These two books challenge museums--the predominant and continually evolving institutions of art delivery--in order to uncover and expose the rampant political biases and hidden strategies that their founders, administrators, and boards of trustees have utilized in order to maintain the preferred status quo of predominantly white male power.

Despite the widespread presence of public arts funding in liberal societies, some liberals find it unjustified. According to the Neutrality Objection, arts funding preferences some ways of life. One way to motivate this challenge is to say that a public goods-styled justification, although it could relieve arts funding of these worries of partiality, cannot be argued for coherently or is, in the end, too susceptible to impressions of partiality. I argue that diversity-based arts funding can overcome this challenge, (...) because it invests in non-excludable infrastructure that fosters cultural literacy. We all have some interest as citizens in living in a society which fosters cultural literacy, seeing as this helps others to understand us, supports us to understand ourselves, and helps alleviate confusion and alienation we feel toward social difference. While some of these benefits can be enjoyed by those who make and consume art, they are also gained by those who don’t, because arts funding affects the makeup of public spaces and the communicative practices we all use to make sense of the world. (shrink)

The ‘museal’ approach to art has been attacked from many angles in the last decade; the main issue raised by most of these attacks was that such an approach would promote a certain idea of art which has little to do with real-life or the layman’s interest. Some artists have protested by stepping out of the museum space with projects deliberately designed as non-museum items (performance, land-art, public art etc.). Art, however, is always meant for a public, so, (...) as an “unfortunate” consequence, those artists who wished to become famous were not able to avoid certain art institutions, such as museums, galleries, curators or critics. Until now. The internet, especially Facebook, provide genuinely new options/ opportunities for the virtual display of art pieces, an option that artists are eager to take advantage of. In the following, I will present the process of expansion of the public artistic sphere, I will attempt to show why Facebook serves well as a public artistic arena, and finally, I will present some salient Facebook-art-projects. The presented projects will include works by a street artist (Banksy), a performance artist (Gusztáv Ütő) and a graphic designer (Dan Perjovsky). These three artists are intrigued by current social issues, which are usually reflected in their works, also they all wish to spread their messages to the widest possible public. On of their favorite channels is the Facebook Wall. (shrink)

In what way might public statues wrong people? In recent years, philosophers have drawn on speech act theory to answer this question by arguing that statues constitute harmful or disrespectful forms of speech. My aim in this paper will be add a different theoretical perspective to this discussion. I will argue that while the speech act approach provides a useful starting point for thinking about what is wrong with public statues, we can get a fuller understanding of these (...) wrongs by drawing on resources from recent work in situated affectivity. I will argue that public statues can be understood as affective artifacts and that this can both help us understand both the deep affective wrongs caused by public statues and offer a possible explanation as to why some people are so strongly opposed to their removal. (shrink)

The paper uses two historical examples, public health (1840-1880) and town planning (1945-1975) in Britain, to analyse the challenges faced by goal-driven research, an increasingly important trend in science policy, as exemplified by the prominence of calls for addressing Grand Challenges. Two key points are argued. (1) Given that the aim of research addressing social or global problems is to contribute to improving things, this research should include all the steps necessary to bring science and technology to fruition. This (...) need is captured by the idea of practical integration, which brings this type of research under the umbrella of collective practical reason rather than under the aegis of science. Achieving practical integration is difficult for many reasons: the complexity of social needs, the plurality of values at stake, the limitation of our knowledge, the elusive nature of the skills needed to deal with uncertainty, incomplete information and asymmetries of power. Nevertheless, drawing from the lessons of the case studies, it is argued that (2) practical integration needs a proper balance between values, institutions and knowledge: i.e. a combination of mutual support and mutual limitation. Pursuing such a balance provides a flexible strategy for approximating practical integration. (shrink)

Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. In (...) particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified. (shrink)

Mounting empirical evidence underscores the health benefits of the arts, as recently reported in a scoping review by the World Health Organization. The creative arts in particular are acknowledged to be a public health resource that can be beneficial for well-being and health. Within this broad context, and as a subfield of participatory arts, the term social arts (SA) specifically refers to an art made by socially engaged professionals (e.g., artists, creative arts therapists, social workers, etc.) with non-professionals who (...) determine together the content and the final art product (in theater, visual arts, music, literature, etc.) with the aim to produce meaningful social changes. SA can enhance individual, community, and public health in times of sociopolitical instability and is an active field in Israel. However, SA is still an under-investigated field of study worldwide that is hard to characterize, typify, or evaluate. This paper presents a research protocol designed to examine a tripartite empirically-based model of SA that will cover a wide range of SA training programs, implementations, and impacts. The findings will help refine the definition of SA and inform practitioners, trainers, and researchers, as well as funding bodies and policymakers, on the content and impact of SA projects in Israel and beyond. (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 research project and exhibit, delves into the complex relationship between public exhibition, urban spaces, and socio-political norms in shaping urban thresholds within the two American and European metropolitan cities of Houston and Amsterdam. This study also investigates the transformative power of new media and emerging technologies in the production, circulation, and consumption of design, offering fresh perspectives on the influence of these technologies on urban design studies and digitally augmented physical spaces. By merging interdisciplinary research areas, including Design (...) Computation and Fabrication, Urban Communities, and Spatial Justice, this project provides an immersive exploration into the co-production of liminal spaces, focusing on the participation of diverse publics and the dynamics of inclusion, exclusion, and recognition in two cities of Houston and Amsterdam. The main emphasis of this paper is on the critical urban studies and the role of emerging technologies in advancing the theoretical and methodological frameworks of the presented immersive installation project. (shrink)

Can past agents deliberately influence our historical awareness by designing objects’ appearances and sending them to us down the stream of time? We know they have certainly tried to do so by raising monuments. But according to an influential narrative, the efforts of these "monumentalists" are destined to fail: no monument can keep a legacy alive in perpetuity. In this article, I argue that this narrative misrepresents the nature of the monumentalists’ mission, and I set out to show that monumentality (...) should be understood as a means of addressing what I term “art-historical awareness.” This mode of historical awareness attends to artifacts’ appearances in search of visual manifestations of relevance that can survive the loss of context. Those who raise monuments aim to produce such artifacts, or what amount to intentional art-historical documents, and they do so in order to overcome the tension between the monuments’ nature as public art and their commemorative function. By visually manifesting a transcendent relevance, monuments ideally appeal to both present and distant audiences, insofar as these audiences are able to appreciate the monuments’ potential to sustain at least a semblance of relevance beyond their immediate contexts. (shrink)

In the 80s and 90s political liberals debated whether it is legitimate for a state to fund the arts on the grounds that art is a public good. The public goods model is only one way in which the state might justify funding for the arts. Indeed, throughout history, liberal societies have employed artists on behalf of the state and for the benefit of the state. In this paper, I argue that it is, in principle, permissible for the (...) state to fund the arts for the good such funding can provide the state. I sketch a state arts program which has the purpose of producing pro-state art, art which helps to legitimize the state. The state is permitted to do this in order to execute its duty of stability. I defend the permissibility of such a program against the claim that it would be objectionably propagandistic or that it would be too easy to abuse such a program for nefarious means. (shrink)

Throughout the past century, technology integration into the human body has experienced remarkable growth, finding its expression through specific artistic movements that have acted as catalysts for acceptance and societal transformation. This article delves into the examination of three paradigm shifts that underpin this profound evolution. The first shift marks a departure from curative treatments for disabilities, shifting towards a focus on augmentative improvements. Subsequently, the second shift propelled the enhancement of healthy bodies, driven by the visionary concept of posthumanism, (...) which envisions transcending the limits of our species through technology. Today, we find ourselves amidst the third paradigm shift, characterized by the practical cyborgization of society, made possible by the emergence of new cyborgs. By critically reflecting on the practices of these cyborgs, we gain valuable insights into the potential challenges and implications that technology may pose in the future. Crucially, this research highlights the indispensable role that art and aesthetics have played in shaping the social perception of technology integrated into the human body. Art, serving as a safer avenue for experimentation than scientific research, has become instrumental in presenting and normalizing these groundbreaking ideas within the public imagination. By exploring the intersections of art, technology, and human bodies, we can navigate the complex terrain of our ever-evolving relationship with technology and anticipate the profound implications it holds. (shrink)

Death across human history is codified and controlled by religion, dogma, or social￾political circumstances. However, it is possible to take death out of these realms, instead dying how one wishes. One can design their own death. I will argue that human trans-death can be an intentional performance by persons and that this intentional performance can be combined with the newest and most novel methods of preserving a consciousness. This thesis opens possibilities for future exhibitions and live performances combining art and (...) innovative post-life, post-mortem (what I call “trans-death”) technologies. Possible performances or exhibitions combining art and innovative trans-death technologies include: people doing staged-performances while in their last years of life about their deanimation; public display of cryonically suspended (vitrified) bodies; and if consciousness is ever able to be digitized, the possibilities expand to any number of scenarios explored in anime shows and sci-fi literature or movies. The ethical and political implications of permissibility, freedom, and societal consequences of such artistic and technological expressions are not detailed, but some positions are outlined. A case study is utilized: the last years of life of famous and controversial Timothy Leary (1920-1996) and his struggle with prostate cancer. My analysis of the life and work of Timothy Leary - especially the text he mostly wrote Design for Dying (1997), it was edited by R.U. Sirius - is my theoretical foundation. (shrink)

I reply to Andrea Baldini's critical discussion of my "Street Art: The Transfiguration of the Commonplaces" (2010) by taking up the question: what is "the street" in street art? I argue that the relevant notion of the street is a space whose function it is to facilitate self-expression. I show how this clarifies and extends the theory developed in Riggle (2010). I then argue, contra Baldini, that street art is not always subversive, and when it is, it is not always (...) in virtue of its challenging the co-opting of public space by commercial art. (shrink)

In this paper I investigate Dewey's view of how institutions might use fine art to contribute to democracy. I first show that Dewey’s pragmatic conception of democracy is a collaborative problem-solving effort to enhance human experience. Ithen establish two Deweyan criteria of what I call an “institution of democratic art”. The first involves the curation of artworks with a democratic message, and the second involves the democratic process by which the institution selects those works. I then explain Dewey’s pragmatic conception (...) of aesthetics, where art emerges as a solution to social needs and problems, and, contrary to what traditional museums do, how art should not be isolated from its original social context. I then analyze the success of two examples Dewey gives of institutions of democratic art: the Barnes Foundation and The Section of Fine Arts. I argue that they both succeeded with their art’s democratic content, although their art selection process could have been more democratic. Finally, I show how a Deweyan notion of an institution of democratic art is relevant to recent discussions of controversial public art. (shrink)

In spite of the centrality of education to children’s whole development, there is a high population of elementary school age children who are out of school owing to school refusal behaviour (SRB). School refusal is a maladjusted behaviour like truancy, school phobia, and absenteeism, anxiety disorder among other child motivated school attendance difficulties. The study investigates the therapeutic tendencies in drawing for correcting school refusal behaviour. A pretest-posttest quasi experimental research design was adopted. Two art therapy approaches were used as (...) intervention strategy for five weeks, with some qualitative elements. Simple percentage was used to determine participants’ school attendance in percentage. Findings revealed that engaging school refusing children in illustrative arts can increase their school attendance. Similarly, it was found that exposing children with school refusal behaviour to drawing and image making facilitates punctuality in the classroom. It was recommended, among others, that public primary schools should be engaged in periodic art training to be able to facilitate art-based learning at cross-curricular level in public primary schools. (shrink)

This article investigates the specific cultural and collaborative nature of China’s public spaces and how they are formed through performative appropriations. Collective cultural practices as political participation were encouraged during the Mao era when cultural activities played a key role in workers’ education and participation. Since the opening-up period, performance in public space has become widespread in China and creates alternative community spaces that constitute alternatives to capitalist spaces of consumption. Using Habermas’s theory of communicative action, we argue (...) that cultural practices performed in public space create a proletariat public sphere that plays a wider role in governance and China’s democratization. Further, the article examines performative practices in public space. It traces the popular activity of public square dancing through history and counters this research with a parallel study of a much younger skateboarding practice. The two practices are very differently rooted. Yet both practices appear to move through cycles of disruption and appropriation, followed by an affirmation of governmental rule. The studies reveal that western ideas of citizenship and individual leisure are less applicable. Public spaces are largely managed through collaborative practices, whereas contemporary scholarship reaffirms Fei Xiaotong’s description of Chinese society as individuals positioned within a complex network of concentric circles. (shrink)

The idea that art is related to a process of creation is a modern one. Through a complex history in the $)th century, which is not without contradictions, the connection between art and creativity was debated in different fields – psychology, epistemology, cognitive science, etc. – and became the target of attacks from marxism and (post-)structuralism. Still, the notion of creativity seems to have conserved its force not only in everyday practices but also in media discourses. In diverse areas – (...) from art theory to epistemology, from action theory to economics, from computer science to psychology (to give only a few examples) – it has regained the attention of scholars as well, as is made clear by the number of recent publications on the topic. However, questions remain as to whether and how the notion of creativity can be used and what kind of conceptual work it can do. Trópos dedicated a call for papers to this topic. Selected papers are published in two special issues. The present one includes essays offering theoretical investigations on creativity. They do this under different, even contrasting, perspectives, with different aims and with di5erent outcomes. Yet, the light they throw on the question at issue provides readers with important, often creative, insights. Through them, readers are invited to think creatively, as well as critically, on creativity and its connections with the arts and aesthetics. (shrink)

This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. Not only (...) some installation artists have explored improvisation in their practice, both solo and collaboratively (see section 3) but, as I shall argue, it can be claimed that some works of installation art represent or express improvisation (section 4), that some invite the public to engage in improvisation (section 5), and that curatorial teams responsible for the displays of certain installation artworks have the opportunity to introduce improvisational elements in their practice, if they so wish (section 6). (shrink)

How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in (...) person, for workshops, seminars and discussions. The aim was to find ways to create resilience and concrete actions on how to live through the change in culture, economy and the environment and to find concrete, hands-on methods to deal with the Anthropocene and the environmental crisis. As an outcome of this process, this publication takes a closer look at how we as practising artists, researchers and cultural actors can create elements for critical thinking and doing which can assist us in navigating the complexities of the present. -/- Edited for the State Of The Art Network by Erich Berger, Mari Keski-Korsu, Marietta Radomska and Line Thastum. -/- Produced and published by Bioart Society 2023. (shrink)

Plato argues that four political arts—politics, kingship, slaveholding, and household-management—are the same. His argument, which prompted Aristotle’s reply in Politics I, has been universally panned. The problem is that the argument clearly identifies household-management with slaveholding, and household-management with politics, but does not fully identify kingship with any of the others. I consider and reject three ways of saving the argument, and argue for a fourth. On my view, Plato assumes that politics is identical with kingship, just as he does (...) elsewhere, but he begs no questions because the point of his argument is to identify the public arts of politics and kingship with the private arts of household-management and slaveholding. He does this successfully by answering three reasons why one might distinguish the private from the public arts. His argument leaves room for Aristotle to propose other reasons. One of them—involving differences among men and women and slaves—is unfortunate, but another is more promising. The Aristotelian can assume that political expertise is a matter of know-how gathered by experience of the particular actions which differ in the public and private arts. But Plato might well be right to reject this, and to insist that the essential difference between the expert and non-expert—the dividing line between good and bad rule—is not in experience but in their grasp of their goals. (shrink)

In recent decades, the internet has become our predominant public space and yet the role of art in this space remains largely unthought. This paper argues that graphic art, and in particular digital graphic art, has great power to shape and transform our thinking and experience. But with that power comes an enormous political and ethical responsibility, a responsibility too often ignored by programmers and computer scientists. This paper uses the work of Denis Schmidt and Jacques Taminiaux as important (...) resources for developing a Heideggerian response to this lack. (shrink)

In this paper, I show that, in a number of publications in the early 1950s, Margaret Macdonald argues that art does not admit of definition, that art is—in the sense associated with Wittgenstein—a family resemblance concept, and that definitions of art are best understood as confused or poorly expressed contributions to art criticism. This package of views is most typically associated with a famous paper by Morris Weitz from 1956. I demonstrate that Macdonald advanced that package prior to Weitz, indeed, (...) prior to any other philosopher of art of the period. Despite this, Macdonald’s contribution is nowhere to be found in the subsequent literature on the definition of art. In closing, I raise the prospect that Macdonald was in fact the primary influence on the development of Weitz’s critique of the definitional project. (shrink)

The aim of this work is to understand the retraction phenomenon in the arts and humanities domain through an analysis of the retraction notices – formal documents stating and describing the retraction of a particular publication. The retractions and the corresponding notices are identified using the data provided by Retraction Watch. Our methodology for the analysis combines a metadata analysis and a content analysis (mainly performed using a topic modeling process) of the retraction notices. Considering 343 cases of retraction, we (...) found that many retraction notices are neither identifiable nor findable. In addition, these were not always separated from the original papers, introducing ambiguity in understanding how these notices were perceived by the community (i.e., cited). Also, we noticed that there is no systematic way to write a retraction notice. Indeed, some retraction notices presented a complete discussion of the reasons for retraction, while others tended to be more direct and succinct. We have also reported many notices having similar text while addressing different retractions. We think a further study with a larger collection should be done using the same methodology to confirm and investigate our findings further. (shrink)

Environmental activism is expected to improve society’s well-being and environmental sustainability. Nevertheless, some inappropriate ways of activism, like road blockage, art vandalism, assaults, etc., have been recently conducted and risked causing adverse repercussions, including violence escalation. The current study aims to explore which types of environmental activism are more likely to escalate violence between activists, affected citizens, and police. Bayesian Mindsponge Framework (BMF) analytics was employed to analyze a dataset of 89 blockage, vandalism, and harassment cases in 13 countries in (...) this exploratory study. We discovered that rallies and demonstrations, marches, event disruption, and art vandalism were less likely to escalate violence between protestors, other citizens, and the police. In contrast, road blockades and assaults are more likely to lead to violence escalation. Apart from those, sabotage was found to have an ambiguous relationship with the violence escalation. Based on these results, we suggest that climate activists should be more selective in adopting activism approaches to raise public awareness and support and avoid using tactics that might be counterproductive and reduce public backing, such as road blockage and assaults. Despite the negative impact of art vandalism on violence escalation, we also discussed why art vandalism should not be used since it can curb the effectiveness of artivism, showing misuse of artworks (e.g., paintings, music, films) for environmental activism. (shrink)

Women in the field of art and science have an unquestionable presence worldwide that exceeds their visibility in the general visual art scene. When cataloguing women’s range of practices and exploring their agency in art and science, a new model of inclusivity and access to the public sphere for all individuals working in art emerges. First, these are contributions reflecting on projects being carried out by women in the broadest interpretation of the term – individuals who identify themselves as (...) women, cisgender, non-cisgender, transgender, gender fluid and independent of their sex and gender. Second, these are contributions that reflect on research methodologies, collaboration strategies, knowledge sharing, as well as public vs. personal, embodiment and materiality. (shrink)

This article examines Hegel’s aesthetic judgment of the German romantic painter Caspar David Friedrich, which only first came to light in 1995 with the publication of the separate edition of the Ascheberg transcript of Hegel’s first lecture course on aesthetics, held at the University of Berlin in the winter semester of 1820/21. Firstly, before interpreting Hegel's criticism in more detail, I consider the current state of research on the relationship between Hegel and Caspar David Friedrich. It is striking to note (...) how little resonance Hegel’s judgment has found in the secondary literature. Going beyond some of the more speculative results of earlier scholarship, I show that by consulting a number of overlooked original German sources and documents from the years 1820-1821 it is possible to precisely determine those paintings of Caspar David Friedrich that Hegel would have known about and even viewed in person at that time. By comparing Hegel’s criticism in the Ascheberg transcript with these particular paintings of Friedrich viewed by Hegel in Dresden, and by furthermore reading this criticism in the larger context of Hegel's considerations on style and the topic of mysteriousness in painting, I argue that a number of consequences can be drawn from the philosopher’s two key reproaches of severity and affectation that are significant for both Hegel scholarship and Caspar David Friedrich research. (shrink)

The aim of this paper is to investigate the possibilities opened up by radical interventions in public space: is it possible to foster reflection and create a critical methodology for analysing the topic of Commons in the urban context? Presenting the project “Stente: Residual Zones” as an example, the aim is to explore these questions using Umeå as a case study. Through the creation of an art/architectural object, the project seeks to use artistic and architectural practices as tools to (...) engage city residents in an active dialogue about Common spaces. Starting with a theoretical framework for situating the critical potential of art and architectural objects in public spaces, in this paper the project is seen as an example of a temporary critical moving device, gathering and amplifying the voices of the inhabitants through the city: it aims to represent an open-ended invitation to reinterpret the boundaries between nature and the city, posing itself as a radical (from the latin radicalis) form of dissensus (Rancière 2010). The experiment was conducted at the Umeå School of Architecture between March and May 2024 as part of the “Designing the Contemporary City” research group at Umeå University. (shrink)

In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely the feminist (...) movement that initiated significant changes in the social and cultural perception of women, femininity, and gender relations. Thus I apply this perspective in the first place to the analysis of selected works of contemporary art in which handicrafts is used not only as a means of artistic expression but also as a subversive aesthetic strategy. I also demonstrate how the world of fashion transforms and aesthetizes handicrafts, whose presence in fashion makes it an area in which, in addition to imperatives and aesthetic values, social attitudes, ethical values, and world views are shaped. Finally, referring to the works of selected feminist authors (Mary Field Belenky, Mary Daly, Evelyn Fox-Keller, Donna Haraway), I show how these researchers have metaphorically interpreted handicrafts as specifically feminine ways of creating and developing knowledge. (shrink)

Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...) and belief, but they can also lead to a different common sense, a sensorium – a sensorial medium and an aesthetic mediation open to a new world and to new experiences. -/- By investigating mimetism as a fundamental and polymorphic aesthetic performance, this issue of «Aisthesis» aims to rethink the concept, value, and function of mimesis and its media in the context of camouflage, simulation, and dissimulation, where images do not reveal themselves as such, but are to be perceived unambiguously as what they are not – as hieroglyphs or puzzles. In the animal kingdom, as well as in war or in ordinary public life, camouflage consists in taking on the traits, colours, and shapes of a given form or environment. This is a twofold process: on the one hand, by blending two or more shapes in one, the camoufleur seeks to remain hidden and to mislead the others in order to keep a vital secret or an ephemeral whim; on the other hand, however, he/she aims to be recognized by a specific milieu or group, thus betraying a craving for communication and familiarity, as well as a need to convey an agreeable appearance and to share a way of life. (shrink)

-/- Violence in Sports and Public Life: A Discourse on the Universal Law of Balance By Angelito Malicse -/- The human experience, whether in the structured environment of sports or the open arena of society, is governed by universal natural laws. Among these, the law of balance holds a central place. It dictates not only the harmony of ecosystems and physical systems but also the inner workings of human thought, emotion, and decision-making. When we compare how violence is treated (...) in sports versus public life, we are not merely observing a cultural or legal distinction—we are witnessing two very different systemic approaches to managing imbalance. -/- In many competitive sports, particularly those involving physical contact like boxing, hockey, or mixed martial arts, certain degrees of aggression and conflict are built into the structure of the game. These activities are bound by rules, referees, safety equipment, and mutual consent. While the public may witness moments of violence—such as a fight on the ice or a punch in the ring—these actions occur within a controlled system. There is a start and an end, boundaries are clear, and consequences are predictable. This kind of conflict, while seemingly chaotic, actually operates within a feedback loop that functions to restore balance—either emotionally, competitively, or interpersonally among players (Coakley, 2009). -/- Here, the law of balance Is honored. Participants and spectators alike recognize that these moments of conflict are not personal but part of the system’s self-correction mechanism. They are expressions of tension release, accountability, or retaliation within limits. Importantly, these systems also include educational components: athletes are trained to control their behavior, accept penalties, and operate within the boundaries of fair play (Shogan, 1999). In this sense, sports act as a microcosm of a balanced society—where temporary imbalance is allowed only to maintain long-term equilibrium. -/- In stark contrast, acts of violence in public life are treated with seriousness and condemnation. Public violence is not bound by a consensual framework; it is unregulated, unanticipated, and often rooted in emotional instability, misinformation, injustice, or oppression. When one individual harms another in public, the action disrupts not just personal safety but the perceived stability of the collective environment. There are no referees, no agreed-upon rules, and no structural mechanism immediately available to restore balance. In such cases, the law of balance is violated, and the system falls into disorder (Rawls, 1971). -/- This is where the importance of police forces and intervention by responsible individuals or institutions becomes vital. The police serve as society’s designated referees in the public arena. They exist to neutralize immediate threats, restore order, and provide a stabilizing feedback mechanism when balance is lost. Their role, when exercised lawfully and ethically, aligns with the natural law of balance: to prevent further escalation, protect innocent lives, and return the environment to a state of peace and security (Goldstein, 1990). -/- Yet intervention alone is not enough. To complete the cycle of restoring balance, society depends on the justice system—a formal structure that examines, judges, and corrects the violations of law and public order. The justice system plays an essential role in ensuring that violent actions are not left unchecked or unresolved. When it functions properly, it acts as a rational and fair feedback mechanism, offering proportionate consequences and opportunities for reform (Becker, 1968; Tyler, 2006). It provides victims with a sense of protection and resolution, and it holds perpetrators accountable in a way that aims not for revenge, but for correction and reintegration into the societal system. -/- A well-functioning justice system honors the universal law of balance by recognizing the interconnectedness of cause and effect. It does not respond with disproportionate punishment or allow impunity; instead, it seeks to restore harmony—not just between individuals, but within the collective consciousness of society. When the justice system fails, either through corruption, delay, or bias, the feedback loop breaks, and public confidence in societal balance erodes. This often leads to further unrest, vigilante justice, or systemic breakdown (Packer, 1968). -/- From the perspective of natural law, particularly my universal formula on the problem of free will, this distinction becomes crucial. Human behavior, whether on the playing field or in daily life, is subject to natural feedback. A person who violates balance—whether through unregulated violence or willful ignorance—disturbs both their internal system (mind, emotion, reason) and the external system (family, society, nation, nature). The result is not only personal suffering but systemic dysfunction. -/- This underscores the need for a holistic educational system—one that does not merely teach skills or memorized facts, but one that programs the individual mind to recognize and operate within the universal law of balance. When individuals are raised with an understanding of how imbalance affects not just themselves but the interconnected systems around them, they develop the inner regulators necessary to live peacefully and responsibly (Noddings, 2013; Freire, 1970). -/- Such an educational system would mirror the structure of organized sports. It would involve feedback mechanisms, critical thinking, emotional self-regulation, and an internal sense of fairness. In this system, violence—whether verbal, emotional, or physical—is never glorified but understood as a sign of imbalance, an alarm that calls for restoration, not retaliation. -/- Leadership plays a vital role here. Leaders, like referees in a game, must understand the natural law of balance and guide their communities accordingly. They must know when to allow constructive conflict and when to intervene. More importantly, they must support both justice and educational reforms that embed the law of balance into the foundation of human development. -/- The end goal Is not the elimination of conflict, but its proper regulation and transformation. Only through this lens—where balance is the ultimate law, and all behavior is subject to feedback—can human society evolve beyond cycles of violence, whether on the field, in public spaces, or within institutions. This is the path to lasting harmony, both within and beyond the boundaries of organized sport. -/- References -/- Becker, G. S. (1968). Crime and Punishment: An Economic Approach. Journal of Political Economy. -/- Coakley, J. (2009). Sports in Society: Issues and Controversies. McGraw-Hill. -/- Freire, P. (1970). Pedagogy of the Oppressed. Herder and Herder. -/- Goldstein, H. (1990). Problem-Oriented Policing. McGraw-Hill. -/- Noddings, N. (2013). Education and Democracy in the 21st Century. Teachers College Press. -/- Packer, H. L. (1968). The Limits of the Criminal Sanction. Stanford University Press. -/- Rawls, J. (1971). A Theory of Justice. Harvard University Press. -/- Shogan, D. (1999). The Making of High-Performance Athletes: Discipline, Diversity, and Ethics. University of Toronto Press. -/- