Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...) hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

In philosophical literature, the complex emotional state of ressentiment gained popularity through the writings of Friedrich Nietzsche. According to Nietzsche, ressentiment was a bad feeling that reflected the suppressed anger, the pain of impotence, and the general misery of the weak when they compared themselves to the strong and talented members of society. Max Scheler took up Nietzsche’s thesis and described ressentiment as a complex condition characterised by a thirst for revenge. Moreover, ressentiment has the annoying property of presenting itself (...) as having some merit: the modern social and political context offers more than enough examples. First, the aim of this article is to take a closer look at Nietzsche’s ‘man of ressentiment,’ an odious personality characterised by weakness, deep frustrations, and hypocrisy. It will turn out that ressentiment has many different shades that paint a somewhat different picture and raise philosophical questions about positive valuation, vulnerability, and the sense of injustice. Second, we shall be working on the link between the psychology of ressentiment and the temptation to lack integrity in writing, art, or science. The well-described and well-known fact that academic fraudsters evolve in disguise, that they first reactively endorse values very different from their own values, and that these plagiarist authors, second, embark on long-term projects repeating their misdeeds and errors, as if it were normal, are two facts worthy of our attention. (shrink)

This paper delves into the nature of intellectual property rights in aesthetic creations, particularly works of visual art and literary works. The discussion focuses on copyrights interests, but there are also implications for trademark and patent rights. The argument assumes a fairly conventional definition of "property," namely, the set of legal relations between the owner and all other persons relating to the use, enjoyment and disposition of a tangible thing. The problem with such a definition as applied to aesthetic creations (...) is that no ordinary tangible thing necessarily embodies a creation which can exist in multiple copies, so the paper takes the transcendent view that the tangible thing subject to legal relations is the entire terra firma or material universe being shaped in the image, sounds or words of the aesthetic creation. Therefore, the paradigm suggested for intellectual property is a monopoly on shaping the entire physical universe, thus the Worldmaking concept. It then follows that intellectual property in an aesthetic creation enables the owner to stop plagiarists from using any part of the material world to recreate in the audience the imaginative experiences first created by the protected work. (shrink)

The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture.

Plagiarism detection is the process of finding similarities on electronic based documents. Recently, this process is highly required because of the large number of available documents on the internet and the ability to copy and paste the text of relevant documents with simply Control+C and Control+V commands. The proposed solution is to investigate and develop an easy, fast, and multi-language support plagiarism detector with the easy of one click to detect the document plagiarism. This process will be (...) done with the support of intelligent system that can learn, change and adapt to the input document and make a cross-fast search for the content on the local repository and the online repository and link the content of the file with the matching content everywhere found. Furthermore, the supported document type that we will use is word, text and in some cases, the pdf files –where is the text can be extracting from them- and this made possible by using the DLL file from Word application that Microsoft provided on OS. The using of DLL will let us to not constrain on how to get the text from files; and will help us to apply the file on our Delphi project and walk throw our methodology and read the file word by word to grantee the best working scenarios for the calculation. In the result, this process will help in the uprising the documents quality and enhance the writer experience related to his work and will save the copyrights for the official writer of the documents by providing a new alternative tool for plagiarism detection problem for easy and fast use to the concerned Institutions for free. (shrink)

As if 2020 were not a peculiar enough year, its fifth month has seen the relatively quiet publication of a preprint describing the most powerful Natural Language Processing (NLP) system to date, GPT-3 (Generative Pre-trained Transformer-3), by Silicon Valley research firm OpenAI. Though the software implementation of GPT-3 is still in its initial Beta release phase, and its full capabilities are still unknown as of the time of this writing, it has been shown that this Artificial Intelligence can comprehend prompts (...) in natural language, on virtually any topic, and generate relevant, original text content that is indistinguishable from human writing. Moreover, access to these capabilities, in a limited yet worrisome enough extent, is available to the general public as of the time of this writing. This paper presents select examples of original content generated by the author using GPT-3. These examples illustrate some of the capabilities of GPT-3 in comprehending prompts in natural language and generating convincing content in response. We use these examples to raise specific, fundamental questions pertaining to the intellectual property of this content and the potential use of GPT-3 to facilitate plagiarism. Our goal is to instigate not just a sense of urgency, but of a present tardiness on the part of the academic community in addressing these questions. (shrink)

