Results for 'Prehistoric art'

968 found
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  1. (1 other version)A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  2. Distant Dinosaurs and the Aesthetics of Remote Art.Michel-Antoine Xhignesse - 2024 - British Journal of Aesthetics 64 (3):361-380.
    Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of creation. (...)
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  3.  70
    Astromorphism and the Influence of Prehistoric Astronomy on the Origin of Religion.Brandon Reece Taylorian - 2024 - Journal of Astronist Studies 1 (1):80-129.
    Celestial bodies have long been a source of religious objectification and this article aims to convey the origin of the relationship between human religious belief and observations of the night sky. The academic search for the origin of religion commenced in the early nineteenth century and since then the debate of whether animism or pre-animism is the original religion has dominated this field. Until now, no unified theory has acknowledged the influence of primitive astronomy on the origin of religion. However, (...)
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  4. Il realismo segnico nella rappresentazione della metamorfosi: Deleuze e la fenomenologia.Elia Gonnella - 2021 - Segni E Comprensione 101:84-110.
    Metamorphosis as it is represented by some pre-historical artists seems problematic for our occidental point of view. In fact, it seems to be strongly against identity and law of non-contradiction. Becoming in general is also viewed as an error or exception by our classic point of view. This very claim can conduct to theories of non-classical logic. Deleuze and Guattari in their monumental work had tried to offer enormous contributions in order to comprehend the becoming phenomenon. Through a pre-historical representations (...)
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  5. Evolutionary And Neurocognitive Approaches to Aesthetics, Creativity And the Arts.Paul Locher - 2007 - Baywood Publishing Company.
    In this book, well-known scholars describe new and exciting approaches to aesthetics, creativity, and psychology of the arts, approaching these topics from a point of view that is biological or related to biology and answering new questions with new methods and theories. All known societies produce and enjoy arts such as literature, music, and visual decoration or depiction. Judging from prehistoric archaeological evidence, this arose very early in human development. Furthermore, Darwin was explicit in attributing aesthetic sensitivity to lower (...)
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  6. Aesthetic Archaeology.Jakub Stejskal - 2021 - Critical Inquiry 48 (1):144-166.
    The article’s aim is to clear the ground for the idea of aesthetic archaeology as an aesthetic analysis of remote artifacts divorced from aesthetic criticism. On the example of controversies surrounding the early Cycladic figures, it discusses an anxiety motivating the rejection of aesthetic inquiry in archaeology, namely, the anxiety about the heuristic reliability of one’s aesthetic instincts vis-à-vis remote artifacts. It introduces the claim that establishing an aesthetic mandate of a remote artifact should in the first place be part (...)
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  7. The Emotional Mind: the affective roots of culture and cognition.Stephen Asma & Rami Gabriel - 2019 - Harvard University Press.
    Tracing the leading role of emotions in the evolution of the mind, a philosopher and a psychologist pair up to reveal how thought and culture owe less to our faculty for reason than to our capacity to feel. Many accounts of the human mind concentrate on the brain’s computational power. Yet, in evolutionary terms, rational cognition emerged only the day before yesterday. For nearly 200 million years before humans developed a capacity to reason, the emotional centers of the brain were (...)
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  8. 弥生時代中期における戦争:人骨と人口動態の関係から(Prehistoric Warfare in the Middle Phase of the Yayoi Period in Japan : Human Skeletal Remains and Demography).Tomomi Nakagawa, Hisashi Nakao, Kohei Tamura, Yuji Yamaguchi, Naoko Matsumoto & Takehiko Matsugi - 2019 - Journal of Computer Archaeology 1 (24):10-29.
    It has been commonly claimed that prehistoric warfare in Japan began in the Yayoi period. Population increases due to the introduction of agriculture from the Korean Peninsula to Japan resulted in the lack of land for cultivation and resources for the population, eventually triggering competition over land. This hypothesis has been supported by the demographic data inferred from historical changes in Kamekan, a burial system used especially in the Kyushu area in the Yayoi period. The present study aims to (...)
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  9. Population pressure and prehistoric violence in the Yayoi period of Japan.Tomomi Nakagawa, Kohei Tamura, Yuji Yamaguchi, Naoko Matsumoto, Takehiko Matsugi & Hisashi Nakao - 2021 - Journal of Archaeological Science 132:105420.
