This paper introduces post-place branding in the context of the post-representationalist turn in marketing research by drawing on Deleuze and Guattari’s (A thousand plateaus: capitalism and schizophrenia, University of Minnesota Press, Minneapolis, 1987) theory of nomadology. By engaging critically with fundamental concepts in the place and destination branding literature, post-place branding offers an alternative perspective to entrenched definitions of subjectivity, place, and event experiencing, by effecting a paradigmatic shift from processing monad to nomad, (...) from event as symbolic structure to micro-events, from pre-constituted place to spacing in the process of deand reterritorializations. Post-place branding is illustrated by re-imagining the brand architectural components of the experiential events of 70,000 Tons of Metal and The Boiler Room. The analysis culminates in a metaphorical modeling exercise that draws nomadological guidelines for brandcomms’ message strategy. (shrink)

One of the main contentions of the framework for Responsible Innovation (RI) is that social and ethical aspects have to be addressed by deliberative engagement with stakeholders and the wider public throughout the innovation process. The aim of this article is to reflect on the question to what extent is deliberative engagement suitable for conducting RI in business. We discuss several tensions that arise when this framework is applied in the business context. Further, we analyse the place of deliberative (...) engagement in several theories of business ethics. We conclude that there remains a tension between the ideal of RI and the way in which the competitive market operates. Hence, RI scholars should reflect more critically on changes that are required in the market in order to make RI possible, modify the ideal of deliberative engagement for RI in business, or attempt to strike a balance between these two responses. (shrink)

This paper offers a social phenomenological reading of the globally binding practice of 'social distancing' in light of the precautionary measures against the spreading of the Covid-19 virus. Amid speculation about the far-reaching effects of temporarily applicable measures and foresights about the advent of an ethos that has been heralded by the media as the 'new normal', the ubiquitous phenomenon of social distancing calls for a fundamental ontological elucidation. The purported hermeneutic that is situated in the broader place (...) class='Hi'>branding and experiential marketing literatures places Covid-19 in the shoes of Being, and, therefore, imagines how Being would behave ontologically if it were a virus. By positing that the virus does operate like Being, five these are formulated as experiential interpretive categories with regard to the ontological status of Covid-19. The adopted approach makes the following contributions to the extant literature: First, it addresses a wholly new phenomenon in place branding, namely a pre-branded place that is non-negotiable, globally applicable and seemingly equivalent to pure void. Second, it advances the application of phenomenological research in experiential consumption by highlighting the aptness of the so far peripheral (in the marketing discipline) strand of Heideggerian fundamental ontology. Third, it expands the notion of place in the place branding literature, by showing how spatialization is the outcome of temporalization, in line with the adopted phenomenological perspective. (shrink)

Orlan is a French performance artist whose work on beauty elicits shock and disgust. Beginning in 1990, she began a series of nine aesthetic surgeries entitled The Reincarnation of St. Orlan that altered her face and body, placed her at risk in the operating room, and centered her within certain controversy in the art world. Undergoing only epidural anaesthesia and controlling the performance to the greatest degree possible, she "choreographs" and documents the events. This enhanced interview I conducted with Orlan (...) cites her own words and offers commentary and explanation on her complex and conceptual works of art. I offer a concept of "virtual beauty" and locate her aesthetic intentionality within the realm of traditional art history (works by the great "masters" of art) and traditional aesthetics, rejecting any possibility of a viewer's disinterested stance toward Orlan's visual representations. (shrink)

College Art Association Review of Nehemas' 2007 book on beauty that challenges his exclusion of consideration of issues of gender, i.e., I ask the questions, "whose beauty?" and "beauty for whom?".

This paper offers a brand storytelling, that is a narratological account of Covid-19 pandemic’s emergence phase. By adopting a fictional ontological standpoint, the virus’ deploying media story-world is identified with a process of narrative spacing. Subsequently, the brand’s personality is analyzed as a narrative place brand. The narrative model that is put forward aims at outlining the main episodes that make up the virus’ brand personality as process and structural components (actors, settings, actions, relationships). A series of deep or (...) ontological metaphors are singled out as the core DNA of this place brand, by applying metaphorical modeling to the tropical articulation of Covid-19’s narrative. The virus’ kernel is identified with terror, as a menacing force that wipes out existing regimes of signification due to its uncertain motives, origins and operational mode. In this context, familiar urban spaces, cultural practices and intersubjective communications are redefined, repurposed and reprogrammed. This process is called terrorealization, as the desertification and metaphorical sublation of all prior territorial significations. This study contributes to the narrative sub-stream of place branding by approaching a globally relevant sociocultural phenomenon from a brand storytelling perspective. (shrink)

Amidst the constantly augmenting gastronomic capital of celebrity chefs, this study scrutinizes from a critical discourse analytic angle how Jamie Oliver has managed to carve a global brand identity through a process that is termed (dis)placed branding. A roadmap is furnished as to how Italy as place brand and Italianness are discursively articulated, (dis)placed and appropriated in Jamie Oliver’s travelogues which are reflected in his global brand identity. By enriching the CDA methodological toolbox with a deconstructive reading strategy, (...) it is shown that Oliver’s celebrity equity ultimately boils down to supplementing the localized meaning of place of origin with a simulacral, hyperreal place of origin. In this manner, the celebrity’s recipes become more original than the original or doubly original. The (dis)placed branding process that is outlined in the face of Oliver’s global branding strategy is critically discussed with reference to the employed discursive strategies, lexicogrammatical and multimodal choices. (shrink)

The aim of this paper is to demonstrate the applicability of multivariate mapping techniques to the exploration of the rhetorical semiotic brand image structure of ad films. By drawing on correspondence analysis and multidimensional scaling, two techniques that are amply used in corpus linguistics and in marketing research, but also on the data reduction technique of factor analysis, it will be displayed how a set of nuclear semes and classemes or an intended semic structure that underlies ad filmic discursive structures (...) may be projected alongside rhetorical figures by its internal stakeholders (i.e., a brand management team, an account planning team or a marketing research team) with view to attaining differential brand associations. The illustration of the exploratory analytical methods takes place by recourse to a corpus of 62 ad filmic texts from 13 sub-brands of the 3 major brands in the UK cereals market and 321 ad filmic segments that resulted from the segmentation procedure. This paper seeks to contribute to advancements in the brand image and advertising rhetoric research streams by addressing distinctive modes of advertising rhetorical configuration at the level of the ad filmic text (as against print ads where the bulk of research on advertising rhetoric has concentrated), and moreover on a segment-by-segment level, rather than treating the ad film as a standalone unit of analysis, by adopting a multimodal outlook to advertising configurations that takes into account not only the verbal or the visual mode, but also interactions among modes, by adopting a product category-specific approach to advertising/brand textuality that draws on rhetorical semiotics and by employing exploratory statistical methods against the background of content analytic output. (shrink)

