In the creation of maps, scientific knowledge related to mathematics and physics combines with knowledge specific to graphic or artistic disciplines. Since all maps are artifacts whose aesthetic qualities convey information that simultaneously engages the fields of ontology, epistemology, and politics, they are objects of undeniable interest for philosophical inquiry. Following what has been termed “the cartographic turn in social sciences”, The Art of Mapping Between Land and Mind delves into two intertwining issues. On one side, it examines how the (...) aesthetic properties of maps convey cognitive, cultural, and political meanings. On the other, it explores the role of visual arts in reflecting on cartographic thought, shaping both its methods and motivations. The volume is divided into four sections. Embracing the point of view of both the philosopher and the geographer, the first one sheds light on the relationship between epistemology and cartography (Kukla; Costantini; Tanney). The second addresses mapmaking as an art form (Tanca; Haugdal) or, conversely, considers maps from the perspective of their aesthetic properties (Török; Ogundiwin; Elhaik). The third focuses on the digital condition of today’s cartography (Tschochohei; Quaranta; Keller). Finally, the last section includes two contributions that represent attempts to guide cartography toward its future (Bosca; Ianniello). Opening this issue, a special essay by Elizabeth Povinelli offers a generous précis of her upcoming book. (shrink)

In the creation of maps, scientific knowledge related to mathematics and physics combines with knowledge specific to graphic or artistic disciplines. Since all maps are artifacts whose aesthetic qualities convey information that simultaneously engages the fields of ontology, epistemology, and politics, they are objects of undeniable interest for philosophical inquiry. This introduction to the 5th issue of the Journal for the Philosophy of Language, Mind, and the Arts reviews the latest literature and key topics surrounding the relationship between (...) class='Hi'>philosophy, cartography and mapmaking. (shrink)

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

Plays, symphonies and other works in the performing arts are generally regarded, ontologically speaking, as being types, with individual performances of those works being regarded as tokens of those types. But I show that there is a logical feature of type theory which makes it impossible for such a theory to satisfactorily explain a 'double performance' case that I present: one in which a single play performance is actually a performance of two different plays. Hence type theories fail, both for (...) plays and for the related performing art of music as well. (shrink)

As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required in order (...) to have cinematic street art: the artwork is a 1) aconsensual artwork that 2) does not merely use street art as imagery or 3) merely use the street as a performance space. I introduce two hypothetical artworks inspired by this approach and discuss their merits, as well as their pitfalls relevant to my own desiderata. As such, this article serves as the foment for broader discussion within the philosophy of street art. (shrink)

One potentially extremely fruitful use of the tools of corpus analysis in the philosophy of science is to help us understand disputed terrains within the sciences that we study. For philosophers of biology, for instance, few controversies are as heated as those over the concepts we use in taxonomy to classify the living world, with the definition of ‘species’ perhaps most fundamental among them. As many understandings of biodiversity, in turn, involve counting the number of species present in a (...) given area, these taxonomic concepts thus become crucially implicated in our efforts in conservation biology and our response to climate change. In this chapter, we present a corpus of taxonomic journal papers, and illustrate how it might be used to make progress in the history and philosophy of taxonomy. What parts of the biological world do taxonomists most often study? Are these areas of focus related to other methodological commitments, or perhaps to their underlying conceptual disagreement? Are species that are more important to conservation, or economic concerns, or more important to local cultures, more or less likely to be the target of biological study? Corpus-based methods, we argue, are uniquely powerful for approaching questions such as these, and we hope that the case we present can serve as a fruitful example for others considering their implementation. (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)

In this essay it is shown that the imaginative art of scientific theorizing – at its technical best – animates Quine's philosophy as importantly as the more Spartan norms honored in his present pantheon of virtues. By drawing a contrast between the standing of theories in philosophy and theories in science, it will be shown that the speculative reaches of philosophy, along with developments in semantic theory, now oblige an internal revision of Quine's stance against meaning as (...) it was announced in “Two Dogmas of Empiricism.” So, corollary to this proposed revision, I argue that in natural philosophy, the muse of the “art of science” deserves an address along with the more Spartan norms in Quine's present philosophical pantheon. As semantic theory and analyticity thus gain a measure of philosophical tenability, Quine's holism emerges as the more central doctrine of his mature vision. (shrink)

This essay attempts to address the question, "What makes an improvised jazz solo a maturation of the possibilities of this artform?" It begins by considering the significance of one distinguishable feature of an improvised jazz solo - how it ends - in light of Joseph Kerman's seemingly parallel consideration of the historical development of how classical concertos end. After showing the limits of this comparison, the essay proposes a counter-parallel, between the jazz improviser's attitude toward the solo's end and (...) Ludwig Wittgenstein's attitude toward our (or philosophy's) arriving at the end of justifications. The parallel depends on one's granting that both the improviser and Wittgenstein are, in their distinct ways, doing battle against the recurring human fantasy of the fixity of experience. (shrink)