Today, the Internet is a rich source of study materials, and Google Scholar offers free access to a large number of scientific articles. There are excellent research publications available in many more databases. Students have the option of easily copying the material. Reusing, paraphrasing, patchwriting, and ghostwriting without citing the original documents are plagiarism. Plagiarism is increasing in academics, particularly in research. This study aims to study the awareness of plagiarism and to analyze the reasons for (...) class='Hi'>plagiarism. The study samples are the student teachers in India. For this study, we used a survey method, and the author prepared a questionnaire to collect data from the student teachers. Study respondents are the student teachers of the Regional Institute of Education Mysore; Purposive sampling was used to select samples. The total number of study respondents is 207. The findings of the study revealed that over 70 per cent of respondents mentioned reasons for plagiarism as lack of relevant literature studying, lack of preparation and time, difficulty checking every piece of work, do not know the manual citation style, lack of knowledge about bibliographic management software and also they stated that getting easily available materials on the internet is also a reason for plagiarism. The study recommends that teachers teach or conduct awareness programs on plagiarism, avoiding plagiarism, citation style, and software. (shrink)

This article diagnoses the problem of plagiarism in academic books and articles in the disciplines of philosophy and theology. It identifies three impediments to institutional reform. They are: (1) a misplaced desire to preserve personal and institutional reputations; (2) a failure to recognize that attribution in academic writing admits of degrees; and (3) a disproportionate emphasis on the socalled “intention to plagiarize.” A detailed case study provides an illustration of the need for institutional reform in the post-publication processes in (...) the disciplines of philosophy and theology. (shrink)

EAP course teaches how the program concerns and provides us with a valuable way of organizing our thinking about conceptual disciplinary within the particular community. The area of EAP is referred with genres. The process of writing academically requires creating a text where the writer takes it for granted the reader is about to recognize. To group texts together, writers utilize language in order to respond to recurring situations and this case is +represented with the term genre.

Issues on plagiarism among pre-service teachers (PSTs) have increased in modular and online learning. To confirm this, the study determined the PSTs’ level of awareness on plagiarism; their knowledge on referencing and citation; and the correlation between their level of awareness on plagiarism and knowledge on referencing and citation, with their academic performance. The study employed a descriptive-correlational research design participated by 235 PSTs randomly sampled through strata. The data were gathered through a web-based survey. Results showed (...) that the PSTs’ level of awareness of plagiarism was moderate, while the majority have fair knowledge in referencing and citation. Also, results showed a significant relationship among the level of awareness on plagiarism, knowledge on referencing and citation, and academic performance. It is recommended that institutions equip librarians and educators to teach PSTs about citation and referencing skills. Besides, the institution should make sure that a policy is implemented to pursue academic integrity. This policy must articulate the various types of plagiarism, plagiarism measurement, and fair and consistent disciplinary actions. (shrink)

Plagiarism is malpractice, the fabrication of others’ “ideas or work” published without the proper permission or citation of the original contributors. Plagiarism is detected through different software, i.e., Turnitin, before publishing any research data. The present survey study assesses whether academicians, researchers, and scholars around the world perceive this software as a creator or destroyer of new thoughts and ideas. A survey of this research data was conducted with academicians, researchers, and scholars around the globe. The number of (...) respondents is 1100, including 688 teaching professionals, 347 non-teaching, and 65 others. The present study finds that 82.7 per cent of research professionals mentioned that plagiarism could be appropriately citable. 76.7 per cent suggested that plagiarism can be completely avoidable, and 72.4 per cent has been proposed to be punishable. The study also described that plagiarism software is a good, efficient, and effective creator for new ideas. (shrink)

It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular element (...) of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

