile: Editorial Osoliebre..
    "This book explores the relationship between performance and activism in Chile as a form of political expression and citizen participation during the period 2010-2020. Since the student mobilizations of 2006, the social movements that have taken place in Chile are characterized, in many cases, by the appropriation of public space and the political use of the body. This became particularly evident during the social outbreak of October 2019. The social upheaval was accompanied by a cultural explosion, where the arts (...)
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  14. PERFORMANCE INDICATORS AND PUBLIC ORGANIZATIONS: AN ANALYSIS OF SYMPHONY ORCHESTRAS.Carolina Asuaga & Manuel Esmoris - 2006 - Anales Del II Congreso Del Mercosur.
    The performing arts and their financing have been analyzed by cultural economics. Many papers have focused on importance of state intervention both as a financing agent, as a provider and producer of cultural services. Otherwise, several studies have appeared focusing on management of the performing arts in Management Accounting framework. This paper shows relevance of performance indicators for evaluating cultural policies and focuses on symphony orchestras financed with public funds. The objective is verifying strategy compliance and (...)
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  15.  66
    An Indian-Aesthetics Approach to Non-Representational Dance – Interpreting Nṛtta in the Frameworks of Rasa, Aucitya and Dhvani.Divya Hoskere & Deepti Navaratna - manuscript
    Rasa, the aesthetic experience, stands as the highest purpose of art according to Indian Aesthetics. In this paper we explore the concept of non-representational dance or nṛtta with the aim of integrating an answerability to rasa into the structure of Bharatanāṭyam, a present-day classical dance of India. Drawing from sage Bharata’s Nāṭyaśāstra and supplemented by insights from Anandavardhana's Dhvanyālōka, the study provides a śāstric (analytical and philosophical) framework for non-representational dance (nṛtta) using three overarching canons of Indian Aesthetics (...)
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  16. Changing Trends in Dreamboat Children’s Theatre, Calabar, Nigeria.Y. T. A. Edisua Merab - 2015 - Indian Journal of Applied Research 5 (8).
    In the last twenty eight years DreamBoat Children’s theatre has gained prominence in South-South Nigeria. Its operations have become more professional and have received more attention within the school system. But this was not so in the beginning. The study set out to find out what factors led to this development. Qualitative method was used to gather data from children, teachers and practitioners as well as observation of many DreamBoat’s children’s theatre productions across two states of Cross River and Akwa (...)
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  17. An Investigation into the Performances of the State-of-the-art Machine Learning Approaches for Various Cyber-attack Detection: A Survey. [REVIEW]Tosin Ige, Christopher Kiekintveld & Aritran Piplai - forthcoming - Proceedings of the IEEE:11.
    To secure computers and information systems from attackers taking advantage of vulnerabilities in the system to commit cybercrime, several methods have been proposed for real-time detection of vulnerabilities to improve security around information systems. Of all the proposed methods, machine learning had been the most effective method in securing a system with capabilities ranging from early detection of software vulnerabilities to real-time detection of ongoing compromise in a system. As there are different types of cyberattacks, each of the existing state-of-the-art (...)
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  18. Martens, J., Rietveld, R., & Rietveld, E. (2022). A conversation on collaborative embodied engagement in making art and architecture: Going beyond the divide between ‘lower’ and ‘higher’ cognition. In K. Bicknell & J. Sutton (Eds.) Collaborative Embodied Performance: Ecologies of Skill (pp. 53–68). London,: Methuen Drama.Janno Martens, Ronald Rietveld & Erik Rietveld - 2022 - Londen, Verenigd Koninkrijk: Methuen Drama.
    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.
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  19. Review of Richard Shusterman, Performing Live: Aesthetic Alternatives for Ends of Art. [REVIEW]William Day - 2004 - Journal of Aesthetics and Art Criticism 62:300-302.
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  20. Art (Entrée académique).Constant Bonard & Steve Humbert-Droz - 2020 - Encyclopédie Philosophique.
    Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...)
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  21. Art and Emotion.Filippo Contesi - 2018 - Oxford Bibliographies in Philosophy.
    The study of the arts in philosophy has often concentrated on the role that emotions (and affective responses more generally) play in art’s creation and value. Philosophical theories of art have sometimes even defined art in terms of its capacity to elicit or express emotions. Philosophers have debated such questions as what it is to express an emotion in art; whether emotions form part of the value of an artwork; whether the emotions involved in art appreciation are of the (...)
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  22. Art: What it Is and Why it Matters.Catharine Abell - 2011 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...)
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  23. Arte Conceptual.Elisa Caldarola - 2018 - Enciclopedia de la Sociedad Española de Filosofía Analítica.