    The causes of prehistoric inter-group violence have been a subject of long-standing debate in archaeology, an- thropology, and other disciplines. Although population pressure has been considered as a major factor, due to the lack of available prehistoric data, few studies have directly examined its effect so far. In the present study, we used data on skeletal remains from the middle Yayoi period of the Japanese archipelago, where archaeologists argued that an increase of inter-group violence in this period could (...)
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  10. 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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  11. Violence and warfare in prehistoric Japan.Tomomi Nakagawa, Hisashi Nakao, Kohei Tamura, Yui Arimatsu, Naoko Matsumoto & Takehiko Matsugi - 2017 - Letters on Evolutionary and Behavioral Science 8 (1):8-11.
    The origins and consequences of warfare or largescale intergroup violence have been subject of long debate. Based on exhaustive surveys of skeletal remains for prehistoric hunter-gatherers and agriculturists in Japan, the present study examines levels of inferred violence and their implications for two different evolutionary models, i.e., parochial altruism model and subsistence model. The former assumes that frequent warfare played an important role in the evolution of altruism and the latter sees warfare as promoted by social changes induced by (...)
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  12. The Effects of Publishing Processes on Scientific Thought. Typography and Typology in Prehistoric Archaeology (1950s–1990s).Sébastien Plutniak - 2020 - Science in Context 33 (3):273-297.
    In the last decades, many changes have occurred in scientific publishing, including online publication, data repositories, file formats and standards. The role played by computers in this process rekindled the argument on forms of technical determinism. This paper addresses this old debate by exploring the case of publishing processes in prehistoric archaeology during the second part of the twentieth century, prior to the wide-scale adoption of computers. It investigates the case of a collective and international attempt to standardize the (...)
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  13. Art Historical Explanation Of Paintings And The Need For An Aesthetics Of Agency.Daniel Davies - 2004 - Postgraduate Journal of Aesthetics 1 (3):86-98.
    Why should a person, and in the context of this conference particularly an art historian, take seriously the notion of the aesthetic, its discovery and/or rediscovery? Aesthetics might after all be considered at best something of a distraction from bread and butter historical and sociological analysis, and at worst entirely incompatible with it. Pursuing the line further it might be urged that, since on the one hand aesthetics is about 'how things appear'—i.e. is subject to individual predilection, taste and feeling—and (...)
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  14. Art Forms Emerging: An Approach to Evaluative Diversity in Art.Mohan Matthen - 2020 - Journal of Aesthetics and Art Criticism 78 (3):303-318.
    An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...)
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  15. Refrain from Standards? French, Cavemen and Computers. A (short) Story of Multidimensional Analysis in French Prehistoric Archaeology.Sébastien Plutniak - 2015 - In Oliver Schlaudt & Lara Huber (eds.), Standardization in Measurement. Philosophical and Sociological Issues. pp. 39-52.
    Focusing on the history of prehistoric archaeology in the 20th century, this papers shows (1) that statistical multidimensional analyses were carried out by a new kind of actors who challenged the previous common language shared by prehistorians. This fundamental change was important, considering that (2) language is a fundamental point for the epistemology of archaeology. However, a comparison of multidimensional analyses applications over time shall make clear that (3) the differences are mostly a generational matter: the transmission processes between (...)
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  16. Trust and sincerity in art.C. Thi Nguyen - 2021 - Ergo: An Open Access Journal of Philosophy 8:21-53.
    Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...)
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  17. Art Concept Pluralism.Christy Mag Uidhir & P. D. Magnus - 2011 - Metaphilosophy 42 (1-2):83-97.
    Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...)
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  18. Failed-Art and Failed Art-Theory.Christy Mag Uidhir - 2010 - Australasian Journal of Philosophy 88 (3):381-400.
    An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...)
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  19. Arte, filosofía indígena y derechos de la naturaleza.Fausto César Quizhpe Gualán - 2021 - Quito, Ecuador: Universidad Andina Simón Bolívar Sede Ecuador.
