The Louvre Museum is the largest of the world's art museums by its exhibition surface. These represent the Western art of the Middle Ages in 1848, those of the ancient civilizations that preceded and influenced it (Oriental, Egyptian, Greek, Etruscan and Roman), and the arts of early Christians and Islam. At the origin of the Louvre existed a castle, built by King Philip Augustus in 1190, and occupying the southwest quarter of the current Cour Carrée. In 1594, (...) Henri IV decided to unite the palace of the Louvre with the palace of the Tuileries built by Catherine de Medicis. The Cour Carrée was built by the architects Lemercier and then Le Vau, under the reign of Louis XIII and Louis XIV. The Department of Paintings currently has about 7,500 paintings (of which 3,400 are exposed), covering a period that goes from the Middle Ages to 1848 (date of the beginning of the Second Republic). By including the deposits, the collection is, with 12,660 works, the largest collection of ancient paintings in the world. With rare exceptions, the works after 1848 were transferred to the Musée d'Orsay when it was created in 1986. CONTENTS: Louvre Museum - Variety of exhibited works - The Royal Palace - The collections - - Eastern antiquities - - Arts of Islam - - Egyptian Antiquities - - Greek, Etruscan and Roman Antiquities - - Paintings - - - French school - - - Northern Schools (Flanders, Netherlands, Germany) - - - Italian School - - - Other schools Painting - Definitions - Painting genres - - The landscape - - Still life Paintings - FRANCOIS BOUCHER - - Vulcan presenting arms to Venus for Aeneas - RAPHAEL - - Portrait of Baldassare Castiglione - RUBENS - - Helena Fourment with children - LOUIS DAVID - - Madame Récamier - REMBRANDT - - Portrait of Heindrickje Stoffels - VELAZQUEZ - - Portrait of the Infanta Margarita - SIMONE MEMMI - - Jesus Christ walking on Calvary - JAN STEEN - - The Bad Company - HANS HOLBEIN - - Erasmus - CORREGGIO - - Mystic Marriage of Saint Catherine - LANCRET - - Conversation - JAN VAN DER MEER (VERMEER) - - The Lacemaker - VAN DYCK - - Charles I at the Hunt - FRANÇOIS CLOUET - - Elisabeth of Austria (1554-1592), Wife of Charles IX and Queen of France (1570 - 1574) - DELACROIX - - The Barque of Dante - EL GRECO - - Saint Louis, King of France, and a page - REMBRANDT - - Pilgrims at Emmaus (The Supper at Emmaus) - GERARD DAVID - - Marriage at Cana - RAPHAEL - - Portrait of Dona Isabel de Requesens, Vice-Queen of Naples - RUBENS - - La Kermesse (The Village Fête, or Noce de village) - FRANS HALS - - The Gypsy Girl - DECAMPS - - The Sonneurs - HOLBEIN THE YOUNGER - - Anne of Cleves - P. PRUD’HON - - Psyche transported to Heaven - PHILIPPE DE CHAMPAIGNE - - Portrait of Richelieu - LANCRET - - The Autumn - L. DAVID - - Madame Seriziat - COROT - - Recollection of Mortefontaine - LEONARDO DA VINCI - - La belle ferronnière - CORREGGIO - - Venus and Cupid with a Satyr - WATTEAU - - Pilgrimage to Cythera (The Embarkation for Cythera) - NICOLAS POUSSIN - - The Inspiration of the Poet - PRUD’HON - - The Empress Josephine (1763-1814) - FRAGONARD - - The Bathers - H. RIGAUD - - Louis XIV (1638–1715) - TERBURG - - The Concert - LEOPOLD ROBERT - - The Pilgrimage to the Madonna of the Arch - LARGILLIERE - - Family Portrait - MANTEGNA - - Parnassus - MEMLING - - The Virgin and Child between St James and St Dominic - FRAGONARD - - The Music Lesson - JEAN VAN EYCK - - The Virgin of chancellor Rolin - PAOLO VERONESE - - Susannah and the Elders - FRANÇOIS BOUCHER - - Diana leaving her bath - GÉRICAULT - - The Raft of the Medusa - MURILLO - - Assumption of the Virgin - CLAUDE GELLEE (LORRAIN) - - Ulysses returning Chryseis to her father (Marine, setting sun) - INGRES - - Madame Riviere - E. MURILLO - - The Young Beggar - GREUZE - - The Broken Pitcher - PIETER DE HOOCH - - Card players in an opulent interior - POUSSIN - - Et in Arcadia ego - QUENTIN MATSYS - - The moneylender and his wife - ANDREA SOLARIO - - Madonna with the Green Cushion - TITIEN - - Woman with a Mirror - DAVID TENIERS (the Younger) - - The Works of Mercy - LEONARDO DA VINCI - - Mona Lisa (La Gioconda) - Armand Dayot . (shrink)

