Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing (...) us the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

In The Life of a Style, Jonathan Gilmore claims that such narrative developments inhere in the history of art itself.By exploring such topics as the discovery ...

In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our (unfolding) life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology (...) of artifacts in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally-laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct. (shrink)

This paper is about visual narratives. Most of the examples used in the philosophical literature on narratives are literary ones. But a general account of narrative needs to be able to cover both pictorial and literary cases. In the first part of the paper, I will argue that none of the most influential accounts of narrative are capable of this. In the second part, I outline an account of visual narratives, or, rather, of our engagement with visual narratives.

I defend the claim that fictional narratives provide cognitive benefits to readers in virtue of helping them to understand character. Fictions allow readers to rehearse the skill of selecting and organizing into narratives those episodes of a life that reflect traits or values. Two further benefits follow: first, fictional narratives provide character models that we can apply to real-life individuals (including ourselves), and second, fictional narratives help readers to reflect on the value priorities that constitute character. I defend the plausibility (...) of these cognitive benefits against certain worries raised by Gregory Currie and Peter Goldie. (shrink)

Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...) artistic creation marks a new chapter in the narrative, which seems to have reached its end, or if it represents a significant rupture with past artistic traditions. (shrink)

In the present condition of planetary environmental crises, violence, and war, entire ecosystems are annihilated, habitats turn into unliveable spaces, and shared “more-than-human” vulnerabilities get amplified. Here and now, death and loss become urgent environmental concerns, while the Anthropocene-induced anxiety, anger, and grief are manifested in popular-scientific narratives, art, culture, and activism. Grounded in the theoretical framework of queer death studies, this article explores present grief imaginaries and engagements with more-than-human death, dying, and extinction, as they are interwoven through contemporary (...) art. It is there where an ecological ontology of death is being exposed and ethical territories of eco-grief unfold. (shrink)

This work investigates one of the most widespread yet elusive ideas about our experience of art: the idea that there is something cognitively valuable in engaging with great artworks, or, in other words, that we learn from them. This claim and the age-old controversy that surrounds it are reconsidered in light of the psychological and neuroscientific literature on learning, in one of the first systematic efforts to bridge the gap between philosophical and scientific inquiries on the topic. The work has (...) five chapters. Chapter 1 lays down its conceptual bases: it explains what learning is taken to be in the current philosophical debate and it points out how Bayesian cognitive science (particularly in its predictive processing formulations) might be well-suited to capture the kind of learning involved in our engagement with the arts. The following chapters test this latter hypothesis with respect to particular art forms, namely literature and literary language (Chapter 2), narrative (Chapter 3), and visual art, music and motor activities (Chapter 4). The fine-grained discussions conducted in each of these areas will enable us to see that the relationship between art and learning is indeed fundamental and pervasive. The final chapter (Chapter 5) examines the consequences of this fact for our understanding of the role of art in our epistemic practices, its ultimate usefulness and value, and its place in the interdisciplinary study of the human mind. The upshot is a novel and wide-ranging picture, both philosophically informed and empirically sound, that bypasses many of the problems and dead ends of the current philosophical debate on the topic and captures the deep sense in which art and learning are interrelated. (shrink)

This paper examines the narrative contribution of the humorous gag, as a dynamic image intended to create ambivalence, in the biblical stories. Despite being one of the most important resources used to produce comedy in the visual arts, the gag can also be observed from a narratological point of view to meas-ure its involvement in a plot. Storytelling through gags provides an alternative means of approaching issues, developing threads and concluding episodes. The distinctiveness of the gag lies in the (...) strength of the images it suggests. The more shocking or misplaced a gag appears, the greater its contribution to the general narrativity, which may become more evident according to the strength of the image built. This argument is shown through some biblical examples. (shrink)

I discuss the aesthetic power of painful art. I focus on artworks that occasion pain by “hitting too close to home,” i.e., by presenting narratives meant to be “about us.” I consider various reasons why such works may have aesthetic value for us, but I argue that the main reason has to do with the power of such works to transgress conversational boundaries. The discussion is meant as a contribution to the debate on the paradox of tragedy.

