Results for 'Pictorial representation, museums, dematerialization of the art object, Ugo Nespolo'

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  1. Ugo Nespolo: a proposito di rappresentazioni.Elisa Caldarola - 2015 - Rivista di Estetica 58.
    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.
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  2. Perceptual constraints and perceptual schemata: The possibility of perceptual style.Jennifer A. McMahon - 2003 - Journal of Aesthetics and Art Criticism 61 (3):259–273.
    <The definitive version is available at www.blackwell-synergy.com > -- In this paper I carve out a space between the concept of "the object" and the seemingly endless ways in which "the object" can be represented pictorially. I will call the aspect of the pictorial representation which is made possible by this space, the pictorial representation's "style". I will explore this space by drawing upon theories of pictorial representation, leaving out, for the sake of my purposes here, a (...)
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  3. Pictorial Representation And Moral Knowledge.Katerina Bantinaki - 2004 - Postgraduate Journal of Aesthetics 1 (2):69-76.
    The idea that pictorial art can have cognitive value, that it can enhance our understanding of the world and of our own selves, has had many advocates in art theory and philosophical aesthetics alike. It has also been argued, however, that the power of pictorial representation to convey or enhance knowledge, in particular knowledge with moral content, is not generalized across the medium.
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  4. Editorial: PerceptualGrouping — The State of The Art.Birgitta Dresp-Langley - 2017 - Frontiers in Psychology 8:67.
    Perceptual neuroscience has identified mechanisms of perceptual grouping which account for the ways in which visual sensitivity to ordered structure and regularities expresses itself, in behavior and in the brain. The need to actively construct order, notably representations of objects in depth, is mandated as soon as visual signals reach the retina, given the occlusion of retinal signals by retinal veins and other retinal elements or blur. Multiple stages of neural processing transform fragmented signals into visual key representations of 3D (...)
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  5. Deeper Into Pictures: An Essay on Pictorial Representation.Flint Schier - 1986 - New York: Cambridge University Press.
    This book presents an original theory of the nature of pictorial representation. The most influential recent theory of depiction, put forward by Nelson Goodman, holds that the relation between depictions and what they represent is entirely conventional. Flint Schier argues to the contrary that depiction involves resemblance to the things depicted, providing a sophisticated defence of our basic intuitions on the subject. Canvassing an attractive theory of 'generativity' rather than resemblance, Dr Schier provides a detailed account of depiction, showing (...)
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  6. Jenny Saville Remakes the Female Nude – Feminist Reflections on the State of the Art.Diana Tietjens Meyers - 2013 - In Peg Brand Weiser, Beauty Unlimited. Indiana University Press. pp. 137-162.
    Jenny Saville is a leading contemporary painter of female nudes. This paper explores her work in light of theories of gender and embodied agency. Recent work on the phenomenology of embodiment draws a distinction between the body image and the body schema. The body image is your representation of your own body, including your visual image of it and your emotional attitudes towards it. The body schema is comprised of your proprioceptive knowledge, your corporeally encoded memories, and your corporeal proficiency (...)
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  7. How Museums Make Us Feel: Affective Niche Construction and the Museum of Non-Objective Painting.Jussi A. Saarinen - 2021 - British Journal of Aesthetics 61 (4):543-558.
    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 (...)
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  8. Museums and the Shaping of Contemporary Artworks.Sherri Irvin - 2006 - Museum Management and Curatorship 21:143-156.
    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 (...)
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  9. Resemblance and Representation: An Essay in the Philosophy of Pictures.Ben Blumson - 2014 - Cambridge, UK: Open Book Publishers.
    It’s a platitude – which only a philosopher would dream of denying – that whereas words are connected to what they represent merely by arbitrary conventions, pictures are connected to what they represent by resemblance. The most important difference between my portrait and my name, for example, is that whereas my portrait and I are connected by my portrait’s resemblance to me, my name and I are connected merely by an arbitrary convention. The first aim of this book is to (...)
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  10. The illustration of the Two Sides of Lacanian Real in Art, Philosophy, Lacanian Psychoanalysis and the character of Winston Churchill in Joe Wright’s Darkest Hour (2017).Abolfazl Moahamadi - manuscript
    Unlike Derrida’s ‘there is no outside text, Lacan approaches the Real, that which lies beyond language, from two sides: the imaginary and the symbolic. In the first part of this work, by drawing upon the imaginary side of Lacanian Real, which is object petit a and by considering some literary and philosophical definitions of the pre-symbolic abyss, it is attempted to illustrate the non-representation artworks’ illustration of the pre-linguistic bodily urges and sensations. Next, by drawing upon symbolic side of the (...)