Judging works of art is one thing. Loving a work of art is something else. When you visit a museum like the Louvre you make hundreds of judgements in the space of just a couple of hours. But you may grow to love only one or a handful of works over the course of your entire life. Depending on the art form you are most aligned with, this can be a painting, a novel, a poem, a song, a (...) work of architecture, or some other art object or performance. As it happens, however, we have fallen in love with a series of films: Before Sunrise, Before Sunset, and Before Midnight. But what does it mean to love a film? What’s the difference between liking a film, loving a film, and being a film lover? How rational or irrational is it to fall in love with a film? What are the constitutive elements of such a love? These are the questions we seek to address in this paper. -/- . (shrink)

In occasione dell’ottantesimo anniversario del Museo nazionale dell’Iran, una mostra ospita circa cinquanta opere del Louvre parigino e apre riflessioni sulla diplomazia culturale.

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make (...) a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

Museums lose their conceptual complexity and polysemy under conditions of war, forced confrontation, and struggles for survival, which may lead to a loss of diversity in the long run. Parametric General Systems analysis allows us to consider a museum as a system and to explore substratum, structural, and conceptual types of simplicity and complexity. Such qualitative analysis makes it possible to move the discussion from the ideological and value sphere to the field of rational and science-based justification. This justification, (...) in turn, illustrates why it is important to maintain complex interpretations in Ukrainian museums during the current war. (shrink)

This article argues that understanding any space or site relies on a knowledge of its fourth dimension - the timescape. It will explore this by situating the investigation in the museum - a place of heightened contrivance which could easily be shallowly interpreted as "mere style". It will defend a new method of investigating museum temporality which combines both phenomenology and literary theory, and will replace the idea of geo-epistemology with geochronic epistemology: an understanding of context and situation (...) which takes on time as well as spatial location. In so doing, it moves on from notions of the museum as a place out of time, situating it in the networks of meaning, power and politics in which we have lived and are living. Thus, "the whole space of the exhibition" as Lyotard said, "becomes the remains of all time": the Museum on the Edge of Forever. (shrink)

This chapter delves into the museological side of ‘the way forward’ to conservation for planetary health bioethics. Specifically, it highlights the crucial role that museums play – their curatorial or exhibition interventions, conservation operations, development policies, or practices – which present or represent the vital relationship between human and planetary health. While it is not new to stress the significance of museums’ link to the environment and environmental education, it is necessary to re-examine recent cases in light of the rapid (...) changes brought about by climate change and the constant call for sustainability. We thus offer a review of some recent literature that appraises the museum’s role in bioethically considering the health of our living planet. Learning this role taps into relatively new themes such as ecomuseums and architectural heritage, or critical eco-museology. (shrink)

This richly illustrated book offers new perspectives and research on how digital culture is transforming museums in the 21st century, as they strive to keep pace with emerging technologies driving cultural and social change, played out not only in today’s pervasive networked environment of the Internet and Web, but in everyday life, from home to work and on city streets. In a world where digital culture has redefined human information behavior as life in code and digits, increasingly it dominates human (...) activity and communication. These developments have radically changed the expectations of the museum visitor, real and virtual, the work of museum professionals and, most prominently, the nature of museum exhibitions, while digital art and life in a digitally saturated world is changing our ways of seeing, doing, our senses and aesthetics. -/- Overall, this book creates a new picture of the 21st-century museum field. As museums become shared spaces with their communities, local, national and global and move from collection-centered to user-/visitor-centered institutions, they are assuming new roles and responsibilities tied to new goals for engaging their audience, conveying meaning through collections, creating learning experiences and importantly, connecting to daily digital life and culture integral to the museum ecosystem. Our studies of recent exhibitions at museums leading change are used to exemplify new directions, while they point to a reimagined vision for museums of the future at the heart of which is the integration of digital culture and visitor experience and participation in real and virtual space. (shrink)

In 2020, TICCIH published its thematic study on oil heritage, the first global assessment of the heritage of petroleum production and the oil industry, and of the places, structures, sites, and landscapes that might be conserved for their historical, technical, social, or architectural attributes. In many cases, the petroleum production sites and historical infrastructures, situated in corrosive and fragile landscapes, are costly to conserve, challenging to re-use, and pre-function considering their contribution to climate change. TICCIH also included the proposals for (...) criteria to evaluate this heritage and priorities for conserving the most important sites, ensembles, and landscapes, from regional inventories up to World Heritage sites. In this report, the heritage of the petroleum industry is defined as ‘the most significant fixed, tangible evidence for the discovery, exploitation, production, and consumption of petroleum products and their impact on human and natural landscapes’. While the importance of the historical evidence for the oil industry as a tangible cultural heritage is self-evident, it is also challenging to define an integrated and holistic strategy from a conversation point of view. For achieving holistic and methodological re-use strategies, it is required to reconsider various factors such as national policies and economic systems. (shrink)

