Three concrete instances of modern and contemporary art development in the former Soviet bloc are addressed in the study. Comparing three particular cases of post-socialist countries (Czechoslovakia, Poland and Lithuania), three distinctive situations are identified in order to establish a link between modern and contemporary art and the emergence of canonized stories of their development. Although these concrete cases turned out to represent a certain range of situations-models that have taken place, the study indicates a variety of omissions and unrecognized (...) vital moments in the currently prevailing canons, which puts the connection of the shifting point of 1989 and the transition from modern to contemporary art into a new light. (shrink)

The authors explore the works of a group of Colombian artists of the twentieth century who resort to the references of the Latin American pre-Hispanic world as a plastic strategy of a modern art with strong roots in their own culture. Thus, the Bachué group and the cases of Pedro Nel Gómez and Rómulo Rozo are analyzed as alternatives to the official and prevailing art, with an avant-garde tendency, from a nationalist and indigenist point of view.

Kant's most sustained discussion of obscure representations can be found in the first book of his Anthropology from a Pragmatic Point of View. What is puzzling is that in the middle of the section devoted to the topic, Kant asserts that “because this field can only be perceived in his passive side as a play of sensations, the theory of obscure representations belongs only to physiological anthropology, and so it is properly disregarded here.” So, do obscure representations belong to pragmatic (...) anthropology or not? Kant's official position is that they do not, yet the textual evidence—we find discussions of obscure representations in 20 years of his work on pragmatic anthropology—suggests that they do, in fact, belong here. Most of the literature on obscure representations focuses on their contribution to cognition and none has clarified what it would mean to assume a “pragmatic point of view” on obscure representations, and to study them in the context of pragmatic anthropology. My aim in this paper is to provide such clarification, focusing on Kant's discussion of our propensity to “play with” obscure representations and what he calls our “art of obscuring.”. (shrink)

Semantic originalism is a theory of constitutional meaning that aims to disentangle the semantic, legal, and normative strands of debates in constitutional theory about the role of original meaning in constitutional interpretation and construction. This theory affirms four theses: (1) the fixation thesis, (2) the clause meaning thesis, (3) the contribution thesis, and (4) the fidelity thesis. -/- The fixation thesis claims that the semantic content of each constitutional provision is fixed at the time the provision is framed and ratified: (...) subsequent changes in linguistic practice cannot change the semantic content of an utterance. -/- The clause meaning thesis claims that the semantic content is given by the conventional semantic meaning (or original public meaning) of the text with four modifications. The first modification is provided by the publicly available context of constitutional utterance: words and phrases that might be ambiguous in isolation can become clear in light of those circumstances of framing and ratification that could be expected to known to interpreters of the Constitution across time. The second modification is provided by the idea of the division of linguistic labor: some constitutional provisions, such as the natural born citizen clause may be terms of art, the meaning of which are fixed by the usages of experts. The third modification is provided by the idea of constitutional implicature: the constitution may mean things it does not explicitly say. The fourth modification is provided by the idea of constitutional stipulations: the constitution brings into being new terms such as House of Representatives and the meaning of these terms is stipulated by the Constitution itself. -/- The contribution thesis asserts that the semantic content of the Constitution contributes to the law: the most plausible version of the contribution thesis is modest, claiming that the semantic content of the Constitution provides rules of constitutional law, subject to various qualifications. Our constitutional practice provides strong evidence for the modest version of the contribution thesis. -/- The fidelity thesis asserts that we have good reasons to affirm fidelity to constitutional law: virtuous citizens and officials are disposed to act in accord with the Constitution; right acting citizens and officials obey the constitution in normal circumstances; constitutional conformity produces good consequences. Our public political culture affirms the great value of the rule of law. -/- We can summarize semantic originalism as a slogan: The original public meaning of the constitution is the law and for that reason it should be respected and obeyed. The slogan recapitulates each of the claims made by semantic originalism, but it is potentially misleading because it does not clearly distinguish between the semantic claims made by the fixation and clause meaning theses, the legal claim made by the contribution thesis, and the normative claim made by the fidelity thesis. -/- Part I introduces the four theses. Part II is entitled An Opinionated History of Constitutional Originalism, and it provides the context for all that follows. Part III is entitled Semantic Originalism: A Theory of Constitutional Meaning, and it lays out the case for original public meaning as the best nonnormative theory of constitutional content. Part IV is entitled The Normative Implications of Semantic Originalism, and it articulates a variety of normative arguments for originalism. Part V is entitled Conclusion: Semantic Originalism and Living Constitutionalism, and it explores the broad implications of semantic originalism for living constitutionalism and the future of constitutional theory. (shrink)

Bioethics, neuroscience, medicine are contributing to a debate on the definition and criteria of death. This topic is very controversial, and it demonstrates clashing views on the meaning of human life and death. Official medical and legal positions agree upon a biological definition of death as irreversible cessation of integrated functioning of the organism as a whole, and whole-brain criterion to ascertain death. These positions have to face many criticisms: some scholars speak of logical and practical inconsistency, some others (...) of invalid scientific theory about the supreme integrator. In this paper some criticisms are exposed and discussed in order to reconstruct the state of the art in bioethical debate. -/- . (shrink)