Dr. Seyed Mohammad Mohajer, author of this book, for the first time, on the subject of SEM (Student Experience Management) and TEM :(Teacher Experience Management), Expresses and writes In today’s competitive world in which men are looking for acquiring a better place for themselves and their properties, indeed it can be said that people who compete on a full scale in marketing and branding by learning knowledge and experience, are more successful. Apart from people, countries, cities, businesses, historical (...) and religious sites, companies, products, services, and even government agencies are endeavoring and competing to possess a better place and more profitability. In the meantime, universities, higher education institutions, and specialized schools such as Business Schools, Language Schools, Art Schools, etc are not exceptions. Contest in the digital and traditional area, simultaneously, and with a proper strategy and developing systematic advertising campaigns can make a university or higher education institutions a brand. Since the branding process, as its name implies, has a -ing (continuous), the process must be continual and running continuously. One of the most significant tools in higher education institutions branding is CEM (Client Experience Management) which includes SEM (Student Experience Management) and TEM (Teacher Experience Management). Valuing the main audiences, which are students and professors, and creating a distinctive and excellent experience in the educational environment either in a digital or in a traditional area, can lead to receive excellent feedback from these audiences and direct them to the brand layers that are Awareness, Knowledge, Attitude, Engagement, Satisfaction, Loyalty and the highest level that is Passion, which the same matter make the sense of constancy and belonging and conversion Trademark (Servicemark) a higher education institution to a Lovemark. But how this distinctive experience and feeling can be infused with the audiences? Undoubtedly, many solutions are recommended in this field, such as the use of sensory branding methods, but the important point here is who can create and improve this experience? Certainly, the University Staff has a key and very effective role in the mentioned process. However, the significant point is which employees can make this experience? The answer is very simple but key: Employees who first receive a good sense of working in a scientific and educational environment. Therefore, we are facing a phenomenon called SEM (Staff Experience Management), that is, university administrators and heads, before engaging in Client Experience Management, should seek to create a sense of satisfaction, belonging, and loyalty in the educational environment and grow their educational brand set, which its tools are certainly Employer Branding and Human Capital Management. By mentioning all the foregoing keywords, each of which is a deep concept in BRAND Building and Branding of higher education institutions discussion, we begin our main discussion, namely marketing and branding in higher education institutions. I hope you will be with us by the end of the book and experience a different studying the book, dear reader. Dr. Mohajer writes in his introduction: Be the best version of yourself I daresay all brand and branding concepts and definitions can be observed in the above sentence. whereof the brand, like a human, experiences all the before birth, birth, growth, maturity, wane and death processes, and since a real human being is always looking for growth and ascendancy, and this continuous process to reach the endpoint Life, thus the grown man is always looking to reach a higher point of his present and past. The most important tool in a human ascendancy or a brand is certainly an education. Either for a human or a brand, becoming a distinct brand goes through practical training. The above sentences are a summary of my little experience as Seyed Mohammad Mohajer in education and especially training in the brand management field. Certainly, the brand and education and the combination of these two words are the main and vital tools for the development of any country and human being. Now that I am the President of Tarjoman Oloom Higher Education Institute and the BrandAfarin international group, I consider it necessary as my social mission to start first from myself and with a better understanding of myself, then the great God and comprehending the universe; I announce to the cultured society that we seek to identify brilliant talents in the three areas of education, research and management consulting, and we warmly welcome intellectuals, professionals and individuals seeking individual and organizational growth. Also, by creating skill training courses in four specialized fields of management in the Business School, foreign languages ​​in the Language School of Art and Media in the Art School, and new technologies in the i4.0 School for people who can not afford to pay for the training tuition, We have created the chance to study at Tarjoman Oloom Higher Education Institute for free and then go to the business market. It would be my honor to contact me for more information and direct communication through my website www.mohajer.tvLinks to an external site. and my email info(at)mohajer.tv. Book Details: ISBN-13 : 979-8574963845 Paperback : 272 pages Language: : English ASIN : B08PJPQSK9 Paperback : 272 pages Author: Seyed Mohammad Mohajer, PhD. (President of Tarjoman Oloom Higher Education Institute) For more information on Marketing and Branding in Higher Education Institute, visit: https://www.amazon.com/dp/B08PJPQSK9Links to an external site. (shrink)

Consumers often buy products not because of their attributes per se but rather because of the ultimate benefits that these attributes provide, in turn leading to the satisfaction of ultimate values. And Apple is a type of company which understand their customers & future aspects of innovation in a way that no other companies do. That’s the reason that apple is at No. 1 place in Top 50 Most innovative companies. This article endeavors to recognize the consumer perception towards (...) the Apple products and what is Apple’s ideology. In this article the researcher has listed down 12 variables which affect the consumer behavior most while purchasing Apple products. The researcher took 50 sample sizes to make this paper and this study is being done in Tiruchirappalli District. To prepare the factors, I have used Factor analysis test. (shrink)

