Results for 'arte narrativa'

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  1. Instrução e Corrupção Moral pela Literatura: engajamento emocional e o valor epistémico da arte narrativa.Mariana Almeida Pereira - 2022 - Revista Filosófica de Coimbra 31 (61):59-74.
    Pretende-se auscultar a possibilidade de instrução moral pela literatura. Defender-se-á que a arte narrativa é capaz de instruir moralmente pois 1) proporciona um tipo de conhecimento não-proposicional que permite o acesso a novas perspetivas, e 2) é capaz de cultivar e refinar os valores e as práticas morais dos leitores, através do engajamento emocional. Tentar-se-á mostrar que o poder inverso — o poder de corromper moralmente — não se verifica (ou não se verifica tão facilmente): apelar-se-á à resistência (...)
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  2.  64
    La historia del arte en Colombia y sus lugares de enunciación.Carlos Vanegas Zubiría - 2025 - H-Art (19):17-28.
    La historia del arte en Colombia no es una disciplina consolidada, sino más bien un espacio en constante disputa, reconfiguración y cuestionamiento. La escritura del arte en el país se ha desarrollado a partir de múltiples esfuerzos, aunque con una marcada fragmentación que refleja las tensiones propias de su contexto social, cultural e intelectual. Este ensayo busca reflexionar críticamente sobre los problemas y las posibilidades que enfrentan las narrativas historiográficas del arte en Colombia, considerando tanto sus elementos (...)
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  3. “Deus está sonhando você”: Narrativa como Imitatio Dei em Miguel de Unamuno.Costica Bradatan & Jaimir Conte - 2008 - Princípios 15 (24):249-265.
    Traduçáo do artigo "'God is dreaming you': Narrative as Imitatio Dei in Miguel de Unamuno," artigo publicado originalmente Janus Head –Interdisciplinary Studies in Continental Philosophy, Literature, and the Arts , Volume 7, Issue 2.
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  4. La curaduría tradicional y el valor artístico.José Ramón Fabelo Corzo, Isabel Fraile Martín & Carolina Nieto-Ruiz - 2013 - In Ramon Patino Espino & José Antonio Pérez Diestre, Universalidad y variedad en la estética y el arte. pp. 183-196.
    Ha de diferenciarse entre dos tipos de curaduría, así llamadas “tradicional” y “experimental”. El presente texto tiene como objetivo acercarnos conceptualmente a la curaduría tradicional a través de la figura del curador, así como presentar el lugar en el que esta se inserta en el proceso de conformación y realización del valor artístico de las obras, todo ello desde la postura de la teoría pluridimensional del valor. La curaduría tradicional es aquella ligada a la concepción del museo en su acepción (...)
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  5. Filme Noir Uma Compreensão Filosófica.Fábio Calza - manuscript
    Há muito tempo, o filme noir americano tem sido objeto de estudos críticos, que buscam decifrar a sua estética enigmática e a mensagem desafiadora. Trilhando sobre o lado mais negativo da vida humana, a questão central que ele propõe é: o que o noir representa, como forma singular de arte cinematográfica? Ora, compreender o filme noir passa pela necessidade de vê-lo no âmbito da matriz histórica de produção que lhe serviu de berço. Essa matriz é o chamado cinema clássico (...)
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  6. Sófocles: Teatro, Política e Desobediência Civil.Emanuel Isaque Cordeiro da Silva - manuscript
    Ciência Política: Introdução à Sófocles*1 -/- Science Politics: Introduction to Sophocles -/- Emanuel Isaque Cordeiro da Silva*2 -/- Sófocles (496/4-406 a.C.) -/- 1 CONTEXTO HISTÓRICO: TEATRO E POLÍTICA -/- Na Grécia antiga, o teatro fazia parte das celebrações religiosas, especialmente nos rituais e representações dos festivais em homenagem ao deus Dionísio. A tragédia nasceu de tais circunstâncias, culminando seu apogeu no século V a.C., com as peças de Ésquilo*3 (525-456a.C.), SÓFOCLES*4 (496/4-406 a.C.) e Eurípedes*5 (480-406 a.C.). Pode-se dizer que, contrário (...)