In this book I show that science suffers from a damaging but rarely noticed methodological disease, which I call rationalistic neurosis. It is not just the natural sciences which suffer from this condition. The contagion has spread to the social sciences, to philosophy, to the humanities more generally, and to education. The whole academic enterprise, indeed, suffers from versions of the disease. It has extraordinarily damaging long-term consequences. For it has the effect of preventing us from developing traditions and institutions (...) of learning rationally devoted to helping us learn how to make progress towards a wiser, more civilized world. On our fragile earth, overcrowded, fraught with injustice, inequality and conflict, menaced by unprecedented and terrifying technological and industrial means for change and destruction, we urgently need to acquire a little more wisdom and civilization if we are to avoid repeating horrors of the kind suffered by so many during the 20th century (and already suffered by many in the first few years of the 21st century). We can ill afford to have in our hands instruments of learning botched and bungled from the standpoint of helping us learn how to live more wisely. It may seem scarcely credible that something as important as our institutions of learning can suffer from wholesale, structural defects. Why has this not been noticed before? Why have not armies of scientists and scholars appreciated the point and, long ago, put the matter right? The answer will emerge as my argument unfolds. I will show that one of the most damaging features of rationalistic neurosis is that it has built-in methodological and institutional mechanisms which effectively conceal that anything is wrong. But there is also an immediately obvious reason: specialization, and the resulting fragmentation of academia, has resulted in a situation in which hardly anyone takes responsibility for the overall ideals, the overall aims and methods, of academic inquiry. Academics, these days, are specialists, furiously trying to keep abreast of developments in their own specialist fields. They have no time, and no inducement, to lift their eyes from their particular disciplines, and look at the whole endeavour. Science has long been under attack, at least since the Romantic movement. Blake objected to “Single vision & Newton’s sleep” and declared that “Art is the Tree of Life... Science is the Tree of Death”. Keats lamented that science will “clip an Angel’s wings” and “unweave a rainbow”. Whereas the Enlightenment had valued science and reason as tools for the liberation of humanity, Romanticism found science and reason oppressive and destructive, and instead valued art, imagination, inspiration, individual genius, emotional and motivational honesty rather than careful attention to objective fact. Much subsequent opposition to science stems from, or echoes, the Romantic opposition of Blake, Wordsworth, Keats and many others. There is the movement Isaiah Berlin has described as the “Counter-Enlightenment” (Berlin, 1979, ch. 1). There is existentialism, with its denunciation of the tyranny of reason, its passionate affirmation of the value and centrality of irrationality in human life, from Dostoevsky, Kierkegaard and Nietzsche to Heidegger and Sartre (see, for example, Barrett, 1962). There is the attack on Enlightenment ideals concerning science and reason undertaken by the Frankfurt school, by postmodernists and others, from Horkheimer and Adorno to Lyotard, Foucault, Habermas, Derrida, MacIntyre and Rorty (see Gascardi, 1999). The soul-destroying consequences of valuing science and reason too highly is a persistent theme in literature: it is to be found in the works of writers such as D.H. Lawrence, Doris Lessing, Max Frisch, Y. Zamyatin. There is persistent opposition to modern science and technology, and to scientific rationality, often associated with the Romantic wing of the green movement, and given expression in such popular books as Marcuse’s One Dimensional Man, Roszak’s Where the Wasteland Ends, Berman’s The Reenchantment of the World and Appleyard’s Understanding the Present. There is the feminist critique of science and conceptions of science: see, for example, Fox Keller (1984) and Harding (1986). And there are the corrosive implications of the so-called “strong programme” in the sociology of knowledge, and of the work of social constructivist historians of science, which depict scientific knowledge as a belief system alongside many other such conflicting systems, having no more right to claim to constitute knowledge of the truth than these rivals, the scientific view of the world being no more than an elaborate myth, a social construct (see Barnes and Bloor, 1981; Bloor, 1991; Barnes, Bloor and Henry, 1996; Shapin and Schaffer, 1985; Shapin, 1994; Pickering, 1984; Latour, 1987). This latter literature has provoked a counter-attack by scientists, historians and philosophers of science seeking to defend science and traditional conceptions of scientific rationality: see Gross and Levitt (1994), Gross, Levitt and Lewis (1996), and Koertge (1998). This debate between critics and defenders of science came abruptly to public attention with the publication of Alan Sokal’s brilliant hoax article ‘Transgressing the boundaries’ in a special issue of the cultural studies journal Social Text in 1996 entitled Science Wars: see Sokal and Bricmont (1998). What does this book have to contribute, given the above avalanche of criticism of science? The criticisms of science developed in this book are diametrically opposed to the above, in so far as the above criticisms oppose scientific rationality, seek to diminish or restrict its influence, or hold that it is unattainable. My central point is that we suffer, not from too much scientific rationality, but from not enough. What is generally taken to constitute scientific rationality is actually nothing of the kind. It is rationalistic neurosis, a characteristic, influential and damaging kind of irrationality masquerading as rationality. Science is damaged by being trapped within a widely upheld but severely defective philosophy of science; free science from this defective philosophy, provide it with a more intellectually rigorous philosophy, and it will flourish in both intellectual and humanitarian terms. And more generally, as we shall see, academic inquiry as a whole is damaged by being trapped within an intellectually defective philosophy of inquiry; free it from this defective philosophy, from its rationalistic neurosis, and it will flourish in intellectual and human terms. It is not reason that is damaging, but defective pretensions to reason — rationalistic neurosis —masquerading as reason. Thus what I seek to do here is the exact opposite of what all those who oppose science and scientific rationality do. I shall argue that Reason, the authentic article, arrived at by generalizing the progress-achieving methods of science, can have profoundly liberating and enriching consequences for all worthwhile, problematic aspects of life, and thus deserves to enter into every aspect of life. The bare bones of the argument of this book can be stated quite simply like this. Science cannot proceed without making the substantial metaphysical assumption that the universe is physically comprehensible (to some extent at least). But this conflicts with the orthodox view that in science everything is assessed impartially with respect to evidence, nothing being permanently assumed independently of evidence. So the metaphysical assumption of comprehensibility is repressed. Science pretends that no such assumption is made. But this damages science. For the assumption is substantial, influential and highly problematic. It needs to be made explicit within science so that it can be critically scrutinized, so that alternatives can be developed and considered. Pretending the assumption is not being made undermines the intellectual rigour of science, its intellectual value and success. And it does not stop there. For science also makes value assumptions. Quite properly, science is concerned to discover that which is of value. New factual knowledge devoid of all value (whether intellectual or practical) does not contribute to science. But the orthodox view of science holds that values have no place within science. As in the case of metaphysics, here too, science pretends that values have no role to play within the intellectual domain of science. And this damages science. For values are, if anything, even more influential and problematic than metaphysics (in influencing the direction of research). Here too, values need to be made explicit within science so that they can be scrutinized, so that alternatives can be developed and assessed. Pretending that values play no role within the intellectual domain damages science; both the intellectual and the practical aspects of science are adversely affected. Science fails to pursue those avenues of research that lie in the best interests of humanity. And it goes further. Science is pursued in a social, cultural, economic and political context. It is a part of various social, economic and political projects which seek to achieve diverse human objectives. But the idea that science is an integral part of humanitarian or political enterprises with political ends clashes, once again, with the official view of science that the aim of science is to improve factual knowledge. The political objectives of science are repressed. And, once again, this damages science. For, of course, the political objectives of science, like all our political objectives, are profoundly problematic. These need to be made explicit so that they can be scrutinized, so that alternatives can be developed and considered. The pretence that science does not have this political dimension once again undermines the intellectual rigour of science, and its human value. It lays science open to becoming a part of economic, corporate and political enterprises that are not in the best interests of humanity. The upshot of the line of argument just indicated is that we need to bring about a revolution in the aims and methods of science, and of academic inquiry more generally. Natural science needs to change; its relationship with the rest of academic inquiry, with social inquiry and the humanities, needs to change; and most importantly and dramatically, academic inquiry as a whole needs to change. The basic task of the academic enterprise needs to become to help humanity learn how to tackle its problems of living in more cooperatively rational ways than at present. We need to put the intellectual tasks of articulating our problems of living, and proposing and critically assessing possible solutions, possible and actual actions, at the heart of academic inquiry. The basic task needs to be to help humanity learn a bit more wisdom – wisdom being the capacity to realize what is of value in life, for oneself and others, wisdom including knowledge and technological know-how, but much else besides. Natural science, despite its flaws, has massively increased our knowledge and technological know-how. This in turn has led to a massive and sometimes terrifying increase in our power to act. Often this unprecedented power to act is used for human good, as in medicine or agriculture. But it is also used to cause harm, whether unintentionally (initially at least) as when industrialization and modern agriculture lead to global warming, destruction of natural habitats and rapid extinction of species, or intentionally, as when the technology of war is used by governments and terrorists to maim and kill. Before the advent of modern science, when we lacked the means to do too much damage to ourselves and the planet, lack of wisdom did not matter too much. Now, with our unprecedented powers to act, bequeathed to us by science, lack of wisdom has become a menace. This is the crisis behind all the other current global crises: science without wisdom. In these circumstances, to continue to pursue knowledge and technological know-how dissociated from a more fundamental quest for wisdom can only deepen the crisis. As a matter of urgency, we need to free science and academia of their neuroses; we need to bring about a revolution in the academic enterprise so that the basic aim becomes to promote wisdom by intellectual and educational means. At present science and the humanities betray both reason and humanity. The argument of this book, which I have just summarized, begins with a discussion of the philosophical and methodological problems that beset theoretical physics. At once, many of those who are concerned about moral, political and environmental issues that plague our world today, will feel impatient. What have the methodological problems of theoretical physics to do with third world poverty, war and the threat of war, pollution, extinction of species, the menace of conventional, chemical, biological and nuclear armaments? I can only plead with such a reader: patience. The root cause of the sickness of our times does indeed lie, I claim, with a methodological sickness of natural science or, even more specifically, of physical science. What makes the modern world so utterly different from all previous ages is our possession of modern science and technology. This is the instrument that has changed the conditions of human life almost beyond all recognition, and put unprecedented, and sometimes terrifying, powers into our hands. One should not dismiss out of hand the suggestion that a part of our problem may lie with this instrument, this engine, of rapid change. We see, here, too, the way in which intellectual specialization, referred to above, has effectively concealed from view the nature and extent of the problem that confronts us. The argument that I shall develop in what follows begins with physics, with problems concerning the aims and methods of physics. But it then leaps to social science, to philosophy, to the humanities, to education, to psychotherapy, and to politics: in the end there is scarcely an aspect of modern life that is not touched and, potentially, affected by the argument. How many academic experts are prepared to follow, to take seriously, an argument that ranges so recklessly across such a wide range of academic disciplines? How many non-academic non-experts? But just this is what the argument and message of this book requires. I hope that the reader will endure with patience the somewhat esoteric discussion concerning the aims and methods of physics pursued in chapter one. This may not seem to have anything much to do with the urgent problems of our times, but it does. This is in part how the intellectual disaster I seek to expose in this book conceals itself from view: it buries itself in the obscure, recondite field of the philosophy of physics. Those who devote their lives to the philosophy of physics are, by and large, too myopic to see how their specialized field of study has anything to do with the great and dreadful humanitarian problems and disasters of our age; and those who are above all concerned with these humanitarian disasters have no time at all for abstruse issues concerning the aims and methods of physics. And so the connection is never made. As it happens, the methodological neurosis of physics, with which we begin in chapter one, is actually a quite simple matter to grasp. It does not require any real knowledge of physics to understand. Indeed, physicists and philosophers of physics are much more likely to find the argument difficult to follow than are non-experts. We non-scientists can stand back and see the whole wood; scientists, trained to think in terms of the current orthodox conception of science, trapped in the thickets of research, will find this much harder to do. In an attempt to take this peculiar circumstance into account, I have arranged the exposition as follows. In chapter one I give a simple exposition of the case for declaring natural science to suffer from what I call "rationalistic neurosis"; this avoids all technicalities, and goes straight to the heart of the matter. In the appendix I tackle a host of more technical objections that may be made to the elementary argument of chapter one. So, those experts in the fields of the philosophy of physics and philosophy of science who find the argument of chapter one naïve and unconvincing, should consult the appendix before tossing the book away in disgust. I write in the hope that there will be a few who will not dismiss out of hand the suggestion that the question of how we are to go about learning how to live in wiser and more civilized ways might have something to learn from scientific learning, and will take the trouble to pursue the line of argument traced out in this book. I write in the hope that these few will grasp just how desperate our situation is, how urgent the need to change the status quo, and will do everything in their power to alert others to the need to heal the methodological sickness from which our institutions and traditions of learning at present suffer. To begin with, we need a campaigning organization, modelled perhaps on "Friends of the Earth", which might be called something like "Friends of Wisdom". (shrink)

Upon abolition of the sultanate, proclamation of the Republic, and termination of the seemingly existing caliphate position, the 1921 Constitution was replaced with the 1924 Constitution, which would remain in full force until 1961. It is observed that as a result of all such consecutive developments, the no. 677 Law on Preclusion and Abolition of Lodges, Zawiyahs, Tomb Keepers and Some Titles, which had been presented to the assembly with a bill prepared by Refik Koraltan, a member of the parliament (...) from Konya province, along with his friends, accepted in November 30th, 1925 and published in the official gazette in December 13th, 1925, interrupted, in general, the religious Turkish music; and in particular, the music of Mevleviyeh and Bektashism cults -lodge/dervish music- during the production stages, which has been determined to be directly connected with the following problems to be dealt with, and which will constitute the focus of our study. Therefore, our "Music Policies in Turkish Single-party Era: Religious Music Example" titled study, as mentioned above, has been the subject of the research concentrated around especially the no. 677 Law came into force in December 13th, 1925, accepted with a bill, within the scope of transitions paving the way for the proclamation of the republic, and legitimacy of various revolutions implemented, and it is important that the effects of the political mobility experienced in our country between 1923 and 1950 during the single-party era on our society, and the extent of such effects on the music life, in particular Turkish religious music education, culture and art in our country can be observed and evaluated. (shrink)