In a world that celebrates academic institutions as the pinnacle of knowledge, progress, and enlightenment, the reality is far grimmer. Academia has become a self-serving oligarchy that imposes ideological conformity, restricts intellectual freedom, and manipulates public consciousness under the guise of “progress.” Far from being a champion of open inquiry, academia operates as the most insidious oppressor in American society, exerting control over public discourse, dictating acceptable beliefs, and marginalizing any who dare to dissent. In its thirst for dominance, academia (...) has transformed from a place of learning to a vehicle for intellectual tyranny, where it imposes its own rigid worldview and stifles diversity of thought. -/- In an imagined reinterpretation of The Apology, Socrates stands accused not merely of corrupting the youth of Athens but of something far more subversive: defining the word “oppressor” and exposing the façade of modern academic power structures. Socrates faces a tribunal of academic elites, his only crime a relentless quest for truth. He has introduced the concept of an “unmoved mover”—an entity not swayed by the ideological tides of his accusers. In our age, this unmoved mover might be called "truth" or "justice," yet the academic establishment brands it as “God,” something feared for its unwavering judgment against their hypocrisy. Through Socrates, we examine academia itself as the ultimate oppressor, an institution that defines and manipulates reality to preserve its power. (shrink)

Experiments in particle physics have hitherto failed to produce any significant evidence for the many explicit models of physics beyond the Standard Model (BSM) that had been proposed over the past decades. As a result, physicists have increasingly turned to model-independent strategies as tools in searching for a wide range of possible BSM effects. In this paper, we describe the Standard Model Effective Field Theory (SM-EFT) and analyse it in the context of the philosophical discussions about models, theories, and (bottom-up) (...) effective field theories. We find that while the SM-EFT is a quantum field theory, assisting experimentalists in searching for deviations from the SM, in its general form it lacks some of the characteristic features of models. Those features only come into play if put in by hand or prompted by empirical evidence for deviations. Employing different philosophical approaches to models, we argue that the case study suggests not to take a view on models that is overly permissive because it blurs the lines between the different stages of the SM-EFT research strategies and glosses over particle physicists' motivations for undertaking this bottom-up approach in the first place. Looking at EFTs from the perspective of modelling does not require taking a stance on some specific brand of realism or taking sides in the debate between reduction and emergence into which EFTs have recently been embedded. (shrink)

In response to an impasse, articulated in the late 1980s, the cognitive capacities of ordinary people assumed central place in contemporary critical social theory. The participants’ perspective gained precedence over scientific standards branded as external. The notion of cognition, however, went unchallenged. This article continues the move away from external standards, and discusses two models of critique, which differ based on their underlying notions of cognition. The representational model builds on cognitive content, misrecognition and normativity; three features which are (...) illustrated with positions adopted by prominent exponents of critical social theory. An alternative understanding relies on action-oriented disclosure and the participants’ basic familiarity with the social world. On this reading, what clashes with unequal structures is skilful coping, rather than representations and normative standards. The action-oriented approach may overcome the dilemma of understanding both the impact and the possible transcendence of unequal structures, although it cannot ultimately replace representational critique. (shrink)

This essay examines the underdetermination problem that plagues structuralist approaches to spacetime theories, with special emphasis placed on the epistemic brands of structuralism, whether of the scientific realist variety or not. Recent non-realist structuralist accounts, by Friedman and van Fraassen, have touted the fact that different structures can accommodate the same evidence as a virtue vis-à-vis their realist counterparts; but, as will be argued, these claims gain little traction against a properly constructed liberal version of epistemic structural realism. Overall, a (...) broad construal of spacetime theories along epistemic structural realist lines will be defended which draws upon both Friedman’s earlier work and the convergence of approximate structure over theory change, but which also challenges various claims of the ontic structural realists. (shrink)

The rise of social-media-mediated celebrity culture raises several philosophical concerns. Therefore, it is not uncommon to see, for example, Hollywood actors being placed in the same bracket as YouTube artists and Instagram influencers. The increased perceived ‘connectivity’ afforded by social media allows online celebrities to reach more fans and increases the perceived engagement or intimacy in the fan-celebrity relationship. In this paper I argue that this online relationship, which is beneficial to celebrities (for brand development) and social media companies (in (...) profiting from the high engagement), has the potential to cause harm to both the celebrities as well as their fanbases (and sometimes innocent third parties). Firstly, I argue that celebrities’ attempts to be more intimate or authentic with their fanbase can turn out to be – more often than not – acts of Sartrean bad faith. Celebrities who tend to project a certain self-styled ‘online authenticity’, given the context of social media’s attention economy, can run the risk of treating a fan as a means-to-an-end, rather than an autonomous for-itself. Secondly, I argue that this phenomenon can catalyse real-world harms, by drawing upon network theory and social psychology. I argue that the connectedness of social media, ‘blending into the crowd’, and social media technologies’ ethos of optimising-for-engagement, leads to real harms to human well-being when fans do not engage critically and mindfully with online celebrities. Examples include Trump-esque celebrity politicians trying to drum up populist influence; celebrities feuding online encouraging fans’ conduct of harmful trolling and harassment; and vilification of those who do not subscribe to the same perceived worldview of a celebrity’s fandom. Following my arguments within, I shall outline an online celebrity’s ethical duties in their social media engagement, with emphasis on the duties that celebrity status comes with, particularly in preventing harms that transcend the online into the offline. (shrink)

Those who have considered the connection between Dewey’s theory of inquiry and Greek thought have mostly situated their remarks within larger points, regarding either teaching and learning (Garrison, 1997; Johnston, 2006b; Cahn, 2007) or aesthetics and craft (Alexander, 1987; Hickman, 1990). The fact that this area remains somewhat underexplored could be chalked up to several factors: 1) Dewey was often quite critical of the classical tradition, particularly when it came to theories of knowledge, 2) Dewey was not a trained classicist, (...) with little working knowledge of ancient Greek, and was self-admittedly not a historian of philosophy, and 3) whenever Dewey did turn positive attention toward ancient thought, he tended to speak in generalities, referring most often to “the Greeks” rather than any particular Greek thinker. In spite of this, there remain many compelling reasons to place Dewey’s views on inquiry in meaningful dialogue with the classical tradition. I will suggest that the most compelling of all is the link between Dewey’s view of inquiry and his particular brand of naturalism, which found its fullest expression late in his career. This is an underappreciated connection in Dewey’s work on inquiry, either taking a backseat to the instrumental, experimental themes in his thought or misinterpreted as a form of positivism/scientism. Once acknowledged, however, this connection could help bring Dewey’s normative, socio-political writings in line with his theories on ontology, logic, and the acquisition of knowledge. (shrink)

This article discusses the growth of the populist radical right as a concrete example of the scenario where liberal democratic ideas are losing support in broadly liberal democratic societies. Our goal is to enrich John Rawls’ influential theory of political liberalism. We argue that even in that underexplored scenario, Rawlsian political liberalism can offer an appealing account of how to promote the legitimacy and stability of liberal democratic institutions provided it places partisanship centre stage. Specifically, we propose a brand-new moral (...) duty binding ‘reasonable’ partisans committed to pluralism. This duty establishes conditions where partisans must strategically transform society’s public reason (i.e. transform the visions for society their parties campaign on) in ways that promise to attract back support from illiberal and antidemocratic competitors. While this strategic behaviour might seem impermissible, we show that Rawls’ distinctive account of sincerity in democratic deliberation is uniquely placed to justify it as perfectly ethical. (shrink)

