Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

In this paper, we attempt to de-naturalize the prevailing economistic imaginary of work that Max Weber and later commentators described as ‘protestant work ethic,’ epitomized in the figure of homo economicus. We do so by contrasting it with the imaginary of skillful work that can be found in vignettes about artisans in the Zhuangzi. We argue that there are interesting contrasts between these views concerning 1) direct goal achievement vs. indirect goal achievement through the cultivation of skills; 2) the hierarchization (...) of mental versus physical dimensions of work; 3) the crafting of non-dominating relationships between the working subject, their object, and their instruments of work, which leads to questions about the sustainability of these relationships; and 4) the relationship between work and well-being, which the Daoist texts conceptualize in a much more holistic, but also more presentist way than Western economic rationality. We conclude by pointing out the relevance of these differences for several contemporary debates about work, by denaturalizing a dominant imaginary of work, by distinguishing different forms of work, by suggesting a different relation between work and nature, and by raising questions about the desirability of the automation of work. (shrink)

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity (...) eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

The Russian people are struggling to learn how to create a democracy and a market economy. This paper reviews the results of reform efforts to date and what the Russian people are learning as indicated by changes in answers to public opinion surveys. As a way to continue the social learning process in Russia we suggest the widespread use of process improvement methods in organizations. This paper describes some Russian experiences in using process improvement methods and proposes a strategy for (...) spreading the use of these methods through universities and then through businesses and government agencies. As people use process improvement methods, they gain confidence in their ability to improve the functioning of organizations and society. (shrink)

I argued in 2000 that the French artist ORLAN may have moved away from her Reincarnation performances toward her Self-Hybridizations because she thought that in the latter she would be more transparently obvious in meaning and less frequently misunderstood. I may have overstated the ability of audiences to comprehend, however. In this essay I argue that the virtual beauty that ORLAN unfolds in her ongoing series Self-Hybridizations is not a real or actual beauty but rather a fake beauty, causally disembodied, (...) based on the effects she intends to create from an imaginative use of combined hybrid imagery. Subverting the familiar philosophical notions of aesthetic distance and aesthetic appreciation, hers is not a monstrous beauty (as some feminist art theorists contend) but rather a fake beauty that still has aesthetic features worth assessing. I suggest the possibility of generational differences in understandings of the term 'feminist', i.e., shifts in meaning from early feminist theory of the 1970s to ever-evolving, twenty-first century notions of the term, all of which add to the confusion. As I negotiate this terrain, I hope to steer both critics and viewers more directly to the words of the artist herself, "I have tried to make my Self-Hybridations as 'human' as possible, like mutant beings, but I still did not think that the confusion could be possible.". (shrink)

WINNER OF THE SIMON HAILWOOD ESSAY PRIZE. This paper discusses the problem of alienation from nature, considered through the phenomena of reification and de-objectification. I propose understanding alienation as the result of a distorted relation between the subjective and the objective and I suggest a tentative solution via the combination of two ethico-political practices: releasement and reappropriation. In doing so, I put forward a structural-ethical critique and response to our current ecological crisis.

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...) replicating a cultural bias that links an artist to particular mental processes that are unnecessarily exclusive. An experiential account of creativity like the one recently advanced by Bence Nanay not only disadvantages those artists whose lived experiences reflect fewer social opportunities than their counterparts, but also invokes a concept of luck that undermines the role of originality within an artwork's overall aesthetic value. (shrink)

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, and forced separation from (...) his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Series editor forward by Richard Eldridge. List of Contributors includes Steven G. Kellman, Jane E. Schultz, Andrew Edgar, Kathleen Higgins, Edward B. Weiser, Cynthia A. Freeland, and Margaret E. Gray; see "Introduction" by Peg Brand Weiser below. (shrink)

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. Annotated (...) bibliography by Joshua Shaw. (shrink)

This essay offers an update on the author's thoughts on the French feminist performance artist ORLAN, analyzing her visual representations as a new category of feminist visual art, namely, virtual hybrid beauty.

Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...) the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principle example of political art will be drawn from feminist art--the extraordinary and controversial performance art of the French artist, ORLAN. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will also argue not only that feminist art--and by extension political art of all kinds--can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art. (shrink)

This is the co-authored--with Carolyn Korsmeyer--Introduction to the first published feminist scholarship in The Journal of Aesthetics and Art Criticism (Volume 48, Number 4, Fall 1990). Contributors included Hilde Hein, Paul Mattick, Jr., Timothy Gould, Joanne B. Waugh, Joseph Margolis, Mary Devereaux, Noel Carroll, Flo Leibowitz, Anita Silvers, Elizabeth Ann Dobie, Renee Cox, and Ellen Handler Spitz. All essays were subsequently published in an expanded book version entitled, Feminism and Tradition in Aesthetics by Penn State Press (1995).

Within the context of women’s studies, Thomas Aquinas is probably best known for his paraphrasing of Aristotle’s view, which describes woman as a “deformed man”. While the Philosopher indeed adopts the empirically dubious premise of woman’s value being intrinsically inferior to that of man, which he consistently implements throughout his many works, in Thomas’s case the issue of gender is not addressed as clearly and definitively. Above all, Aquinas does not call woman “something deformed”, but “only” occasional and misbegotten. This (...) is a reference to his ontological theory, in which woman is an occasional entity on the individual level, but a necessary one on the general level. He also distinguishes two relations of equality and affirms one of them to exist between woman and man. Although he accepts some of Aristotle’s beliefs (such as the impaired rationality of woman and her natural submission to man), he rejects other which show her as a being devoid of dignity. If one accepts the superiority of the spiritual sphere over the bodily one, it is ultimately possible to interpret Aquinas’s thought in a quasi-feminist way, as evidenced by the existence of Catholic Neo-Thomistic feminism, among others. Its achievements include recognising the divorce of marriages in which there is no friendship, abandoning Aristotelian biology in favour of modern scientific knowledge, and indicating the possibility of a feminist interpretation of the concept of natural law, which should include the welfare of women and minorities. (shrink)

Modern individuals grapple with a paradoxical reality: their lives are characterized by a strong feeling of independence as well as by an intense social interconnection. This article argues that despite an increased discussion of dependence in contemporary social and political philosophy, current ways of theorizing it have disregarded the concrete form that our social dependence takes under capitalist relations. I maintain that without integrating the critique of political economy, we risk offering a defense of dependence that remains unaware of important (...) axes of domination. In particular, I suggest recuperating Marx’s notion of objective dependence, which has been insufficiently discussed in the existing literature. Finally, drawing on recent developments in critical theory, I put forward a normative critique of dependence. I contend that the issue with modern societies is that they promote alienated and reified relations of dependence, transforming the basis of our social freedom into an objective form of domination. -/- . (shrink)

The purpose of this paper is to demonstrate how Bertrand Russell depicts the relation of mysticism to three other areas of human activity: philosophy, science, and religion, and thus: its special role. In his essay Mysticism and Logic (1914), Russell defines mystical thinking as beliefs in (1) the existence of special insight, (2) the unity of all things, (3) the unreality of time, and (4) the effacement of the boundaries between good and evil. Although he considers full mysticism – as (...) a belief about the ontic structure of the world – to be erroneous – as a life attitude he attributes to it an element of wisdom that is lacking in other areas of human intellectual activity. Mysticism proves wrong also at the epistemological level, i.e. as a certain test of truth. But in its spirit of inquiry, it contains something that science also benefits from, and from which, therefore, scientific philosophy should take its cue. What additionally gives mysticism its value is the claim of impartial contemplation which gives rise to an attitude of love towards the whole world. Significantly, it was the combination of the best features of mystical thinking with scientific thinking and method which gave rise to Russell’s advocacy of scientific philosophy. In light of this, I argue that according to Russell mysticism is not an exclusively religious phenomenon, which is demonstrated, among other things, by the fact that he attributes two aspects of mysticism to the field of mathematics. (shrink)