    Este trabajo presenta una propuesta biologizada del arte y la Filosofía Indígena desde el pueblo kichwa Saraguro, con el fin de discutir especialmente los fundamentos de los derechos de la naturaleza. Aunque, hay que resaltar que, el sitio de enunciación no es estrictamente el lugar descrito; porque la matriz de discusión es el Sumak Kawsay que involucra a Latinoamérica en general. La metodología que se usa es la transdisciplinar. El orden de desarrollo está enmarcado en una primera parte que desarrolla (...)
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  20. The Professionalisation of Science – Claim and Refusal: Discipline Building and Ideals of Scientific Autonomy in the Growth of Prehistoric Archaeology. The Case of Georges Laplace's Group of Typologie Analytique, 1950s–1990s.Sébastien Plutniak - 2017 - Organon 49:105-154.
    The majority of analyses investigating the professionalisation of scientific domains tend to assume the linear and general features of this transformation. These studies focus on the shift from a non-professionalised state to a professionalised state. This dual approach, however, crucially lacks some other aspects of the process of professionalisation. This issue is discussed within the context of the growth of prehistoric archaeology in France from the 1940s, by observing scientific societies, national research organisations and their social networks. Looking at (...)
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  21. Arte e identidad. Entre lo corporal y lo imaginario.José Ramón Fabelo-Corzo & Jaime Torija Aguilar (eds.) - 2015 - Puebla, Pue., México: Colección La Fuente, BUAP.
    La identidad, el cuerpo y los imaginarios, en su vínculo con el arte y la cultura, son los conceptos básicos presentes en este libro. La asociación entre ellos no es nada casual. Responde a importantes necesidades epistemológicas y prácticas en la comprensión de lo que somos, de la medida en que el arte y la cultura nos constituyen y del modo en que lo corporal y lo imaginario se convierten en depositarios de los atributos que nos identifican. Esta sexta entrega (...)
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  22. Estética, arte y consumo. Su dinámica en la cultura contemporánea.José Ramón Fabelo-Corzo & Alicia Pino Rodríguez (eds.) - 2011 - Puebla, Pue., México: Colección La Fuente, BUAP.
    El presente libro, editado de manera conjunta por la Facultad de Filosofía y Letras de la BUAP y el Instituto de Filosofía de La Habana, reúne algunos de los principales resultados del Proyecto de Investigación Coordenadas epistemológicas para el análisis estético de la cultura y su relación con el consumo, coordinado por el Grupo de Investigación sobre Estética, Cultura y Arte, perteneciente a la institución cubana, con la colaboración de los cuerpos académicos de Estética y Arte y La Estética y (...)
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  23. Heidegger, Art, and Postmodernity.Iain D. Thomson - 2011 - New York: Cambridge University Press.
    Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...)
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  24. Art Criticism as Practical Reasoning.Anthony Cross - 2017 - British Journal of Aesthetics 57 (3):299-317.
    Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...)
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  25. Defining Art.Thomas Adajian - 2015 - In Anna Christina Ribeiro (ed.), The Bloomsbury Companion to Aesthetics. Bloomsbury Academic. pp. 39-54.
    Overview of the definition of art and its relationship to definitions of the individual art forms, with an eye to clarifying the issues separating dominant institutionalist and skeptical positions from non-skeptical, non-institutional ones. Section 2 indicates some of the key philosophical issues which intersect in discussions of the definition of art, and singles out some important areas of broad agreement and disagreement. Section 3 critically reviews some influential standard versions of institutionalism, and some more recent variations on them. Section 4 (...)
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  26. Photographic Art: An Ontology Fit to Print.Christy Mag Uidhir - 2012 - Journal of Aesthetics and Art Criticism 70 (1):31-42.
    A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...)
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  27. Art, Metaphysics, & the Paradox of Standards.Christy Mag Uidhir - 2013 - In Art & Abstract Objects. Oxford University Press.
    I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...)
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  28. Categorizing Art.Kiyohiro Sen - 2024 - Dissertation, University of Tokyo
    This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...)
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  29. The Arts and the Radical Enlightenment.Arran Gare - 2007/2008 - The Structurist 47:20-27.