RESUMO A bovinocultura sempre esteve atrelada ao desenvolvimento do Brasil e, pensando no avanço, as exigências da máxima eficiência nos sistemas de criação foi pautada na forma de como conseguir realizar a reprodução de bovinos com ênfase na eficiência econômica e reprodutiva. O objetivo deste trabalho é elucidar as principais biotecnologias que auxiliam na maior produtividade reprodutiva de bovinos. Dessa forma, o estudo foi realizado usando artigos do banco de dados do Google acadêmico e SciELO, além de livros do acervo (...) pessoal e sites oficiais. Com o manejo reprodutivo aplicado na bovinocultura, é possível identificar pontos a serem melhorados e implantação de práticas que auxiliam no incremento da eficiência reprodutiva como a estação de monta, que concentra a fertilização dos animais em uma determinada época do ano, o uso do índice de escore corporal, o qual consegue determinar a viabilidade da vaca a ser fertilizada, e a identificação da idade a puberdade, na qual a novilha com 60% de peso vivo quando adulta pode estar apta para reprodução, indicando que a nutrição é um fator importante para reduzir o intervalo entre partos, bem como na indução da precocidade, que ainda pode ser maximizada por uso de bioestimuladores. Assim como a implantação do uso de biotecnologias, que podem adicionar aos planteis, indivíduos geneticamente superiores, saudáveis e eficientes. Dentre as biotecnologias, a inseminação artificial é a mais usada no Brasil, com capacidade de fertilizar vacas com sêmen de touros de genética superior, nacional ou importado. Podem ser citadas ainda as técnicas de transferência de embriões e produção in vitro de embriões como tecnologias a serviço do desenvolvimento da eficiência reprodutiva. A utilização de protocolos hormonais no ciclo estral objetiva a sincronização do estro das vacas para facilitar o emprego das biotecnologias. São vários os protocolos usados para essa finalidade, sendo Ovsynch a base de GnRH e prostaglandina com até 50% de eficácia, protocolos à base de estradiol e progesterona com eficácia de até 86,6%, e protocolos que usam gonadotrofina coriônica equina (eCG), indicados para animais magros por condicionar maior diâmetro folicular, o qual é relacionado com aumento na taxa de prenhez. Dessa maneira, as práticas e tecnologias citadas neste estudo são usadas na reprodução assistida de bovinos. PALAVRAS-CHAVE: Criopreservação. Estro. Gestação. Hipófise. Nutrição. ABSTRACT Cattle farming has always been linked to Brazil’s development and, thinking about advancement, the requirements for maximum efficiency in breeding systems was based on how to achieve the reproduction of cattle with an emphasis on economic and reproductive efficiency. The objective of this work is to elucidate the main biotechnologies that help in the greater reproductive productivity of cattle. Thus, the study was done using articles from the Academic Google and SciELO databases, as well as books from the personal collection and official websites. With the reproductive management applied in cattle farming, it is possible to identify points to be improved and implement practices that help to increase reproductive efficiency, such as the breeding season, which concentrates the fertilization of animals at a certain time of year, use of the body score index, which can determine the viability of the cow to be fertilized, identification of age at puberty, in which the heifer with 60% live weight as an adult may be suitable for reproduction, indicating that nutrition is an important factor in reducing the interval between births, as well as in inducing precocity, which can still be maximized by the use of biostimulators. As well as the implementation of the use of biotechnology, which can add genetically superior, healthy and efficient individuals to the breeding stock. Among the biotechnologies, artificial insemination is the most used in Brazil, with the capacity to fertilize cows with superior genetic bull semen, whether national or imported. Embryo transfer techniques and in vitro embryo production can also be cited as technologies in the service of the development of reproductive efficiency. The use of hormonal protocols in the estrous cycle aims at synchronizing the estrus of cows to facilitate the use of biotechnologies. There are several protocols used for this purpose, with Ovsynch being based on GnRH and prostaglandin with up to 50% efficacy, protocols based on estradiol and progesterone with efficacy of up to 86.6%, and protocols that use equine chorionic gonadotropin (eCG), indicated for lean animals because they condition larger follicular diameter, which is related to an increase in the pregnancy rate. Thus, the practices and technologies mentioned in this study can help the assisted reproduction of cattle. KEYWORDS: Cryopreservation. Estro. Gestation. Hypophysis. Nutrition. -/- REFERÊNCIAS BIBLIOGRÁFICAS -/- ALENCAR, M.M. Perspectivas para o melhoramento genético de bovinos de corte no Brasil. In: Embrapa Pecuária Sudeste-Artigo em anais de congresso (ALICE). In: REUNIÃO ANUAL DA SOCIEDADE BRASILEIRA DE ZOOTECNIA, 41., 2004, Campo Grande, MS. Palestras... Campo Grande: SBZ, 2004, p. 358-367., 2004. ALVES, H.A.G. Otimização da produtividade económica e reprodutiva de uma exploração de bovinos de carne. Dissertação de mestrado em Medicina Veterinária no Curso de Mestrado em Medicina Veterinária, conferido pela Universidade Lusófona de Humanidades e Tecnologias, 2014. AZEVEDO, C. et al. O protocolo hormonal ovsynch e suas modificações em vacas leiteiras de alta produção: uma revisão. Archivos de zootecnia, v. 63, n. 241, p. 173- 187, 2014. BARBOSA, C.F. et al. Inseminação artificial em tempo fixo e diagnóstico precoce de gestação em vacas leiteiras mestiças. Revista Brasileira de Zootecnia, v. 40, p. 79- 84, 2011. BARBOSA, F.A. et al. Produtividade e eficiência econômica de sistemas de produção de cria, recria e engorda de bovinos de corte na região sul do estado da Bahia. Arquivo Brasileiro de Medicina Veterinária e Zootecnia, v. 62, p. 677-685, 2010. BARBOSA, R.T.; MACHADO, R. Panorama da inseminação artificial em bovinos. Embrapa Pecuária Sudeste-Documentos (INFOTECA-E), 2008. BARREIROS, T.R.R. et al. Dynamics of follicular growth and progesterone concentrations in cyclic and anestrous suckling Nelore cows (Bos indicus) treated with progesterone, equine chorionic gonadotropin, or temporary calf removal. Theriogenology, v. 81, n. 5, p. 651-656, 2014. BARUSELLI, P.S. et al. Evolução e perspectivas da inseminação artificial em bovinos. Revista Brasileira de Reprodução Animal, v. 43, n. 2, p. 308-314, 2019. BATISTELLA, M. et al. Geotecnologias e gestão territorial da bovinocultura no Brasil. Revista Brasileira de Zootecnia, v. 40, p. 251-260, 2011. BERLITZ, C.G.B. Impacto do estresse ambiental na reprodução de bovinos de corte. Trabalho de Conclusão em Medicina Veterinária. Universidade Federal do Rio Grande Do Sul, 2019. BORDINHON, S.G. Aspectos gerais das fases de cria e recria de bovinos leiteiros. Trabalho de Conclusão de Curso. Curso Medicina Veterinária, Universidade Federal De Santa Catarina, 2021. CAMARGO, L.M. et al. Influência dos escores de condição corporal e da heterose sobre os resultados da inseminação artificial em tempo fixo. Revista Eletrônica Biociências, Biotecnologia e Saúde, v. 10, n. 19, p. 7-16, 2017. CAMPOS, C.C. et al. Gonadorelin at the outset and/or end of an ovulation synchronization progesterone estradiol benzoate-based protocol in Nellore females. Semina: Ciências Agrárias, v. 37, n. 1, p. 173-181, 2016. CARNEIRO JR, J.M.; DE ASSIS, G.M.L. Objetivos e critérios de seleção em bovinos de corte em fase de cria. Embrapa Acre-Artigo de divulgação na mídia (INFOTECA-E), 2016. CARRIJO, M.S.; LINHARES, W.D.; BARCELOS, K.A. Descrição do manejo produtivo, reprodutivo e sanitário de 10 rebanhos leiteiros localizados em 7 municípios do estado de Goiás. Pubvet, v. 2, n. 28, p. 279-294, 2008. CASTRO, S.V. et al. Agentes crioprotetores intracelulares: características e utilização na criopreservação de tecido ovariano e oócitos. Acta Scientiae Veterinariae, v. 39, n. 2, p. 1-17, 2011. CEREZETTI, M.B. et al. Alternativas Para Substituição Do Uso De Implantes Vaginais De Progesterona Na Inseminação Artificial Em Tempo Fixo Em Bovinos. Revista de Ciência Veterinária e Saúde Pública, v. 6, n. 2, p. 416-433, 2019. CEZAR, I.M. et al. Sistemas de produção de gado de corte no Brasil: uma descrição com ênfase no regime alimentar e no abate. Campo Grande, MS: Embrapa Gado de Corte, 2005. COLAZO, M.G.; MAPLETOFT, R. Fisiología del ciclo estral bovino. Ciencia Veterinaria, v. 16, n. 2, p. 31-46, 2017. CONERA, VII. Manejo reprodutivo de bovinos: potencialidade e desafios. Acta Veterinaria Brasilica, v. 8, p. 317-319, 2014. CUNHA, J.M. et al. Aspectos Fisiológicos Do Ciclo Estral Em Bovinos. In: Anais Colóquio Estadual de Pesquisa Multidisciplinar (ISSN-2527-2500) & Congresso Nacional de Pesquisa Multidisciplinar. 2019. CUNHA, R.R. et al. Inseminação artificial em tempo fixo em primíparas Nelore lactantes acíclicas. Arquivo Brasileiro de Medicina Veterinária e Zootecnia, v. 65, p. 1041-1048, 2013. CUNNINGHAM, J. Tratado de fisiologia veterinária. Elsevier Health Sciences, 2011. Da Silva, E. I. C. (2022). Fisiologia da Reprodução de Bovinos Leiteiros: Aspetos Básicos e Clínicos (1st ed.). Belo Jardim. DA SILVA, Emanuel Isaque Cordeiro. Fisiologia do ciclo estral dos animais domésticos. Emanuel Isaque Cordeiro da Silva, 2021. DA SILVA, Emanuel Isaque Cordeiro. Puberdade e Estacionalidade Reprodutiva dos Animais. 2020a. DA SILVA, Emanuel Isaque Cordeiro. Reprodução Animal: Inseminação Artificial. 2020b. DA SILVA, Emanuel Isaque Cordeiro. Transferência de Embriões nos Animais e a Indústria de Embriões no Brasil. 2020c. D’AVILA, C.A. et al. Hormônios utilizados na indução da ovulação em bovinos–Artigo de revisão. Revista Brasileira de Reprodução Animal, v. 43, n. 4, p. 797-802, 2019. DAVIDSON, A.P.; STABENFELDT, G.H. Controle do desenvolvimento gonadal e dos gametas. Tratado de fisiologia veterinária (Cunningham), p. 408-415, 2014. DIAS, E.A.R. et al. O uso de ECG influencia a taxa de concepção em vacas Nelore de diferentes condições corporais submetidas ao mesmo protocolo de IATF?. Boletim de Indústria Animal, v. 70, n. 3, p. 215-220, 2013. DYCE, K.M.; SACK, W.O.; WENSING, C.J.G. Tratado de anatomia veterinária. 