In this article I discuss a particular aspect of the Dutch reception of the ideas of René Descartes, namely the use of his Traité de l’homme by Henricus Regius. I analyze the use that Regius made of the theory of the movement of muscles, passions, hunger, and more generally of the neurophysiology expounded by Descartes in his book (not printed until 1662–1664). In my analysis, I reconstruct the internal evolution of Regius’s neurophysiology, I illustrate its sources beyond Descartes (i.e., Jean (...) Fernel and Santorio Santorio), and I show that he was certainly acquainted with some of its contents as early as 1641 (when he used it with the mediation of Descartes), before relying on it—as variously discussed in secondary literature—in his Fundamenta physices (1646), when he appropriated from it without Descartes’s authorization. (shrink)

This chapter as the whole book are a result of a Globethics conference in March 2018 at the Catholic University of East Africa (CUEA) in Kenya, focused on the integration of Ethics in Higher Education. The book captures the potential for sharing of knowledge, and triggering interdisciplinary collaboration and research across a wide variety of issues ranging from research practice, religion, entrepreneurship, leadership, fundraising and corruption. While some of the chapters focus on the understanding of ethics and its relationship with (...) the various other aspects of life, others concentrate on the methods and strategies of effectively teaching ethics. Our chapter is concerned by the ways research practices and the value of integrity might be at risk, in very limited situations. We have good hope that responsible answers and proportionate reason-based actions in confronting some of these risks - as with plagiarism - can protect the giving virtues necessary for dynamical and effective research processes, which are all ultimately built on the value of trust. (shrink)

Confirmational holism is at odds with Jeffrey conditioning --- the orthodox Bayesian policy for accommodating uncertain learning experiences. Two of the great insights of holist epistemology are that (i) the effects of experience ought to be mediated by one's background beliefs, and (ii) the support provided by one's learning experience can and often is undercut by subsequent learning. Jeffrey conditioning fails to vindicate either of these insights. My aim is to describe and defend a new updating policy that does better. (...) In addition to showing that this new policy is more holism-friendly than Jeffrey conditioning, I will also show that it has an accuracy-centered justification. (shrink)

Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind of knowledge and (...) practices are involved in art and technological innovation. It argues that technological innovation is indeed “technical”, but, if conceptualized as techne, can be understood as art and performance. It is argued that in practice, innovative techne is not only connected to episteme as theoretical knowledge but also has the mode of poiesis: it is not just the outcome of human design and intention but rather involves a performative process in which there is a “dialogue” between form and matter and between creator and environment in which humans and non-humans participate. Moreover, this art is embedded in broader cultural patterns and grammars—ultimately a ‘form of life’—that shape and make possible the innovation. In that sense, there is no gap between science and society—a gap that is often assumed in STS and in, for instance, discourse on responsible innovation. It is concluded that technology and art were only relatively recently and unfortunately divorced, conceptually, but that in practices and performances they were always linked. If we understand technological innovation as a poetic, participative, and performative process, then bringing together technological innovation and artistic practices should not be seen as a marginal or luxury project but instead as one that is central, necessary, and vital for cultural-technological change. This conceptualization supports not only a different approach to innovation but has also social-transformative potential and has implications for ethics of technology and responsible innovation. (shrink)

In this chapter, we examine Iris Murdoch’s views about art. We highlight continuities and differences between her views on art and aesthetics, and those of Plato, Kant, and Freud. We argue that Murdoch’s views about art, though traditionally linked to Plato, are more compatible with Kant’s thought than has been acknowledged—though with his ethics rather than his aesthetics. Murdoch shows Plato’s influence in her idea that beauty is the good in a different guise. However, Murdoch shows a more Kantian than (...) Platonic influence in her suggestion that the experience of beauty can be conducive to virtue, and distances herself from Plato in her claim that the enjoyment, as well as the production, of certain kinds of art can be virtuous. We also argue that her view of bad art as self-consoling fantasy is consonant with Freudian thought. Lastly, we question her view of bad art, specifically concerning her identification of bad art as self-consoling fantasy or entertainment, and her separation of the latter and good art. (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)

Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...) postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

Public reason liberalism is the political theory which holds that coercive laws and policies are justified when and only when they are grounded in reasons of the public. The standard interpretation of public reason liberalism, consensus accounts, claim that the reasons persons share or that persons can derive from shared values determine which policies can be justified. In this paper, I argue that consensus approaches cannot justify fair educational policies and preserving cultural goods. Consensus approaches can resolve some controversies about (...) teaching values in the educational system, such as curriculum choice. But they cannot determine which culture goods, e.g., architecture, artwork, or language ought to be preserved in the education system. Consensus approaches cannot fairly resolve competing claims about these kinds of disputes. -/- I propose that convergence accounts of public reason, which allow individuals to draw on their own comprehensive doctrines in limited ways, can remedy these weaknesses in the mainline public reason tradition. The convergence approach can justify a pluralist state that can advance valuable community goods. John Henry Newman’s advocacy of liberal arts education finds resonance in other cultures, notably among Confucians, illustrating that there can be a shared moral vision and inquiry into the good life across deep substantive disagreements about educational values and policies, once we expand our notion of justification to be more inclusive. (shrink)

This paper presents three cases of research ethics violations in the social sciences and humanities that involved major educational institutions in Vietnam. The violations share two common points: the use of sophistry by the accused perpetrators and their sympathisers, and the relative ease with which they succeeded unpunished. The strategies the violators used to avoid punishment could be summarised as: (i) relying on people not paying enough attention when asked to do something relatively quickly, (ii) asking for the benefit of (...) the doubt, (iii) redefining the meaning of ethics, and (iv) defaming the whistleblowers and showing how fighting ethics violations is too costly, slow and, in the end, worthless. We offer suggestions to improve transparency: investment in translation and education about codes of conduct in Vietnam; investment in research ethics and integrity; the use of open online resources and platforms; and educating Vietnamese researchers about international standards. (shrink)

Academic misconduct is a prominent issue at postsecondary institutions. This issue includes the act of plagiarism, which has received considerable attention on campuses. There is a growing body of research examining why students engage in plagiarism, and what they know about plagiarism, but little of this research is guided by a theoretical framework. Although all students may be tempted to plagiarize, students in teacher education programs represent a unique population because they are concerned with developing their own (...) academic performance alongside the skills necessary to manage situations of academic misconduct as future teachers. Therefore, our first aim was to examine preservice teachers’ beliefs about plagiarism. Then, following the principles of Attribution Theory, our second aim was to investigate how beliefs of controllability related to acts of plagiarism impacted participants views on responsibility, emotions, help giving, and reporting. We used a within-person repeated measures design with three levels of controllability manipulated through hypothetical scenarios of plagiarism to collect data from 201 preservice teachers. Overall, preservice teachers had strong beliefs about plagiarism. Moreover, when scenarios included students who engaged in plagiarism that was controllable, participants were more likely to view the student as responsible, feel anger towards them, support punishment, and recommend reporting the student, than when the act of plagiarism was not seen as controllable. We provide recommendations for instructors and administrators for supporting students and highlight limitations and directions for future research. (shrink)

Overview of the definition of art and its relationship to definitions of the individual art forms, with an eye to clarifying the issues separating dominant institutionalist and skeptical positions from non-skeptical, non-institutional ones. Section 2 indicates some of the key philosophical issues which intersect in discussions of the definition of art, and singles out some important areas of broad agreement and disagreement. Section 3 critically reviews some influential standard versions of institutionalism, and some more recent variations on them. Section 4 (...) discusses some recent reductionist approaches to definitional questions, which advocate a shift of philosophical focus from the macro- to the micro-level —from art to the individual art forms. Section 5 outlines an alternative, non-institutionalist and non-reductionist approach to definitional questions. (shrink)

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

Background: This article addressed one of the issues of research ethics that is called the nature of plagiarism coupled with involvement of intention. By definition, plagiarism is the attribution of others’ works to one’s own. This may be done intentionally and/or unintentionally. Some researchers believe that intention is not involved in the nature of plagiarism and an author who forgets to make references to the used sources has committed plagiarism since this forgetfulness has led to the (...) attribution of others’ work to one’s own. In contrast, some experts call such a person a wrongdoer, not a plagiarist. Conclusion: By likening this problem to the issue of involvement of intention in telling a lie, the author separates two kinds of plagiarism: act-plagiarism and agent-plagiarism. The intention does not involve in the act-plagiarism (to be an act an instance of plagiarism), but it is involved in the agent-plagiarism (to call someone plagiarist). As a result, an author who forgets to make reference is not a plagiarist, but his/her act is an instance of plagiarism. Keywords: Intention, Plagiarism, Intentional Plagiarism, Unintentional Plagiarism. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