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  11. Materials and Meaning in Contemporary Sculpture.Sherri Irvin - 2020 - In Fred Rush, Ingvild Torsen & Kristin Gjesdal, Philosophy of Sculpture: Historical Problems, Contemporary Approaches. Routledge. pp. 165-186.
    An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles (...)
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  12. The Ancient Quarrel Between Art and Philosophy in Contemporary Exhibitions of Visual Art.Jennifer A. McMahon - 2019 - Curator: The Museum Journal 62 (1):7-17.
    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 (...)
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  13. Semantics of Pictorial Space.Gabriel Greenberg - 2021 - Review of Philosophy and Psychology 1 (4):847-887.
    A semantics of pictorial representation should provide an account of how pictorial signs are associated with the contents they express. Unlike the familiar semantics of spoken languages, this problem has a distinctively spatial cast for depiction. Pictures themselves are two-dimensional artifacts, and their contents take the form of pictorial spaces, perspectival arrangements of objects and properties in three dimensions. A basic challenge is to explain how pictures are associated with the particular pictorial spaces they express. Inspiration (...)
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  14. Glued to the Image: A Critical Phenomenology of Racialization through Works of Art.Alia Al-Saji - 2019 - Journal of Aesthetics and Art Criticism 77 (4):475-488.
    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 (...)
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  15. Seeing-in an Image: Husserl and Wollheim on Pictorial Representation Revisited.Rodrigo Yllaric Sandoval - 2020 - Kunstiteaduslikke Uurimusi 29 (3-4):31-55.
    This paper proposes a parallel between the theories of pictorial representation put forward by Edmund Husserl and Richard Wollheim. By doing so, it aims to facilitate a dialogue that can provide some new elements for an appropriate understanding of threefold seeing-in. The first section offers a comprehensive interpretation of Husserl’s theory of image-consciousness. This experience is considered a threefold perceptual phantasy, different from perception and sign-consciousness. The second section presents a review of Wollheim’s theory of twofold seeing-in and addresses (...)
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  16. The Modern Paradigm of Art and Its Frontiers.Gizela Horvath - 2019 - In Mario do Rosario Monteiro, Modernity, Frontiers and Revolutions. pp. 314-324.
    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 (...)
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  17.  45
    Pictorial Realism.Jiachen Liu - 2025 - Oxford Bibliographies.
    The term realism has multiple meanings in the study of pictures. Roughly speaking, it concerns both what pictures depict—that is, “realism-what”—and how pictures depict, or “realism-how.” Realism-what reflects a particular interest in the selection of a picture’s subject matter, which is self-consciously championed by the 19th-century Realist school of painting but can also be found throughout the history of art. Realism-how, on the other hand, deals with a special way of depiction that is characterized by the accuracy and informativeness of (...)
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  18. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that (...)
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  19. Pictorial Art and Epistemic Aims.Jochen Briesen - 2014 - In Harald Klinke, Art Theory as Visual Epistemology. Cambridge Scholars Press. pp. 11-28.
    The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of (...)
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  20. Monsters and Monuments: Real Spaces and the Survival of Art.Jakub Stejskal - forthcoming - Res: Anthropology and Aesthetics.
    A truism of art history is that the lifespan of artworks can exceed their original social spaces: Artworks can sometimes be successfully transplanted into completely different settings where they continue to be valued. Does their potential to outlive their original context have to do with a specific feature of artworks’ ontology? Or with how human brains are wired? Or is it a mere function of their historical and social circumstances? I argue that David Summers’s magisterial _Real Spaces: World Art History (...)
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  21. Varieties of visual representation.John Dilworth - 2002 - Canadian Journal of Philosophy 32 (2):183-206.
    Pictorial representation is one species of visual representation--but not the only one, I argue. There are three additional varieties or species of visual representation--namely 'structural', 'aspect' and 'integrative' representation--which together comprise a category of 'delineative' rather than depictive visual representation. I arrive at this result via consideration of previously neglected orientational factors that serve to distinguish the two categories. I conclude by arguing that pictures (unlike 'delineations') are not physical objects, and that their multiplicity and modal narrowness motivates a (...)
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  22. Hegel's End of Art Revisited: The Death of God and the Essential Finitude of Artistic Beauty.Jeffrey Reid - 2020 - Clio: A Journal of Literature, History, and the Philosophy of History 1 (48):77-101.
    The article re-visits the different scholarly approaches to Hegel's end-of-art scenario, and then proposes a new reading whereby ending and finitude are presented as essential features of beautiful art. The first and most determinant of art's endings is the death of the Christly art object, not representations of Christ, but the actual death of (the son of) God himself as the last classical artwork. The death of God represents the last word in Greco-Roman art, the accomplishment of the beautiful individuality (...)