The goal of this essay is twofold. First, I will explicate the dynamic nature of Spinoza’s doctrine of virtue by discerning his reasons for defining virtuousness in terms of active power. Second, by taking this understanding of virtue as the point of departure, I will suggest a sense in which we can be said to be more or less eternal to the extent that we are virtuous and active. Spinoza’s specific brand of essentialism underpins both his doctrine of virtue and (...) that of eternity, and reaching these goals requires discussing the two kinds of essences which hold a prominent place in the Ethics: the formal and the actual essences. This, in turn, allows us to throw some new light on the relationship between eternal and durational existence, the distinction between which forms the very backbone of Spinoza’s system. (shrink)

We challenge the prevalent opinion that consumption does not seem to matter as much as production and defy the fetishism of industrial work. We explore the implications of the premise that under conditions of cognitive capitalism consumption dictates what production does, when and how. We explain that in a post-industrial global society and economy fashion, branding, instant gratification of desires, and ephemeral consumer tastes govern production and consumption. The London riots of August 2011 send us a warning that consumption (...) and cognitive capitalism are asphyxiating in the structures and norms of industrial capitalism that are still in place. (shrink)

Theology from Mircea Eliade to Fr. Dumitru Stăniloae When someone tries to present the spiritual characteristics of a people, his findings will be both appreciated and criticized. It is very difficult to talk about the people among whom you were born and have lived without falling into overrating or underestimation errors of the role and the place it had and it played in human history, in general, and that of each individual, in particular. From these positions, two of the (...) brand personalities of our people: Mircea Eliade (world famous scientist, one of the greatest historians of religions from all times) and Fr Dumitru Stăniloae (the greatest modern Romanian Orthodox theologian whose work is globally recognized by representatives of all Christian denominations) wrote about Romanian culture and spirituality and the role they occupy in the history of Europe. Beyond the differences in thinking between the two, remains the common place where the theologian and the historian of religion complement each other: the culture and spirituality of the Romanian people. (shrink)

African ontological discourse revolves around a few principles, the interrelatedness of being, what is variously interpreted as communalism, ubuntu, Holism, communitarianism etc. This is the view that every being in the world, animate and inanimate are interconnected into a whole. This makes it possible for African environmental attitude to claim to be holistic. Since we are one, we care for each other, humans care for animals, plants, and mountains not because of what to gain from them but because we are (...) the same and harming the river is same as harming oneself. The weakness of seeing African environmental ethics as only holistic is that it is not African enough as the paper will argue. The second principle in African ontological discourse is the human being. This principle has made scholars like Callicott and even some African scholars to describe African environmental ethics as anthropocentric. The paper also argues that branding African environmental ethics anthropocentric is not African enough. This is because Africans live in an interconnected world, comprising both the living, the dead and nature. Humans are only one privileged part of the whole and this is because of her obligatory role to nature and the world as a result of her capabilities. Through the method of analysis, the paper argues that a plausible African environmental ethics will be one that will blend the holistic nature of the African ontology and its pride of place given to humans. It will be discovered that obligatory anthropoholism can comfortably blend these two principles without necessarily being anthropocentric. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

ABSTRACT:Many companies engage in dialogue with nongovernmental organizations about societal issues. The question is what a regulative ideal for such dialogues should be. In the literature on corporate social responsibility, the Habermasian notion of communicative action is often presented as a regulative ideal for stakeholder dialogue, implying that actors should aim at consensus and set strategic considerations aside. In this article, we argue that in many cases, communicative action is not a suitable regulative ideal for dialogue between companies and NGOs. (...) We contend that there is often an adversarial element in the relation between companies and NGOs, and that an orientation towards consensus can be in tension with this adversarial relation. We develop an alternative approach to stakeholder dialogue called ‘agonistic deliberation.’ In this approach, conflict and strategic considerations play a legitimate and, up to a certain point, desirable role. (shrink)

Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed (...) FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art. (shrink)

The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some guidance as (...) to why a symposium on beauty merits attention in 1999. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

In our paper "Surface and Deep Interpretation," we sought to provide detail and texture to Arthur Danto's views on interpretation, thereby explicating and defending them (as published in Mark Rollins, ed., Danto and His Critics (Blackwell, originally published 1993; second edition 2012). Leddy objects to our views; in the end, Danto's view, given our explication of it, remains tenable.