To commemorate the tragic event of Super Typhoon Yolanda (International Name: Haiyan) last 2013, local leaders of the province of Leyte, Philippines, are speculating on establishing a Haiyan Museum in 2023, a decade later. With connotations of ‘dark tourism’, one way to look at the speculative decade-inspired establishment is through Amy Sodaro’s ‘memorial museums’ with the purpose of ‘education-based memorialization.’ Juxtaposing this with Paul Morrow’s philosophical perception of objects in memorial museums as possible provocateurs of repulsive feelings, there is (...) a lingering suspicion of whether exhibits in the museum can really flesh out educational, therapeutic reflections or healing. Then, the crucial question to be addressed is: will this Haiyan Museum house feelings of healing, 10 years later, or trauma? To answer this question, I take insights from survivor-curators or the museum curators of Region VIII, Philippines, who experienced the Haiyan tragedy at, or proximate to, the landfall and aftermath first-hand. The notion of a ‘survivor-curator’ is a vital coinage that would represent a close perception of the museum and its museum objects. The responses are then thematised into a more coherent discussion to see how museums can be spaces of healing in their communal aspect and future museum projects. (shrink)

This paper is about Cultural Organizations Management, more specifically, in Museums Management, and it is framework in Balanced Scorecard. The paper focuses on one of the perspectives, known as the customer perspective, which is divided into two parallel dimensions, the Visitor's Perspective, and the Social Demand Perspective. It should be noted that typology of museums is diverse, and each organization has a unique mission, a strategic plan according to it and, therefore, its own balanced scorecard. But there may be common (...) strategic objectives and indicators that are useful for managing different museums. The objective of this paper is to be able to provide indicators that facilitate cultural management in the design of a Balanced Scorecard. Likewise, having general indicators allows comparability between different organizations, and provides a useful tool to evaluate the management of a group of museums in a community or region. This paper shows the different ways museums can increase visitors, either through the permanent collection, temporary exhibitions, the online collection, or the opportunity’s provided by Museum Friends Association. Indicators are proposed to meet the strategic objective of increasing visitors in its different types. Likewise, emphasis is placed on Social Demand, which is user's demand for certain heritage assets, including museums. (shrink)

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

Among the various functions of museums are the notions that they attract, entertain and arose curiosity in visitors, which leads to questioning thus promoting learning. This 21st century shows many new needs and preoccupations of contemporary society relating to museums. Although there are many, access to museums, professionalism, the nature of museums, issues of collection and management are all highlighted as being particularly significant. Running across all these issues is the recurrent theme of the relationship between a museum and (...) tourism. Therefore, the main objective of the study was to assess the condition of the Ethnographic Museum (Fetewrari Belay Ethnographic House) in Aksum and its contribution to tourism development. For the methodology, a descriptive research design inculcating quantitative and qualitative aspects was used. Samples were drawn from tourism service providers, targeted professionals, church and local community representatives and visitors by applying both probability and non-probability sampling methods. Finally, the major findings of the study show that the Ethnographic Museum of Aksum is the custodian of immense private heritage, inter alia the building, clothes, crosses, pottery, wood items, clay items, artifacts, and gifts to the Afterari, etc. The museum also has excellent tourism potential, however because of its mismanagement and lack of promotion from both the owner and the concerned tourism bodies it is not visited as much as it could be. (shrink)

These two books challenge museums--the predominant and continually evolving institutions of art delivery--in order to uncover and expose the rampant political biases and hidden strategies that their founders, administrators, and boards of trustees have utilized in order to maintain the preferred status quo of predominantly white male power.

I address two related questions. First: what value is there in visiting a museum and becoming acquainted with the objects on display? For art museums the answer seems obvious: we go to experience valuable works of art, and experiencing valuable works of art is itself valuable. In this paper I focus on non-art museums, and while these may house aesthetically valuable objects, that is not their primary purpose, and at least some of the objects they house might not be (...) particularly aesthetically valuable at all. Second: to what ontologicaltypeorcategorydo museum objects belong? Whattypeof item should be featured on an inventory of a museum collection? I distinguish betweentypicalobjects andspecialobjects. While these are different types of object, both, I argue, areabstracta, notconcreta. The answer to the second question, concerning the ontological category of special objects, throws new light on various philosophical questions about museums and their collections, including the question about the value of museum experiences. But it also throws light on important questions concerning the preservation and restoration of museum objects. (shrink)

There is wide research about the Philosophy for/with Children program. However, there is not any known attempt to investigate how a philosophical discussion can be implemented through a museum workshop. The present research aims to discuss aesthetic and epistemological issues with primary school children through a temporary art exhibition in a museum in Cyprus. Certainly, paintings have been used successfully to connect philosophical topics with the experiences of the children. We suggest, though, that this is not as innovative (...) as the conduction of a dialogue in a museum. Results were mostly positive. Pupils participated in the discussion and they gave intensive definitions of beautiful paintings and counterexamples for given definitions. The structure of inductive arguments and the difference between belief and knowledge were discussed. Progress in the analysis of inductive arguments was slightly noticeable, but it is likely that this was due to limited time spent on analysing those arguments. Furthermore, more sessions are needed to make generalisations for the effectiveness of the Philosophy for Children program in a museum instead of a traditional classroom. Even though there is discussion about the different stimuli of the discussion, it might be worth considering the effectiveness of different contexts where the discussion can take place. (shrink)