    La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, Robert Barry, Lawrence Weiner, (...)
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  24. Disinterestedness and Political Art.Peg Brand Weiser - 1998 - In Carolyn Korsmeyer (ed.), Aesthetics: The Big Questions. Malden, Mass.: Wiley-Blackwell. pp. 155-171.
    Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...)
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  25. Theatrical Performances and the Works Performed.Sherri Irvin - 2009 - Journal of Aesthetic Education 43 (3):pp. 37-50.
    I consider James Hamilton’s discussion of what I term the complete autonomy thesis, according to which no theatrical performance is a performance of some other work. While agreeing with Hamilton that theatrical performances are often artworks in their own right and that theatrical performance is not a derivative or subsidiary art form, I argue that the complete autonomy thesis overshoots the evidence. Some theatrical performances are autonomous, but many belong to an established tradition of close adherence to the texts of (...)
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  26. Arts Entrepreneurship through Strategic Collaboration in Korean Classical Music.Jieun Park & Joanne Bernstein - 2020 - Journal of Arts and Humanities 9 (8).
    Arts Entrepreneurship is a comparatively new concept in arts management however, it is inevitable for the arts, especially classical music to adapt the concept for its survival. This article investigates how arts entrepreneurship is executed through strategic collaboration in three different cases of classical music organizations in Seoul, Korea: Yellow Lounge Seoul, Ensemble Ditto and The New Baroque Company. By providing vivid examples of how to apply arts entrepreneurship in classical music products, it will better (...)
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  27. A Theater of Ideas: Performance and Performativity in Kierkegaard’s Repetition.Martijn Boven - 2018 - In Eric Ziolkowski (ed.), Kierkegaard, Literature, and the Arts. Evanston, Illinois: Northwestern University press. pp. 115-130.
    In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...)
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  28. Performance, performatividad y memoria.Diana Paola Triana Moreno - 2018 - Cuestiones de Filosofía 4:17-34.
    El objetivo del presente artículo de reflexión es hacer evidente la relación entre la categoría de performatividad en Judith Butler y el arte de la performance como una aproximación a la construcción de la memoria. Por un lado, el arte de la performance ofrece un problema en torno al registro, al archivo y a la memoria de la acción artística al considerar que el acto es irrepetible, único y fugaz. Esta discusión está vinculada con la reperformación como alternativa de memoria (...)
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  29. Musicians (Don't) Play Algorithms. Or: What makes a musical performance.Mira Magdalena Sickinger - 2020 - Kriterion - Journal of Philosophy 34 (3):1-22.
    Our private perception of listening to an individualized playlist during a jog is very different from the interaction we might experience at a live concert. We do realize that music is not necessarily a performing art, such as dancing or theater, while our demands regarding musical performances are conflicting: We expect perfect sound quality and the thrill of the immediate. We want the artist to overwhelm us with her virtuosity and we want her to struggle, just like a human. (...)
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  30. Motherhood as resistance in the bio-performance Analfabeta, an Interdisciplinary dialogue between Biology and Performance.Paulina Bronfman - 2023 - Documenta 41 ( Special Edition: Parliament of).
    Interdisciplinary dialogue acts as a symbiosis for all the areas that participate and imply enormous projections for both art and science. This paper explores the potential of an interdisciplinary dialogue between Biology and Performance using as a case study the Performance Analfabeta created by the artist Paulina Bronfman. The work was shaped in the context of The Third Conference of the Nucleus of Artistic Research (NIA) of In/Inter/Disciplinary Laboratories hosted by the Faculty of Art of The Pontificia University of Chile (...)
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  31. Performance, performatividad y memoria.Diana Paola Triana Moreno - 2018 - Cuestiones de Filosofía 22 (4):17-34.
    El objetivo del presente artículo de reflexión es hacer evidente la relación entre la categoría de performatividad en Judith Butler y el arte de la performance como una aproximación a la construcción de la memoria. Por un lado, el arte de la performance ofrece un problema en torno al registro, al archivo y a la memoria de la acción artística al considerar que el acto es irrepetible, único y fugaz. Esta discusión está vinculada con la reperformación como alternativa de memoria (...)
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  32. Performing the Unexpected Improvisation and Artistic Creativity.Alessandro Bertinetto - 2012 - Daimon: Revista Internacional de Filosofía 57:117-135.