During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy of (...) art and everyday aesthetics. With these essays, the writers and editors of this volume wish to commemorate professor Arto Haapala on his 60th birthday. -/- This collection of articles is intended for scholars and students working in the fields of aesthetics, philosophy, and art studies. (shrink)

Corporative global media cannot be an instrument of the culture of peace, because they have made widespread individualistic values of the consummative society. Through their symbolic power, they successfully dominate over every sphere of existence of a society: politics, economic life, social ties, national culture, human communication and private life. Traditional media could not be a factor in the promotion and development of culture of peace, simply because they are proponents of corporative economic and political interests. It is in the (...) interest of citizens to counter the activities of “rapacious capitalism” (SCHMIDT 1998), of local comprador political and economic elites, and the practice of robbery of their work; to bridle the proliferation of weapons and acts of aggression. (shrink)

Recently, given the fomenting protests following the murders of George Floyd, Breonna Taylor and Ahmaud Arbery (amongst countless others), much discussion has erupted amongst contemporary artist-activists about the proper place for art and the aestheticization of politics. This is, of course, by no means a novel conversation. Historically, the aestheticization of politics has been disparaged perhaps most vocally by those such as Adorno and Horkheimer, but this critique has its most well-known roots in Plato. Plato’s critique is levelled at the (...) theatre and poetry, particularly the habituation effects of its consumption; specifically, Plato saw that the tragedy embodied by those performers inhabiting the stage and the enraptured audiences who engaged at the level of emotions. Plato censured the putatively groundless feelings demonstrated by actors and their transposition, artificiality’s ripple effect. Consider, for example, the actor performing the role of Achilles who extravagantly expresses grief without truly undergoing it. Audience members inhere towards an unmerited emotional hunger-cum-satisfaction for those putatively irrational feelings of loss by way of weeping and wailing. For Plato, such identification is devoid of proper evaluative grounding and, therefore, is corruptive. Plato’s critique can be considered an evaluation of the kind of rational emotional arrest that occurs through artificial emotional uptake. However, one could counter Plato’s position by noting how, regardless of whether these emotions are performed or the actors “truly” feel them, they may serve a political purpose and greater ends—bridging the audience together with performer/artist, allowing an “as if” simulative scenario. (shrink)

This article explores the meeting of two approaches towards philosophy and education: the philosophy for children approach advocated by Lipman and others, and Schmid’s philosophical concept of Lebenskunst. Schmid explores the concept of the beautiful or good life by asking what is necessary for each individual to be able to develop their own art of living and which aspects of life are significant when shaping a good and beautiful life. One element of Schmid’s theory is the practical application (...) of philosophy through the notions of Bildung, reflection, prudence and practical wisdom, as well as the requirement for each individual to take responsibility for actively shaping their life as an artwork. In this sense, each person is the artist responsible for living their own beautiful life. We argue that there are useful parallels between Schmid’s concept of the art of living and P4C, such as the ideal of a holistic philosophy that is “lived.” The pragmatic approach of P4C focuses on the embodied learner who practices critical, caring and creative thinking. Both P4C and Schmid’s theory are reminiscent of the Aristotelian notion of practical wisdom, which allows for an approach to an education for life that prepares students to develop their own art of living. (shrink)

Abstract In this chapter, I show why Foucault ought to be recognized as the catalyst of state-of-the-art philosophy of disability. To argue in this way, I highlight several elements of Foucault’s work that have been indispensable to my analyses in (feminist) philosophy of disability, explaining how these features of his work circumvent claims according to which aspects of the work run counter to the interests and aims of disabled people. I conclude the chapter by associating my philosophical (...) thinking about disability with the concerns and inclinations of the Foucauldian mind. (shrink)

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

The Art of Logic by Avi Sion is a collection of recent essays on various topics in logic theory and in applied logic. The same faculty and art of logic is called for in formulating theoretical logic and in applying its findings to diverse fields. The essays here collected deal with some very important issues in logic, philosophy, and spirituality, which he had not previously treated in as much detail if at all.