In this paper I examine the thesis regarding the end of the history of art, through which Hans Belting frames the museum as a correlate of history, understood as framing art and the role of the museum within the development of a closed and outdated philosophy of history: the phi-losophy of Hegel. On the contrary, I believe that first He-gel and later Arthur Danto not only explain the changing roles of art and the museum but also argue (...) for the need for reflection on art in modern culture. Our reconstruc-tion of this debate through the work of these authors allow us to represent, for contemporary thought, a pro-ductive analysis of the history of art and its connection with philosophy, and offers us theoretical perspectives that remain relevant for our understanding of theory, the history of art, and various institutional spheres. (shrink)

Social activity and public involvement in participatory practices, and the creation of civic spaces on the basis of the museum have become relevant for the formation of the concept of a modern museum. Such practices are especially important in times of crisis when history is being documented online and the Rapid Response Collecting (RRC) method is becoming widespread. Modern war discourse requires the newest forms of archiving and description because the recording of history is complicated by the volatility (...) of the military situation, the movement of large flows of displaced persons, and the departure of citizens abroad. The Ukrainian experience of documenting the war is examined in the article taking the example of the ATO Museum (an acronym for anti-terrorist operation) in Dnipro and the online Museum of Civilian Voices. It is important for us to pay attention to the national peculiarities of the codification of collective memory through individual experience and life stories during the full-scale military aggression against Ukraine, and to show the newest forms of presenting the evidence of war. (shrink)

The aim of this paper is to have a better architectonic insight over the museum of Gjergj Kastriot Skanderbeg in the city of Kruja. The history for which Albanians are proud will be the focus of this paper from its genesis until now, always seeing its architectural perspective. The castle as the last resistance of Albanians at the time of Turkish occupation will be analyzed; together with the mode of implementation of the new Museum Gjergj Kastriot Skenderbeu at (...) the time of socialism. Who were the ideas of the ideologies of the time? What were the secrets of the building design? What were the secrets of the construction of the building? What were the motivations and inspirations of the architects and the design group? The paper will contain historical dating, direct interviews with architects of the building, and authentic architectural analysis of the building. Museum of Kruja is a work that belongs not only to Albanians but all of Europe and Balkan. Today it is one of the most visited works throughout the country. (shrink)

This study focuses on nuclear tourism, which flourished a decade ago in the Exclusion Zone, a regimented area around the Chornobyl Nuclear Power Plant (Ukraine) established in 1986, where the largest recorded nuclear explosion in human history occurred. The mass pilgrimage movement transformed the place into an open air museum, a space that preserves the remnants of Soviet culture, revealing human tragedies of displacement and deaths, and the nature of state nuclear power. This study examines the impact of the (...) site on its visitors and the motivations for their persistence and activities in the Zone, and argues that through photography, cartography, exploration, and discovery, the pilgrims attempt to decode the historical and ideological meaning of Chornobyl and its significance for future generations. Ultimately, the aesthetic and political space of the Zone helps them establish a conceptual and mnemonic connection between the Soviet past and Ukraine’s present and future. Their practices, in turn, help maintain the Zone’s spatial and epistemological continuity. Importantly, Chornobyl seems to be polysemic in nature, inviting interpretations and shaping people’s national and intellectual identities. (shrink)

This dissertation asks the question of how ownership over property in museums is decided. It concludes that for a range of candidate concepts of property, none of them oblige museums to repatriate artefacts unless we weaken Young’s theory to repatriate through how much artefacts are valued by a culture. However, this dissertation rejects the Ownership Argument as a defence for repatriation. To do this, it will be considering three options of how we understand ‘property’ through three scholars: Locke, Young and (...) Thompson. This dissertation will discuss the difference between cultural internationalism and cultural nationalism to flip the question, and attempt to defend a view that museums should retain the artefacts under their possession. To do this dissertation justice, this work has been interdisciplinary, exploring museums, law, applied philosophy, applied ethics, epistemic and metaphysical concepts, to discuss the ways in which repatriation is defended through property. It must be noted that property theories are in vast abundance, however, to keep the project manageable, it does not include prominent philosophers such as Nozick, Hobbes, and Rosseau. Although, given that the three concepts this dissertation discusses do not work, it seems unlikely that a different version would due to similar objections. (shrink)