In this paper I argue that protest images have a certain aesthetics and a degree of transformative power. Crucial to this aesthetics is the images’ narrative struc- ture, like the representation of goal-directed actions. On this basis, I show that there are more aspects that contribute to the storytelling capacity, like narrative characteristics and an aesthetics of dramatization. Using the example of climate change protests as a case study, I establish that these aspects can contribute to the transformative (...) ability of protest images, if used effectively. (shrink)

This article brings out ethical aspects arising in Plato’s classical critique of narrative and imitative art in The Republic, especially when it comes to reading stories about the past. Socrates’s and Glaucon’s most important suggestion, I argue, is to cultivate an ethical consciousness where one ought to see the distinctions between how the real and the imaginary in narratives are to be conceived, and what that insight ethically demands of the reader. Taken as an ethical insight for the reader (...) when engaging in narrative understanding, this should be to resist the temptation to think that past suffering and misery as told in a story can be read analogously to narratives having a tragic plot. The article clarifies the meaning of Plato’s critique through the ideas of Simone Weil, Emmanuel Lévinas and Iris Murdoch. These existential moral philosophers work towards having an ethical consciousness in one’s personal relationship with stories of our lifeworld. (shrink)

The article will be divided into three parts: 1. Explain the literary origins of the nesting pattern and its relationship to cinema narrative, and analyse the nesting tactics commonly used in films under Hollywood’s classical narrative. 2. Describe the variations in nested structures in films made in the 1990s, focusing on self-reflexive nesting, which emerged as a new model beyond conventional nesting during this period. 3. Distinguish the literary style of embedded narratives from the visual recognition mode and (...) provide an example of how the latter is used in films to create impossible puzzles. (shrink)

In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful in expression (...) this message should be comprehensible and certainly not incoherent. The author of this paper draws on Levinson's “Messages in Art” as well as his “Music as Narrative and Music as Drama” to explore further the issues mentioned above. In particular the author argues that seeing musical works through the message it may generate is somewhat reductive and that musical work as well as other artworks are prone to abiding by an aesthetic code and therefore even when they allow for interpretation in terms of messages or morals these messages are incoherent or vague at best. (shrink)

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

The traditional conception of art is about sensual beauty and refined taste; modern art on the other hand has introduced an entirely unexpected dimension to the visual arts, namely that of ‘revelatory narrative’. Classical art aspires to present works which can be appreciated as sensually beautiful; modern art, when it succeeds, presents us instead with the unsettling narrative. This radical difference in artistic purpose is something relatively new, and not yet fully appreciated or understood.

In his philosophy of art history, Arthur C. Danto claims that in the 1960 ́s the master narrative of art had come to an end, and that we had reached the end of art. This conception has been widely considered, but also misunderstood. Hans Maes has recently discussed Danto's conception of the end of art in his article, where he clears some misconceptions about the thesis, but at the same time challenges Danto's analysis of contemporary art.

Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book on (...) Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

Recent science fiction has brought anthropomorphic robots from an imaginary far-future to contemporary spacetime. Employing semiotic concepts of semiosis, unpredictability and art as a modelling system, this study demonstrates how the artificial characters in four recent series have greater analogy with human behaviour than that of machines. Through Ricoeur’s notion of identity, this research frames the films’ narratives as typical literary and thought experiments with human identity. However, the familiar sociotopes and technoscientific details included in the narratives concerning data, privacy (...) and human–machine interaction blur the boundary between the human and the machine in both fictional and real-world discourse. Additionally, utilising Haynes’ scientist stereotypes, the research puts the robot makers into focus, revealing their secret agendas and hidden agency behind the artificial creatures. (shrink)

