Results for 'nature of art'

978 found
Order:
  1. Nature, Fine Art, and The Other One: A Defense of the Artistic Sublime in Kant.Shelby Alexis Blevins - manuscript
    In the Critique of the Power of Judgment, Immanuel Kant characterizes the sublime as a negative pleasure derived from the encounter with something absolutely great. Some scholars have claimed that Kant’s notion of the sublime only applies to objects in nature (Abaci 2008, 239). Others contend that the object that provokes the sublime experience is not confined to objects of nature since the sublime is an experience in the mind (Clewis 2010, 169). This paper argues that Kant’s Critique (...)
    Download  
     
    Export citation  
     
    Bookmark  
  2. Literature and the Passing of Time: Reflecting on the Temporal Nature of Art.Derek Allan - manuscript
    The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.
    Download  
     
    Export citation  
     
    Bookmark  
  3. The Stubbornness of Nature in Art: A Reading of §§556, 558 and 560 of Hegel's Encyclopedia.Ioannis Trisokkas - 2021 - In Joshua Wretzel & Sebastian Stein (eds.), Hegel's Encyclopedia of the Philosophical Sciences: A Critical Guide. New York, NY, USA: Cambridge University Press. pp. 232-250.
    Speight has recently raised the question, which he himself leaves unanswered, how naturalism relates to spirit in Hegel’s philosophy of art. ‘Naturalism’ denotes an explanation that invokes aspects of nature that are (allegedly) irreducible or resistant to thought. I call nature ‘stubborn’ insofar as it evinces resistance to its being formed by thought and hence to its being united with it. This paper argues that §§556, 558 and 560 of Hegel’s Encyclopedia answer Speight’s question by specifying three elements (...)
    Download  
     
    Export citation  
     
    Bookmark  
  4. Aristotle on the Nature and Art of Selfhood.P. Winston Fettner - manuscript
    We are political creatures, and we all need others who care about the development of our character and who offer guidance and advice; “if this were not so, we there would be no need for an instructor” (N. Ethics, 1003b12-3). We imitate those who have already successfully developed courage or moderation, acting as if we were brave or moderate, struggling at first, but slowly training ourselves...but, if “acting-as-if” and imitation are the keys to developing virtue, then surely the Poetics will (...)
    Download  
     
    Export citation  
     
    Bookmark  
  5. The Pendular Nature of Human Experience: Philosophy, Art, and Liberalism.R. Azize - 2023 - Cosmos + Taxis 11 (3 + 4):34-47.
    If we are to escape reification—a sort of cogni- tive neutrality of basic, gnosic apprehension of the world plus a fundamental disrespect of the other as free agent—we should recognize our mode of existence as always already one of existential engagement with and within experience, aiming at articulating and expressing this engagement. One way of fully inhabiting this, let’s call it the proper human stance, is through recognizing a pendular space between the basic attitudes of acknowledging lived, shared interests and (...)
    Download  
     
    Export citation  
     
    Bookmark  
  6. Review of 'The Nature of Order: An Essay on the Art of Building and the Nature of the Universe, Book Two, The Process of Creating Life' by Christopher Alexander. [REVIEW]Arran Gare - 2005/2006 - The Structurist 45:29-34.
    Book Review of Christopher Alexander, 'The Nature of Order: An Essay on the Art of Building and the Nature of the Universe, Book Two, The Process of Creating Life'.
    Download  
     
    Export citation  
     
    Bookmark  
  7. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark   48 citations  
  8. The Cultural Definition of Art.Simon Fokt - 2017 - Metaphilosophy 48 (4):404-429.
    Most modern definitions of art fail to successfully address the issue of the ever-changing nature of art, and rarely even attempt to provide an account that would be valid in more than just the modern Western context. This article develops a new theory that preserves the advantages of its predecessors, solves or avoids their problems, and has a scope wide enough to account for art of different times and cultures. It argues that an object is art in a given (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  9.  95
    A New Harmonisation of Art and Technology: Philosophic Interpretations of Artificial Intelligence Art.Tao Feng - 2022 - Critical Arts 36 (1-2):110-125.
    Artificial intelligence (AI) art is the product of AI technology applied to art. In terms of technical application, AI art has two methods: symbolism and connectivism. In terms of the human-machine system, there are three levels: human using machine, human guiding machine and human-machine separation. AI art is a special form, existing between natural beauty and human art: AI art, first of all, is not a natural aesthetic object, given that it is the product of artefacts. Its appreciation is mixed (...)
    Download  
     