    In this paper I suggest that we look to improvisation in order to understand artistic creativity. Indeed, instead of being anti-artistic in nature, due to its supposed unpreparedness, inaccuracy, and repetitive monotony, improvisation in art exemplifies and 'fuels' artistic creativity as such. I elucidate the relationship between improvisation and artistic creativity in four steps. I discuss the concept of creativity in general (I) and in reference to art (II). Then I focus on the properties and the phenomenology of improvisation (III). (...)
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  33. Harmonizing Liberation Philosophy: Exploring the Convergence of Marxian Economics and Shariah Banking within the Framework of the Indian Banking System (11th edition).Savio Saldanha - 2023 - International Journal for Research in Applied Science and Engineering Technology 11 (IX):64-75.
    The Indian banking system evolved from an exclusive private enterprise controlled by a few wealthy families and trusts, leaving the majority reliant on high-interest private lenders, perpetuating economic disparity. Nationalization of 21 banks under Indira Gandhi aimed to rectify this, aligning with India's constitutional goal of equitable wealth distribution. However, globalization and privatization reshaped the landscape, emphasizing profit-seeking and catering to the corporate sector and affluent classes. The marginalized rural and small business sectors suffered in this pursuit, evident in (...)
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  34. The Double Content of Art.John Dilworth - 2005 - Amherst, NY: Prometheus Books.
    The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies his (...)
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  35. A Phenomenological “Aesthetics of Isolation” as Environmental Aesthetics for an Era of Ubiquitous Art.Matthew E. Gladden - 2018 - Polish Journal of Aesthetics (49):11-25.
    Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.
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  36. Varna -Jāti Interconnection: Revisiting Indian Caste System.Anil Kumar - 2015 - American International Journal of Research in Humanities, Arts and Social Sciences 12 (2):246-251.
    The presence of hierarchy and inequality within Indian tradition is a prominent aspect that manifests through the unequal positioning of caste and class groups within the societal framework. This intricate connection is observed in the way dharma (normative order), karma (personal moral commitment), and jāti (caste) - the foundational tenets of Indian culture - simultaneously shape the distinctiveness of Indian cultural heritage and lay the groundwork for social hierarchy. This research paper delves into an extensive and exploratory (...)
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  37. Portrayal of women in Indian Mass Media:An Investigation.Himashree Patowary - 2014 - Journal of Education and Social Policy 1 (1):84-92.
    Media's role towards women is becoming the growing concern of the feminist writers, basically regarding participation, performances and portrayal of women. Because different circumstances relating to media's role towards portraying the fair sex have opened up a new angle by leaps and bounds to think precisely about it.
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  38. Un approccio ecologico cognitivo alla presenza scenica nelle arti della performance.Sarah Pini - 2021 - Antropologia E Teatro 12 (12):88-108.
    The concept of stage presence in performing arts is generally understood as the ability of the skilled performer to capture the attention of the audience, a prerogative of the talented actor, who occupies a position of power in respect to the audience. This work challenges the classic model of stage presence as an intrinsic quality of the performer and proposes instead a cognitive ecological ethnographic framework which considers the role played by various social actors — the public and (...)
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  39.  20
    Ethical Perspective on Indian Banking System with reference to Agriculture and SME advances.Savio Saldanha - unknown
    Ethical banking is a system of banking where a bank is concerned with the social impact of its activities. In case of India, ethics based banking is having a robust banking network which caters to all the segments of the society while being conscious of the holistic wellbeing of the economy. In this essay I have dealt with the ethical issue of whether we would be justified in blaming the agriculture and the SME for the growing Non-performing Assets (NPAs) (...)
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  40. Cultural Identity of Art Works.Curtis Carter, Disikate Ke, Min Yu & Chengji Liu - unknown
    Nelson Goodman (1906-2007) approached the arts and other kinds of knowledge as forms of symbolism. His principal aim in philosophy was to advance understanding and remove confusions by verbal analysis and logical constructions. Goodman's philosophical theories encompass nominalism, constructivism and a version of radical relativism. In his Languages of Art, Goodman sets forth distinctions among the various art according to differences in the forms of symbols employed. He contributed as well to arts education and to philosophy of the (...)
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  41. Between Philosophy and Art.Jennifer A. McMahon, Elizabeth B. Coleman, David Macarthur, James Phillips & Daniel von Sturmer - 2016 - Australasian Journal of Popular Culture 5 (2/3):135-150.
    Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...)
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  42. Is Proprioceptive Art Possible?Markus Schrenk - 2014 - In Priest Graham & Young Damon (eds.), Philosophy and the Martial Arts: Engagement. Open Court. pp. 101-116.
    I argue for the possibility of a proprioceptive art in addition to, for example, visual or auditory arts, where aspects of some martial arts will serve as examples of that art form. My argument is inspired by a thought of Ted Shawn’s, one of the pioneers of American modern dance: "Dance is the only art wherein we ourselves are the stuff in which it is made.” In a first step, I point out that in some practices of martial (...)