4.ed. Rio de Janeiro: Elsevier, 2010. FERNANDES, A.F.A.; OLIVEIRA, J.A.; QUEIROZ, S.A. Escore de condição corporal em ruminantes. Ars Veterinaria, v. 32, n. 1, p. 55-66, 2016. FERRAZ, P.A. et al. Dinâmica folicular e taxa de concepção de vacas Nelore sincronizadas com diferentes protocolos de indução da ovulação. Archives of Veterinary Science, v. 18, n. 4, 2013. FERREIRA, R.M. et al. Synchronization treatments previous to natural breeding anticipate and improve the pregnancy rate of postpartum primiparous beef cows. Theriogenology, v. 114, p. 206-211, 2018. FILHO, L.C.C. et al. Fatores que interferem na eficiência reprodutiva de receptoras de embrião bovino. Arq. Ciênc. Vet. Zool., v. 16, n. 2, p. 201-208, 2013. FONSECA, R.S. Manejo nutricional, reprodutivo e biotécnicas para incrementar a eficiência reprodutiva em rebanhos de vacas de corte. Dissertação de Mestrado. Universidade Federal de Viçosa, 2018. FONSECA, V.O. et al. Parâmetros reprodutivos de touros Nelore (Bos taurus indicus) criados a pasto, em de diferentes faixas etárias. Arquivo Brasileiro de Medicina Veterinária e Zootecnia, v. 71, p. 385-392, 2019. FONTES, A.R.C. Transferência de Biotecnologia. Revista Online de Pesquisa: Propriedade Intelectual, v. 2, n. 2, p. 98-110, 2019. GALVÃO, A.L.C.O. Fertilidade de touros e suas interações com fatores relacionados as fêmeas em programas de inseminação artificial em tempo fixo. Tese de Doutorado. Universidade de São Paulo, 2021. GOTTSCHALL, C.S. et al. Avaliação do desempenho reprodutivo de vacas de corte lactantes submetidas à IATF a partir da aplicação do GnRH, da manifestação estral, da reutilização de dispositivos intravaginais e da condição corporal. Acta Scientiae Veterinariae, v. 40, n. 1, p. 1-10, 2012. GOTTSCHALL, C.S. et al. Influência da indução à puberdade e do peso vivo sobre a resposta reprodutiva em novilhas de corte. Revista Veterinária em Foco, v. 16, n. 2, 2019. GOUVEIA, F.F. A Produção in vitro de embriões bovinos. Monografia (Trabalho de Conclusão de Curso) – Faculdade de Agronomia e Veterinária, Universidade de Brasília, Brasília, 2011. GUASTI, P.N.; MONTEIRO, G.A.; PAPA, F.O. Componentes do plasma seminal e sua influência sobre a criopreservação e fertilidade de espermatozoides equinos. Veterinária e Zootecnia, v.19, n.2, p.169-180, 2012. GUIMARÃES, J.D. et al. Seleção e manejo reprodutivo de touros zebu. Revista Brasileira de Zootecnia, v. 40, p. 379-388, 2011. HAFEZ, E.S.E. Reprodução Animal, 7 ed. São Paulo: Manole Ltda, 2004. HARTMANN, W. et al. Influência do escore de trato reprodutivo e da circunferência escrotal dos touros sobre a antecipação da puberdade em novilhas Nelore. Tuiuti: ciência e cultura, v. 7, n. 62, p. 140-165, 2021. HILL, R.W.; WYSE, G.A.; ANDERSON, M. Fisiologia Animal-2. Artmed Editora, 2016. KONIG, H.E.; LIEBICH, H.G. Anatomia dos animais domésticos. 6ª ed. Porto Alegre: Artmed, 2016. LEITE, P.A. et al. Criopreservação do sêmen bovino. Journal of Health Sciences, v. 13, n. 4, 2011. LUSTOSA, A.A. et al. Aspectos relevantes na produção comercial de embriões bovinos por meio da técnica biotecnológica de fertilização in vitro: Revisão. Pubvet, v. 12, p. 130, 2018. MACHADO, R. et al. Escore da condição corporal e sua aplicação no manejo reprodutivo de ruminantes. Embrapa Pecuária Sudeste-Circular Técnica (INFOTECA-E), 2008. MARQUES JR, P.A. Manejo reprodutivo de bovinos. Ciência Animal, p. l2548-l2548, 2012. MARQUES, L.R. et al. Detecção de estro e desempenho reprodutivo de vacas leiteiras: Revisão. Research, Society and Development, v. 9, n. 7, 2020. MARTINS, C.F. et al. Inseminação artificial: uma tecnologia para o grande e o pequeno produtor. Embrapa Cerrados-Documentos (INFOTECA-E), 2009. MEIRELLES, C. et al. Eficiência da inseminação artificial com sêmen sexado bovino. Archives of Veterinary Science, v. 13, n. 2, 2008. MELLO, R.R.C. et al. Produção in vitro (PIV) de embriões em bovinos. R. Bras. Reprod. Anim., p. 6458-6458, 2016. MELLO, R.R.C. Puberdade e maturidade sexual em touros bovinos. Agropecuária Científica no Semiárido, v. 10, n. 3, p. 11-28, 2015. MELO, A.F. et al. Efeitos do estresse térmico na produção de vacas leiteiras: Revisão. Pubvet, v. 10, p. 721-794, 2016. MORETTO, B.; TÚLIO, L.M.; JUNIOR, E.M.Z. Influência dos diferentes escores corporais na taxa de prenhez de vacas zebuínas. Arquivos Brasileiros de Medicina Veterinária FAG, v. 1, n. 1, 2018. MOYES, C.D.; SCHULTE, P.M. Princípios de fisiologia animal. Artmed Editora, 2009. MURPHY, B.D. Equine chorionic gonadotropin: an enigmatic but essential tool. Animal Reproduction (AR), v. 9, n. 3, p. 223-230, 2018. NEPOMUCENO, D.D. Efeito do manejo nutricional sobre a maturação do eixo reprodutivo somatotrófico no início da puberdade de novilhas Nelore. Tese de Doutorado. Universidade de São Paulo, 2013. NETO, A.P. et al. Reutilização de implante intravaginal de progesterona para sincronização de estro em bovinos. Arquivos de Ciências Veterinárias e Zoologia da UNIPAR, v. 12, n. 2, 2009. OLIVEIRA C.G.A.; JÚNIOR, M.B.C. Métodos de detecção de estro e falhas relacionadas. Pubvet, v. 9, p. 348-399, 2015. OLIVEIRA, C.S. et al. Biotécnicas da Reprodução em Bovinos. EMBRAPA, 2014. OLIVEIRA, F.R.P.; CARDOSO, D.; OLIVEIRA, F.V. História da inseminação artificial. Zootecnia: Nutrição e Produção Animal, 2020. OLIVEIRA, L.; SILVA, R.S. Tempo é dinheiro: implementação de Estação de Monta e IATF. 2019. OLIVEIRA, R.B.; SILVA JR, B.A.; CAVALCANTE, T.H.C. Indução de novilhas para protocolo de inseminação artificial em tempo fixo: Revisão. PUBVET, v. 12, p. 133, 2018. PAZZIM, L.V.L. Transferência de embriões em bovinos: revisão de literatura. Trabalho Conclusão do Curso (Graduação em Medicina Veterinária) - Universidade Federal de Santa Catarina, Centro de Ciências Rurais, 2021. PEGORARO, L.M.C.; SAALFELD, M.H.; PRADIEÉ, J. Inseminação Artificial em Bovinos. Embrapa Clima Temperado-Documentos (INFOTECA-E), 2016. PEIXER, P.F. et al. Produção in vitro de embriões bovinos. Revista ESPACIOS, [s.l.], v. 39,n.16, 2018. PENITENTE FILHO, J.M. et al. Produção de embriões bovinos in vivo e in vitro. Revista CFMV, Ano XX, p. 73-82, 2014. PESCARA, J. O efeito do estresse térmico em vacas leiteiras e suas implicações nutricionais. [S. l.], 2012. Disponível em. Acesso em: 15 nov. 2021. PINHEIRO NETO, F.S.A. et al. Avaliação da IATF em novilhas Girolando utilizandose diferentes protocolos com sêmen sexado: comunicação breve, Rev. Bras. Reprod. Anim., Belo Horizonte, v.39, n.3, p.362-366, 2015. PTASZYNSKA, M. Compêndio de Reprodução Animal – Intervet, 2010. PUGLIESI, G. et al. Uso da ultrassonografia Doppler em programas de IATF e TETF em bovinos. Rev Bras Reprod Anim, v. 41, n. 1, p. 140-150, 2017. PURSLEY, J.R.; MEE, M.O.; WILTBANK, M.C. Synchronization of ovulation in dairy cows using PGF2α and GnRH. Theriogenology, v. 44, n. 7, p. 915-923, 1995. REZENDE, L.P. et al. Implantação de escrituração zootécnica em pequenas propriedades rurais no município de Grajaú-MA. Veterinária e Zootecnia, v. 27, p. 1- 16, 2020. RIBEIRO FILHO, A.L. et al. Diâmetro do folículo no momento da inseminação artificial em tempo fixo e taxa de concepção em vacas Nelore. Ciência Animal Brasileira, v. 14, p. 501-507, 2013. RICCI, G.D.; ORSI, A.M.; DOMINGUES, P.F. Estresse calórico e suas interferências no ciclo de produção de vacas de leite: revisão. Veterinária e Zootecnia, p. 9-18, 2013. RODRIGUES, J.L.; BERTOLINI, M. Biotecnologias da reprodução animal: de Aristóteles à edição gênica. Revista Brasileira de Reprodução Animal, v. 43, n. 2, p. 204-208, 2019. ROSA, P.P. et al. Life cycle systems of Replacement Females in Dairy Farms [Cria e recria de fêmeas de reposição em propriedades leiteiras]. Revista Eletrônica de Veterinária, 19(5), 1–12, 2018. SÁ FILHO, M.F. et al. Induction of ovarian follicular wave emergence and ovulation in progestin-based timed artificial insemination protocols for Bos indicus attle. Animal Reproduction Science, v.129, n.3, p132–139, 2011. SÁ FILHO, M.F. et al. Ovarian follicle diameter at timed insemination and estrous response influence likelihood of ovulation and pregnancy after estrous synchronization with progesterone or progestin-based protocols in suckled Bos indicus cows. Animal Reproduction Science, v. 120, n. 1-4, p. 23-30, 2010. SANTOS, B.D. Inseminação artificial em bovinos. Trabalho de conclusão de curso (Graduação em Agronomia). Instituto federal de São Paulo. Campus Barretos. 2016. SANTOS, J.F.D. et al. Qualidade do sêmen bovino criopreservado. Revista Espacios. Vol. 39, 2018. SANTOS, K.J.G. et al. Biotecnologias reprodutivas e fisiologia reprodutiva da fêmea bovina conhecimento para o sucesso. PUBVET, Londrina, V. 6, N. 36, Ed. 223, Art. 1483, 2012. SANTOS, P.H. Impactos da superestimulação ovariana sobre a diferenciação das células da granulosa bovina. Dissertação de Mestrado em Farmacologia e Biotecnologia – UNESP. 2017. SANTOS, S.A. et al. Condição corporal, variação de peso e desempenho reprodutivo de vacas de cria em pastagem nativa no Pantanal. Revista Brasileira de Zootecnia, v. 38, p. 354-360, 2009. SARTOR, G. Avaliação da taxa de prenhez em fêmeas bovinas de corte de diferentes categorias submetidas a protocolos de IATF. Trabalho Conclusão do Curso (Graduação em Medicina Veterinária) - Universidade Federal de Santa Catarina, campus Curitibano. Santa Catarina. 2017. SCOTT, C. et al. Estudo sobre as diferentes técnicas de sexagem de espermatozoides. Veterinária e Zootecnia, v. 25, n. 1, p. 21-29, 2018. SILVA, B.J. et al. O modelo dos “Cinco Domínios” do bem-estar animal aplicado em sistemas intensivos de produção de bovinos, suínos e aves. Revista Brasileira de Zoociências, v. 19, n. 2, 2018. SILVA, J.S. et al. Aspectos comerciais da transferência de embriões e fertilização in vitro em bovinos – revisão. Revista Eletrônica Nutritime. v. 12, n. 5, 2015. SILVA, M.A.N.; MELLO, M.R.B.; PALHANO, H.B. Inseminação artificial e inseminação artificial em tempo fixo em bovinos. Revista Científica do UBM, p. 79-97, 2021. SILVA, P.R.B. et al. Regulação farmacológica do ciclo estral de bovinos. Pubvet, v. 5, p. Art. 1251-1257, 2011. SILVA, R.R. et al. Produção in vitro de Embriões Bovinos: Estado da Arte. In: Colloquium Agrarie. 2017. SOARES, P.H.A.; JUNQUEIRA, F.S. Particularidades reprodutivas da fêmea bovina: Revisão. PUBVET, v. 13, p. 148, 2018. SOUZA, J.A.T. et al. Novos enfoques na avaliação andrológica de bovinos e sua contribuição no melhoramento genético do rebanho. Ciência Animal, p. 44-56, 2020. SOUZA, M.T.; SILVA, M.D; CARVALHO, R. Revisão integrativa: o que é e como fazer. Einstein (São Paulo), v. 8, p. 102-106, 2010. SOUZA, N.S.; ABADE, C.C. Produção in vitro de embriões bovinos: etapas de produção e histórico no Brasil. Ciência Veterinária UniFil, v. 1, n. 3, p. 95-108, 2019. STAUB, C.; JOHNSON, L. Review: Spermatogenesis in the bull. Animal, v.12, p.27- 35, 2018. STRELCZUK, G. Diagnóstico precoce de gestação em bovinos leiteiros. Monografia curso medicina veterinária. Faculdade Federal do Rio Grande do Sul, 2015. STRINGFELLOW, D.A.; SEIDEL, S.M. Manual da Sociedade Internacional de Transferência de Embriões. IETS, p. 112-113, Illinois, 1998. TEIXEIRA, L.S. et al. Técnicas de melhoramento genético em bovinos para o aumento na produção de leite. Interfaces Científicas-Saúde e Ambiente, v. 2, n. 2, p. 81-87, 2014. TORRES-JÚNIOR, J.R.S. et al. Considerações técnicas e econômicas sobre reprodução assistida em gado de corte. Revista Brasileira de Reprodução Animal, p. 53-58, 2009. VALENTIM, J.K. et al. Fatores Nutricionais Aplicados à Reprodução de Ruminantes. UNICIÊNCIAS, v. 23, n. 2, p. 77-82, 2019. VALLE, E.R.; ANDREOTTI, R.; THIAGO, L.R.L.S. Técnicas de manejo reprodutivo em bovinos de corte. Embrapa Gado de Corte, 2000. VIANA, W. et al. Taxa de prenhez de vacas zebuínas com uso da inseminação artificial em tempo fixo (IATF) em fazendas do norte de Minas Gerais. Revista Científica Eletrônica de Medicina Veterinária, v. 24, n. 24, p. 1-8, 2015. VIEIRA, A.C.M.; PERIN, J.N.; DIAS, D.P.M. Preparo de rufiões bovinos por falopexia paramediana ventral. Nucleus Animalium, v. 7, n. 1, 2015. WEBB, R.; BURATINI, J. Desafios globais para o século XXI: o papel e a estratégia do setor agropecuário. Anais da XXX Reunião Anual da Sociedade Brasileira de Tecnologia de Embriões, p. 36, 2016. ZANDONAIDE, J.P.B. Efeito da suplementação de hidroxietilamido em diluidor comercial na criopreservação do sêmen bovino. Dissertação de Mestrado. Universidade de Uberaba, 2018. (shrink)