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  7. Título: Por outras Historiografias, Filosofias, Sociologias, Antropologias, Teorias da História e Filosofias da História - || - Subtítulo: Três Ensaios sobre a ‘Antiguidade, a era Medieval, a Modernidade e a Pós-modernidade: Transições, Rupturas, Continuidades, Ligações e Interconexões.Marcelo Barboza Duarte - forthcoming - Duarte, M. B..
    (Título: Por outras Historiografias, Filosofias, Sociologias, Antropologias, Teorias da História e Filosofias da História |||\\\ -/- Subtítulo: Três Ensaios sobre a ‘Antiguidade, a era Medieval, a Modernidade e a Pós-modernidade: Transições, Rupturas, Continuidades, Ligações e Interconexões) |||\\\ -/- (Title: For other Historiographies, Philosophies, Sociologies, Anthropologies, Theories of History and Philosophies of History |||\\\ -/- Subtitle: Three Essays on 'Antiquity, the Medieval Era, Modernity and Postmodernity: Transitions, Ruptures, Continuities, Links and Interconnections) |||\\\ -/- (Título: Para otras Historiografías, Filosofías, Sociologías, Antropologías, Teorías (...)
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  8. Trabajo técnico en La ciudad y los perros.Jesús Miguel Delgado Del Aguila - 2020 - Sincronía 24 (77):204-225.
    En el presente artículo, recurro al análisis bibliográfico a partir de la clasificación metateórica que he adoptado con respecto a cinco lineamientos constantes que se extraen de los estudios críticos de La ciudad y los perros (1963). Esta división está compuesta de las investigaciones efectuadas a las técnicas narrativas que se incluyen en el texto. De igual manera, destaco la delimitación interpretativa de querer representar las influencias de escritores que asumió el autor para configurar su obra. También, otro enfoque se (...)
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  9. The Possibility Conditions of an Ethics of Belief.Valentin Arts - 2024 - Dissertation, Vrije Universiteit Amsterdam
    This dissertation explores the question of whether we bear moral responsibility for our beliefs and how this responsibility is possible. Since we cannot directly choose our convictions, some have argued that we have no obligations concerning what we believe. However, we frequently hold each other accountable for our beliefs. Philosophers have responded to the argument against ‘belief duties’ in various ways. One response is that we are responsible for how we influence our beliefs. Another argues that moral responsibility does not (...)
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  10. 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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  11. 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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  12. 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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  13. 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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  14. The Pleasure of Art.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):6-28.
    This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...)
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  15. 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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  16. 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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  17. 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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  18. Art: A brief history of absence.Davor Dzalto - 2015 - Filozofija I Društvo 26 (3):652-676.
    This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all of (...)
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  19. 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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  20. Conceptual Art (Taylor’s Version).Sherri Irvin - 2025 - In Brandon Polite, 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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  21. 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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  22. Can art become theoretical?Clinton Peter Verdonschot - 2021 - Internationales Jahrbuch für Philosophische Anthropologie 11 (1):109-126.
    Art-science, as its name suggests, combines art with science. The idea of combining art and science raises the question whether the outcome, art-scientific works, can succeed against a standard properly belonging to them. In other words: can there be such a thing as an art-scientific work, or do such works merely belong to either art or science while superficially seeming to belong to the other sphere as well? Surprisingly perhaps, these concerns overlap with a chief point of contention as regards (...)
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  23. 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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  24. 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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  25. 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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  26. 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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  27. 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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  28. 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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  29. Toward an Epistemology of Art.Arnold Cusmariu - 2016 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 3 (1):37-64.
    An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...)
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  30. Painful Art and the Limits of Well-Being.Aaron Smuts - 2013 - In Jerrold Levinson, 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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  31. Art or Porn: Clear division or false dilemma?Hans Maes - 2011 - Philosophy and Literature 35 (1):51-64.
    Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...)
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  32. 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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  33. Art and Politics in Roger Scruton's Conservative Philosophy.Ferenc Hörcher - 2022 - 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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  34. Arte Conceptual.Elisa Caldarola - 2018 - Enciclopedia de la Sociedad Española de Filosofía Analítica.
    La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, (...)
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  35. Defining Art and its Future.Zachary Isrow - 2017 - Journal of Arts and Humanities 6 (6):84-94.
    Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art (...)
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  36. Art-matrix theory and cognitive distance: Farago, Preziosi, and Gell on art and enchantment.Jakub Stejskal - 2015 - Journal of Art Historiography 13:1-18.