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  23. Repatriation and the Radical Redistribution of Art.Erich Hatala Matthes - 2017 - Ergo: An Open Access Journal of Philosophy 4:931-953.
    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 (...)
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  24. The Specter of Representation: Computational Images and Algorithmic Capitalism.Samine Joudat - 2024 - Dissertation, Claremont Graduate University
    The processes of computation and automation that produce digitized objects have displaced the concept of an image once conceived through optical devices such as a photographic plate or a camera mirror that were invented to accommodate the human eye. Computational images exist as information within networks mediated by machines. They are increasingly less about what art history understands as representation or photography considers indexing and more an operational product of data processing. Through genealogical, theoretical, and practice-based investigation, this dissertation project (...)
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  25. Schopenhauer On The Epistemological Value Of Art.Vid Simoniti - 2008 - Postgraduate Journal of Aesthetics 5 (3):19-28.
    Art, as discussed in the third book of Arthur Schopenhauer’s The World as Will and Representation, plays a double role in his philosophical system. On one hand, beholding an object of aesthetic worth provides the spectator with a temporary cessation of the otherwise incessant suffering that Schopenhauer takes life to be; on the other, art creates an epistemological bridge between ourselves and the world as it really is: unlike science which only studies relations between things, contemplation of art leads to (...)
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  26. A REVIEW OF PLATO's REJECTION OF ART IN RELATION TO THE IGBO/AFRICA's ARTISTICTRADITION.John Ezenwankwor - 2022 - African Journal of Social and Behavioural Sciences (Ajsbs) 12 (2):461- 465.
    This paper argues that the Igbo artistic tradition, contrary to Plato‟s, represents authentic Igbo cultural traits, and fills the gap between the abstract reality and the physical world. There is some obvious difficulty encountered by most of the expatriate scholars in understanding the new meaning of art, especially, with regard to professions. Traditionally, artistic forms are simply derived from specific objects in nature, or as an illustrative symbolic representation of a specific abstract being Plato‟s account of arts as imitation doubted (...)
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  27. Is twofoldness necessary for representational seeing?Bence Nanay - 2005 - British Journal of Aesthetics 45 (3):248-257.
    Richard Wollheim claimed that twofoldness is a necessary condition for the perception of pictorial representations and it is also a necessary condition for the aesthetic appreciation of pictures. Jerrold Levinson pointed out that these two questions are different and argued that though twofoldness may be a necessary condition for the aesthetic appreciation of pictures, it cannot be a necessary condition for the perception of pictorial representations. I argue that Wollheim's use of the term ‘twofoldness’ alternates between two concepts: (...)
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  28. Once Removed: The Nature of Representation.Tanya Kelley - manuscript
    James Prosek paints flora and fauna, but first became known for his paintings of trout. This essay situates Prosek's paintings, especially those at the Lowe Museum exhibit, within the long tradition of the depiction of nature. The essay comments on the relationship between the representation of nature and the nature of representation.
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  29. Intentional image and transcendental image in the work of art.Bogdan Nita - 2012 - Image 2 (2321):231.
    The purpose of this paper is to show that images have an ontological support by which they obtain an independent existence from the mind. In accordance with the new theories of aesthetics, we will see that the object of art is taken as an object of thought. Image has an important role in the existence of the work of art; therefore the image becomes an object of thought. To show how the image is independent from the mind or to show (...)
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  30. Painting the Difference: Sex and Spectator in Modern Art.Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244-246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...)
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  31. Representation and Sensation—A Defence of Deleuze’s Philosophy of Painting.Henry Somers-Hall - 2016 - Journal of Aesthetics and Phenomenology 3 (1):55-65.
    Deleuze’s philosophy of painting can be seen to pose certain challenges to a phenomenological approach to philosophy. While a phenomenological response to Deleuze’s philosophy is clearly needed, I show in this article how an approach taken in a recent paper by Christian Lotz proves inadequate. Lotz argues that through Deleuze’s refusal to accept the place of representation in art, he is unable to distinguish art from decoration, or to give a coherent account of how the content of art can be (...)
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  32. The Density of Symbol Systems – A Critique of Nelson Goodman’s Notion.Krzysztof Guczalski - 2022 - Philosophia 50 (3):1131-1152.
    Nelson Goodman’s theory of symbol systems expounded in his Languages of Art has been frequently criticized on many counts (cf. list of secondary literature in the entry “Goodman’s Aesthetics” of Stanford Encyclopedia of Philosophy and Sect. 3 below). Yet it exerts a strong influence and is treated as one of the major twentieth-century theories on the subject. While many of Goodman’s controversial theses are criticized, the technical notions he used to formulate them seem to have been treated as neutral tools. (...)