Este artículo explora la problemática del cuerpo desde una perspectiva de género. Primero, se estudia la evasión filosófica del cuerpo, así como su inadvertida asimilación a lo femenino. Segundo, se examina la negación capitalista del cuerpo y la posibilidad de entender la diferenciación entre las lógicas de explotación y de expropiación a través de una previa diferenciación entre cuerpos. Se propone finalmente hacer un análisis de la exclusión general del cuerpo como una exclusión particular de lo femenino y de lo (...) popular y se sugiere que el advenimiento de los cuerpos promulgado desde el movimiento feminista, especialmente en su vertiente latinoamericana, traen consigo un potencial democrático y emancipador. -/- . (shrink)

Notwithstanding diverse opinions and debates about mixing methods, mixed methods research (MMR) is increasingly being used in sport and exercise psychology. In this paper, we describe MMR trends within leading sport and exercise psychology journals and explore critical realism as a possible underpinning framework for conducting MMR. Our meta-study of recent empirical mixed methods studies published in 2017–2019 indicates that eight (36%) of the 22 MMR studies explicitly stated a paradigmatic position (five drew on pragmatism, two switched paradigms between qualitative (...) and quantitative elements of the study, and one was situated in relativist-interpretivism). The remaining 14 (64%) studies did not report their underpinning research philosophical assumptions. Evaluating the merits and limitations of these positions against critical realist assumptions suggests that several paradigmatic disagreements are potentially reconcilable. These include (a) maintaining that ontological and epistemological concerns are important for methodological integrity of a mixed methods study; (b) switching between paradigms in the same study is problematic; and (c) refuting the qualitative-quantitative incommensurability thesis, therefore allowing mixed methods research without compromising philosophical coherence. From a critical realist position, we suggest that both quantitative and qualitative designs are justifiable in a mixed methods study because (1) they help corroborate, refine, or refute plausible explanations of phenomena (epistemological), but (2) with different methodologies utilised to perform different tasks in the same research design related to different psycho-social system features (ontological). We call for a collaborative engagement by researchers across paradigmatic positions to work towards the advancement of methodological pluralism in our research community. (shrink)

Orlan is a French performance artist whose work on beauty elicits shock and disgust. Beginning in 1990, she began a series of nine aesthetic surgeries entitled The Reincarnation of St. Orlan that altered her face and body, placed her at risk in the operating room, and centered her within certain controversy in the art world. Undergoing only epidural anaesthesia and controlling the performance to the greatest degree possible, she "choreographs" and documents the events. This enhanced interview I conducted with Orlan (...) cites her own words and offers commentary and explanation on her complex and conceptual works of art. I offer a concept of "virtual beauty" and locate her aesthetic intentionality within the realm of traditional art history (works by the great "masters" of art) and traditional aesthetics, rejecting any possibility of a viewer's disinterested stance toward Orlan's visual representations. (shrink)

In the article the main trends of modern philosophical theology are considered in the perspective of methodological tasks. Based on the diversity of the post-secular philosophical situation, the place of theology oft en turns out to be not only in the series of theological disciplines, but also acquires features of interdisciplinarity. Theological studies aimed at solving the problems of humanity, history, and time, combine hermeneutics and philosophical anthropology, philosophy of language and psychological methods, oft en becoming an experimental space for (...) applying of humanitarian approaches. In the paper the ideas of theologians and philosophers of the Bultmann and post-Bultman periods are compared. (shrink)

The feminist performance art of the controversial French artist named Orlan is discussed in this interview with the artist.