The protracted history of consuming carbon-based energy sources in Iran culminated in 1908 with the momentous discovery of the inaugural oil field in Masjed Soleyman. This newfound carbon-based source not only brought a lot of revenues to Iran but also, brought forth a multitude of materialities like pipelines, roads, bridges, refinery factories, tankers, and rigs into Iran. This new materiality exerted a profound influence on the perception and imagination of Iranians, particularly Iranian artists. Consequently, carbon permeated diverse manifestations within Iranian (...) artworks assuming various artistic approaches; in other words, carbon was inevitably introduced into aesthetics. Serendipitously, the ascension of Reza Shah Pahlavi to power in Iran almost coincided with the discovery of oil. Reza Shah and his successor, Mohammadreza Shah, sought to position themselves as a novel international force governing a "developed" nation for which they needed to lubricate the production-consumption cycle in Iran. To achieve this objective, they championed extensive governmental propagandas that celebrated carbon-based consumerism, and with that, they introduced aesthetics into carbon. Drawing inspiration from Walter Benjamin's notions “politicizing aesthetic” and “aestheticizing politics” and insisting that in Iran, oil/carbon is politics, this paper aims to historicize the process of carbonization of aesthetics in Iranian art realm on the one hand, and aestheticization of carbon in governmental propaganda on the other hand. This paper focuses on visual ideologies in visual artworks, including architecture, painting, and sculpture in the artwork realm and postal stamps, postcards, and paper moneys, on the other hand. (shrink)