The actual and potential uses of holograms in museum displays, and the philosophy of knowledge and progress that they represent. Magazine journalists, museum curators, and historians sometimes face similar challenges in making topics or technologies relevant to wider audiences. To varying degrees, they must justify the significance of their subjects of study by identifying a newsworthy slant, a pedagogical role, or an analytical purpose. This chasse au trésor may skew historical story telling itself. In science and technology studies, (...) the problem potentially is worst for those subjects that do not retain an enduring capacity for spectacle or do not readily conform to templates of progress or economic importance. The case of holography is an excellent illustration of these points. An unusually wide-ranging subject, holography has attracted competing interpretations of intellectual novelty, technological application, and cultural significance. This paper examines the history of museum collections and exhibits of holography from the explosion of interest in the technique in 1964 to the end of the twentieth century. I argue that holography presents a particular challenge to museum collections and to popular representations of the history of science and technology. (shrink)

During a series of protests in Hong Kong about a leadership transition widely perceived to give Mainland China greater political influence, the Hong Kong Museum of History held a Special Exhibition of the Terracotta Warriors of Xian, China. Sponsored by "The Leisure and Cultural Service Department, " the exhibit featured the first emperor of the Qin Dynasty who ushered in "an epoch-making era in Chinese history that witnessed the unification of China" (Museum Exhibition). This essay explores the multi-media (...) aspects of the exhibit, arguing that encounters with dramatic music and fully immersive digital experiences are examples of an embodied, affective form of constitutive rhetoric. Put differently, the museum's multi-media elements demonstrate how Maurice Charland's theory of a constitutive rhetoric can be informed by recent work on affect and can provide one point from which to engage affect theory and the "affective dimension of politics.". (shrink)

Museums are home to millions of artworks and cultural artifacts, some of which have made their way to these institutions through unjust means. Some argue that these objects should be repatriated (i.e. returned to their country or culture of origin). However, these arguments face a series of philosophical challenges. In particular, repatriation, even if justified, is often portrayed as contrary to the aims and values of museums. However, in this paper, I argue that some of the very considerations museums appeal (...) to in order to oppose repatriation claims can be turned on their heads and marshaled in favor of the practice. In addition to defending against objections to repatriation, this argument yields the surprising conclusion that the redistribution of cultural goods should be much more radical than is typically supposed. (shrink)

In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (...) (iii) the conditions for inter-subjectivity are met. (shrink)

This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always (...) sufficient to avoid misunderstanding; the institution will sometimes need to supply auxiliary information. And even where competing considerations require mounting an inauthentic display, thoughtful museum practice can promote the audience’s ability to grasp the work. The argument will be developed with consideration of artworks by El Anatsui, Lygia Clark, and Glenn Ligon. (shrink)

Attempting to make clear different theories of cultural ownership, cultural property scholars have divided dominant views into two categories: cultural nationalism and cultural internationalism. Although not discussed in the relevant literature, I claim it is useful to understand these two categories as comprised of the ethical views of deontology and consequentialism. I claim cultural internationalists believe they have good independent reasons against returning problematic cultural heritage like the Parthenon marbles. However, I will demonstrate their arguments are based on consequentialist ethics, (...) and there are just as many consequentialist reasons to return the marbles as there are for them to remain in the British Museum, undermining cultural internationalist arguments against their return. (shrink)

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

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

An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guardar Manzoni" (1974); "Il museo: Fontana" (1975). It is claimed that such works embody meditations on the concept and the varieties of representation, that they prompt critical reflections on the role of museums in art-making, and that they suggest an alternative route to that of the 'dematerialization' of the art object for the understanding of contemporary art.

In this paper I argue that the idiosyncrasy of linguistic competence fosters semantic conceptions in which meanings are taken for granted, such as the one that Quine calls ‘uncritical semantics’ or ‘the myth of the museum’. This is due to the degree of automaticity in the use of language which is needed for fluent conversation. Indeed, fluent conversation requires that we speakers instinctively associate each word or sentence with its meaning (or linguistic use), and instinctively resort to the conceptual (...) repertoire of our language, without calling into question that the meaning of a particular word, or the conceptual repertoire of our language, could have been different than they are. This habit of taking meanings for granted, inherent to our linguistic ability, sometimes interferes with our semantic research, hampering it. In order to illustrate this problem, I pinpoint four places in Quine’s work where, despite his acknowledged analytical rigour, and despite his congenital aversion to the habit of taking meanings for granted, he himself appears to slip into this habit, inadvertently. (shrink)