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  33. Anti-pornography.Bence Nanay - 2012 - In Hans Maes & Jerrold Levinson, Art and Pornography: Philosophical Essays. Oxford, GB: Oxford University Press UK.
    One striking feature of pornographic images is that they emphasize what is depicted and underplay the way it is depicted: the experience of pornography rarely involves awareness of the picture’s composition or of visual rhyme. There are various ways of making this distinction between what is depicted in a picture and the way the depicted object is depicted in it. Following Richard Wollheim, I call these two aspects, the ‘what’ and ‘how’ of pictorial representation ‘recognitional’ and ‘configurational’, respectively. Some (...)
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  34. Phenomenology of Musical Perception from the Point of View of Mikel Dufrenne.Fatemeh Benvidi - 2024 - Journal of Philosophical Investigations at University of Tabriz 18 (49):1-22. Translated by Fatemeh Benvidi.
    The main focus of this research is on the phenomenological studies of music from the perspective of the experience of listening to music, with an emphasis on the views of Mikel Dufrenne. This research examines the conditions of musical perception and how phenomenological descriptions of musical experiences play a role in understanding our objective experiences. To answer this question, which is the main goal of the research, with a descriptive-analytical method and a phenomenological approach based on Mikel Dufrenne's point of (...)
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  35. What Do we See in Museums?Graham Oddie - 2016 - Royal Institute of Philosophy Supplement 79:217-240.
    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 (...)
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  36. The arts of action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...)
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  37. The Aesthetic and Literary Qualities of Scientific Thought Experiments.Alice Murphy - 2020 - In Milena Ivanova & Steven French, The Aesthetics of Science: Beauty, Imagination and Understanding. New York: Routledge.
    Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin 2014). (...)
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  38. Feynman's Diagrams, Pictorial Representations and Styles of Scientific Thinking.Dorato Mauro & Emanuele Rossanese - 2017
    In this paper we argue that the different positions taken by Dyson and Feynman on Feynman diagrams’ representational role depend on different styles of scientific thinking. We begin by criticizing the idea that Feynman Diagrams can be considered to be pictures or depictions of actual physical processes. We then show that the best interpretation of the role they play in quantum field theory and quantum electrodynamics is captured by Hughes' Denotation, Deduction and Interpretation theory of models (DDI), where “models” are (...)
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  39. Substitution by Image: The Very Idea.Jakub Stejskal - 2019 - Journal of Aesthetics and Art Criticism 77 (1):55-66.
    The aim of this article is to provide a plausible conceptual model of a specific use of images described as substitution in recent art-historical literature. I bring to light the largely implicit shared commitments of the art historians’ discussion of substitution, each working as they do in a different idiom, and I draw consequences from these commitments for the concept of substitution by image—the major being the distinction between nonportraying substitution and substitution by portrayal. I then develop an argument that (...)
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  40. The Others In/Of Aristotle’s Poetics.Gene Fendt - 1997 - Journal of Philosophical Research 22:245-260.
    This paper aims at interpreting (primarily) the first six chapters of Aristotle’s Poetics in a way that dissolves many of the scholarly arguments conceming them. It shows that Aristotle frequently identifies the object of his inquiry by opposing it to what is other than it (in several different ways). As a result aporiai arise where there is only supposed to be illuminating exclusion of one sort or another. Two exemplary cases of this in chapters 1-6 are Aristotle’s account of mimesis (...)
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  41. The intersubjective community of feelings: Hegel on music.Adriano Kurle - 2017 - Hegel y El Proyecto de Una Enciclopedia Filosófica: Comunicaciones Del II Congreso Germano-Latinoamericano Sobre la Filosofía de Hegel.
    The purpose of this article is to examine the objective side of subjectivity formation through music. I attempt to show how music is a way to configure subjectivity in its interiority, but in a way that it can be shared between other individual subjectivities. Music has an objective structure, but this structure is the temporal and sonorous interiority of subjectivity. It has as its objective manifestation and consequence the feelings and emotions. These feelings are subjective, and in the level of (...)
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  42. COEVOLUTIONARY SEMANTICS OF TECHNOLOGICAL CIVILIZATION GENESIS AND EVOLUTIONARY RISK (BETWEEN THE BIOAESTHETICS AND BIOPOLITICS).V. T. Cheshko & O. N. Kuz - 2016 - Anthropological Dimensions of Philosophical Studies (10):43-55.