This paper aims to measure the quality of all Romanian cities’ websites in 2019 and 2022, before and after the disruptive event of COVID-19. Since the official websites are the core instrument of e-governance, the changes in the quality of Romanian cities’ websites reflect the changes in the development of urban e-governance in Romania. The COVID-19 lockdowns and contact restrictions and the moving of most activities into the online environment had the potential to impact the performance of Romanian cities’ (...) websites significantly and catalyze the progress of local e-governance. The quality of Romanian cities’ official websites was measured using an adapted survey instrument proposed by Holzer and Kim and Manoharan, Melitski, and Holzer. The tool covers five critical criteria of website quality or performance: personal data security, usability, content, services, and citizen participation. The research results may seem contrary to expectations: the improvements of websites have been incremental rather than transformational. Although our research provides only a case study, we may assert that the reform of traditional administration remains a step-by-step process. Our study’s main contribution consists in showing that the progress of e-governance is an incremental process even in a situation of emergency that requires the moving of most activities into the online environment. (shrink)

Why should a person, and in the context of this conference particularly an art historian, take seriously the notion of the aesthetic, its discovery and/or rediscovery? Aesthetics might after all be considered at best something of a distraction from bread and butter historical and sociological analysis, and at worst entirely incompatible with it. Pursuing the line further it might be urged that, since on the one hand aesthetics is about 'how things appear'—i.e. is subject to individual predilection, taste and feeling—and (...) on the other, historical analysis is about the careful and scholarly reconstruction of a past social reality, the two must be at loggerheads. What the art historian writes about on a weekday whilst wearing her hard hat at the office must not be confused with what she personally feels, wandering around a gallery in her woolly hat at the weekend. (shrink)

It is the intention of this paper is to introduce some contemporary relevance of Descartes’ dualism with special reference to Gilbert Ryle’s criticism. Ryle’s explicit target in The Concept of Mind is what he calls the “official doctrine”, which results, he tells us, at least in part from Descartes’ appreciation that Galilean methods of scientific discovery were fit to provide mechanical explanations for every occupant of space, together with Descartes’ conviction that the mental could not simply be a more (...) complex variety of the mechanical. Whether or not every aspect of the resulting “two-world” view is properly attributed to Descartes. It is familiar view, which has widely become known as Cartesianism in Anglo-American philosophy. It has distinctive ontological and epistemological commitments. (shrink)

A legal system’s ‘official story’ is its shared account of the law’s structure and sources, which members of its legal community publicly advance and defend. In some societies, however, officials pay lip service to this shared account, while privately adhering to their own unofficial story instead. If the officials enforce some novel legal code while claiming fidelity to older doctrines, then which set of rules—if either—is the law? We defend the legal relevance of the official story, on largely (...) Hartian grounds. Hart saw legal rules as determined by social rules accepted by a particular community. We argue that this acceptance requires no genuine normative commitment; agreement or compliance with the rules might even be feigned. And this community need not be limited to an official class, but includes all who jointly accept the rules. Having rejected these artificial limits, one can take the official story at its word. (shrink)

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 (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

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 (...) postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

Este trabajo presenta una propuesta biologizada del arte y la Filosofía Indígena desde el pueblo kichwa Saraguro, con el fin de discutir especialmente los fundamentos de los derechos de la naturaleza. Aunque, hay que resaltar que, el sitio de enunciación no es estrictamente el lugar descrito; porque la matriz de discusión es el Sumak Kawsay que involucra a Latinoamérica en general. La metodología que se usa es la transdisciplinar. El orden de desarrollo está enmarcado en una primera parte que desarrolla (...) a modo teórico la presencia del arte y la estética en el mundo indígena. Luego, se presenta un breve análisis de campo, específicamente una discusión con el artista kichwa Saraguro Luis Antonio Lozano. Se concluye que existe un contenido religioso, espiritual o Trascendental en el arte y la estética kichwa Saraguro, que puede aportar para el desarrollo del fundamento filosófico de los derechos de la naturaleza y el Sumak Kawsay. (shrink)

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 (...) discusses some recent reductionist approaches to definitional questions, which advocate a shift of philosophical focus from the macro- to the micro-level —from art to the individual art forms. Section 5 outlines an alternative, non-institutionalist and non-reductionist approach to definitional questions. (shrink)

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 (...) is bad for us. Accordingly, we may rightly wonder if it rational for people to watch melodramas or to listen to love songs. One might think that we should generally avoid unpleasant works of art. This implication flirts with absurdity. I show how it can be avoided by making a distinction between well-being and worth. (shrink)

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 (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

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.).

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 (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

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 (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

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 (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

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 (...) fields once had. The arts lost the battle of the “two cultures”; science prevailed over the arts and humanities. Architecture is being redefined as an applied science rather than one of the arts. The arts were then finally routed (with hardly a fight) by economists. They have been absorbed into the advertising, entertainment, decoration and building industries, and, as universities have been transformed into transnational business corporations, arts faculties have lost their reason for existence. This paper challenges this marginalization. (shrink)

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, (...) le problème principal soulevé à l’encontre des théories classiques est qu’elles cherchent toutes l’essence de l’art dans un trait caractéristique qui serait reconnaissable dans les œuvres elles-mêmes. Les théories contemporaines répondent à ce problème principalement de quatre façons, comme on le verra dans les sections 2.b à 2.d. Les théories sceptiques (2.b.) défendent qu’il est dès lors impossible de définir l’art – qu’on peut au mieux en donner certains caractères typiques, des airs de famille. Les théories relationnalistes (2.c.) défendent que ce qui fait qu’une chose est de l’art est à trouver en dehors de celle-ci, notamment dans les relations qu’elle entretient avec son contexte de création ou de présentation. Les théories néo-classiques (2.d.) continuent à chercher l’essence de l’art dans un trait caractéristique reconnaissable dans les œuvres elles-mêmes tout en prenant en compte les réactions sceptiques ou relationnalistes. Enfin, la théorie du ‘renvoi de la balle’ (2.e.) défend que l’on ne peut pas définir l’art mais seulement des sous-catégories comme la musique, la sculpture, les installations, les performances, etc. -/- Nous présenterons les avantages et les inconvénients principaux des théories contemporaines. Nous verrons qu’aucune n’est dénuée de problèmes, expliquant pourquoi il n’existe pas de consensus sur une définition de l’art aujourd’hui. Nous verrons également que – à l’exception d’un certain scepticisme qui jette, semble-t-il, trop vite l’éponge – chacune de ces théories amène, par son originalité, à une compréhension nouvelle et plus profonde de cette notion extrêmement complexe qu’est le concept « Art ». (shrink)

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 (...) Adorno’s mature thinking, in particular his Aesthetic Theory ([1970] 2002): whether or not it is coherent to believe that knowledge can have an aesthetic form. This essay is motivated by the thought that Adorno’s reflections are useful for understanding contemporary art as well, and the burgeoning paradigm of art-science represents a welcome occasion to ask the reverse question: can art become theoretical? The first aim of this essay is, accordingly, to consider how Adorno’s negative dialectic of philosophy and art might illuminate the field of art-science, how its works might express sui generis truths. In turn, an examination of how the aestheticisation theme in Adorno might be appropriated for the business of art-science critique, might tell us something about the relationship between artistic content and philosophical interpretation, beauty and truth, in Adorno. (shrink)

La identidad, el cuerpo y los imaginarios, en su vínculo con el arte y la cultura, son los conceptos básicos presentes en este libro. La asociación entre ellos no es nada casual. Responde a importantes necesidades epistemológicas y prácticas en la comprensión de lo que somos, de la medida en que el arte y la cultura nos constituyen y del modo en que lo corporal y lo imaginario se convierten en depositarios de los atributos que nos identifican. Esta sexta entrega (...) de La Fuente nace como iniciativa para el trabajo conjunto del Cuerpo Académico “Estética y Arte” de la BUAP y extiende su concepción y realización a otros cuerpos, asociados, junto al primero, en la Red de Investigaciones en Arte (RIA). Participan en el libro, de esta forma, investigadores de las universidades Autónoma de Puebla, Autónoma de Ciudad Juárez, Autónoma de Querétaro y de Barcelona. Se compone de tres secciones, precedidas cada una de ellas por Mesas Redondas dedicadas, respectivamente, al vínculo entre identidad y universalidad, a la estética del cuerpo femenino y a los imaginarios como depositarios de las identidades promovidas por el arte. Las secciones se completan con trabajos en torno a los mismos temas, realizados por integrantes de diferentes cuerpos académicos de la RIA o que colaboran con ella. (shrink)

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 (...) to the identification, individuation, and interpretation of its associated artwork. This paper represents a first step towards an empirically centred study of our titling practices. I argue that, in order to accept titles as proper names, we must first recognize the social, rather than the referential, function of naming. (shrink)

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 (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

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 (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

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 (...) proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love. (shrink)

An invited editorial on the depiction of disease in art history which would then become the symbol of this redemptive philosophy.

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 (...) Airways IT system). The ideas here were verified by my chess compositions, art works and complex information system as an author of each co uk, and were presented at conferences in Santorini, Adelaide, Geneva, Daejon and virtually. (shrink)

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 (...) kind as those that we experience in real life, or of a different, even sui generis kind (i.e., aesthetic emotions); whether it is rational or appropriate to experience emotions in response to art; and what value, if any, there is in art that evokes unpleasant emotions. Although the focus here will be on what, to a first approximation, can be characterized as the “Western mainstream philosophical tradition,” discussion of the role of emotions in art can also be found in different approaches and traditions of thought: from Indian philosophy to cognitive science, to so-called Continental philosophy. (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

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 (...) of art, as well as in more topically focused courses, particularly on topics concerning the ethics and politics of art. (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. (shrink)

Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys’s concept of social sculpture and Marcuse’s idea of society as a work of art can be complemented by Abreu’s project of a musical orchestra as a social ideal and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey, with D’Annunzio also touching upon them with his State of Fiume, for (...) which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research. (shrink)

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 (...) an event. (shrink)

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" (...) discussed within artforms, but is nonetheless subjective across them. My discussion falls into two parts. First, I offer a psychological account of aesthetic response to art: cultural learning stabilizes this response across individuals who are educated in an artform. Second, I offer a cultural-evolutionary account of the diversity of artforms, adapting Darwin's Principle of the Divergence of Character to explain the multiplicity of art forms. (shrink)

This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level.

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 (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

This chapter explores the importance of writing by early nineteenth-century women for post-structuralist accounts of philosophy of art in German Idealism and Romanticism. Work by Romantic writers Karoline von Günderrode and Bettina Brentano-von Arnim is related to post-structuralist analyses of the sublime, the fragment, the work of art, and the artist/genius.

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. (...) But considering it in relation to conceptual art sheds light on its achievements and one notable limitation. In the realm of appropriation, the fact that the re-recordings exhibit both close resemblance to and subtle differences from the originals has prompted an intensity of close listening by audience members, with distinctive aesthetic experiences in the realm of the uncanny. In the realm of participation, Swift has creatively motivated her fans to abandon her beloved original albums, and the fans have in turn evolved a variety of strategies to shift their allegiance to the new versions and hold each other accountable. When it comes to institutional critique—the movement in conceptual art that highlights and challenges the power structures governing art institutions—Swift’s project has raised awareness of troubling and exploitative power dynamics in the music industry. However, consideration of historical precursors of Swift’s institutional critique may lead us to question some elements of her self-presentation as a victim of gendered exploitation. (shrink)

One of the lessons of the COVID-19 pandemic is that the lay public relies immensely on the knowledge of public health officials. At every phase of the pandemic, the testimony of public health officials has been crucial for guiding public policy and individual behavior. The reason is simple: public health officials know a lot more than you and I do about public health. As lay people, we rely on experts. This seems straightforward. But the COVID-19 pandemic has shown that public (...) health officials seem undecided as to what, precisely, their role is; are they providing the public information as it presents itself, or are they informing the public in a way that produces a desired or optimal outcome? In this article, I answer the following question: what are public health officials morally obligated to tell the public? As I see it, these are the main options: (1) public health officials should tell the full truth, regardless of outcome; or (2) they should tell partial truths or lies that are aimed to promote a socially optimal outcome. My answer to this question is that public health officials are only allowed to lie under very narrow and rare conditions. -/- . (shrink)

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...

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 (...) such as painting, singing, etc. The former corresponds to the form out of which these take shape, movement, speech, etc. With this distinction set out, it becomes clearer that art and the aesthetic is rooted in the properties of the ‘thing’ such as the color, shape, and the texture, rather than the product of creation itself. Thus, the future of art will bring a new aesthetic in which these properties become recognized as art and as such there will be an aesthetic of everyday life. (shrink)

This paper addresses the question of whether a general method is capable of accommodating the vast array of contexts in which art objects are studied. I propose a framework for such a general method, which is, however, limited to a specific research task: reconstructing the circumstances under which a culturally and/or temporally distant or “exotic” art object becomes interesting (or menacing) to look at. The proposed framework is applied to evaluate Anthony Forge’s essays on the visual art of the Abelam. (...) The essays played a central role in the rekindling of anthropological interest in visual art, but they have also been subject to criticism for forcing on Abelam art Western categories that distort the role art objects play in the Abelam world. Assessing the corpus in terms of the proposed framework allows me to exemplify the main differences between a pragmatic and a semantic approach to gaining access to the efficacy of culturally or temporally distant art. (shrink)

Modern technology plays an important role in our daily lives. Many people use technology for their works, interactions, and special interests such as art. Art as a discipline, which expresses human emotion and creative side, takes a new form for its contextualization with the help of information technology. A neologism for this discipline is “digital art.” Some experts who employ a traditional value in their aesthetical perspective consider this new approach unlikely. Walter Benjamin, an eminent figure from this group, stated (...) that art must have an aura in its production as is the case in paintings. With this aura, the work of art and not artwork has uniqueness of value. However, the problem arises when information technology becomes a predominant tool for the work of art. Digital art does not consider the aura as the core value in defining something as a work of art. Furthermore, digital artists think that art can exist within a digital object and maintain its uniqueness. Parallel with the latter, this article will describe the dispute and make a clear statement that a work of art in the digital age does not require aura. (shrink)

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, Robert Barry, Lawrence Weiner, (...) On Kawara, Joseph Kosuth, John Baldessari, el grupo Art & Language y otros (véase Lippard 1973). En España fueron relevantes el Grup de Treball, Zaj o Esther Ferrer entre otros. Más tarde se hizo evidente no solo que obras como Fuente (1917) de Marcel Duchamp – un urinario de porcelana, que fue firmado “R. Mutt” y presentado para una exposición de la Sociedad de Artistas Independientes – tenían mucho en común con aquellas producidas a finales de la década de 1960 y principios de la de 1970, sino también que obras de arte conceptual continuaron siendo producidas a lo largo de la década de 1970 y las décadas siguientes, hasta el punto de que podría argumentarse que gran parte del arte contemporáneo es, en cierta medida, conceptual. -/- Es característico de los primeros autores conceptuales el uso del lenguaje natural en obras que son en principio visuales o plásticas, como las frases de Weiner, las definiciones de Kosuth o los ensayos de Art&Language. Se trata de un interés por el significado y el lenguaje heredado de la semiótica y la filosofía analítica de la época. También señala el énfasis (a menudo exclusivo) de todas las obras de arte conceptual en el elemento conceptual, como ocurre en los dibujos y pinturas murales de LeWitt, donde el artista produjo las instrucciones para su ejecución, luego las realizó en colaboración con otros, o transfirió completamente a otros esta tarea. Otra característica de las primeras obras de arte conceptual es que los artistas no manipularon ningún material para producir un objeto (como en Fuente de Duchamp) o usaron materiales excéntricos como el lenguaje natural, su propio cuerpo -como en I am the locus (# 1) (1975) de Adrian Piper, una performance en la que la artista se pegó un bigote en la cara, se puso una peluca Afro y anteojos redondos con montura de alambre y caminó en las calles actuando como un hombre-, o el chocolate con el que Anya Gallaccio revistió las paredes de un viejo edificio agrícola en Stroke (2004), dejando que el público las tocara y que el chocolate se pudriese. -/- Debido a sus características inusuales, el arte conceptual plantea muchas preguntas filosóficas: sobre la definición de arte, sobre la ontología y los medios de las obras de arte y sobre nuestra experiencia apreciativa de ellas. En lo que sigue, presentaré brevemente cada uno de estos temas. (shrink)