This book tries to present math to the millions and does a pretty good job. It is simple and sometimes witty but often the literary allusions intrude and the text bogs down in pages of relentless math--lovely if you like it and horrid if you don´t. If you already know alot of math you will still probably find the discussions of general math, geometry, projective geometry, and infinite series to be a nice refresher. If you don´t know any and don´t (...) have a natural talent for it, you will find it very dense or impossible. Being somewhere in the middle I skimmed thru most of it and slowed down when it got interesting. If you have only a little time I would suggest the last chapter ´The Abyss` about Georg Cantor and transfinite arithmetic. -/- At points they wax philosophical and ask the perennial question: is math is out there in the world or in here in our heads. Why not ask this about art or music or literature or computer programs or philosophy itself? In a very general way math must come from the same place that words and ideas and images come from---our brain evolved to make them and they must in many ways (every way?) reflect the structure of our brains, which reside in our DNA, which was shaped by natural selection, which was shaped by the geology of the earth and the structure of our universe, which comes from particle physics which comes from the laws of nature which are just there. -/- I have written extensively on the nature of math and language and mind and how they are all one in my many other reviews so please see them if these topics interest you. Those interested in all my writings in their most recent versions may consult my e-book Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2016 662p (2016). -/- All of my papers and books have now been published in revised versions both in ebooks and in printed books. -/- Talking Monkeys: Philosophy, Psychology, Science, Religion and Politics on a Doomed Planet - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B071HVC7YP. -/- The Logical Structure of Philosophy, Psychology, Mind and Language in Ludwig Wittgenstein and John Searle--Articles and Reviews 2006-2016 (2017) https://www.amazon.com/dp/B071P1RP1B. -/- Suicidal Utopian Delusions in the 21st century: Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B0711R5LGX -/- . (shrink)

This article canvases some of the issues involved in the idea of form as a practice in Kant, Blumenberg and Foucault, and it also outlines the different contexts and approaches the individual papers collected in this Special Issue use to explore this idea.

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...) are ‘mock thoughts’ (Schiengedanken). The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model (‘picture’) states of affairs whereas works of art are objects we perceive sub specie aeternitatis (1961, 83). By the 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model (picture) the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful (gelungene) or ‘good’ works of art (ibid.), in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’ (1980, 36). (shrink)

Introduces seven women philosophers of art from long nineteenth-century Britain including Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee Traces a logical progression amongst these women's views as they grappled with art's relations to morality and religion Shows that these women were well-known in their time and played important roles in establishing British philosophy of art Expands the rediscovery of women philosophers to a neglected area, philosophy of art.

The philosophy of the art of living asks the age-old question of orienting one’s own life: ‘How can I live well?’ An art of living is always called for when people do not know what to do and how to go on, when the ways of life are no longer self-evident, when traditions, conventions, rules, and norms lose their plausibility and individuals begin to worry about themselves. The art of living and of its philosophy has a practical aim: (...) It is not concerned with ethical principles, but with the concrete practice of people’s everyday life, with their individual and successful lives. Friedrich Nietzsche, as he often did, pushed the problem of the art of living to the extreme, making it palpable both in its dignity and in its force. For him, the modern uncertainty of human orientation caused by nihilism pointed to art and aesthetics, which, he supposed, makes life if not justifiable, at least bearable. The arts open up a multi-perspectival seeing and hearing, they experiment with alternative forms and techniques, and create the finest sensibilities for both – Nietzsche himself, with his rich forms of philosophical writing, is an outstanding example of this. -/- The volume we present here, entails contributions of German-speaking scholars on Nietzsche and the ways of living he proposes, especially, but not alone in Dawn. The papers are selected from a book series on the common issue “Critical Art of Living,” edited by Günter Gödde, Jörg Zirfas, and others, and translated on behalf of the Foundation for Philosophical Orientation. (shrink)

The status of art in Plato's philosophy has always been a difficult problem. As a matter of fact, he even threw the poets out from his ideal state, a passage that has led some interpreters to assess that Plato did not develop a proper philosophy of art. Nevertheless, R. G. Collingwood, wrote an article titled “Plato's Philosophy of Art”. How can it be? What could lead one of the most important aesthetic scholars of the first half of (...) the twentieth century to make this thesis about Plato? To understand Collingwood's position at that time, I will review it in a new light: his own philosophy of art at that moment as it was propounded in Outlines of a Philosophy of Art, a work he published that same year. I will also examine how Collingwood's position changed when he returned to the same subject in 1938, on the publication of The Principles of Art. Finally, I will end this article defending the correctness of Collingwood's earlier interpretation of Plato's position on art. (shrink)

We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...) occurrences are physical particulars. And nontraditional techniques and materials employed in contemporary art violate the boundaries of conventional media, prompting a rethinking of what artistic medium might be. (shrink)

In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...) doing philosophy. This strange and elusive book introduces the difficult and counter-intuitive notion of repetition. Repetition is a category of performativity that aims to activate the subjectivity of the reader. This performative effect is achieved by confronting the reader with an “unresolved”existential problem that is not yet drawn into clarity but is staged in all its confusions and contradictions. Kierkegaard’s pseudonym Constantius relies here on a performative writing strategy that is animated by a dialectic of advance and withdrawal. In the last and third step, I will analyze Constantius’s own reflection on the performative dimension of his text. Constantius has left several clues behind, each of which suggests that he deliberately developed a performative writing strategy. (shrink)

