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)

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)

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)

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)

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)

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)

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)

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.

This article proposes a sensory studies methodology for the interpretation of museum objects. The proposed method unfolds in two phases: virtual encounter via an on-line catalog and actual exposure in the context of a handling workshop. In addition to exploring the écart between image and object, the “Sensing Art and Artifacts” exercise articulates a framework for arriving at a multisensory, cross-cultural, interactive understanding of aesthetic value. The case studies presented here involve four objects from the collection of (...) the Hunterian Museum as sensed and interpreted by scholars of psychology, philosophy, sociology, and anthropology. It is proposed that aesthetic judgment in the expanded (cross-cultural) sense contemplated here involves apprehending the museum object through multiple sensory modalities in place of the conventional Western fixation on visible form. (shrink)

The objects of science education are transformed, degraded and disappeared for many reasons, and sometimes take other things with them when they go. This close reading of an undergraduate physiology laboratory report demonstrates how the kymograph was never a stand-alone instrument, but intertwined with conceptual frameworks and technical skills, laboratory amenities, materials, animal supply, technicians. Replacing the obsolete kymograph entails changing all of that, though our usual stories are focussed on progress associated with better measurements with fewer complications, not (...) complications themselves. Such interconnectedness between progress and demise raises uncomfortable challenges for laboratory pedagogy, and for museum practice: what is laboratory education really about, and what kinds of heritage should museums, libraries and archives preserve to document it? (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)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in the (...) more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

In this essay, I develop the concept of episodic value, which describes a form of value connected to a particular object or individual expressed and delivered through a narrative. Narrative can bestow special kinds of value on objects, as exemplified by auction articles or museum collections. To clarify the nature of episodic value, I show how the notion of episodic value fundamentally differs from the traditional axiological picture. I extend my discussion of episodic value to argue that the (...) notion of episodic value readily incorporates the role of narratives into the construction of identity in personal and social contexts. My main contentions are twofold. First, events or experiences from our personal narratives are episodically valuable insofar as they contribute to shaping our narrative identities. Second, when engaged in a collective action, we write a joint narrative with other participants that confers special meanings on the actions of each participant. (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)

What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when (...) a performative utterance of the artist about his art takes the place of a real piece of artwork seen or perceived, or that may be seen or perceived? For Andy Warhol, «wasted space is any space that has art in it.» In the spring of 1958, in Paris, an artist already well-known among the neo-avantgardes and accredited by the international art-world, shows up empty-handed and presents himself as a painter without paintings in a empty space. In a singular never-wasted space, Yves Klein displays himself as a snob, with an extraordinary showbiz glamour and literally sine-nobilitate, without the traditional marks of artistic manual skills. Against the modernist issues, he writes: «Credit was given to me. The gesture alone was enough. The public had accepted the abstract intention.» What’s the matter with this powerful prestige and its influence on the critic and public? How to understand the public trust in the artist as a producer of an institutional “make-believe” without any objecthood, devoid of any individual artwork presented to the sight or to any other sense? For Modernism and Minimalism, the work of art seems to have an internal coherence, whether formal or expressive, and is thus autonomous from the surrounding world, existing with only the clear opposition to the living space and set as a specialized and situated objection to the enclosing field. Instead, now the object melts into the air and becomes undetectable, confused with the atmosphere of the theory of art and with the stylish and snobbish life of the artist. What type of interpretation is put on regarding this unclassifiable and ambiguous field, simultaneously an-aesthetic and existential, theoretical and sensitive, charismatic and motionless, at same time without a specialized position in the world made by the artist himself? And what kind of embodied experience is performed by the spectatorship? What type of phenomenology and pragmatics of aesthetic relationship is necessary to describe how the body of the beholder absorbs this vacated and boring space via a direct and immediate perception-assimilation? What kind of artistic rhetoric, what kind ontology of art? Until this day, after more than 50 years, Yves Klein’s The Void has not ceased asking these and other questions on aesthetics, philosophy and the history of art. (shrink)