This article investigates the relationships between forms of humor that conjure up possible worlds and real-world social critiques. The first part of the article will argue that subversive humor, which is from or on behalf of historically and continually marginalized communities, constitutes a kind of aesthetic experience that can elicit enjoyment even in adversarial audiences. The second part will be a connecting piece, arguing that subversive humor can be constructed as brief narrative thought experiments that employ the use of (...) fictionalized scenarios to facilitate an open, playful attitude, encouraging a space for collaborative interpretation. This interaction between humorist and audience is an aesthetic experience that is enjoyable in and of itself, as the feelings of mirth are intrinsically valuable. But connected to the “Ha-ha!” experience of these sorts of humorous creations is an “Aha!” or potentially revelatory experience that is a mixture of cognitive comprehension and motivated (emotional) response. The third part of the article will attempt to go beyond the consciousness-raising element with an account of how such possible worlds created in the realm of imagination through subversive humor can bleed into the real world of flesh and blood people. Finally, an example of subversive humor will be analyzed. (shrink)

Fred Polak’s futurology takes up where F. W. Schelling’s claims about the ‘modern mythology’ leaves off. Linking these, I argue Art and humanity’s joint meaning crisis originates in ‘symbolic idealism’, de-futurising both and crippling humanity’s attempts to develop a proper internal ‘narrative order of goods’ needed for our survival. Polak’s tracing of how various forms of Expressionism emerged from Impressionism in later modernism, transforming our images of reality and the future, vindicates Schelling’s earlier claims that our symbolic mode of (...) ‘worlding’ creates a materially positivistic idea of progress. And our modern repurposing of art has produced what Polak calls a disorienting ‘false and deluded realism’ partly responsible for the counter-utopian, post-humanist tendencies prevalent today in both the East and West. (shrink)

Near-death experiences have been described with a variety of forms and narratives. Different medical conditions leading to loss of consciousness or causing a restriction in the perceptive field have been related with the appearance of near-death experiences. A few literary narratives of these experiences are available, with fictional characters exposed to helplessness and despair during the impending death. A situation of near-death experience is described in the last part of the seventh chapter of an Albanian novel „The castle‟ of Ismail (...) Kadare. The last two pages of this chapter describe the confusion following the crash of a tunnel dug deep underground from Turkish soldiers, which aimed to reach inside a besieged castle. Darkness-related hallucinations and restriction of cognitive field due to environmental factors will be responsible of the aftermath following the deliberate crash of the tunnel, caused from the castle inhabitants, after fierce fighting during the siege. A fictional description of these experiences and of the psychological and physical agony will complete the rest. Near-death moments and respective descriptions have been an important field of medicine, humanities and forensic sciences. Only some writers have hazarded into describing such personal experiences of despair and helplessness during the agony and impending death. (shrink)

How one transcends the self depends on the self that experiences it. Is it instigated or sought, does it happen by accident, or by an act of Grace? Is it common or rare? Is it brought on by the ingestion of psychedelic agents or by meditation or by being overcome by fear or merely by caring more about the welfare of others than oneself? Is it transcendence to experience a shift of perspective or dissolution of the self? In the pages (...) that follow, each of these paths is explored in nine ways, each unique unto itself. None of them deal with absolute self-transcendence, which should be no surprise, for, as I’ve indicated, there would no longer a self or person to record or communicate the event. Many of them deal the transcendence of self-consciousness, my own included, but only two describe the ingestion of mind-altering psychedelics to catalyze the event. One sees self-construction from the ground-up, as it were, as a form of transcending a previous self that has disintegrated. One looks to acts of kindness to sidestep the illusion of self-consciousness. Two, at least, look to creative experience in the arts as a way to connect with universal spontaneity, but in very different ways. The others refer to what might be called spiritual experiences that, though thirsted for or sought, arrive unexpectedly, almost like a gift. (shrink)

The striking title The End of Art managed to draw attention to the philosophical work of Arthur Danto. However, the lack of a systematic development which could support this thesis made him face harsh criticism. However, strong foundations for his statements can be deduced from his writings. In this paper, I analyse how to understand the thesis of the ‘end of art’. It should be approached not as a monolitical notion but as a complex concept that combines three different senses: (...) 1) the ‘end of art’ in the Hegelian sense: the conversion of art into philosophy, 2) the ‘end of art’ in the historiographical sense: as the end to the narratives of the history of art, and 3) the ‘end of art’ as the beginning of a new period in history, where Danto’s philosophy of art would be fully valid. (shrink)

Narrativity is basically linked to the dynamics of the events and actions which are told and it depends on the pragmatic context, mainly on the narrator and his audience, i.e. on the discursive setting. These dynamics ask for an adequate theoretical frame, e.g. in the format of dynamical system theory or vector analysis. Furthermore, narrativity can be manifested in different modalities. We shall present some specimens of analysis in the linguistic modality (spontaneous oral tales, folktales), in the visual modality (painting (...) by Leonardo da Vinci, action movie in the series of Bond films), and in the musical modality (Blues music). The static analyses in the tradition of structuralism are replaced by morphodynamic schemes, by gesture and glance vectors, paths of pursuit and scenarios of conflict in action movies and eventually by harmonic sequences in the Blues. In this dynamic perspective, the notion of narrativity gains a different profile and it is freed from the preference for linguistic or logical categories. (shrink)

Theoretically grounded in queer death studies and environmental humanities, this article has a twofold aim. Firstly, it explores the somatechnics of environmental violence in the context of Northern and Eastern Europe, while paying attention to ongoing ecocide inflicted by Russia on Ukraine, and to the post-WW2 chemical weapon dumps in the Baltic Sea. Secondly, the article examines the concept of eco-grief in its close relation to artistic narratives on ecocide. By bridging the discussion on environmental violence and artistic renderings of (...) eco-grief, the article hopes to contribute to a better understanding of the socio-cultural responses to more-than-human death and loss, and their accompanying ethical imaginaries and affordances. (shrink)

This dissertation is an attempt to find a single framework for understanding two seemingly conflicting aspects of Nabokov's Russian novels---the metaphysical and the existential. The metaphysical aspect is analyzed according to Leibniz's "Monadology," with its key concepts of the monad, pre-established harmony, the optimization of the universe, and sufficient reason. The existential aspect is examined according to Sartre's theory of the gaze from "Being and Nothingness"; its main notions are being-for-another, radical individuation and intersubjective struggle. Concern with the level of (...) being is assumed to be the most basic and unifying element of the Nabokovian worldview. It is shown that Nabokov conceives individual being as value, and that he understands self-authorship as self-ownership. The value of individual being is threatened by intersubjective contact: the other, via the gaze, can undermine its property status, and eventually alienate it. All particular plots are derived from these underlying premises. The key Nabokovian themes of blindness, non-transparency, loss, memory and art are demonstrated to refer back to the root concepts of the gaze and self-protection. ;The dissertation develops two original conceptual tools: a theory of unreliable focalization and a theory of paranoid experience ;Close readings of Nabokov's texts have resulted in several philological findings. Structural and textual parallels have been discovered between "Mashen'ka" and Shakespeare's "Hamlet," as well as between "Priglashenie na kazn'" and Descartes' "Meditations." It has also been shown that the protagonist's story in "Zashchita Luzhina" is repeated four times and not two. (shrink)

Religious faith may manifest itself, among other things, as a mode of seeing the ordinary world, which invests that world imaginatively (or inspiredly) with an unseen depth of divine intention and spiritual significance. While such seeing may well be truthful, it is also unavoidably constructive, involving the imagination in its philosophical sense of the capacity to organize underdetermined or ambiguous sense date into a whole or gestalt. One of the characteristic ways in which biblical narratives inspire and teach is by (...) renewing their characters’ and readers’ imagination. The texts do so not inexorably but in a similar way as (other) works of art. This paper therefore investigates the ways in which works of art engage and develop the imagination, and thereby enable renewed perceptual and cognitive engagement with the world. The paper introduces predictive processing as a helpful psychological theory for analyzing this dynamic, and outlines questions for further research. (shrink)

If we conceive of ourselves as animals, it might be accurate to call us visual animals. The visual cortex is much larger in us relative to the size of our brains than in other animals, and large relative to the parts of the cortex responsible for the transmission of signals emanating from the other perceptual transducers. Our ability to recall visual images, recombine them in imagination and enter imaginatively into narratives is linked to this evolved piece of brain architecture. However, (...) what this means within the context of human culture is not so clear. A large visual cortex might not necessarily translate into a heightened susceptibility for fine visual distinctions over auditory or kinetic distinctions, at least not in all cultural contexts. (shrink)

Based on accounts and rewrites, this article intends to think about paths in photography history, their connections between ethics, and use of image and narrative appropriations. Taking the Pará Amazon as a place of reflection, an effort is made to rethink the power relation-ship constituted by a specific point of view in the history of image. This text had the collaboration of Izabelle Louise Anaúa Tremembé, an indigenous student at Federal University of Pará (UFC). In her accounts, she talks (...) about appropriation culture, exotification of sacred objects, and sexualization of female bodies, as well in her speech, she affirms the lack of knowledge when it comes to their rituals and even brought up that indigenous autonomy in making art has always existed. The accounts were articulated on the occasion of the meeting between teachers and photography and cinema producers, in April 2019, Alcantara, Maranhão. (shrink)

The perceived shift of emphasis on performance studies to the contextual imperative necessitates a corresponding examination of approaches that have the potential to yield better result on contextual analysis of performances and society, (Magoulick:2014, van der Aa and Blommaert: 2015). The ethnography on performance studies has therefore emphasized either the ethnography of performance or performance ethnography, two approaches that require in-depth immersion of the researcher in the target community’s life and practices to enhance “interactive” and “insider” views of performance contexts (...) in relation to cultural practices. These two approaches, however, still have limitations as D.S. Farrer (2007) observes. The possibilities and limitations of these approaches call for a deeper understanding of cultural praxis within target communities as means for the furtherance and explication of the intricacies of performance contexts. They also raise pertinent questions as to which of these approaches best explicates a society’s culture. Through an appraisal of the Bakor oral narrative repertoire, this paper attempts an examination of the tenets of both approaches and posits that an integrative and/or collaborative selection of aspects of each approach, taking into cognizance the cultural landscape of the target community, will yield more positive results on how ethno-historical antecedents affect performance contexts and how performance techniques or styles and art-based research aid the construction of culture and identity. (shrink)

The article presents the results of a narrative study, in the framework of which the concepts of decency and honesty in the academic environment are considered. Fifteen teachers from six teacher training colleges in Israel were selected for the study. The main goal of the study: to determine how decency and honesty are interpreted by teachers, who combine administrative work with teaching, and how these concepts are defined by teachers who are exclusively engaged in teaching students. The results of (...) the study showed how important it is to be an honest teacher. Especially when it comes to educating the future generation of teachers. (shrink)

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest (...) different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen. (shrink)

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements used, constructions often (...) resulted in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)

This substantial book is a highly original and thorough work of synthetic first philosophy. Although it has some recognizable roots in the Kantian/Sellarsian tradition of the Pittsburgh school, it adds a wealth of precise discussion of examples from science and mathematics, made possible by Macbeth's dual training in arts and sciences. It presents a developmental story of human reason bootstrapping itself towards greater power and clarity through the Western tradition (which is the sole purview of the discussion). This development is (...) divided into three distinct stages, which might be summarized very roughly as knowledge of: i) Objects, ii) Concepts applied to Objects and iii) Concepts alone. (shrink)

The exacerbating energy crises that are wreaking havoc around the globe, as well as the apparent effects of climate change, have spurred, amongst other causes, the concerted orientation towards amelioration aims such as the United Nations Sustainable Development Goals (SDGs) and environmental, social, and corporate governance (ESG). Although often presented as not only the solution to these global problems (if adopted wholesale), they are increasingly being used as a vehicle to traffic the centralisation of power and exacerbate growing authoritarian trends. (...) This chapter aims to demonstrate how the narratives surrounding ESG package the problem into what might otherwise be the solution to global problems, missing the forest for the trees. (shrink)

A critical exposition, in Spanish, of Erving Goffman's theories on the semiotic organization of social reality and on the structure of subjectivity and subjective experience (two sides of the same coin) through a detailed analysis of the conclusion to Frame Analysis (1974). Goffman's insights into the interactional nature of subjectivity are related to other theorists' conceptions of the role of reflexivity in perception, consciousness and the structuring of semiotic artifacts (language, narrative, art).

The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...) to serve. (shrink)

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the (...) work and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

This text takes as an excuse the homonymous exhibition at the Museo de Antioquia, to address the history and political gestures in contemporary art. By addressing some curatorial approaches of the exhibition, it explores the cultural functions of the museum as a place of localization of descriptive and communicative processes about culture, and how the exhibition reveals the negative effects of these functions on cultural processes. The text highlights the presence of the artist Jorge Marín, who in his works questions (...) the influence of the notion of progress in the territory. He recovers what has been discarded by history to stage what has been rejected and repudiated. Marín's works are presented as a survival strategy that illuminates other ways of thinking about the territory of culture and questions the concept of history as a fixed representation. In this way, it highlights the importance of addressing history and political gestures in the production of contemporary art, and how the exhibition "El Jardín de los senderos que se bifurcan" and the work of Jorge Marín are examples of how art can question and subvert the hegemonic narratives of history and culture. (shrink)

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 (...) combines insights from various fields to enrich discussions on spatial justice and inspire urban transformations. By examining liminal spaces and the 'phygital' nexus, the paper challenges conventional urban narratives and advocates for more inclusive and equitable urban strategies. (shrink)

The debates on the scientificity of social sciences in general, and sociology in particular, are recurring. From the original methodenstreitat the end the 19th Century to the contemporary controversy on the legitimacy of “regional epistemologies”, a same set of interrogations reappears. Are social sciences really scientific? And if so, are they sciences like other sciences? How should we conceive “research programs” Lakatos (1978) or “research traditions” for Laudan (1977) able to produce advancement of knowledge in the field of social and (...) human phenomena? Is the progress of knowledge in social sciences similar to the one generally observed in natural sciences? Is it possible to evaluate the relative merits of each one of these research programs? -/- These debates are important vectors of social and intellectual polarization. The historical divide between the positivist and the hermeneutics poles precedes the structure of the contemporary debate around the epistemic space of social sciences, It is not only a question of renewing the opposition between a monist view of sciences (e.g. McIntyre, 1996) and a dualistic one (e.g. Geertz, 1973) or even a trialist view of sciences (e.g. Lepenies, 1985). It is also a question of asserting dichotomies transformed into framework (including when it is a question of exceeding them): nature-culture, nomothetic-idiographic, models-narrative, structure-history, cause-reason, explanation-comprehension. -/- In this short introduction, we provide, in section 2, a first overview of this epistemological debate in social science. Section 3 proposes a different standpoint on the same questions, by introducing both ontological and methodological aspects in this basic epistemological debate. Namely, following (Hollis, 1994) oppositions of the explanation - understanding, causes - meaning, etc., types discussed in the firsts ection are comparatively examined together with oppositions of the structure - action, holism - individualism types. This allows us to discus show multi-agent design, by integrating various dimensions and standpoints in the same framework (Phan, Amblard, 2007, Chapters 1, 5, 14) can help us to shift these boundaries, and to bypass these oppositions. As model building and ontology design are at the core of this process (Phan, Amblard, 2007, Chapter 12), Section4 discusses various issues of the art of modelling, starting both from economists’ and sociologists’ current standpoints. (shrink)

In a very literarily complicated setting, Frater Taciturnus sets a remark about Hamlet not being a Christian tragedy. After unpeeling that literary setting and noting that Taciturnus' remark aims more at Jacob Börne than at Shakespeare, the paper shows how Frater Taciturnus' remark calls into question the religious project of a certain danish author. For, Taciturnus' primary concern is to show that religious drama is not possible, or at least "ought not be." This general law applies to Hamlet as well, (...) and if Shakespeare was attempting a religious drama he a) shouldn't have because such a thing is essentially undramatizable, and b) failed because he did not begin (which would be possible) by showing the hero's religious presuppositions. Frater Taciturnus himself has given considerable thought to the extent and the manner in which the religious can be represented; in fact the letter to the reader is his proof of how perfectly his own narrative, "Guilty/Not Guilty," was constructed with precisely these problems in mind. The play is not the thing that Taciturnus is really interested in, nor is he interested in the playwright's intentions, he considers that the play's the thing that catches out Börne's misunderstanding of the religious, and it is this field—in particular, that area where the religious life and literary art intersect, that is the brother's interest and forte. But if Taciturnus is correct in his criticism of Börne, it should be impossible for S. Kierkegaard to produce a religious authorship as well. (shrink)