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...) body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...) objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play. (shrink)

This chapter presents an overview of feminism and aesthetics in the 2007 Blackwell Guide to Feminist Philosophy edited by Linda Martin Alcoff and Eva Feder Kittay. Sections cover the topics of distinguishing aesthetics and philosophy of art, bringing feminist theory into aesthetics, developing feminist challenges to aesthetics, the role of women artists in feminist aesthetics, feminist philosophers reflect on self-portraiture and women as objects of beauty, and future developments.

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...) replicating a cultural bias that links an artist to particular mental processes that are unnecessarily exclusive. An experiential account of creativity like the one recently advanced by Bence Nanay not only disadvantages those artists whose lived experiences reflect fewer social opportunities than their counterparts, but also invokes a concept of luck that undermines the role of originality within an artwork's overall aesthetic value. (shrink)

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.”. (shrink)

Beauvoir maintains a unified "compromise theory" of aesthetics throughout her ethics, feminism, and fiction that portrays the conundrum that every artist faces -- an impasse that sets action against inaction, politics against culture. Beauvoir's theory of art in The Mandarins, aided by an analysis of women's oppression in The Second Sex, advocates art that keeps past events alive in the present and in so doing, changes even the tragic into the life affirming. Beauvoir lauds artists who, even in the face (...) of self-doubt, continue to engage in artistic endeavors in order to maintain an ethical relationship to the rest of humanity. (shrink)

In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...) there are counterexamples to the entire conditional. With regard to (ii), I will suggest that conventionality is necessary for creativity. [This was my first published paper, written as a graduate student, taken from my University of Illinois at Chicago dissertation written with Professor George Dickie on the topic of conventions, utilitizing David Lewis' definition of "convention."]. (shrink)

Images abound of women throughout the ages engaging in various activities. But why are there so few representations of childbirth in visual art? Feminist artist Judy Chicago once suggested that depictions of women giving birth do not commonly occur in Western culture but can be found in other contexts such as pre-Columbian art or societies previously considered "primitive." Chicago's own exploration of the theme resulted in the creation of The Birth Project (1980-85): an unprecedented series of eighty handcrafted works of (...) art created in a variety of needlework techniques by more than 130 artisans that celebrate the experience of birth and a woman's transformation into motherhood. But why is The Birth Project an aberration from today's norm? What are the reasons that childbirth remains a taboo subject in our visual culture? Why is the birthing experience--so pervasive for women--so infrequently celebrated, even by female artists? (shrink)

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. Annotated (...) bibliography by Joshua Shaw. (shrink)

This essay aims to address a lack of recognition on the part of aestheticians, feminist scholars in the visual arts, as well as Simone de Beauvoir scholars by studying Beauvoir's The Ethics of Ambiguity (1948) for what it has to offer on the topic of art and aesthetics: (1) the important role of the visual arts in society and the political legacy artists can contribute to the world; (2) the traditionally revered philosophical concept of the aesthetic attitude; and (30 the (...) use of the aesthetic attitude to improperly justify controversial works of art. It will also point out that Beauvoir's Ethics is distinct in the history of aesthetics for its atypical (proto-feminist) stand against the popular notion of the aesthetic attitude. Her promotion of political (feminist) art presages the feminist art movement of the 1970s. Ahead of her time, Beauvoir recognized the vital interplay between art and ethics. (shrink)