Some of Dave Chappelle’s uses of storytelling about seemingly mundane events, like his experiences with his “white friend Chip” and the police, are examples of what W.E.B. Du Bois calls “Positive Propaganda.” This is in contrast to “Demagoguery,” the sort of propaganda described by Jason Stanley that obstructs empathic recognition of others, and undermines reasonable debate among citizens regarding policies that matter: the justice system, welfare, inequality, and race, for example. Some of Chappelle’s humor, especially in his most recent Netflix (...) specials, but also in his earlier standup performances and his series The Chappelle Show, is akin to art that appeals to emotion in the ways suggested by Du Bois in “Criteria of Negro Art” (1926). Beauty is essential to art, but, “I do not care a damn for any art that is not used for propaganda. But I do care when propaganda is confined to one side while the other is stripped and silent” (p. 22). The “one side” is that which appears to extoll American ideals, but in reality undermines them, perpetuating the subordinate status of “the other”--black citizens. Replace “beauty” with “humor” or “funny”, and we see striking parallels between Chappelle’s socio-political performances and Du Bois’ call for positive propaganda, each of which constitute “civic rhetoric” broadly construed. We no longer live in Du Bois’ America of explicit denial of rights. In many ways our situation is worse, as the mechanisms of exclusion are implicit, difficult to dislodge, because they are invisible. Chappelles’ humor draws attention to subtle undermining-propaganda in our liberal democracy, transforming it through his counter-propaganda into the spectacle that it should be; ubiquitous democracy-denying propaganda should be as obvious to whites as it is to minorities. In his words, we should all see that “that shit is fucking incredible” (Killin’ Them Softly). (shrink)

In this essay I consider the end-of-art thesis in its metaphysical and empirical versions. I show that both use the correspondence theory of truth as the basis for their conception of the history of art. As a counterpart to these theories I have chosen Patočka’s conception of the history of art. His theory is based also on the relationship between art and truth, but he conceives truth in the phenomenological sense of manifestation. In the rest of the essay I seek (...) to show the consequences Patočka’s conception has for the history of art. In the rst part, I set out to show Patocka’s critique of Hegel’s aesthetics as a system based on the correspondence theory of truth. In particular, I endeavour to explain his critique of some intrinsic problems of Hegel’s aesthetics, the general failure of Hegel’s system to achieve its goal, and, lastly, Hegel’s giving up on the meaning of the art in the present. I also seek to show that Danto’s version runs into the same problems and conclusions as Hegel’s. In the second part I discuss Patočka’s analysis of modern art and the aesthetic attitude, where he nds a hidden a nity between art and aletheia, which Hegel overlooked. e last part of the essay focuses on the consequences that the conception of the truth of art as aletheia have for the history of art. I conclude that art in such a conception represents an independent eld of the manifestation of being in history beside philosophy. Moreover, modern and contemporary art do not mean the end of art; rather, they have their place in art history based on aletheia, since they are more focused on the manifestation itself than on what is manifested. Unlike Hegel and Danto, therefore, Patočka retains the historical meaning of modern and contemporary art. His conception of the history of art, summed up under the idea of aletheia, has greater explanatory potential than Hegel’s and Danto’s conceptions, and it retains the historical meaning of modern and contemporary art. (shrink)

R. G. Collingwood’s 'The Principles of Art' argues that art is the expression of emotion. This dissertation offers a new interpretation of that philosophy, and argues that this interpretation is both hermeneutically and philosophically plausible. The offered interpretation differs from the received interpretation most significantly in treating the concept of ‘art’ as primarily scalarly rather than binarily realisable (this is introduced in ch. 1), and in understanding Collingwood’s use of the term ‘emotion’ more broadly (introduced in ch. 2). -/- (...) After the exposition of ch. 1, the remainder of that chapter and the subsequent three chapters are each centred around one sort of objection. In ch. 1, I consider the objection that Collingwood’s scalar understanding of ‘art’ is deviant and unhelpful. I respond by first observing that the understanding is not deviant, and second that it is more philosophically and artistically illuminating. In ch. 2, I consider the objection that Collingwood’s understanding of ‘emotion’ is so narrow that it fails to do justice to the fact that art can be philosophically potent. I respond that his understanding of ‘emotion’ is broad enough that this objection fails. In ch. 3, I consider the objection that Collingwood has no theoretical room for the prima facie plausible thought that some emotions are not worth expressing in art. In response, I reinterpret the points that appear to support this contention in a way that makes them both more plausible and more Collingwoodian. Finally, in ch. 4, I consider the objection that Collingwood does not have the theoretical room to do justice to the value of the delight we take in art. I respond by arguing that although he does not have this room to say that this delight is itself an artistic value, it does yet have an important place in his philosophy. (shrink)

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

This collection of writings on aesthetics includes selections from Theodor Adorno, Walter Benjamin, Mikhail Bakhtin, Sigmund Freud, Martin Heidegger, Amy Mullin, Friedrich Nietzsche, and Frederich Wilhelm Joseph von Schelling. This collection may still be available as a print-on-demand title at the Ryerson University bookstore.