    Purpose (metatask) of the present work is to attempt to give a glance at the problem of existential and anthropo- logical risk caused by the contemporary man-made civilization from the perspective of comparison and confronta- tion of aesthetics, the substrate of which is emotional and metaphorical interpretation of individual subjective values and politics feeding by objectively rational interests of social groups. In both cases there is some semantic gap pre- sent between the represented social reality and its representation in perception (...)
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  43. The ontology of concepts: Abstract objects or mental representations?Eric Margolis & Stephen Laurence - 2007 - Noûs 41 (4):561-593.
    What is a concept? Philosophers have given many different answers to this question, reflecting a wide variety of approaches to the study of mind and language. Nonetheless, at the most general level, there are two dominant frameworks in contemporary philosophy. One proposes that concepts are mental representations, while the other proposes that they are abstract objects. This paper looks at the differences between these two approaches, the prospects for combining them, and the issues that are involved in the dispute. We (...)
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  44. The Notion of 'Qi Yun' (Spirit Consonance) in Chinese Painting.Xiaoyan Hu - 2016 - Proceedings of the European Society for Aesthetics 8:247–268.
    ‘Spirit consonance engendering a sense of life’ (Qi Yun Sheng Dong) as the first law of Chinese painting, originally proposed by Xie He (active 500–535?) in his six laws of painting, has been commonly echoed by numerous later Chinese artists up to this day. Tracing back the meaning of each character of ‘Qi Yun Sheng Dong’ from Pre-Qin up to the Six Dynasties, along with a comparative analysis on the renderings of ‘Qi Yun Sheng Dong’ by experts in Western academia, (...)
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  45. (1 other version)On Radical Enactivist Accounts of Arithmetical Cognition.Markus Pantsar - 2022 - Ergo: An Open Access Journal of Philosophy 9.
    Hutto and Myin have proposed an account of radically enactive (or embodied) cognition (REC) as an explanation of cognitive phenomena, one that does not include mental representations or mental content in basic minds. Recently, Zahidi and Myin have presented an account of arithmetical cognition that is consistent with the REC view. In this paper, I first evaluate the feasibility of that account by focusing on the evolutionarily developed proto-arithmetical abilities and whether empirical data on them support the radical enactivist view. (...)
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  46. The ontology of theoretical modelling: models as make-believe.Adam Toon - 2010 - Synthese 172 (2):301-315.
    The descriptions and theoretical laws scientists write down when they model a system are often false of any real system. And yet we commonly talk as if there were objects that satisfy the scientists’ assumptions and as if we may learn about their properties. Many attempt to make sense of this by taking the scientists’ descriptions and theoretical laws to define abstract or fictional entities. In this paper, I propose an alternative account of theoretical modelling that draws upon Kendall Walton’s (...)
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  47. Coevolutionary semantics of technological civilization genesis and evolutionary risk.V. T. Cheshko & O. M. Kuz - 2016 - Anthropological Measurements of Philosophical Research 10:43-55.
    Purpose of the present work is to attempt to give a glance at the problem of existential and anthropological risk caused by the contemporary man-made civilization from the perspective of comparison and confrontation of aesthetics, the substrate of which is emotional and metaphorical interpretation of individual subjective values and politics feeding by objectively rational interests of social groups. In both cases there is some semantic gap present between the represented social reality and its representation in perception of works of art (...)
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  48. Review of Iain D. Thomson. Heidegger, Art, and Postmodernity. Cambridge-New York: Cambridge University Press, 2011. [REVIEW]Irene McMullin - 2013 - Journal of the History of Philosophy 51 (2):324-325.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Heidegger, Art, and Postmodernity by Iain D. ThomsonIrene McMullinIain D. Thomson. Heidegger, Art, and Postmodernity. Cambridge-New York: Cambridge University Press, 2011. Pp. xix + 245. Paper, $27.99.Iain Thomson’s Heidegger, Art, and Postmodernity is an exceptional piece of Heidegger scholarship, providing detailed, informative analysis while remaining highly readable.Thomson begins by reprising the argument from his earlier Heidegger on Ontotheology: Technology and the Politics of Education (Cambridge, 2005), namely, that (...)
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  49. Sensing Art and Artifacts: Explorations in Sensory Museology.David Howes, Eric Clarke, Fiona Macpherson, Beverly Best & Rupert Cox - 2018 - The Senses and Society, 13 (3):317-334.
    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 (...)
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  50. Kantian and Nietzschean Aesthetics of Human Nature: A Comparison between the Beautiful/Sublime and Apollonian/Dionysian Dualities.Erman Kaplama - 2016 - Cosmos and History 12 (1):166-217.
    Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...)
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