    The arts have been almost completely marginalized - at a time when, arguably, they are more important than ever. Whether we understand by “the arts” painting, sculpture and architecture, or more broadly, the whole aesthetic realm and the arts faculties of universities concerned with this realm, over the last half century these fields have lost their cognitive status. This does not mean that there are not people involved in the arts, but they do not have the standing participants in these (...)
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  30. Entitled Art: What Makes Titles Names?Michel-Antoine Xhignesse - 2019 - Australasian Journal of Philosophy 97 (3):437-450.
    Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...)
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  31. Painful Art and the Limits of Well-Being.Aaron Smuts - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
    In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that painful art (...)
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  32. Can Food Be Art in Virtue of Its Savour Alone?Mohan Matthen - 2021 - Critica 53 (157).
    Food has savour: a collection of properties (including appearance, aroma, mouth-feel) connected with the pleasure (or displeasure) of eating. After explaining this concept, and outlining a theory of aesthetic pleasure, I argue that, like paradigm examples of art, savour can be assessed relative to a culturally determined set of norms. Also like paradigm examples of art, the assessment of savour has no objective basis in the absence of such cultural norms. My argument in this paper is part of a larger (...)
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  33. The Art of Logic.Avi Sion - 2024 - Geneva, Switzerland: Amazon/Kindle.
    The Art of Logic by Avi Sion is a collection of recent essays on various topics in logic theory and in applied logic. The same faculty and art of logic is called for in formulating theoretical logic and in applying its findings to diverse fields. The essays here collected deal with some very important issues in logic, philosophy, and spirituality, which he had not previously treated in as much detail if at all.
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  34. Art and Politics in Roger Scruton's Conservative Philosophy.Ferenc Hörcher - 2023 - Springer Verlag.
    This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...)
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  35. Art: What it Is and Why it Matters.Catharine Abell - 2011 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...)
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  36. Presentación. Arte e identidad. Entre lo corporal y lo imaginario.José Ramón Fabelo Corzo - 2015 - In José Ramón Fabelo-Corzo & Jaime Torija Aguilar (eds.), Arte e identidad. Entre lo corporal y lo imaginario. Puebla, Pue., México: Colección La Fuente, BUAP. pp. 11-13.
    La identidad, el cuerpo y los imaginarios, en su vínculo con el arte y la cultura, son los conceptos básicos presentes en este libro. La asociación entre ellos no es nada casual. Responde a importantes necesidades epistemológicas y prácticas en la comprensión de lo que somos, de la medida en que el arte y la cultura nos constituyen y del modo en que lo corporal y lo imaginario se convierten en depositarios de los atributos que nos identifican. Esta sexta entrega (...)
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  37. Malraux, Art, and Modernity.Derek Allan - forthcoming - la Revue des Lettres Modernes 2024.
    For Malraux, modernity in art is not only about modern art; it is also about the birth of what he aptly terms “the first universal world of art.” This event was a consequence of the process of metamorphosis which is central to Malraux’s account of the relationship between art and time. The article explains this event, noting also that modern aesthetics has not provided an explanation. (This is the English version of the final which will be in French.).
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  38. The Art of Debate in Islam: Ṭaşköprüzade’s Ādāb al-Baḥth wa al-Munāẓarah.Syamsuddin Arif - 2020 - Afkār 22 (1):187-216.
    This article presents an analysis of a short treatise entitled Ādāb al-Baḥth wa al-Munāẓarah (The art of discussion and disputation) by the celebrated Ottoman scholar Abu al-Khayr ‘Iṣām al-Dīn Aḥmad ibn Muṣṭafā ibn Khalīl Ṭāshkubrīzādah or Ṭaşköprüzade (d. 968 AH/ 1561 CE). An overview of the nomenclature and a brief introduction about the author and his work will be presented along with an annotated English translation of the text in order to highlight Ṭaşköprüzade’s contribution to this nearly forgotten discipline.
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  39. The Art of Fugue by Johann Sebastian Bach as an artistic expression of the juncture of beyng in Martin Heidegger’s philosophy.Andrzej Krawiec - 2022 - Polish Journal of Aesthetics 64 (1):103-118.
    Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as (...)
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  40. Art and Emotion.Filippo Contesi - 2018 - Oxford Bibliographies in Philosophy.