Across a wide range of cultural forms, including philosophy, cultural theory, literature and art, the figure of the clock has drawn suspicion, censure and outright hostility. In contrast, even while maps have been shown to be complicit with forms of domination, they are also widely recognised as tools that can be critically reworked in the service of more liberatory ends. This paper seeks to counteract the tendency to see clocks in this way, arguing that they have many more interesting (...) possibilities than they are usually given credit for. An analysis of approaches to clocks in continental philosophy critiques the way they have too often been dismissed as unworthy of further analysis, and argues that this dismissal is based upon an inadequate understanding of how clocks operate. Seeking to move towards more critical and curious approaches, the paper draws inspiration from critical cartography in order to call for the development of a ‘critical horology’ which would emphasise both the fundamentally political nature of clocks, and the potential for designing them otherwise. A discussion of temporal design provides a range of examples of how clocks might open up new horizons within the politics of time. (shrink)

Philosophy has long either dismissed or paid only minimal attention to creativity, and even with the rise of research on imagination, the creative imagination has largely been ignored as well. The aim of this volume is to correct this neglect. By bringing together existing research in various sub-disciplines, we also aim to open up new avenues of research. The chapters in Part I provide some framing and history on the philosophical study of imagination and creativity, along with an overview (...) of the empirical literature. Part II explores imagination and creativity as they manifest in, and in turn shape, the individual. Part III surveys the role of imagination and creativity across a wide variety of artistic domains, and the chapters of Part IV turn to societal domains. Part V focuses on the interplay of imagination and creativity with regard to particular features of creative subjects and different kinds of creative subjects. *** -/- Part I: Theories and Approaches 1. Theories of Imagination (Peter Kung) 2. Theories of Creativity (Julia Langkau) 3. Historical Treatments of Imagination in the Western Tradition (Lucia Oliveri) 4. Historical Treatments of Creativity in the Western Tradition (Elliot Paul) 5. Non-Western Treatments of Imagination (Reza Hadisi and Jing Iris Hu) 6. Non-Western Treatments of Creativity (Nicolas B. Verger and Vlad Glăveanu) 7. Empirical Treatments of Imagination and Creativity (Dustin Stokes) 8. Experimental Philosophy of Imagination and Creativity (Michael T. Stuart) 9. The Relationship between Imagination and Creativity (Margherita Arcangeli) -/- Part II: Imagination and Creativity in Mind and Action 10. Imagination, Creativity, and Skill (Amy Kind) 11. Imagination, Creativity, and Attention (Bence Nanay) 12. Imagination, Creativity, and Agency (Caterina Moruzzi) 13. Imagination, Creativity, and Emotion (Julien Deonna and Fabrice Teroni) 14. Imagination, Creativity, and Embodiment (Adriana Clavel-Vázquez and María Jimena Clavel Vázquez) 15. Imagination, Creativity, and Gender (Luke Roelofs) 16. Imagination, Creativity, and Race (Nicholas Whittaker) 17. Imagination, Creativity, and Child Development (Thalia Goldstein, Anna Sofia Caruso, Darian Stapleton, and Lamin Fatty) -/- Part III: Imagination and Creativity in the Arts 18. Imagination, Creativity, and the Visual Arts (Claire Anscomb) 19. Imagination, Creativity, and Music (Matteo Ravasio) 20. Imagination, Creativity, and Fiction (Hannah H. Kim) 21. Imagination, Creativity, and Dance (David Davies and Anna Pakes) 22. Imagination, Creativity, and the Culinary Arts (Patrik Engisch) 23. Imagination, Creativity, and Film (Murray Smith) 24. Imagination, Creativity, and Acting (Tzachi Zamir) 25. Imagination, creativity, and fashion (Laura T. Di Summa) -/- Part IV: Imagination and Creativity in Society 26. Imagination and Creativity in the Scientific Realm (Alice Murphy) 27. Imagination and Creativity in the Moral Realm (Tim Mulgan) 28. Imagination and Creativity in the Political Realm (Avshalom Schwartz) 29. Imagination and Creativity in the Law (Maksymilian Del Mar) 30. Imagination and Creativity in the Religious Realm (Neil Van Leeuwen) 31. Imagination and Creativity in Business (Eric Peterson) 32. Imagination and Creativity in Times of Crisis (Jennifer Fraser and Noah Stemeroff) Part V: Emerging Issues in Imagination and Creativity Research 33. Imagination, Creativity, and Aphantasia (Andrea Blomkvist) 34. Imagination, Creativity, and Neurodivergence (Sofia Ortiz-Hinojosa) 35. Imagination, Creativity, and Non-Human Animals (Henry Shevlin) 36. Imagination, Creativity, and Artificial Intelligence (Peter Langland-Hassan) 37. Collective Imagination and Collective Creativity (Nick Wiltsher) . (shrink)

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

A review of Tiziana Andina's The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories (Bloomsbury 2013).