Praktykowanie teorii. Koncepty wczesnych prac Daniela Libeskinda jako wzorce realnej architektury Treści wczesnych prac Libeskinda, w tym zwłaszcza idee zawarte w cyklach rysunków pod nazwą Micromegas: The Architecture of End Space (1979) i Chamber Works: Architectural Meditations on the Themes from Heraclitus (1983) oraz trzy maszyny określone jako Three Lessons in Architecture (1985) w decydujący sposób wpłynęły na wszystkie późniejsze realizacje architekta. Prace te w dużym zakresie zmieniły zasady oddzielania teorii od praktyki budowlanej, w tym tak- że odgraniczania architektury od (...) literatury czy filozofii. Już Micromegas były polemiką z traktowaniem rysunku architektonicznego wyłącznie jako utylitarnego narzędzia w procesie stwarzania budowli i postawiły na uczynienie z tej techniki pełnoprawnej postaci realnej architektury. Chamber Works w jeszcze większym stopniu niż prace z serii Micromegas akcentowały samodzielność rysunku i jego odrębność od wszelkiej rzeczywistości czy zewnętrznych źródeł treści. Maszyny połączone w Three Lessons in Architecture streszczały dokonania dawnych epok historii sztuki budowania. Reading Machine opowiadała o rzemieślniczych początkach, Memory Machine o intelektualizmie okresu nowożytnego, Writing Machine zaś o współczesnym okresie mechanizacji pamięci i kreacji. Zadaniem maszyn była metafizyczna refleksja nad głównymi założeniami i mitami architektury, a zarazem przeniesienie tej refleksji na poziom doświadczenia zmysłowego. W berlińskim Jüdisches Museum wymyślone liternictwo architektoniczne połączyło się z narracją na temat zagłady żydowskich mieszkańców miasta. Libeskind wykreował nie tyle budowlę,ile literacką relację o zbrodni przełamującej historię ludzkość. (shrink)

The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present contemporary (...) art to people from across Japan and around the globe, and to capitalize on the region’s unique cultural heritage, creating opportunities for people to communicate with local residents and making Tatsuno a more dynamic and popular place to visit. This paper considers various connections between art and the body by focusing on a selection of works included in the Tatsuno Art Project 2013: Arts and Memories. Known in past centuries as the ‘little Kyoto’ of Harima Province, Tatsuno is an atmospheric old castle town. It is mild and relatively warm all year round, with the climate of the nearby Seto Inland Sea region, said to be similar to that of the Mediterranean. Thanks to the support of numerous people, the organizers were able to hold the 2013 event which represented the culmination of their efforts over the past few years, being the largest ever in terms of scale with nine invited artists, eleven other participating artists, and one contemporary musician, for a total of 21 creators contributing works. With new spaces added to create a total of 16 venues, the community‑wide project truly achieved its goal of presenting the ‘historic castle town as a museum’. The project curators were also able to strengthen Tatsuno’s international ties by inviting artists from France and Poland to take part, as well as Japanese artists residing in the UK and Spain. (shrink)

Abstract The awakening of art to self-awareness and the statement of its autonomy are modern phenomena. The way we think about art in the modern age may be derived from the Kantian “beauty without concept”. Beautiful art is the work of the genius, who creates a work of art that is valuable in itself and is admired in museums by the public. That which I call here “the modern paradigm of art” is based on an absence: the non-conceptuality of the (...) beautiful, i.e., the fact that objective qualities cannot define the beautiful. This absence establishes originality as the essential requirement for modern art and creates the possibility for artists to push the boundaries of the modern paradigm. Thus, the 20thcentury sees the appearance of strategies for overriding or substituting originality. The artist withdraws from behind her work, and the work of art is no longer an unapproachable object with an aura, just as the museum is also no longer the temple of the arts. But do these experiments overcome the frontiers of art’s modern paradigm? And, more generally, can this paradigm be overcome at all? Here I deduct three elements of the modern paradigm of art from the idea of “beauty without concept”: (1) the original artist, who is seen as a genius, (2) the work of art with an aura, and (3) the museum as the temple of art. Then I present how artists, based on the requirement of originality, worked on dismantling the frontiers of the modern paradigm. (shrink)

The aim of this volume is to present Kafka not as a writer, or not only as a writer, but as a philosopher. However, even after narrowing the scope of our interest down, there will still be several Kafka’s left on the table. Themes treated in the volume include: the so-called Brentano School in Prague, Kafka’s affiliation to the Louvre Circle, Kafka and existentialist philosophy, Kafka’s Jewish heritage, his love of Nietzsche and Meister Eckhart and—last but not least, since (...) he was such an exceptional writer—his aesthetics. (shrink)

« Ce petit livre est un bijou d’intelligence, de finesse, de culture, qui prend un objet technique sans rechigner et le tourne et le retourne comme Heidegger nous avait appris à le faire avec les chaussures de Van Gogh. Ce qui frappe, c’est l’ambition d’une méditation sur les cartes de la modernité contemporaine, sur le fameux Grand Paris, sur le sujet, sur le pluriel, sans les faux-fuyants du postmoderne, de la citation absurde. Luis de Miranda se promène, il vous conte (...) qu’il se promène, mais il vous mène avec une grande maîtrise et sait où il veut aller. Rien de gratuit dans cette rencontre de l’enseigne de kebabs sur la table de dissection de la Ville Néon. C’est plutôt une nouvelle méditation cartésienne après Descartes et Husserl : où le poêle et sa chaleur ont fait place au bruit vrillant du gaz dans un tube. Je suis, je crée, donc j’entends. » Yann Moulier-Boutang, ancien élève de l’ENS, professeur agrégé d’économie à l’université de technologie de Compiègne, directeur de la revue Multitudes. Né d’une rencontre inopinée avec un néon sur le quai du Louvre, ce livre a été composé à partir d’un séminaire donné par l’auteur à l’hiver 2012. Un voyage inspiré à travers la nuit, qui déchiffre les halos du passé et les reflets du présent pour donner à entendre une certaine magie du futur. Luis de Miranda, philosophe, romancier, révélateur du créalisme, est notamment l’auteur d’un essai remarqué, L’art d’être libres au temps des automates (Max Milo, 2010). (shrink)

I develop a phenomenological account of racialized encounters with works of art and film, wherein the racialized viewer feels cast as perpetually past, coming “too late” to intervene in the meaning of her own representation. This points to the distinctive role that the colonial past plays in mediating and constructing our self-images. I draw on my experience of three exhibitions that take Muslims and/or Arabs as their subject matter and that ostensibly try to interrupt or subvert racialization while reproducing some (...) of its tropes. My examples are the Jean-Joseph Benjamin-Constant exhibition at the Montreal Museum of Fine Arts (2015), the exposition Welten der Muslime at the Ethnologisches Museum in Berlin (2011–2017), and a sculpture by Bob and Roberta Smith at the Leeds City Art Gallery, created in response to the imperial power painting, General Gordon’s Last Stand, that is housed there. My interest is in how artworks contribute to the experience of being racialized in ways that not only amplify the circulation of images but also constitute difficult temporal relations to images. Drawing on Frantz Fanon’s Black Skin, White Masks, I argue that such racialized images are temporally gluey, or stuck, so that we are weighted and bogged down by them. This essay received Honorable Mention from the American Society for Aesthetics Feminist Caucus Committee in the Feminist Research Essay prize in 2020. (shrink)

The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable for (...) action, but unusable for doxastic repetition. I consider a new asymmetry in the usability aesthetic testimony. Consider the following cases: we seem unwilling to accept somebody hanging a painting in their bedroom based merely on testimony, but entirely willing to accept hanging a painting in a museum based merely on testimony. The switch in intuitive acceptability seems to track, in some complicated way, the line between public life and private life. These new cases weigh against a number of standing theories of aesthetic testimony. I suggest that we look further afield, and that something like a sensibility theory, in the style of John McDowell and David Wiggins, will prove to be the best fit for our intuitions for the usability of aesthetic testimony. I propose the following explanation for the new asymmetry: we are willing to accept testimony about whether a work merits being found beautiful; but we are unwilling to accept testimony about whether something actually is beautiful. (shrink)

Parental environmental education in early childhood is vital for nurturing environmental awareness and ecological protection. This study investigates how parents’ nature engagement methods influence children’s environmental awareness and participation in protection activities. Using the Bayesian Mindsponge Framework with data from 516 children and their primary caregivers across 23 elementary summer schools in five urban Chinese cities, the findings reveal varying impacts of parental engagement methods. Raising animals and plants is positively associated with environmental awareness (moderate reliability) and protection activities (high (...) reliability). Visiting museums about endangered and extinct species enhances children’s environmental awareness, while learning about insects and their habits improves their participation in protection activities (both high reliability). However, outdoor learning experiences and playing in natural environments (e.g., parks and forests) show ambiguous effects. These results underscore the value of family-centered environmental education, emphasizing the crucial roles of direct nature interactions and providing actionable insights for child-focused environmental policies. (shrink)

The epistemic basic structure of a society consists of those institutions that have the greatest impact on individuals’ opportunity to obtain knowledge on questions they have an interest in as citizens, individuals, and public officials. It plays a central role in the production and dissemination of knowledge and in ensuring that people have the capability to assimilate this knowledge. It includes institutions of science and education, the media, search engines, libraries, museums, think tanks, and various government agencies. This article identifies (...) two demands of justice that apply specifically to the institutions that belong to it. First, the epistemic basic structure should serve all citizens fairly and reliably. It should provide them with the opportunity to acquire knowledge they need for their deliberations about the common good, their individual good, and how to pursue them. Second, the epistemic basic structure should produce and disseminate the knowledge that various experts and public officials need to successfully pursue justice and citizens need to effectively exercise their rights. After arguing for these duties, I discuss what policies follow from them and respond to the worry that these duties have illiberal implications. (shrink)