    The study of the arts in philosophy has often concentrated on the role that emotions (and affective responses more generally) play in art’s creation and value. Philosophical theories of art have sometimes even defined art in terms of its capacity to elicit or express emotions. Philosophers have debated such questions as what it is to express an emotion in art; whether emotions form part of the value of an artwork; whether the emotions involved in art appreciation are of the same (...)
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  41. AI Art is Theft: Labour, Extraction, and Exploitation, Or, On the Dangers of Stochastic Pollocks.Trystan S. Goetze - 2024 - Proceedings of the 2024 Acm Conference on Fairness, Accountability, and Transparency:186-196.
    Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...)
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  42. Art and Cultural Heritage: An ASA Curriculum Diversification Guide.Erich Hatala Matthes - 2017 - American Society for Aesthetics, Curriculum Diversification Guides.
    Art is saturated with cultural significance. Considering the full spectrum of ways in which art is colored by cultural associations raises a variety of difficult and fascinating philosophical questions. This curriculum guide focuses in particular on questions that arise when we consider art as a form of cultural heritage. Organized into four modules, readings explore core questions about art and ethics, aesthetic value, museum practice, and art practice. They are designed to be suitable for use in an introduction to philosophy (...)
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  43. Schelling's 'Art in the Particular': Re-orienting Final Cause.Nat Trimarchi - 2024 - Cosmos and History 20 (1):416-419.
    Schelling’s Principle of Art returns us to an ancient epic sensibility, laying the foundations for reversing the unrealistic ‘modern mythology’ arguably at the core of humanity’s ecological/existential crisis. This contribution examines how, by detailing his systematic approach to constructing art ‘in the particular’ (art-forms/works). ‘Particularity’ is subject only to the reason inherent in the potences (or consequences) of the affirmation of the whole unity (Principle). Hence Schelling’s ‘affirming principles’ determine boundary conditions for his ‘mythological categories’, revealing why their generalities inform (...)
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  44. Art in the time of Disease.Srajana Kaikini - 2014 - Journal for Cancer Research and Therapeutics 10 (1):229 -231.
    An invited editorial on the depiction of disease in art history which would then become the symbol of this redemptive philosophy.
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  45. ART(S) OF BECOMING: PERFORMATIVE ENCOUNTERS IN CONTEMPORARY POLITICAL ART.İbrahim Okan Akkin - 2017 - Dissertation, Middle East Technical University
    This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism of (...)
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  46. Art (Entrée académique).Constant Bonard & Steve Humbert-Droz - 2020 - Encyclopédie Philosophique.
    Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...)
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  47.  73
    Conceptual Art (Taylor’s Version).Sherri Irvin - forthcoming - In Brandon Polite (ed.), Taylor Swift and the Philosophy of Re-recording: The Art of Taylor's Versions. Bloomsbury.
    Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...)
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  48. Attempting art: an essay on intention-dependence.Michel-Antoine Xhignesse - 2017 - Dissertation, Mcgill University
    Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...)
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  49. From Art to Information System.Miro Brada - 2021 - AGI Laboratory.
    This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to other areas eg. computer programming. Maximization of uniqueness is minimization of entropy that coincides as well as goes beyond Information Theory (Shannon, 1948). The reusage of logic as a universal principle to minimize entropy, requires simplified architecture and abstraction. Any structures (e.g. plugins) duplicating or dividing functionality increase entropy and so unreliability (eg. British (...)
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  50.  64
    Spatial justice through immersive art: an interdisciplinary approach.Asma Mehan & Sina Mostafavi - 2024 - In C. Gray, E. Ciliotta Chehade, P. Hekkert, L. Forlano, P. Ciuccarelli & P. Lloyd (eds.), DRS2024: Boston. Boston, USA: DRS2024: Boston. pp. 1-15.
    This paper explores spatial justice in urban environments through immersive art and design, focusing on Amsterdam and Houston. It presents a case study from the Venice Biennale 2023, showcasing art's potential in fostering inclusive urban spaces. The study delves into the socio-political complexities of urban areas, highlighting often-ignored liminal spaces and their tensions and possibilities. Immersive art emerges as a transformative medium, capable of challenging and reshaping perceptions of space, and addressing systemic socio-economic disparities. Adopting a transdisciplinary approach, the research (...)
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