Defining Artificial Intelligence and Artificial General Intelligence remain controversial and disputed. They stem from a longer-standing controversy of what is the definition of consciousness, which if solved could possibly offer a solution to defining AI and AGI. Central to these problems is the paradox that appraising AI and Consciousness requires epistemological objectivity of domains that are ontologically subjective. I propose that applying the philosophy of art, which also aims to define art through a lens of epistemological objectivity where the (...) domains are ontologically subjective, can further elucidate this unsolved question. In this sense, Art and AI and ultimately consciousness are multifaceted domains where conventional complexity theory and current philosophical approaches may be augmented by aesthetic principles ranging from classical Aristotelian essentialism to Wittgensteinian anti-essentialism. This approach of AI as art may offer novel solutions to characterising and elucidating the ciphers of consciousness and AI. (shrink)

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...) Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

The exploration of laughter’s philosophical significance within the realm of performing arts, particularly the French classical theatre of the seventeenth century, reveals a profound connection to the comedic genre. This literary form, characterized by its gentle yet satirical nature, aims to critique and amend the behavioral and societal flaws of individuals. It often portrays a protagonist whose moral attributes and actions defy societal norms, depicted on stage in an exaggerated manner, amplified and interwoven with theatrical techniques such as verbal wit, (...) comedic behavior, and the humorous repetition of scenarios. Through this lens, comedic dialogue not only elicits laughter but also conveys an ethical message, emerging from the critique of society’s distasteful customs and pervasive misconceptions. The comic and humorous approach offers a fresh, conciliatory perspective on life, contrasting the somber, oppressive reality presented in tragedy, thus serving as a potent vehicle for engaging diverse social groups. This study briefly touches upon the history and evolution of the laughter element, or the comedic genre, within French literature of the sixteenth and seventeenth centuries. It delves into the critical issue and examines the techniques and performances that induce laughter in The Miser, extending the discussion to encompass the philosophy of laughter. (shrink)

The current issue of Argument: Biannual Philosophical Journal (2015, vol. 5, no. 1) provides a platform for cross‑cultural studies of the human body, the embodied mind, agency, intentionality, and various axiological aspects of the human psychophysical identity. Out of the twenty articles that compose this issue, thirteen original papers address the leading theme, namely Psychophysical integrity of the human self. Comparative approach: philosophy, literature and art. The multidisciplinary and comparative perspectives include references to Western and eastern cultural traditions, as (...) well as juxtaposing a variety of views on human corporeality and the mind‑body relationship, discussed from the perspectives of philosophical theories (Venieri, Jakubczak, Kamińska, Kołdrzak, King, Wachowski), literary works (Kamińska, Milewska) and visual artefacts (King, Staniszewska, Wałek, Popczyk, Romanowicz, Lipowicz). (shrink)

The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what I mean (...) by aesthetics (to be contrasted with philosophy of art) and by philosophy of perception, it may be easier to accept. (shrink)

This contribution focuses on three aspects of Nietzsche’s art of living that have become relevant today especially in the United States (but not only here): first, regarding some facets of the economic-political conditions of any contemporary art of living; second, the widespread adoption of Nietzsche’s notion of self-overcoming and artistic self-design in entrepreneurship and individual’s lives; and third, how his notion of ‘incorporation’ has been further developed in current approaches to habit design. Eventually I will show via the example of (...) Anthony Robbins that some notions of Nietzsche’s art of living have become most popular outside of academia, namely in the commercial industries of what has been called ‘self-growth’ or ‘self-development.’. (shrink)

Michael B. Gill’s A Philosophy of Beauty: Shaftesbury on Nature, Virtue, and Art focuses on Shaftesbury’s thinking about nature, religion, morality, and art. This beautifully and engagingly written book is insightful for scholars and general readers alike, and invites readers to explore the philosophical issues that arise from Shaftesbury’s philosophy. Gill not only shows how Shaftesbury’s ideas were revolutionary at the turn of the eighteenth century but also how they remain relevant today. Shaftesbury’s major work, Characteristicks of Men, (...) Manners, Opinions, Times, was one of the most influential books published during the first half of the eighteenth century. According to Gill, “[i]t played a momentous role in turning European thought away from the negative and toward the positive—in nature, religion, morality, and art” (1). Although Characteristicks serves as a major source, Gill also engages with numerous other published and unpublished writings by Shaftesbury. A Philosophy of Beauty is divided into five chapters which focus respectively on nature and God, virtue, art, painting, and writing. (shrink)