It will be a wrong judgment to consider grave stones as an ordinary tradition. When it is viewed in terms of history, art and culture, it can be seen that especially Turkish grave stones are record drawings that include many types of arts and artists’ labor, shed our culture and history and that is precious and unique. Grave stones are the documents that transfer not only the national culture but also transfer people’s beliefs, problems, fears, sadness and different feelings, who (...) breathe the same air and live in the same places. Because of this reason, grave stones are the cultural features that are shaped according to the differences in culture and decorated with life styles. Of course, Of course, having been applied plenty of traditional Turkish plastic arts on the tombstones, have all contributed to the diversity of tombstones in terms of composition and motifs. Rich craftsmanship of gravestones and sarcophagus in the second Bayezid graveyard is almost like an open air museum that shows Turkish motifs. While scarping was used for making gravestones are scarping, and painting were used as the main decoration tecnique is seen on foot stone with the painting technique, inscriptions of stones were coloured. Most of the inscriptions and decorations are relieved. Decoration subjects seen on gravestones are phytomorphic, geometric, objective and calligraphic. On the other side, these tombstones include wide knowledge about the socio-economic, cultural and regional headgears. When evaluating the information on the inscriptions, it can be obtained knowledge about the health conditions or epidemics in that period. Adolf Ebeling, article titled “Turkish cemeteries” in the 1882 the year Gartenlaube journal, when talking about the importance given to the graves by Turks, to say that the Turkish burial tomb can be an example to the world is no need to say more about it. The thomstones as the verbal means service to rebuilt the material world where the man has saved so far and the culture developing in accordance with this. The written tombstones which were formed by the individuals’ cherishing and remembering desires that the cultural, religious and traditional ones shaped, are the carrier elements of the values wich will provide to understand the sterotype requirements and ideologies within the cultural structure. Looking at the overall structure of the Turkish tombstones form shows major differences in male and female gravestones. In the Turkish tombstone tradition, women's elegance, finesse and beauty is reflected as a form of artwork. In fact, women in the Ottoman Empire, although excluded from the social life in very marginalized, especially in women flashy decorations tombstones, can be considered as an indication value which is given to women but unspoken. Since the tombstones have dates, they hold the distinction of being a document for ethnographic and art works. Moreover, inscribed tombstones are living evidences in order to prove that Turkish people lived in this land and also they have ethnographic value. Therefore, tombstones are important while the histories of cities, villages or boroughs are preparing. In short, tombstones are the common products of the environment that are built, religious beliefs, traditions, art, natural, social and economic conditions of the century. In this case they hold key for our culture history in addition to our art history. In this study, besides the effects of Turkish grave stones on our beliefs and daily lives, fruit patterns on the stones are also examined. The reflections traditional architectural and handicrafts motifs and the religious believes on the Turkish ornament art are explained by the examples chosen among gravestones in İstanbul II. Beyazıt Cemetery. In the colloquial language what fruit motifs mean in folk songs ang manias and how it is reflected on the ornaments of grave stones are investigated. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