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

El presente libro, editado de manera conjunta por la Facultad de Filosofía y Letras de la BUAP y el Instituto de Filosofía de La Habana, reúne algunos de los principales resultados del Proyecto de Investigación Coordenadas epistemológicas para el análisis estético de la cultura y su relación con el consumo, coordinado por el Grupo de Investigación sobre Estética, Cultura y Arte, perteneciente a la institución cubana, con la colaboración de los cuerpos académicos de Estética y Arte y La Estética y (...) Los Medios, ambos asociados a la Maestría en Estética y Arte de la BUAP. Componen el libro tres partes fundamentales. La primera está referida a los problemas epistemológicos y axiológicos que supone la compleja relación actual entre estética, arte y cultura; la segunda centra su atención en el tema del consumo, abordado desde una perspectiva teórico-general y en sus ricos vínculos con la cultura y el arte; la tercera pone en evidencia la movilidad del consumo cultural a través de todo el entramado social, destacando sus nexos con diferentes facetas de la vida social. (shrink)

This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...) proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love. (shrink)

As art produced by autonomous machines becomes increasingly common, and as such machines grow increasingly sophisticated, we risk a confusion between art produced by a person but mediated by a machine, and art produced by what might be legitimately considered a machine artist. This distinction will be examined here. In particular, my argument seeks to close a gap between, on one hand, a philosophically grounded theory of art and, on the other hand, theories concerned with behavior, intentionality, expression, and creativity (...) in natural and artificial agents. This latter set of theories in some cases addresses creative behavior in relation to visual art, music, and literature, in the frequently overlapping contexts of philosophy of mind, artificial intelligence, and cognitive science. However, research in these areas does not typically address problems in the philosophy of art as a central line of inquiry. Similarly, the philosophy of art does not typically address issues pertaining to artificial agents. (shrink)

In this article I argue that a work of art provides the best interpretation of itself - more faithful than any other scholarly interpretative work.

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as (...) an event. (shrink)

An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...) to the identification, individuation, and interpretation of its associated artwork. This paper represents a first step towards an empirically centred study of our titling practices. I argue that, in order to accept titles as proper names, we must first recognize the social, rather than the referential, function of naming. (shrink)

From the Renaissance onwards, the Western tradition singled out the term beauty for a unique and highly prestigious role. As Christian belief began its gradual decline, Renaissance art invented a rival transcendence in the form of an exalted world of nobility, harmony and beauty – the world exemplified by the works of painters such as Raphael, Titian and Poussin. Beauty in this sense quickly became the ruling ideal of Western art, subsequently underpinning the explanations of the nature and function of (...) art (the aesthetics) developed by Enlightenment thinkers such as Hume and Kant – explanations that continue to be influential among contemporary philosophers of art. Today, however, there are fundamental questions to be asked: Is beauty still the ruling ideal of art? If not, what becomes of traditional, post-Enlightenment aesthetics which continues to shape much modern thinking about art? (shrink)

A conference paper examining the relationship between art and what is loosely termed the “real world”.

This chapter presents the formalist account of the moral status of an artwork as an aesthetically significant and autonomous form, with due emphasis on the Anglo-American art-for-art’s-sake aesthetic, as it developed between 1870 and 1960. The author shows that the formalist art-is-above-morals approach is a substantive moral stance in itself. Formalist aesthetics is usually presented in the literature as evincing a purist indifference to ethics, construing moral properties as external to art, in opposition to the internal pure properties of art’s (...) composition. The chapter demonstrates that this is a misrepresentation of the complex formalist prescriptive idea of the relations between art and ethics. Through its autonomy and imperviousness to external co-opting—which is accomplished by due focus on aesthetic form—art on the formalist account is held to be a paradigm of the liberalist principles of individual freedom and self-fulfillment, thus an inherent means to the good. (shrink)