    Export citation  
     
    Bookmark  
  10. The Double Content of Art.John Dilworth - 2005 - Amherst, NY: Prometheus Books.
    The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies (...)
    Download  
     
    Export citation  
     
    Bookmark   10 citations  
  11. Definitions of Art, by Stephen Davies. [REVIEW]Peg Brand - 1994 - Philosophy and Phenomenological Research 54 (2):492-494.
    Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  12. The Affective Nature of Horror.Filippo Contesi - 2022 - In Max Ryynänen, Heidi Kosonen & Susanne Ylönen (eds.), Cultural Approaches to Disgust and the Visceral. Routledge. pp. 31-43.
    The horror genre (in film, literature etc.) has, for its seemingly paradoxical aesthetic appeal, been the subject of much debate in contemporary, analytic philosophy of art. At the same time, however, the nature of horror as an affective phenomenon has been largely neglected by both aestheticians and philosophers of mind. The standard view of the affective nature of horror in contemporary philosophy follows Noël Carroll in holding that horror in art (or “art-horror”) is an emotion resulting from the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  13. Paths from the Philosophy of Art to Everyday Aesthetics.Oiva Kuisma, Sanna Lehtinen & Harri Mäcklin (eds.) - 2019 - Helsinki, Finland: Finnish Society for Aesthetics.
    During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy of art and (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  14. REALISM IN ART AND REALISM OF ART / РЕАЛИЗМ В ИСКУССТВЕ И РЕАЛИЗМ ИСКУССТВА.Pavel Simashenkov - 2024 - Актуальные Вопросы Культуры, Искусства, Образования 40 (№ 2):75-82.
    The article analyzes the aesthetic content of the concept of realism in stylistic, genre and ideological aspects. Guided by the comparative method and a comprehensive approach to the study of the problem, the author declares the a priori avant-garde nature of art and, as a result, the groundlessness of confrontation between realists and avant-gardists. The catharsis achieved by the realism of expressive means should be real. Thus, the author's vision of realism presupposes not so much the harmony of art (...)
    Download  
     
    Export citation  
     
    Bookmark  
  15. The science of art: A neurological theory of aesthetic experience.Vilayanur Ramachandran & William Hirstein - 1999 - Journal of Consciousness Studies 6 (6-7):15-41.
    We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...)
    Download  
     
    Export citation  
     
    Bookmark   126 citations  
  16. The Very Idea of Art.Derek Allan - manuscript
    Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being ample evidence (...)
    Download  
     
    Export citation  
     
    Bookmark  
  17. Hegel's End of Art Revisited: The Death of God and the Essential Finitude of Artistic Beauty.Jeffrey Reid - 2020 - Clio: A Journal of Literature, History, and the Philosophy of History 1 (48):77-101.
    The article re-visits the different scholarly approaches to Hegel's end-of-art scenario, and then proposes a new reading whereby ending and finitude are presented as essential features of beautiful art. The first and most determinant of art's endings is the death of the Christly art object, not representations of Christ, but the actual death of (the son of) God himself as the last classical artwork. The death of God represents the last word in Greco-Roman art, the accomplishment of the beautiful individuality (...)
    Download  
     
    Export citation  
     
    Bookmark  
  18. Nancy Cartwright. Nature, the Artful Modeler: Lectures on Laws, Science, How Nature Arranges the World and How We Can Arrange It Better. [REVIEW]Walter Veit - 2021 - Philosophy of Science 88 (2):366-369.
    Download  
     
    Export citation  
     
    Bookmark   9 citations  
  19. The Nature of Aesthetic Experience and the Role of the Sciences in Aesthetic Theorizing.Sherri Irvin - 2019 - Estetika: The European Journal of Aesthetics 56 (1):100-109.
    Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project that remains (...)
    Download  
     