This text is an English translation of those several sections of the original paper in Russian, where collection-related issues are considered. The full citation of the original paper is as following: Pavlinov I.Ya. 2016. [Bioraznoobrazie i biokollektsii: problema sootvetstvia]. In: Pavlinov I.Ya. (comp.). Aspects of Biodiversity. Archives of Zoological Museum of Lomonosov Moscow State University, Vol. 54, Pр. 733–786. -/- Orientation of biology, as a natural science, on the study and explanation of the similarities and differences between organisms led (...) in the second half of the 20th century to the recognition of a specifi c subject area of biological explorations, viz. biodiversity (BD). One of the important general scientifi c prerequisites for this shift was understanding that (at the level of ontology) the structured diversity of the living nature is its fundamental property equivocal to subjecting of some of its manifestations to certain laws. At the level of epistemology, this led to acknowledging that the “diversifi cationary” approach to description of the living beings is as justifi able as the before dominated “unifi cationary” one. This general trend has led to a signifi cant increase in the attention to BD. From a pragmatic perspective, its leitmotif was conservation of BD as a renewable resource, while from a scientifi c perspective the leitmotif was studying it was studying BD as a specifi c natural phenomenon. These two points of view are united by recognition of the need for scientific substantiation of BD conservation strategy, which implies the need for a detailed study of BD itself. At the level of ontology, one of the key problems in the study of BD (leaving aside the question of its genesis) is determination of its structure, which is interpreted as a manifestation of the structure of the Earth’s biota itself. With this, it is acknowledged that the subject area of empirical explorations is not the BD as a whole ( “Umgebung”) but its particular manifestations (“Umwelts”). It is proposed herewith to recognized, within the latter: fragments of BD (especially taxa and ecosystems), hierarchical levels of BD (primarily within- and interorganismal ones), and aspects of BD (before all taxonomic and meronomic ones). Attention is drawn to a new interpretation of bioinformatics as a discipline that studies the information support of BD explorations. An important fraction of this support are biocollections. The scientifi c value of collections means that they make it possible both empirical inferring and testing (verification) of the knowledge about BD. This makes biocollections, in their epistemological status, equivalent to experiments, and so makes studies of BD quite scientific. It is emphasized that the natural objects (naturalia), which are permanently kept in collections, contain primary (objective) information about BD, while information retrieved somehow from them is a secondary (subjective) one. Collection, as an information resource, serves as a research sample in the studies of BD. Collection pool, as the totality of all collection materials kept in repositories according to certain standards, can be treated as a general sample, and every single collection as a local sample. The main characteristic of collection-as-sample is its representativeness; so the basic strategy of development of the collection pool is to maximize its representativeness as a means to ensure correspondence of structure of biocollection pool to that of BD itself. The most fundamental characteristic of collection, as an information resource, is its scientific signifi cance. The following three main groups of more particular characteristics are distinguished: — the “proper” characteristics of every collection are its meaningfulness, informativeness, reliability, adequacy, documenting, systematicity, volume, structure, uniqueness, stability, lability; — the “external” characteristics of collection are resolution, usability, ethic constituent; — the “service” characteristics of collection are its museofication, storage system security, inclusion in metastructure, cost. In the contemporary world, development of the biocollection pool, as a specific resource for BD research, requires considerable organizational efforts, including work on their “information support” aimed at demonstrating the necessity of existence of the biocollections. (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 paper examines the idea of objective phenomenology, or a way of understanding the phenomenal character of conscious experiences that doesn’t require one to have had the kinds of experiences under consideration. My central thesis is that structural facts about experience—facts that characterize purely how conscious experiences are structured—are objective phenomenal facts. I begin by precisifying the idea of objective phenomenology and diagnosing what makes any given phenomenal fact subjective. Then I defend the view that structural facts about experience are (...) objective. I also argue that structural facts about experience, despite being objective, nevertheless still give rise to an explanatory gap. (shrink)

The idea that science is objective, or able to achieve objectivity, is in large part responsible for the role that science plays within society. But what is objectivity? The idea of objectivity is ambiguous. This paper distinguishes between three basic forms of objectivity. The first form of objectivity is ontological objectivity: the world as it is in itself does not depend upon what we think about it; it is independent of human thought, language, conceptual activity or experience. The second form (...) of objectivity is the objectivity of truth: truth does not depend upon what we believe or justifiably believe; truth depends upon the way reality itself is. The third form of objectivity is epistemic objectivity: this form of objectivity resides in the scientific method which ensures that subjective factors are excluded, and only epistemically relevant factors play a role in scientific inquiry. The paper considers two problems that arise for the notion of epistemic objectivity: the theory-dependence of observation and the variability of the methods of science. It is argued that the use of shared standard procedures ensures the objectivity of observation despite theory-dependence. It is argued that the variability of methods need not lead to epistemic relativism about science. The paper concludes with the realist suggestion that the best explanation of the success of the sciences is that the methods employed in the sciences are highly reliable truth-conducive tools of inquiry. The objectivity of the methods of the sciences leads to the objective truth about the objective world. (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)

My goal in this paper is, to tentatively sketch and try defend some observations regarding the ontological dignity of object references, as they may be used from within in a formalized language. -/- Hence I try to explore, what properties objects are presupposed to have, in order to enter the universe of discourse of an interpreted formalized language. -/- First I review Frege′s analysis of the logical structure of truth value definite sentences of scientific colloquial language, to draw suggestions (...) from his saturated vs. unsaturated sentence components paradigm. -/- Next try investigate, in how far reference to non pure math objects might allow for a role as argument of a truth value function. Object kinds to be considered are: common sense objects, technical objects, humanities object kinds (social, psychical, ...), objects of art, ... , be they abstract, concrete, or in this respect mixed objects. -/- Then have a comment on the just referenced label abstract objects. -/- Next try to get an idea wrt the ontological significance of the fact, that pure math objects and functions in some important classical cases can be uniquely defined by means of categorical theories. Here, in the course of my argument, I have a little corollary wrt the standard model of first order Peano arithmetic, reducing the epistemological significance of the existence of the non standard models. -/- Next, wrt a special concept of a formalized empirical theory, I care for whether the impure math objects and mixed objects described here, and complying best with truth value function mapping, are also reliable candidates for the ontological commitment of such theories: and discuss an alternative, which reduces the ontological significance of the universe of discourse of the theories intended models. -/- In the end I sum up what is - from my point of view - the status quo, according to my respective findings. (shrink)

Précis for a book symposium, with contributions from Meg Wallace, Louis deRosset, and Chris Tillman and Joshua Spencer.