Arthur C. Danto, philosopher and art critic for The Nation from 1984-2009, offered interpretations of artworks by a wide array of artists, including Eva Hesse, Judy Chicago, and Cindy Sherman, whose "disturbatory" works were either ignored or denounced by mainstream critics at the time. Danto's championing of feminist art was deliberate and delightful; he openly endorsed the Guerilla Girls! His feminist art critical writings ultimately shaped the early development of what has come to be known as "feminist aesthetics" particularly his (...) focus on defiant artworks by female artists who sought to reclaim agency and expression of the female body. He revived interest in the neglected topic of beauty while simultaneously advancing radical political goals within the artworld. His call to arms urged art viewers to experience the new--what he often called "art on the edge and over"--wherein, "The experience of art becomes a moral adventure rather than merely an aesthetic interlude" (in Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s, 1996). (shrink)

Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare under (...) his perusal, for example, feminist critiques of traditional definitions of "art," challenges to the elitist makeup of the Artworld, . . . and opposition to his very choice of paradigms: in addition to Duchamp, the "hard cases" include works by John Cage, Andy Warhol, Olivier Messiaen, Jorge Luis Borges, and Gerald Hoffnung. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art. (shrink)

Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!

Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 articles by 400 writers and artists (...) from more than 80 countries. After 40 issues, the journal has come to an end. What a success story! (shrink)

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity (...) eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

There has been an important artist in our midst. Her work is about gender, race, and the internal structures of the artworld, and it predated the current popularity of those topics in theoretical circles by three decades.... Piper's volumes serve two functions. Volume I, Selected writings in Meta-Art, 1968-1992, provides an intimate history of the development of her own creative art making, while Volume 2, Selected writings in Art Criticism, 1967-1992, chronicles her more public responses to art-critical writings. Together they (...) form an intense document of a practicing, successful artist who is exceptionally articulate and hence interesting to read. It is no coincidence that her deep commitment to making political art--in which the artist is an agent of social change--functions in tandem with her scholarly pursuits in Kantian ethics. (shrink)

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, and forced separation from (...) his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Series editor forward by Richard Eldridge. List of Contributors includes Steven G. Kellman, Jane E. Schultz, Andrew Edgar, Kathleen Higgins, Edward B. Weiser, Cynthia A. Freeland, and Margaret E. Gray; see "Introduction" by Peg Brand Weiser below. (shrink)

Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...) the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principle example of political art will be drawn from feminist art--the extraordinary and controversial performance art of the French artist, ORLAN. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will also argue not only that feminist art--and by extension political art of all kinds--can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art. (shrink)

This essay explores the role that the aesthetic-nonaesthetic distinction plays in assessing activist art by women and artists of color. First, I shall review one traditional line of philosophical thought and show how it serves as the foundation for three types of reasons typically given for artworks reputed to lack aesthetic value. I develop two of the three reasons by examining recent writings opposed to the aesthetic value of activist art by well-known art critic Donald Kuspit, pointing out his aberrant (...) use of "obscene." Kuspit's examples of activist art--the work of Jenny Holzer, Barbara Kruger, and Adrian Piper--are presented in light of his charges. I then explore Piper's art in depth in order to outline ways of expanding the notion of aesthetic value beyond its traditional confines. Finally, I suggest moving beyond entrenched, traditional patterns of assessment and invite underrepresented voices to contribute to the emerging discussion of the multiplicity of aesthetic values. (shrink)

This short essay is part of a 5 volume work entitled 100,000 Years of Beauty complete with more than 300 authors from over 30 countries. I was aksed to write about Simone de Beauvoir and the concept of 'emancipated beauty'; I cast Beauvoir's theory of freedom--combining liberation and equality with beauty and femininity--in defiance of the long-standing and constrictive dichotomy that says women must choose one or the other. Beauvoir's most famous phrase, "One is not born, but rather becomes a (...) woman," entails a lifelong struggle against cultural, religious and philosophical norms of inequality and the restrictive ideals of beauty those norms have imposed since the days of Aristotle and Confucius. On Beauvoir's view, one can be both free from oppression and beautiful . . . (shrink)