    Recent theories of art that subscribe to the view that art objects are agents enchanting their target audience, have tended to explain the operation of art objects as an agent–patient dynamic, a causal nexus of agency. They face a challenge, however, when they also aspire to embrace the idea – dominant in modernist and contemporary art theory – that the function of art is to unsettle its spectators’ habitual ways of perceiving and understanding, that is, to disenchant them: If artworks (...)
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  37. Games: Agency as Art.C. Thi Nguyen - 2020 - New York: Oxford University Press.
    Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable about us. (...)
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  38. Understanding art: a checklist of the three most basic categories of crafted material.Jakob Zaaiman - 2016 - Alldaynight.Info.
    One of the difficulties standing in the way of a straightforward understanding of art is caused by the confusion that arises at a very basic level between the purposes and functions of various types of crafted material. In fact, there are only three major types – covering all eventualities – and being able to differentiate between them very much helps to pinpoint exactly what the special nature of ‘art’ is.
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  39. 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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  40. Monuments as commitments: How art speaks to groups and how groups think in art.C. Thi Nguyen - 2019 - Pacific Philosophical Quarterly 100 (4):971-994.
    Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. In (...)
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  41. The Art of Immoral Artists.Shen-yi Liao - 2024 - In Carl Fox & Joe Saunders, Routledge Handbook of Philosophy and Media Ethics. Routledge. pp. 193-204.
    The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we should not always (...)
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  42. 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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  43. Art and pornography.Hans Maes - 2009 - Journal of Aesthetic Education 43 (3):pp. 107-116.
    This paper provides an in-depth review of Jerrold Levinson’s most recent work in aesthetics, focusing especially on his account of the incompatibility of art and pornography. The author argues that this account does not fit well with Levinson’s own intentional-historical definition of art and his Wollheimian account of depiction.
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  44. Art and negative affect.Aaron Smuts - 2009 - Philosophy Compass 4 (1):39-55.
    Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular solutions to the (...)
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  45.  24
    The Art of Becoming: Tracing Technological Transformation and His Perception in Society.Raquel Cascales - 2024 - Review of Contemporary Philosophy 23 (2):1768-1785.
    Throughout the past century, technology integration into the human body has experienced remarkable growth, finding its expression through specific artistic movements that have acted as catalysts for acceptance and societal transformation. This article delves into the examination of three paradigm shifts that underpin this profound evolution. The first shift marks a departure from curative treatments for disabilities, shifting towards a focus on augmentative improvements. Subsequently, the second shift propelled the enhancement of healthy bodies, driven by the visionary concept of posthumanism, (...)
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  46. Art as Its Own Interpretation.Nicholas Maxwell - 2003 - In Andreea Ruvoi, Interpretation and Its Objects.: Studies in the Philosophy of Michael Krausz. Rodopi.
    In this article I argue that a work of art provides the best interpretation of itself - more faithful than any other scholarly interpretative work.
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  47. Interpreting Art.Sam Rose - 2022 - London, UK: University College London Press.
    Art interpretation in practice, not theory. -/- How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. -/- Ranging widely, (...)
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  48. Defining Art.Thomas Adajian - 2015 - In Anna Christina Ribeiro, 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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  49. Art and Bewilderment.Jakub Stejskal - 2016 - British Journal of Aesthetics 56 (2):131-147.
    In this paper, I seek to defend the proposition that bewilderment can contribute to the interest we take in artworks. Taking inspiration from Alois Riegl’s underdeveloped explanation of why his contemporaries valued some historically distant artworks higher than recent art, I interpret the historical case of the European audiences’ fascination with the Fayum mummy portraits as involving such a bewilderment. I distinguish the claim about effective bewilderment from the thesis that aesthetic meaning resists discursive understanding and seek to establish that (...)
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  50. Enriching Arts Education through Aesthetics. Experiential Arts Integration Activities for Early Primary Education.Marina Sotiropoulou-Zormpala & Alexandra Mouriki - 2019 - London, UK: Routledge.
    Enriching Arts Education through Aesthetics examines the use of aesthetic theory as the foundation to design and implement arts activities suitable for integration in school curricula in pre-school and primary school education. This book suggests teaching practices based on the connection between aesthetics and arts education and shows that this kind of integration promotes enriched learning experiences. -/- The book explores how the core ideas of four main aesthetic approaches – the representationalist, the expressionist, the formalist, and the postmodernist – (...)
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