    Export citation  
     
    Bookmark  
  20. Art, artefact and nature in Gillo Dorfles’s work. For an understanding of our aesthetic constitution.Filomena Parente - 2022 - Debates in Aesthetics 17 (2):39-53.
    Where Gillo Dorfles sees an ‘aesthetic quotient’ able to promote a right relationship between man and nature, and nature and artefact, the concept of objectualization accounts for the ambivalent consequences of man’s appropriation of nature, occurring in the shaping of reality. This concept appears in the arts but also in the production of ordinary man-made objects. The latter recalibrates our own understanding of art and nature. Starting from a definition of objectualization, the hypothesis of an equation (...)
    Download  
     
    Export citation  
     
    Bookmark  
  21. On the social nature of artefacts.Tim Juvshik - 2024 - Theoria 89 (6):910-932.
    Recent work in metaphysics has focused on the nature of artefacts, most accounts of which assume that artefacts depend on the intentions of their individual makers. Artefacts are thus importantly different from institutional kinds, which involve collective intentions. However, recent work in social ontology has yielded renewed focus on the social dimensions of various kinds, including artefacts. As a result, some philosophers have suggested that artefacts have a distinctly social dimension that goes beyond their makers' individual intentions but which (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  22. The Pragmatic Constraint and Revisionary Ontologies of Art.Eric Wilkinson - 2021 - American Society for Aesthetics Graduate E-Journal 13 (1):19-22.
    At the heart of Anders Pettersson’s 2017 book, The Idea of a Text and the Nature of Textual Meaning, is his proposed “cluster” definition of a textual work. On this view, a text is a cluster of three kinds of objects: all the physical exemplars of the work, the work’s meaning, and the complex signs that convey that meaning. Pettersson contrasts this with the “ordinary conception” of a text, wherein a text is a unitary object made of the signs (...)
    Download  
     
    Export citation  
     
    Bookmark  
  23. Irony and the Work of Art: Hegelian Legacies in Robert Smithson.Shannon Mussett - 2012 - Evental Aesthetics 1 (1):45-73.
    This paper utilizes Robert Smithson's philosophy as a kind of counterpoint, rather than refutation, to many of Hegel's convictions on the nature and function of art in world historical spirit.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  24. The spectrum of metametaphysics: mapping the state of art in scientific metaphysics.Jonas R. Becker Arenhart & Raoni Wohnrath Arroyo - 2021 - Veritas – Revista de Filosofia da Pucrs 66 (1):e41217.
    Scientific realism is typically associated with metaphysics. One current incarnation of such an association concerns the requirement of a metaphysical characterization of the entities one is being a realist about. This is sometimes called “Chakravartty’s Challenge”, and codifies the claim that without a metaphysical characterization, one does not have a clear picture of the realistic commitments one is engaged with. The required connection between metaphysics and science naturally raises the question of whether such a demand is appropriately fulfilled, and how (...)
    Download  
     
    Export citation  
     
    Bookmark   7 citations  
  25. The Conquest of Time: The Forgotten Power of Art.Derek Allan - manuscript
    It’s common knowledge that those objects we regard as great works of art have a capacity to survive across time. But that observation is only a half-truth: it tells us nothing about the nature of this power of survival – about how art endures. -/- This question was once at the heart of Western thinking about art. The Renaissance solved it by claiming that great art is “timeless”, “eternal” – impervious to time, a belief that exerted a powerful influence (...)
    Download  
     
    Export citation  
     
    Bookmark  
  26. How Can There Be Works Of Art?Michael Morris - 2008 - Postgraduate Journal of Aesthetics 5 (3):1-18.
    Interested in art, we tend to be interested in works of art. We seem to encounter works of art all the time, and—setting aside certain relatively abstruse problems in ontology—we seem to have little difficulty in recognizing them for what they are. That there are works of art seems obvious and unproblematic. Quite so, I think. But reflection on what has to be the case if there are to be works of art shows that some quite demanding conditions have to (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  27. The Value of Art.Ruel F. Pepa - manuscript
    Art is the concrete/tangible/substantial materialization of the human creative impulse to convey her/his most vital desires and needs. Art is the channel that facilitates the release of humanity´s imaginative urge that makes life more liveable and more worth enhancing. In a broader sense, we may even contend that human life in its truest essence is art itself. It is the artistic spirit of humanity that sees beauty in the natural environ of earthly existence. The course of life on earth provides (...)
    Download  
     
    Export citation  
     
    Bookmark  
  28. Art, aesthetics, and the medium: comments for Nguyen on the art-status of games.Christopher Bartel - 2021 - Journal of the Philosophy of Sport 48 (3):321-331.
    Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...
    Download  
     