The practice and industry of organizational coaching are now well established, but how it is understood theoretically continues to lag behind. In this paper we analyze possible reasons for this state of affairs and argue that the development of coaching as an academic discipline will benefit from adopting philosophical pragmatism as an overarching theoretical framework. This move will enable coaching academics to utilize the contributions to knowledge that different paradigms generate. Positioning pragmatism as a theory of action we argue that (...) organizational coaching is by default a pragmatic enterprise and provide three examples of the considerable benefits to be gained by conceptualizing it this way. Drawing from the pragmatists’ ideas, particularly those of John Dewey, we demonstrate how the theoretical understanding of organizational coaching can be enhanced by considering its nature as a joint inquiry. Pragmatism suggests development as an ultimate purpose for organizational coaching which also helps to resolve fundamental conceptual debates. In light of the complexity and diversity involved in the way that organizational coaching is practiced, pragmatism offers coaches a useful framework for developing the flexibility required for navigating the multiplicity of influences on their practice. (shrink)

La investigación buscó la relación entre la variable visitante de una institución museística, y otras variables explicativas, como son la valoración del acervo, costos operativos, apertura horaria, entre otras, logrando probar que la variable relacionada a la captación de visitantes, para la muestra analizada, es la variable Difusión. -/- Se trata de un estudio correlacional, dado que el mismo tiene como propósito medir el grado de relación que existe entre dos o más conceptos o variables y el diseño de la (...) investigación es no experimental, ya que no existe manipulación activa de alguna variable. Además, se trata de un diseño transeccional transversal, ya que se busca establecer la relación de variables medidas en un único momento del tiempo. En una primera etapa se trabajó con los datos recabados en el marco del Primer Censo Nacional de Museos del MEC. En una segunda etapa, se procedió a realizar una encuesta a todos los museos que formaron parte del Censo. La variable clave que se consideró fue la variable difusión. (shrink)

The paper highlights the key perspectives on mysticism typical for Soviet and Post-Soviet religious studies. Recognizing the vagueness of the ”mystical’, Soviet scholars interpreted it as a belief in ”communication’ with ”supernatural powers’. Furthermore, ”mysticism’ was thought of as a multicomponent entity composed of mystical experiences, mystical beliefs, and ”mysticism’ as a ”false ideology’. Such an understanding resulted from their epistemological settings, i.e. the reflection theory of dialectical materialism. In this light, mystical experiences and beliefs were distorted ”reflections’ of objective (...) reality in the human mind caused by factors both of an individual and a social nature. This understanding still defines the academic interpretations of the ”mystical’ in Russia today. (shrink)

The article undertakes a phenomenological interpretation of the description of contingency in two late-antique models of the relationship of time and eternity — in the theory of Plotinus, and in the eschatology of Paul on the basis of the First Epistle to the Thessalonians. Contingency as a possible property not of time, but of eternity, the presence of the supertemporal in the physical world — this hypothesis promotes a new view of the relationship between time and eternity and a new (...) view of the properties of time. Time remains as immeasurable as eternity, inheriting its character as a phenomenon of consciousness. The article also compares the ideas of H. Bergson and E. Husserl on duration and memory, on the coincidence of moments and the measurability of the movement of time. A turn to Ptolemaic cosmology proposed by Q. Meillassoux seems relevant, an appeal to ancient mathematics and ontology through the optics of post-metaphysical criticism. The search for a new correlationism is significant for the philosophy of time, and contingency, like any coincidence of thought and object, the world and the subject, the signifier and the signified, leads to new forms of manifestation, new phenomena of presence, a new fullness of being in history. (shrink)

Beneficios e incentivos económicos tributarios en materia ambiental para el desarrollo sostenible de terminales marítimos de contenedores y carga general en Colombia.

Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!