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 paper argues for the philosophical and semantic importance of attitudinal objects, entities such as judgments, claims, beliefs, demands, and desires, as an ontological category distinct from that of events and states and from that of propositions. The paper presents significant revisions and refinements of the notion of an attitudinal object as it was developed in my previous work.

This paper defends the view that attitudinal objects such as claims, beliefs, judgments, and requests form an ontological category of its own sharply distinguished from that of events and states and that of propositions. Attitudinal objects play a central role in attitude reports and avoid the conceptual and empirical problems for propositions. Unlike the latter, attitudinal objects bear a particular connection to normativity. The paper will also discuss the syntactic basis of a semantics of attitude reports based (...) on attitudinal objects. (shrink)

This paper elaborates distinctions between a core and a periphery in the ontological and the conceptual domain associated with natural language. The ontological core-periphery distinction is essential for natural language ontology and is the basis for the central thesis of my 2013 book Abstract Objects and the Semantics of Natural Language, namely that natural language permits reference to abstract objects in its periphery, but not its core.

This chapter discusses the nature of objective news and the debate regarding its possibility. It then assesses the main arguments for the unattainability of objective news. A close examination of these arguments shows that, contrary to widespread belief, journalists who try to provide objective news are not striving in vain. The chapter discusses the effect of competing journalistic aims and other limitations on our efforts to generate objective news. It suggests that the unwarranted skepticism regarding the possibility of objective news (...) is an artifact of the changing priorities of journalists and inadequate journalistic methods, and that the only real issue is how we can better train those journalists who want to generate objective news. (shrink)

Higher animals need to identify and track material objects because they depend on interactions with them for nutrition, reproduction, and social interaction. This paper investigates the perception of material objects. It argues, first, that material objects are tagged, in all five external senses, as bearers of the features detected by them. This happens through a perceptual process, here entitled Generalized Completion, which creates the appearance of objects that have properties that transcend the activation of sensory receptors. (...) The paper shows, secondly, that material objects are privileged subjects for perceived motion and interaction. That is, they are perceived as subjects for these properties while their parts seem to be subjects only derivatively. Material objects are the only perceptual subjects that are both multisensory and privileged. (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)

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)

A classic analytic approach to biological phenomena seeks to refine definitions until classes are sufficiently homogenous to support prediction and explanation, but this approach founders on cases where a single process produces objects with similar forms but heterogeneous behaviors. I introduce object spaces as a tool to tackle this challenging diversity of biological objects in terms of causal processes with well-defined formal properties. Object spaces have three primary components: (1) a combinatorial biological process such as protein synthesis that (...) generates objects with parts that are modular, independent, and organized according to an invariant syntax; (2) a notion of “distance” that relates the objects according to rules of change over time as found in nature or useful for algorithms; (3) mapping functions defined on the space that map its objects to other spaces or apply an evaluative criterion to measure an important quality, such as parsimony or biochemical function. Once defined, an object space can be used to represent and simulate the dynamics of phenomena on multiple scales; it can also be used as a tool for predicting higher-order properties of the objects, including stitching together series of causal processes. Object spaces are the basis for a strategy of theorizing, discovery, and analysis in biology: as heuristic idealizations of biology, they help us transform inchoate, intractable problems into articulated, well-structured ones. Developing an object space is a research strategy with a long, successful history under many other names, and it offers a unifying but not overreaching approach to biological theory. (shrink)

This book pursues the question of how and whether natural language allows for reference to abstract objects in a fully systematic way. By making full use of contemporary linguistic semantics, it presents a much greater range of linguistic generalizations than has previously been taken into consideration in philosophical discussions, and it argues for an ontological picture is very different from that generally taken for granted by philosophers and semanticists alike. Reference to abstract objects such as properties, numbers, propositions, (...) and degrees is considerably more marginal than generally held. (shrink)