Plagiarism, which Indiana University’s Writing Tutorial Service defines as "using others' ideas and words without clearly acknowledging the source of that information", is often described as a major problem. However, standard definitions such as this one suggest only limited solutions to the problem: acknowledging sources or forbidding reuse. Since all scholarship involves engaging with the ideas of others and academic writing tends to reuse certain expressions, these solutions – though important – are of limited utility. This paper examines a (...) type of plagiarism to which the standard solutions do not apply: the reuse of linguistic models without sufficient attention to the logic or thoughts the texts express. We present two cases of plagiarism, from which we can see that plagiarism shows a gap between the written texts and the thoughts of the author. In order to fill the gap, one needs to know how to integrate not only the texts borrowed from others into one’s writing but also the thoughts expressed by the texts. Thus a satisfactory solution to the plagiarism problem requires not only writing skills but also logical thinking skills. (shrink)

Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...) le problème principal soulevé à l’encontre des théories classiques est qu’elles cherchent toutes l’essence de l’art dans un trait caractéristique qui serait reconnaissable dans les œuvres elles-mêmes. Les théories contemporaines répondent à ce problème principalement de quatre façons, comme on le verra dans les sections 2.b à 2.d. Les théories sceptiques (2.b.) défendent qu’il est dès lors impossible de définir l’art – qu’on peut au mieux en donner certains caractères typiques, des airs de famille. Les théories relationnalistes (2.c.) défendent que ce qui fait qu’une chose est de l’art est à trouver en dehors de celle-ci, notamment dans les relations qu’elle entretient avec son contexte de création ou de présentation. Les théories néo-classiques (2.d.) continuent à chercher l’essence de l’art dans un trait caractéristique reconnaissable dans les œuvres elles-mêmes tout en prenant en compte les réactions sceptiques ou relationnalistes. Enfin, la théorie du ‘renvoi de la balle’ (2.e.) défend que l’on ne peut pas définir l’art mais seulement des sous-catégories comme la musique, la sculpture, les installations, les performances, etc. -/- Nous présenterons les avantages et les inconvénients principaux des théories contemporaines. Nous verrons qu’aucune n’est dénuée de problèmes, expliquant pourquoi il n’existe pas de consensus sur une définition de l’art aujourd’hui. Nous verrons également que – à l’exception d’un certain scepticisme qui jette, semble-t-il, trop vite l’éponge – chacune de ces théories amène, par son originalité, à une compréhension nouvelle et plus profonde de cette notion extrêmement complexe qu’est le concept « Art ». (shrink)

This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to other areas eg. computer programming. Maximization of uniqueness is minimization of entropy that coincides as well as goes beyond Information Theory (Shannon, 1948). The reusage of logic as a universal principle to minimize entropy, requires simplified architecture and abstraction. Any structures (e.g. plugins) duplicating or dividing functionality increase entropy and so unreliability (eg. British (...) Airways IT system). The ideas here were verified by my chess compositions, art works and complex information system as an author of each co uk, and were presented at conferences in Santorini, Adelaide, Geneva, Daejon and virtually. (shrink)

Vous éprouvez souvent l'embarras du choix? Que sera la liberté au XXIe siècle? Depuis l'invention des machines et des computeurs, notre quotidien semble avoir gagné du temps. Mais en contrepartie, il paraît de plus en plus codé, soumis aux automatismes. Depuis Leibniz jusqu'à la puce biométrique, l'auteur raconte une histoire alternative de l'ère informatique. Il démontre que le " numérisme ", le principe ordinateur, est une vertu humaine ancestrale et nécessaire. Mais insuffisante. Après le sauve-qui-peut du postmodernisme, un nouveau paradigme (...) est en train de naître, le " créalisme " : le monde est notre création commune incessante. L'horizon de notre liberté politique et existentielle, c'est la Terre comme oeuvre d'art. Construit comme une odyssée philosophique curieuse et empreinte d'humour, voici un traité de cocréativité pour une époque aux forces actives éclatées. Où l'on découvre que l'ordre et l'aventure ne sont pas incompatibles. (shrink)