With the ageing of the Portuguese population, there are more people in dependency situations and needing long-term care (LTC). In this context, it is important to ensure the quality of life (QoL) of those individuals, and that quality can be measured through their health-related quality of life (HRQoL) and overall well-being. Also, understanding how perceived service quality (PSQ) can be related to how people perceive their QoL is pertinent since service quality is an important factor to achieve patient health outcomes. (...) To develop this project, a LTC unit located in the district of Lisbon was chosen, the LTC unit of Arruda dos Vinhos. The main objective was to assess the relation between the PSQ, the HRQoL and the overall well-being of patients receiving LTC at the LTC unit of Arruda dos Vinhos. A project based on a case study was performed, through interviews based on the items of the SERVPERF, EQ-5D and ICECAP-O questionnaires, which were then analysed through content analysis. Results showed there is a relation between PSQ and HRQoL and between HRQoL and overall well-being. It was also possible to realise that to better evaluate the quality of this specific service, other subjects as the activities performed at the LTC unit, the physiotherapy service and the food provided, should be taken in consideration. Concluding, there is a relation between PSQ and the QoL of the patients receiving LTC at the LTC unit of Arruda dos Vinhos, when quality of life is measured through HRQoL. (shrink)

Both books published in 1996 explore the role that gender plays in the psychology of art (dealing with both making and viewing), complicating current philosophical distinctions between the aesthetic and the cognitive, and providing new insights into basic topics in the history and psychology of perception, representation, and disinterestedness.

Review of 1989 text by Ralph A. Smith, noted art education scholar during the era of DBAE (Discipline Based Art Education), that criticizes the author's agenda to remedy the ills of the state of arts education, arts' secondary status to the sciences, pluralism, and popular ideologies of of contemporary culture as an agenda that is (below the surface) clearly conservative, male-centered, Eurocentric and elitist. My conclusion: "Educators, beware.".

The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture.

The term "parody" derives from the ancient Greek word parodia and has come to include a variety of meanings connected with correlative terms such as "pastiche," "quotation," "satire," and "allusion." At the present time, more than a few commentators are eager to discuss contemporary parody as an art form particularly relevant to our era. Most approaches share a basic foundation that treats parody as a complex multilayered type of imitation (sometimes referred to as intertextuality). Only some theorists, however, include a (...) comic element in the defining character of parody. (shrink)

Arthur C. Danto, philosopher and art critic for The Nation from 1984-2009, offered interpretations of artworks by a wide array of artists, including Eva Hesse, Judy Chicago, and Cindy Sherman, whose "disturbatory" works were either ignored or denounced by mainstream critics at the time. Danto's championing of feminist art was deliberate and delightful; he openly endorsed the Guerilla Girls! His feminist art critical writings ultimately shaped the early development of what has come to be known as "feminist aesthetics" particularly his (...) focus on defiant artworks by female artists who sought to reclaim agency and expression of the female body. He revived interest in the neglected topic of beauty while simultaneously advancing radical political goals within the artworld. His call to arms urged art viewers to experience the new--what he often called "art on the edge and over"--wherein, "The experience of art becomes a moral adventure rather than merely an aesthetic interlude" (in Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s, 1996). (shrink)

I consider what draws us to perceiving beautiful bodies in art and athletics--repeatedly and over time--that is informed by viewers' changing perceptions derived from recent publications in fashion and sport, the philosophy of sport, feminist film theory and aesthetics under the ever-expanding umbrella of somaesthetics. This paper won the American Society for Aesthetics 2023 Somaesthetics Prize.

This essay is about the history of challenges that women in elite sports have faced with respect to their gender identity within a society that perpetuates misleading aesthetic norms of beauty; it is a history fraught with controversy and injustice. . . . We recommend both the acknowledgment within the realm of elite sport of perceptual sexism based on misleading aesthetic norms of beauty, and a way of correcting such erroneous categorization that allows athletes the autonomy and agency to choose (...) to compete as male or female based on a declaration of their own gender identity. (shrink)