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  43. Failures of Intention and Failed-Art.Michel-Antoine Xhignesse - 2020 - Canadian Journal of Philosophy 50 (7):905-917.
    This paper explores what happens when artists fail to execute their goals. I argue that taxonomies of failure in general, and of failed-art in particular, should focus on the attempts which generate the failed-entity, and that to do this they must be sensitive to an attempt’s orientation. This account of failed-attempts delivers three important new insights into artistic practice: there can be no accidental art, only deliberate and incidental art; art’s intention-dependence entails the possibility of performative failure, but not of (...)
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  44. What is Art ? A Philosophical Definition.Jakob Zaaiman - 2012 - Alldaynight.Info.
    Abstract: For art to be art it has to present the viewer with a distinctly out-of-the-ordinary perspective on everyday reality. Art is to be clearly differentiated from all forms of decorative craft, which are essentially concerned only with aesthetic experiences. Art is essentially about finding ways, through the manipulation and orchestration of presentational media – such as painting, sculpture, literature, film, and performance – to bring to life strange and unusual perceptions. All these media are quasi-theatrical and poetic in nature, (...)
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  45. How the performer came to be prepared: Three moments in music’s encounter with everyday technologies.Iain Campbell - 2023 - In Natasha Lushetich, Iain Campbell & Dominic Smith (eds.), Contingency and plasticity in everyday technologies. Lanham: Rowman & Littlefield. pp. 125-41.
    What kind of technology is the piano? It was once a distinctly everyday technology. In the bourgeois home of the nineteenth century it became an emblematic figure of gendered social life, its role shifting between visually pleasing piece of furniture, source of light entertainment, and expression of cultured upbringing. It performed this role unobtrusively, acting as a transparent mediator of social relations. To the composer of concert music it was, and sometimes still is, says Samuel Wilson, like the philosopher’s table: (...)
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  46. Cinematic street art? Exploring the limits of the philosophy of street art.Logan Canada-Johnson - 2023 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 16 (1):105-115.
    As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required in order (...)
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  47. Art, World, Artworld.Horvath Gizela - 2016 - Synthesis Philosophica 31 (1):117-127.
    Ancient Greek philosophers claimed that the particular task of art was mimesis. This kind of view about the relation between art and the world was dominant until the beginning of the 19th century. The theory of genius rethought this relation, and it did not presume that art needs to mirror the world. On the contrary, it expected originality, that is, the creation of a new world. Since the beginning of the 20th century, the artworld operates under a wider notion of (...)
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  48. Hegel's End of Art Revisited: The Death of God and the Essential Finitude of Artistic Beauty.Jeffrey Reid - 2020 - Clio: A Journal of Literature, History, and the Philosophy of History 1 (48):77-101.
    The article re-visits the different scholarly approaches to Hegel's end-of-art scenario, and then proposes a new reading whereby ending and finitude are presented as essential features of beautiful art. The first and most determinant of art's endings is the death of the Christly art object, not representations of Christ, but the actual death of (the son of) God himself as the last classical artwork. The death of God represents the last word in Greco-Roman art, the accomplishment of the beautiful individuality (...)
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  49. Practising collectivity: Performing public space in everyday China.Teresa Hoskyns, Siti Balkish Roslan & Claudia Westermann - 2022 - Technoetic Arts 20 (3):203-224.
    This article investigates the specific cultural and collaborative nature of China’s public spaces and how they are formed through performative appropriations. Collective cultural practices as political participation were encouraged during the Mao era when cultural activities played a key role in workers’ education and participation. Since the opening-up period, performance in public space has become widespread in China and creates alternative community spaces that constitute alternatives to capitalist spaces of consumption. Using Habermas’s theory of communicative action, we argue that cultural (...)
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  50. “From Museum Walls to Facebook Walls”*. A new public space for art.Gizela Horvath - 2014 - In Gizela Horvath, Rozalia Klara Bako & Eva Biro Kaszas (eds.), Ten Years of Facebook. Proceedings of the Third International Conference on Argumentation and Rhetoric. Partium Kiado. pp. 73-88.
    The ‘museal’ approach to art has been attacked from many angles in the last decade; the main issue raised by most of these attacks was that such an approach would promote a certain idea of art which has little to do with real-life or the layman’s interest. Some artists have protested by stepping out of the museum space with projects deliberately designed as non-museum items (performance, land-art, public art etc.). Art, however, is always meant for a public, so, as an (...)
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