In his book The Things We Mean, Stephen Schiffer advances a subtle defence of what he calls the ‘face-value’ analysis of attributions of belief and reports of speech. Under this analysis, ‘Harold believes that there is life on Venus’ expresses a relation between Harold and a certain abstract object, the proposition that there is life on Venus. The present essay first proposes an improvement to Schiffer’s ‘pleonastic’ theory of propositions. It then challenges the face-value analysis. There will be such things (...) as propositions only if they possess conditions of identity and distinctness. By analyzing Frege’s theory of propositions (Gedanken), I argue that such conditions may be found for the special case of beliefs and sayings advanced as premises and conclusions of deductive arguments. These conditions, however, are not applicable to most ordinary beliefs and sayings. Ordinary attributions and reports, then, do not place thinkers and speakers in relations to propositions. A bonus is exposure of the fallacy in the Putnam-Taschek objection to Frege’s theory of sense and reference. (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)

We sley Salmon, in his influential and detailed book, Four Decades of Scientific Explanation, argues that the pragmatic approach to scientific explanation, “construed as the claim that scientific explanation can be explicated entirely in pragmatic terms” (1989, 185) is inadequate. The specific inadequacy ascribed to a pragmatic account is that objective relevance relations cannot be incorporated into such an account. Salmon relies on the arguments given in Kitcher and Salmon (1987) to ground this objection. He also suggests that Peter Railton’s (...) concepts of the ideal explanatory text and explanatory information (Railton 1981) can provide what the pragmatic approach lacks. This suggestion is not a conclusion of course; we read it as the promotion of part of a research program aimed at forging a greater consensus on scientific explanation-an admirable goal. However, we do not see the pragmatic approach as inadequate. We will show that a synthetic account inspired by Salmon’s adaptation of Railton would be equivalent to van Fraassen’s pragmatic account in three respects: accepting or rejecting requests for explanation; the practice of giving scientific explanations; and the evaluation of the goodness of explanations. We include all three under the general rubric of explanatory “practice.” Admittedly these are not the only three features by which an account of explanation might be evaluated. Roughly, we mean to show that a synthetic account cannot do a better job of accounting for the scientific practices which are of importance to the constructive empiricist, and therefore no argument can be presented to the constructive empiricist to convince her that by her own standards the synthetic account is superior. (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)

This chapter is divided into three parts. First I outline what makes something an objective list theory of well-being. I then go on to look at the motivations for holding such a view before turning to objections to these theories of well-being.

The literature on conscientious objection in medicine presents two key problems that remain unresolved: Which conscientious objections in medicine are justified, if it is not feasible for individual medical practitioners to conclusively demonstrate the genuineness or reasonableness of their objections? How does one respect both medical practitioners’ claims of conscience and patients’ interests, without leaving practitioners complicit in perceived or actual wrongdoing? My aim in this paper is to offer a new framework for conscientious objections in medicine, which, by bringing (...) medical professionals’ conscientious objection into the public realm, solves the justification and complicity problems. In particular, I will argue that: an “Uber Conscientious Objection in Medicine Committee” —which includes representatives from the medical community and from other professions, as well as from various religions and from the patient population—should assess various well-known conscientious objections in medicine in terms of public reason and decide which conscientious objections should be permitted, without hearing out individual conscientious objectors; medical practitioners should advertise their conscientious objections, ahead of time, in an online database that would be easily accessible to the public, without being required, in most cases, to refer patients to non-objecting practitioners. (shrink)

Some facts are objective. Some facts are subjective. Subjective facts are personal facts about individuals. It is the purpose of this short note to suggest that subjective facts are in fact objective facts about us. This applies not just to facts involving relations to entities that are independent of us, but to our tastes. It is an objective fact about us that we have the tastes that we do though there may be no objective matter of fact that our tastes (...) reflect or fail to reflect. (shrink)

Propositions are the things we believe, intend, desire, and so on, but discussions are often less precise than they could be and an important driver of this deficiency has been a focus on the objects but a neglect of the attitudinal relations we bear to them. In what follows, we will offer some thoughts on what it means for a proposition to be the object of an attitude and we will argue that an important part of the story lies (...) with the attitude relations rather than the propositions. As we will see there are infinitely many relations we might bear to a proposition, but the propositional attitude relations are special amongst them. Accounting for what makes them special will be an important component in the discussion that follows. We will argue that once one appreciates certain facts about propositional attitude relations, various claims that metaphysicians often make regarding propositions themselves begin to look undermotivated. In fact, many views on the metaphysical nature of propositions come to look like plausible candidates for being that to which our propositional attitudes relate us. As will emerge, we will see that the principle role of propositions in the theory of mind is simply to keep track of how our attitudinal states represent things as being. But, we argue, in order to do this work, very few constraints must be placed on the nature of propositions themselves. In particular, contra much of the recent work on the metaphysics of propositions, they need not represent nor must they be structured. In light of these observations, we conclude by sketching our own favored minimalist view of propositions. (shrink)