In this article the possibilities of expanding the boundaries of the knowledge and tradition of art philosophy in Turkey through the works of names outside the discipline of philosophy are investigated. For this purpose the production of architectural historian Doğan Kuban is discussed. Kuban’s works are evaluated from a philosophical perspective and it is tried to justify that they should be included in the philosophy of art literature. It has been accepted by the researchers that aesthetics/philosophy (...) of art in Turkey started with the effect of westernization after the Tanzimat. The main problems of the few studies that follow the development of aesthetics are that they examine aesthetics, which developed mainly through literary figures and philosophers who had less space than them, until the establishment of the Republic, only through the works of professional philosophers since the Republic, and they exclude the idea of tradition by not establishing a connection between the local thinkers they have examined and ending their development line with İsmail Tunalı. Common problems in research create the impression that the acceptance of aesthetics or philosophy of art as an activity that only the philosopher can do is accepted as a prejudice. However, philosophy of art is not a field specific to philosophers and limiting the development and accumulation of philosophy of art in Turkey to the work of philosophers narrows the scope of discussion. When a philosophical approach to the subject is sought other than philosophers, the opportunity to meet important names in different disciplines and to read them with a new eye increases. When approached from this perspective, Doğan Kuban’s (1926-2021) works deserve to be questioned in terms of art philosophy. It is noteworthy that Kuban’s production which started in the 1950s and lasted for about 70 years presents a wide field of data and interpretation and that he often attempts theory by reminding the absence of criticism and philosophy in our culture. There are also thinkers who refer to Kuban’s interest in philosophy, aesthetics and philosophy of art. However, Kuban’s relevance to philosophy and aesthetics/art philosophy has not been studied extensively. In the article firstly answers will be sought to the questions of what philosophy and philosophy of art are, and then Kuban’s philosophy of art will be revealed according to the criteria to be determined here. Kuban’s philosophy of art will be examined in three stages. His own theoretical approach will be analyzed by reviewing his objections to the tradition of philosophy of art. In the next step, his views on the philosophy of architecture and the philosophy of Turkish art, which he pursued throughout his production as a quest, will be examined. Finally the problems in Kuban’s philosophy of art will be pointed out and its possibilities will be emphasized. Philosophy is the ability to redefine the concepts starting from the most basic/original problems in any field where one doubts the answers, to determine the principles of the field, to answer the sub-questions with principles in line with consistency and validity, and to construct his own explanation model for the structure of the field by associating these answers. In order to make philosophy of art and philosophy of architecture it is necessary to answer the basic questions of the relevant field, to reach conceptual and principled goals, and to present a model of explanation of the structure of the field within a certain method. In the context of the criteria of art philosophy determined here, Kuban’s thoughts can be questioned in terms of philosophy of art. The philosophy of art, the philosophy of architecture and the philosophy of Turkish art, which became evident by the bringing together of different pieces in Kuban’s works, is a continuous and mutually determined effort. The thinker who criticizes the thinking styles and provisions of Western aesthetics, has created his own concept map with redefinitions and conceptualizations. Kuban redefined the concepts in the field of study, based on these he constructed his understanding of art, the philosophy of architecture and tried to create a model of explanation of Turkish art in which he revealed its history, evolution and basic features. Criticizing the views of C. E. Arseven, J. Strzygowski, E. Diez and O. Aslanapa, Kuban tried to define Turkish art in his own way and tried to explain the basic principles of Turkish art through monumental and civil architecture. Even though this model of explanation has deficiencies it offers new research opportunities to history of art and philosophy researchers with the questions it asks, the concepts it highlights and its unresolved aspects. With his philosophical awareness, criticisms of the philosophy of art, the philosophy of architecture and the attempt to construct the theory of Turkish art, Kuban should be included in the subject area of the philosophy of art studies in Turkey. Evaluation of Kuban’s thoughts by including them in the accumulation of art philosophy in our history of thought will both broaden and diversify the horizon of the field of art philosophy and will enable the philosophy of art to be considered in the context of new relationships between individuals and disciplines by following the traces of thinkers from such different fields. (shrink)

Despite a recent surge of interest in philosophy as a way of life, it is not clear what it might mean for philosophy to guide one's life, or how a “philosophical” way of life might differ from a life guided by religion, tradition, or some other source. We argue against John Cooper that spiritual exercises figure crucially in the idea of philosophy as a way of life—not just in the ancient world but also today, at least if (...) the idea is to be viable. In order to make the case we attempt to clarify the nature of spiritual exercises, and to explore a number of fundamental questions, such as “What role does reason have in helping us to live well?” Here we distinguish between the discerning and motivational powers of reason, and argue that both elements have limitations as guides to living well. (shrink)

H´ector-Neri Casta˜neda-Calder´on (December 13, 1924–September 7, 1991) was born in San Vicente Zacapa, Guatemala. He attended the Normal School for Boys in Guatemala City, later called the Military Normal School for Boys, from which he was expelled for refusing to fight a bully; the dramatic story, worthy of being filmed, is told in the “De Re” section of his autobiography, “Self-Profile” (1986). He then attended a normal school in Costa Rica, followed by studies in philosophy at the University of (...) San Carlos, Guatemala. He won a scholarship to the University of Minnesota, where he received his B.A. (1950), M.A. (1952), and Ph.D. (1954), all in philosophy. His dissertation, “The Logical Structure of Moral Reasoning”, was written under the direction of Wilfrid Sellars. He returned to teach in Guatemala, and then received a scholarship to study at Oxford University (1955–1956), after which he took a sabbatical-replacement position in philosophy at Duke University (1956). His first full-time academic appointment was at Wayne State University (1957– 1969), where he founded the philosophy journal Noˆus (1967, a counter-offer made to him by Wayne State to encourage him to stay there rather than to take the chairmanship of philosophy at the University of Pennsylvania). In 1969, he moved (along with several of his Wayne colleagues) to Indiana University, where he eventually became the Mahlon Powell Professor of Philosophy and, later, its first Dean of Latino Affairs (1978–1981). He remained at Indiana until his death. He was also a visiting professor of philosophy at the University of Texas at Austin (1962–1963) and a fellow at the Center for Advanced Study in the Behavioral Sciences (1981–1982). He received grants and fellowships from the Guggenheim Foundation (1967–1968), the T. Andrew Mellon Foundation, the National Endowment for the Humanities, and the National Science Foundation. He was elected President of the American Philosophical Association Central Division (1979– 1980), named to the American Academy of Arts and Sciences (1990), and received the Presidential Medal of Honor from the Government of Guatemala (1991). Casta˜neda’s philosophical interests spanned virtually the entire spectrum of philosophy, and his theories form a highly interconnected whole.. (shrink)

In recent years, philosophy of science has witnessed a significant increase in attention directed toward the field’s social relevance. This is demonstrated by the formation of societies with related agendas, the organization of research symposia, and an uptick in work on topics of immediate public interest. The collection of papers that follows results from one such event: a 3-day colloquium on the subject of socially engaged philosophy of science (SEPOS) held at the University of Cincinnati in October 2012. (...) In this introduction, we first survey the recent history of philosophy of science’s social involvement (or lack thereof) and contrast this with the much greater social involvement of the sciences themselves. Next, we argue that the field of philosophy of science bears a special responsibility to contribute to public welfare. We then introduce as a term of art “SEPOS” and articulate what we take to be distinctive about social engagement, with reference to the articles in this collection as exemplars. Finally, we survey the current state of social engagement in philosophy of science and suggest some practical steps for individuals and institutions to support this trajectory. (shrink)

The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we should not always (...) reflexively turn away from them. In turn, these responses reveal that moral value is not autonomous from aesthetic value, and neither dominates the other. The secondary aim of this chapter is to explore the ramifications of this revelation. I argue that, in addition to an ethics of media consumption, we need an aesthetics of media consumption that is fundamentally social rather than solitary. (shrink)

In a "parenthesis of fascinated horror" before "the complete discovery and subjection of the body to science", Renaissance anatomists and poets shared peculiar emotions of dread and desire towards the bodies they dissected and described. Jonathan Sawday's ambitious project is to evoke the common taboos, resistances, and fears which the human body provoked in its various early modern investigators, while telling "stories of terrible cruelty, which are tinged by a form of dark eroticism". He is justifiably proud of the historical (...) range of his study, across medicine, cartography, literature, the law, myth, art, theology, social history, and philosophy. But he seeks more than a synthesis of these disparate domains, hoping also both to sketch a new grand narrative about conceptual, practical, and phenomenological changes regarding the body, and further "if not to dispel, then at least to explain" our own multiple, ambiguous feelings about our innards. Thus he marvellously maintains simultaneous attention to culture and psychology, combining high theory with historical precision in rare and risky fashion. (shrink)

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

I wholeheartedly sympathize conceptually with Coeckelbergh’s paper. The dialectical relationship between vulnerability and technology constitutes the core of Hegel’s Master and Slave. Yet, the empirical dimension is underdeveloped and Coeckelbergh’s ideas could profit from exposure to case studies. Building on a movie/novel devoted to vulnerability coping and living with ICT, I challenge the claim that modern heroism entails overcoming vulnerability with the help of enhancement and computers.