This essay explores the role that the aesthetic-nonaesthetic distinction plays in assessing activist art by women and artists of color. First, I shall review one traditional line of philosophical thought and show how it serves as the foundation for three types of reasons typically given for artworks reputed to lack aesthetic value. I develop two of the three reasons by examining recent writings opposed to the aesthetic value of activist art by well-known art critic Donald Kuspit, pointing out his aberrant (...) use of "obscene." Kuspit's examples of activist art--the work of Jenny Holzer, Barbara Kruger, and Adrian Piper--are presented in light of his charges. I then explore Piper's art in depth in order to outline ways of expanding the notion of aesthetic value beyond its traditional confines. Finally, I suggest moving beyond entrenched, traditional patterns of assessment and invite underrepresented voices to contribute to the emerging discussion of the multiplicity of aesthetic values. (shrink)

We describe a strategy for integration of data that is based on the idea of semantic enhancement. The strategy promises a number of benefits: it can be applied incrementally; it creates minimal barriers to the incorporation of new data into the semantically enhanced system; it preserves the existing data (including any existing data-semantics) in their original form (thus all provenance information is retained, and no heavy preprocessing is required); and it embraces the full spectrum of data sources, types, models, and (...) modalities (including text, images, audio, and signals). The result of applying this strategy to a given body of data is an evolving Dataspace that allows the application of a variety of integration and analytic processes to diverse data contents. We conceive semantic enhancement (SE) as a lightweight and flexible process that leverages the richness of the structured contents of the Dataspace without adding storage and processing burdens to what, in the intelligence domain, will be an already storage- and processing-heavy starting point. SE works not by changing the data to which it is applied, but rather by adding an extra semantic layer to this data. We sketch how the semantic enhancement approach can be applied consistently and in cumulative fashion to new data and data-models that enter the Dataspace. (shrink)

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

This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ (...) performer Ann Millett-Gallant that favors the latter interpretation, but will augment and complicate the issue by also introducing a pointed question or two taken from a recent analysis by Cynthia Freeland on objectification. I judge the works by photographer Joel-Peter Witkin to be representations of disabled persons who are empowered through agency and pride, but I also worry about the risk of multiple, conflicting interpretations on the part of viewers who do not, or cannot, entertain such enlightened readings. Like second wave feminist views about pornography that depicted women in demeaning ways, or feminist critiques of Judy Chicago’s The Dinner Party , Witkin’s photos can be judged as potentially offensive. But they are also objects of beauty—both in terms of aesthetic properties (they are magnificent studies in black and white, shadows, the human body, with many classical references) and because of the feeling of beauty and pride felt by the posers, who become performers of their own beauty and pride. I argue that beauty trumps offensiveness. Pride wins. But I’m not sure that everyone will agree. (shrink)

We describe a strategy that is being used for the horizontal integration of warfighter intelligence data within the framework of the US Army’s Distributed Common Ground System Standard Cloud (DSC) initiative. The strategy rests on the development of a set of ontologies that are being incrementally applied to bring about what we call the ‘semantic enhancement’ of data models used within each intelligence discipline. We show how the strategy can help to overcome familiar tendencies to stovepiping of intelligence data, and (...) describe how it can be applied in an agile fashion to new data resources in ways that address immediate needs of intelligence analysts. (shrink)

How do we view, understand and appreciate a complex and challenging work of visual art such as Leon Mostovoy's Transfigure and how, in our encounter with it, does beauty matter? Transfigure Project--a 2013 book, film and photographic installation that is now also an interactive website--is "a project of corporal self-expression, presented as an experimental, visual feast" by which 'transfigure' means "to transform into something more beautiful or elevated." Photographs of fifty nude trans-identified figures can be playfully arranged in numerous combinations; (...) a woman's head can appear over a post-op torso over a pelvis with penis. The result, according to the artist, is "A celebration of bodies that transcend the gender binary" and shatter stereotypical notions of beauty. How does the meaning of Transfigure challenge and subvert traditional theories in aesthetics? (shrink)

What is feminist art? Can an ordinary viewer experience it in a neutral, detached, and objective way? These two questions are the focus of this essay which attempts to bridge a gap between philosophical aesthetics and feminist theorizing about women's art. The first question is purely historical, easily answered by means of a brief overview of the past twenty-five years of feminist art in America. The second question raises philosophical issues squarely within the realm of aesthetics, contingent upon who counts (...) as "an ordinary viewer." Answering this question reveals a divergence of opinion as wide as the range of respondents. [My thanks to the American Studies Center at Warsaw University where an earlier draft of this paper was presented.]. (shrink)

Feminism came to the discipline of philosophical aesthetics rather late--approximately 1990--in spite of advances made much earlier in the 1970s by feminist scholars in related fields such as literary theory, art history, art criticism, and film studies. This essay tracks notions of "tradition" within the history of aesthetics and subsequent feminist challenges to patriarchal traditions and existing philosophical practices. No one unitary feminist approach is sought; rather a multiplicity of feminisms have arisen within aesthetics that have brought new focus to (...) discussions of taste, the (beautiful) body, "art," the concept of genius, everyday aesthetics, the environment (including natural beauty), motherhood, and even bioethics. (shrink)

This essay offers some thoughts on the editors' (Annette w. Balkema and Henk Slager) project "Exploding Aesthetics" with the goal of extending aesthetics based on a specific type of artistic output. Both artists--Orlan and Morimura--have already expanded the normal parameters of artistic inquiry and the resulting critical discourse. As an aesthetician, I merely offer some elaboration and philosophical backdrop to their creative enterprise. They constitute the paradigm of the avant-garde artist extraordinaire leading us into the uncharted realm of cyberspace and (...) offering us a provocative glimpse of virtual beauty in which artistic insight complements philosophical inquiry. Motivated by their creativity, this essay explores contrasting definitions of real and virtual beauty as well as suggest some reasons why these definitions may prove useful in stimulating discussions about art and the philosophy of art. (shrink)

This short essay is part of a 5 volume work entitled 100,000 Years of Beauty complete with more than 300 authors from over 30 countries. I was aksed to write about Simone de Beauvoir and the concept of 'emancipated beauty'; I cast Beauvoir's theory of freedom--combining liberation and equality with beauty and femininity--in defiance of the long-standing and constrictive dichotomy that says women must choose one or the other. Beauvoir's most famous phrase, "One is not born, but rather becomes a (...) woman," entails a lifelong struggle against cultural, religious and philosophical norms of inequality and the restrictive ideals of beauty those norms have imposed since the days of Aristotle and Confucius. On Beauvoir's view, one can be both free from oppression and beautiful . . . (shrink)

This paper (presented along with others at an APA session with the late Dr. Anita Silvers commenting) explores and engages a mode of defiant challenges to the traditional, able-bodied standard of female beauty evidenced throughout the history of art as portrayed by the controversial photographer, Joel-Peter Witkin. Witkin's images of Ann Millett-Gallant, author of the book, The Disabled Body in Contemporary Art, "visualize disability" as they explore issues in agency, otherness, and the medical body.

This paper explores the role of 1980s to early 1990s feminist theory of art within the analytic philosophical tradition of aesthetics starting with a critique of the noncontextual criticism of aesthetics of Jerome Stolnitz and Monroe Beardsley contrasted with contextual feminist theory, informed by contextual theories of Arthur Danto, George Dickie and Marcia Eaton, and concluding that knowledge of external, contextual data is necessarily required to assess a work of art that has been deemed a work of art by means (...) of external, contextual data. Feminist theory is one type of contextual theory available. (shrink)

We describe on-going work on IAO-Intel, an information artifact ontology developed as part of a suite of ontologies designed to support the needs of the US Army intelligence community within the framework of the Distributed Common Ground System (DCGS-A). IAO-Intel provides a controlled, structured vocabulary for the consistent formulation of metadata about documents, images, emails and other carriers of information. It will provide a resource for uniform explication of the terms used in multiple existing military dictionaries, thesauri and metadata registries, (...) thereby enhancing the degree to which the content formulated with their aid will be available to computational reasoning. (shrink)