This article develops an account of local epistemic practices on the basis of case studies from ethnobiology. I argue that current debates about objectivity often stand in the way of a more adequate understanding of local knowledge and ethnobiological practices in general. While local knowledge about the biological world often meets criteria for objectivity in philosophy of science, general debates about the objectivity of local knowledge can also obscure their unique epistemic features. In modification of Ian Hacking’s suggestion to discuss (...) “ground level questions” instead of objectivity, I propose an account that focuses on both epistemic virtues and vices of local epistemic practices. (shrink)

Olfaction represents odors, if it represents anything at all. Does olfaction also represent ordinary objects like cheese, fish and coffee-beans? Many think so. This paper argues that it does not. Instead, we should affirm an austere account of the intentional objects of olfaction: olfactory experience is about odors, not objects. Visuocentric thinking about olfaction has tempted some philosophers to say otherwise.

Is there, or should there be, any place in contemporary philosophy of mind for the concept of an intentional object? Many philosophers would make short work of this question. In a discussion of what intentional objects are supposed to be, John Searle...

We face severe global problems, many that we have inadvertently created ourselves. It is clear that there is an urgent need for more wisdom. One response is to improve knowledge about wisdom. This, I argue, is an inadequate response to the problems we face. Our global problems arise, in part, from a damagingly irrational kind of academic enterprise, devoted as it is to the pursuit of knowledge. We need to bring about a revolution in academic inquiry so that its basic (...) aim becomes to seek and promote wisdom. (shrink)

Human cognitive acts are directed towards entities of a wide range of different types. What follows is a new proposal for bringing order into this typological clutter. A categorial scheme for the objects of human cognition should be (1) critical and realistic. Cognitive subjects are liable to error, even to systematic error of the sort that is manifested by believers in the Pantheon of Olympian gods. Thus not all putative object-directed acts should be recognized as having objects of (...) their own. Broadly, the objects towards which human cognition is directed should be parts of reality in a sense that is at least consistent with the truths of natural science. But such a scheme should also be (2) comprehensive: it should do justice to each sort of object on its own terms, and not attempt to eliminate objects of one sort in favour of objects of other, more favoured sorts. Linguistic and other forms of idealism, as well as Meinongian theories, which assign to each and every referring expression or intentional act an object tailored to fit, yield categorial schemes which fail to satisfy (1). Physicalistic and other forms of reductionism yield categorial schemes which fail to satisfy (2). What follows is a categorial scheme that is both critically realistic and comprehensive. Thus it enjoys some of the benefits of linguistic idealism and physicalism, without (or so it is hoped) the corresponding disadvantages of each. (shrink)

In this paper we present a new metaphysical theory of material objects. On our theory, objects are bundles of property instances, where those properties give the nature or essence of that object. We call the theory essential bundle theory. Property possession is not analysed as bundle-membership, as in traditional bundle theories, since accidental properties are not included in the object’s bundle. We have a different story to tell about accidental property possession. This move reaps many benefits. Essential bundle (...) theory delivers a simple theory of the essential properties of material objects; an explanation of how object coincidence can arise; an actual-world ground for modal differences between coincident objects; a simple story about intrinsic properties; and a plausible account of certain ubiquitous cases of causal overdetermination. (shrink)

In this paper I shall defend the idea that there is an abstract and general core meaning of objectivity, and what is seen as a variety of concepts or conceptions of objectivity are in fact criteria of, or means to achieve, objectivity. I shall then discuss the ideal of value-free science and its relation to the objectivity of science; its status can be at best a criterion of, or means for, objectivity. Given this analysis, we can then turn to the (...) problem of inductive risk. Do the value judgements regarding inductive risk really pose a threat to the objectivity of science? I claim that this is not the case because they do not lower the thresholds scientifically postulated for objectivity. I shall conclude the paper with a discussion of under-appreciated influences of values on science, which indeed pose a serious threat to the objectivity of some scientific disciplines. (shrink)