Portraits are defined in part by their aim to reveal and represent the inner ‘character’ of a person. Because landscapes are typically viewed as lacking such an ‘inner life,’ one might assume that landscapes cannot be the subject of portraiture. However, the notion of landscape character plays an important role in landscape aesthetics and preservation. In this essay, I argue that landscape artworks can thus share in portraiture’s goal of capturing character, and in doing so present us with essential tools (...) for revealing the often ineffable character of place. I explain the implications of this view for debates about scientific cognitivism in environmental aesthetics, representing the narrative dimension of landscape character and integrity, and appeals to the character of place in historic and environmental preservation. (shrink)

According to the book blurb (p. iv), the themes explored in the volume include the nature of love, romanticism, and marriage; the passage and experience of time; the meaning of life; the art of conversation, the narrative self; gender; and death. All these topics are indeed touched upon to a greater or lesser extent. I find this book to be, in its essence, an investigation of love and romance. So, my main question here is: what can we learn about (...) romantic life from this philosophical exploration of the Before trilogy? (shrink)

Visitors is a hybrid art film fusing photography and music into a complex abstract texture for the attention of the viewer. It is also a requiem for our ‘New Order for the Ages’ in which humanity grows more and more technologically interconnected and communality means being alone together. We argue that Visitors can be experienced as a seeing aid designed to situate the viewer bewilderingly as needing to reacquire the capacity to see human beings as human beings. This is achieved (...) by various cinematic strategies of dépaysement, which render the familiar uncommon again by enabling us to recapture the uncanniness of what it is to be human. Most strikingly, seeing one another anew is facilitated in Visitors by the autonomous gradual musical processes of Philip Glass’s minimalist score, which not only affords a musical narrative for the imagery but also binds the film ironically to Beethoven’s Ninth Symphony. (shrink)

The present narrative describes and problematizes one year of Educational and philosophical work with illiterate adults in contexts of urban poverty in the Public School Joaquim da Silva Peçanha, city of Duque de Caxias, suburbs of the State of Rio de Janeiro during 2008. The project, “Em Caxias a Filosofia En-caixa?!”, consists of a teacher education program in which public school teachers study and practice the art of composing philosophical experiences with their students, and the realization of actual experiences (...) of philosophy in classrooms with children and students in an adult literacy class. This narrative is concerned with the latter aspect of the project, more specifically experiences working with adult students practicing philosophy. The thirty students and three teachers involved in the course do not study the history of philosophy, nor do they create philosophical systems or theories. Rather they participate in a philosophical experience that might best be able to understand by examining Pierre Hadot’s concept of philosophy “as a way of living”. (shrink)

Detailed review of the 2018 film. This article is concerned to define contemporary art such that the machinations of the current art market - as portrayed in the film - make sense. The central idea is that the best of contemporary art is narrative rather than merely aesthetic; and a failure to understand this leads to the confusion that currently characterizes judgements about modern artworks.

In the realm of pixels and virtual spaces, the art of placemaking transcends physical confines, weaving a digital mosaic of voices and visions. Feminist digital placemaking emerges as a vibrant brushstroke on this canvas, painting online environments with the hues of inclusion, safety, and empowerment. The "Woman, Life, Freedom" movement in Iran, mirrored in the "Year of Hope" digital exhibition, showcases the transformative power of feminist digital placemaking in amplifying voices, knitting solidarity, and challenging oppressive narratives. The "Woman, Life, Freedom" (...) movement, sparked by the tragic demise of Mahsa (Jina) Amini, unfolds like a poignant narrative, with women scripting the chapters of resistance. This movement, a collage of courage and defiance, has found a digital stage in the "Year of Hope" exhibition, where each artwork tells a story, each pixel a testament to the unyielding spirit of Iranian women. (shrink)