It has been commonly claimed that prehistoric warfare in Japan began in the Yayoi period. Population increases due to the introduction of agriculture from the Korean Peninsula to Japan resulted in the lack of land for cultivation and resources for the population, eventually triggering competition over land. This hypothesis has been supported by the demographic data inferred from historical changes in Kamekan, a burial system used especially in the Kyushu area in the Yayoi period. The present study aims to examine (...) the previous claim by using an expanded dataset of human skeletal remains and Kamekan. First, in order to quantify the intensity of warfare, we developed a database of injured individuals found in the middle phase of the Yayoi period in two large populations in the northern Kyushu area, the Fukuoka plain and the upperand middle-stream of the Homan River. Second, we collected Kamekan data from site reports published after 1990 and constructed a comprehensive database to infer the demography in these areas. Finally, we compared the frequency of injured individuals and the inferred demography. The results suggest that the frequency of injured individuals and the population increase tended to be higher at the upper- and middle-stream of the Homan River than on the Fukuoka plain. Different assumptions of the lifetime of each type of Kamekan can produce mixed results on the relationship between demography and the frequency of injured individuals. They were positively correlated under the traditional assumption of constant time intervals, while there was no correlation using time intervals based on carbon dating by the National Museum of Japanese History. Thus, our results are partially consistent with the previous claim that the population increase and the lack of land and resources due to the introduction of agriculture were causes of warfare in the northern Kyushu area in the middle phase of the Yayoi period. (shrink)

How do the pictures Wittgenstein and his relatives took during his life relate to his philosophical work? The exhibition at the Leopold Museum in Vienna in 2021 demonstrated a complex network of resemblances, overlaps, and cross-references between Wittgenstein’s way of working and the pictures he collected. In this essay, the network is used as an example to argue that a combination of philosophy and artistic sensibility might be a fruitful enrichment for a philosophical practise.

This volume celebrates the various facets of Alan Turing (1912–1954), the British mathematician and computing pioneer, widely considered as the father of computer science. It is aimed at the general reader, with additional notes and references for those who wish to explore the life and work of Turing more deeply. -/- The book is divided into eight parts, covering different aspects of Turing’s life and work. -/- Part I presents various biographical aspects of Turing, some from a personal point of (...) view. -/- Part II presents Turing’s universal machine (now known as a Turing machine), which provides a theoretical framework for reasoning about computation. His 1936 paper on this subject is widely seen as providing the starting point for the field of theoretical computer science. -/- Part III presents Turing’s working on codebreaking during World War II. While the War was a disastrous interlude for many, for Turing it provided a nationally important outlet for his creative genius. It is not an overstatement to say that without Turing, the War would probably have lasted longer, and may even have been lost by the Allies. The sensitive nature of Turning’s wartime work meant that much of this has been revealed only relatively recently. -/- Part IV presents Turing’s post-War work on computing, both at the National Physical Laboratory and at the University of Manchester. He made contributions to both hardware design, through the ACE computer at the NPL, and software, especially at Manchester. Part V covers Turing’s contribution to machine intelligence (now known as Artificial Intelligence or AI). Although Turing did not coin the term, he can be considered a founder of this field which is still active today, authoring a seminal paper in 1950. -/- Part VI covers morphogenesis, Turing’s last major scientific contribution, on the generation of seemingly random patterns in biology and on the mathematics behind such patterns. Interest in this area has increased rapidly in recent times in the field of bioinformatics, with Turing’s 1952 paper on this subject being frequently cited. -/- Part VII presents some of Turing’s mathematical influences and achievements. Turing was remarkably free of external influences, with few co-authors – Max Newman was an exception and acted as a mathematical mentor in both Cambridge and Manchester. -/- Part VIII considers Turing in a wider context, including his influence and legacy to science and in the public consciousness. -/- Reflecting Turing’s wide influence, the book includes contributions by authors from a wide variety of backgrounds. Contemporaries provide reminiscences, while there are perspectives by philosophers, mathematicians, computer scientists, historians of science, and museum curators. Some of the contributors gave presentations at Turing Centenary meetings in 2012 in Bletchley Park, King’s College Cambridge, and Oxford University, and several of the chapters in this volume are based on those presentations – some through transcription of the original talks, especially for Turing’s contemporaries, now aged in their 90s. Sadly, some contributors died before the publication of this book, hence its dedication to them. -/- For those interested in personal recollections, Chapters 2, 3, 11, 12, 16, 17, and 36 will be of interest. For philosophical aspects of Turing’s work, see Chapters 6, 7, 26–31, and 41. Mathematical perspectives can be found in Chapters 35 and 37–39. Historical perspectives can be found in Chapters 4, 8, 9, 10, 13–15, 18, 19, 21–25, 34, and 40. With respect to Turing’s body of work, the treatment in Parts II–VI is broadly chronological. We have attempted to be comprehensive with respect to all the important aspects of Turing’s achievements, and the book can be read cover to cover, or the chapters can be tackled individually if desired. There are cross-references between chapters where appropriate, and some chapters will inevitably overlap. -/- We hope that you enjoy this volume as part of your library and that you will dip into it whenever you wish to enter the multifaceted world of Alan Turing. (shrink)