    Export citation  
     
    Bookmark  
  29. Why do we need a theory of art?Jochen Briesen - 2016 - Aesthetics Today –– Contemporary Approaches to the Aesthetics of Nature and Art. Contributions to the 39th International Wittgenstein Symposium.
    This paper argues that within the class of aesthetic judgments, interesting variations occur depending on whether the judgment refers to an artwork or not. Additionally, it is suggested that in order to understand and satisfactorily explain these variations, one needs a convincing specification of the notion of “art”. Thus, the main thesis of this paper is that a general theory of aesthetic judgments needs to be supplemented by a convincing and theoretically fruitful theory of art.
    Download  
     
    Export citation  
     
    Bookmark  
  30. Virtue, situationism, and the cognitive value of art.Jacob Berger & Mark Alfano - 2016 - The Monist 99 (2):144-158.
    Virtue-based moral cognitivism holds that at least some of the value of some art consists in conveying knowledge about the nature of virtue and vice. We explore here a challenge to this view, which extends the so-called situationist challenge to virtue ethics. Evidence from social psychology indicates that individuals’ behavior is often susceptible to trivial and normatively irrelevant situational influences. This evidence not only challenges approaches to ethics that emphasize the role of virtue but also undermines versions of moral (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  31. Towards a Materialist Theory of Art.Florian Endres - 2019 - Continental Thought and Theory: A Journal of Intellectual Freedom 2 (4):50-61.
    Art, for Hegel, is not only distinct but self-distinguishing of and from nature – it happens in and through the latter. It liberates us from being merely natural creatures, and it does so by a dynamic of a cut or break - even though this liberation is achieved only through natural sensuousness, and hence, keeps us tethered to nature in some particular way. Inspired by Todd McGowan’s emphasis on the central role of contradiction in Hegel’s philosophy, this paper (...)
    Download  
     
    Export citation  
     
    Bookmark  
  32. The Aesthetic Intelligibility of Artefacts: Schelling’s Concept of Art in the System of Transcendental Idealism.Giacomo Croci - 2024 - Estetika: The European Journal of Aesthetics 61 (2):158-175.
    The article reassesses Schelling’s philosophy of art in the System of Transcendental Idealism, focusing on its practical philosophy and the concept of the artefact. Often unexplored, this perspective offers a new account of Schelling’s early aesthetics, linking aesthetic experience to historical becoming. The discussion begins with an analysis of Schelling’s theory of intentional action, followed by a reconstruction of his understanding of artefact. It argues that Schelling integrates both social and material dimensions into his concept of artefacts. The paper then (...)
    Download  
     
    Export citation  
     
    Bookmark  
  33. Re-Worlding the World: Schelling's Philosophy of Art.Nat Trimarchi - 2006 - Philosophia Naturalis.
    The problem with how we mythologise reality is arguably at the core of humanity’s ecological/existential crisis. While others have pointed to this, F. W. Schelling produced a philosophy of art which both confirms it and lays the foundations for how it can be addressed. This involves reversing the polarities of the ‘modern mythology’, related directly to Art-and-Humanity’s joint meaning crisis which Schelling claimed originates in our alienation from Nature and the rise of ‘revealed religion’. Despite his resurgence (inspiring Complexity (...)
    Download  
     
    Export citation  
     
    Bookmark  
  34. Philosophy Is Not a Science: Margaret Macdonald on the Nature of Philosophical Theories.Peter West - 2024 - Hopos: The Journal of the International Society for the History of Philosophy of Science 14 (2):527-553.
    Margaret Macdonald was at the institutional heart of analytic philosophy in Britain in the mid-twentieth century. However, her views on the nature of philosophical theories diverge quite considerably from those of many of her contemporaries. In this article, I focus on Macdonald’s provocative 1953 paper, “Linguistic Philosophy and Perception,” in which she argues that the value of philosophical theories is more akin to that of poetry or art than science or mathematics. I do so for two reasons. First, it (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  35. On the Compositional Nature of the Aspects.H. J. Verkuyl - 1972 - Dordrecht, Netherlands: D.Reidel Publishing Company.
    This book is a thesis submitted to the Faculty of Arts of the University of Utrecht. It was prepared under the supervision of Prof. Dr. H. Schultink. I would like to express my gratitude to him for his criticisms of earlier versions which led to many improvements, in particular with respect to the exposition of the argument. To my co-referent Dirk van Dalen, reader in the Department of Philo sophy (,Centrale Interfaculteit') of the University of Utrecht, I am greatly indebted (...)
    Download  
     
    Export citation  
     
    Bookmark   47 citations  
  36. Museums and the Shaping of Contemporary Artworks.Sherri Irvin - 2006 - Museum Management and Curatorship 21:143-156.
    In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  37. A REVIEW OF PLATO's REJECTION OF ART IN RELATION TO THE IGBO/AFRICA's ARTISTICTRADITION.John Ezenwankwor - 2022 - African Journal of Social and Behavioural Sciences (Ajsbs) 12 (2):461- 465.
    This paper argues that the Igbo artistic tradition, contrary to Plato‟s, represents authentic Igbo cultural traits, and fills the gap between the abstract reality and the physical world. There is some obvious difficulty encountered by most of the expatriate scholars in understanding the new meaning of art, especially, with regard to professions. Traditionally, artistic forms are simply derived from specific objects in nature, or as an illustrative symbolic representation of a specific abstract being Plato‟s account of arts as imitation (...)
    Download  
     
    Export citation  
     
    Bookmark  
  38. What if Heidegger used Fountain instead of van Gogh’s Shoes to launch the Origin of a Work of Art?’.Paul Halloran - 2020 - Toutfait Online Journal.
    Heidegger’s reimagining of the artwork was instrumental in forcing a re-evaluation of modern aesthetic assumptions in the first half of the twentieth century. Heidegger’s theory of the origin of the work of art derives from a hermeneutic analysis of a single van Gogh masterpiece. On Heidegger’s view, the artwork provides a substantive and practical way of accessing the nature of art even if questions remain about all manifestations of the nature of art in general. This paper turns his (...)
    Download  
     
    Export citation  
     
    Bookmark  
  39. The art of science: Quine and the speculative reach of philosophy in natural science.Chalmers C. Clark - 1998 - Dialectica 52 (4):275–290.
    In this essay it is shown that the imaginative art of scientific theorizing – at its technical best – animates Quine's philosophy as importantly as the more Spartan norms honored in his present pantheon of virtues. By drawing a contrast between the standing of theories in philosophy and theories in science, it will be shown that the speculative reaches of philosophy, along with developments in semantic theory, now oblige an internal revision of Quine's stance against meaning as it was announced (...)
    Download  
     
    Export citation  
     
    Bookmark  
  40. Radical History and the Politics of Art.Gabriel Rockhill - 2014 - New York: Columbia University Press.
    The primary objective of this book is to open space for rethinking the relationship between art and politics. It seeks to combat one of the fundamental assumptions that has plagued many of the previous debates on this issue: that art and politics are distinct entities definable in terms of common properties, and that they have privileged points of intersection, which can be determined once and for all in terms of an established formula. This common sense assumption is rooted in a (...)
    Download  
     
    Export citation  
     
    Bookmark   5 citations  
  41. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  42. Fictional Persuasion and the Nature of Belief.Asbjørn Steglich-Petersen - 2017 - In Ema Sullivan-Bissett, Helen Bradley & Paul Noordhof (eds.), Art and Belief. Oxford: Oxford University Press. pp. 174-193.
    Psychological studies on fictional persuasion demonstrate that being engaged with fiction systematically affects our beliefs about the real world, in ways that seem insensitive to the truth. This threatens to undermine the widely accepted view that beliefs are essentially regulated in ways that tend to ensure their truth, and may tempt various non-doxastic interpretations of the belief-seeming attitudes we form as a result of engaging with fiction. I evaluate this threat, and argue that it is benign. Even if the relevant (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  43. Review of: "Strange Tools: Art and Human Nature" by Alva Noe. [REVIEW]Lauren R. Alpert - 2016 - American Society for Aesthetics Graduate E-Journal 8 (1):1-3.
    Strange Tools foregoes stolid conventions of professional philosophy, laudably broadening the book’s appeal to accommodate a popular audience. However, Noë’s manner of glossing over complex issues about art does not necessarily render these topics intelligible to philosophical novices. Instead, his oversimplifications will tend to confirm naïve notions that art is straightforward – a common misconception that a foray into philosophy of art ought to dispel, not corroborate.
    Download  
     
    Export citation  
     
    Bookmark  
  44. The Poles of Idea and Reality (and the De-futurising of Art and Humanity).Nat Trimarchi - 2023 - Cosmos and History: The Journal of Natural and Social Philosophy 19 (1):426-457.
    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’ (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  45. Intentional image and transcendental image in the work of art.Bogdan Nita - 2012 - Image 2 (2321):231.
    The purpose of this paper is to show that images have an ontological support by which they obtain an independent existence from the mind. In accordance with the new theories of aesthetics, we will see that the object of art is taken as an object of thought. Image has an important role in the existence of the work of art; therefore the image becomes an object of thought. To show how the image is independent from the mind or to show (...)
    Download  
     
    Export citation  
     
    Bookmark  
  46. The Ethical Value of the Inhumanity in Art A Levinasian Reading.Aisha Pagnes - 2021 - Itinera 22.
    Reality and its Shadow, a brief yet powerful essay written in 1948, is the only text where Emmanuel Levinas deals solely with the ontology of art. Already in this early text, we can see how his understanding that ethics is the ground of philosophy drives his discussion. The nature of art is therefore treated in relation to what it does, ethically, to the subject, the maker, and the viewer. Art is the “inhumanity” and “inversion” of ethics. Only philosophical criticism (...)
    Download  
     
    Export citation  
     
    Bookmark  
  47. Picturing Knowledge: Historical and Philosophical Problems Concerning the Use of Art in Science.Brian Scott Baigrie (ed.) - 1996 - University of Toronto Press.
    List of Illustrations Introduction 1 The Didactic and the Elegant: Some Thoughts on Scientific and Technological Illustrations in the Middle Ages and Renaissance 3 2 Temples of the Body and Temples of the Cosmos: Vision and Visualization in the Vesalian and Copernican Revolutions 40 3 Descartes’s Scientific Illustrations and ’la grande mecanique de la nature’ 86 4 Illustrating Chemistry 135 5 Representations of the Natural System in the Nineteenth Century 164 6 Visual Representation in Archaeology: Depicting the Missing-Link in (...)
    Download  
     
    Export citation  
     
    Bookmark   27 citations  
  48. Once Removed: The Nature of Representation.Tanya Kelley - manuscript
    James Prosek paints flora and fauna, but first became known for his paintings of trout. This essay situates Prosek's paintings, especially those at the Lowe Museum exhibit, within the long tradition of the depiction of nature. The essay comments on the relationship between the representation of nature and the nature of representation.
    Download  
     
    Export citation  
     
    Bookmark  
  49. A COMPLEX NUMBER NOTATION OF NATURE OF TIME: AN ANCIENT INDIAN INSIGHT.Varanasi Ramabrahmam - 2013 - In Veda Vijnaana Sudha, Proceedings of 5th International Conference on Vedic Sciences on “Applications and Challenges in Vedic / Ancient Indian Mathematics" on 20, 21 and 22nd of Dec 2013 at Maharani Arts, Commerce and Management College for Women, Bang. pp. 386-399.
    The nature of time is perceived by intellectuals variedly. An attempt is made in this paper to reconcile such varied views in the light of the Upanishads and related Indian spiritual and philosophical texts. The complex analysis of modern mathematics is used to represent the nature and presentation physical and psychological times so differentiated. Also the relation between time and energy is probed using uncertainty relations, forms of energy and phases of matter. Implications to time-dependent Schrodinger wave equation (...)
    Download  
     
    Export citation  
     
    Bookmark  
  50. An Enquiry into the Nature of our Relationship with Reality.Tine Wilde - 2021 - Pari Perspectives 10 (Consciousness):pp.122-128.
    What do we mean by ‘reality’? Merging philosophical insights with contemporary art, Tine Wilde lets us consider and contemplate who and what we ‘really’ are. Working on artists’ book Zero Point, the article presents a brief overview of her thoughts, relating a spatial-geometrical perspective to the quest for self-knowledge, and subsequently extrapolating the findings to the notion of unknown knowledge.
    Download  
     
    Export citation  
     
    Bookmark  
1 — 50 / 978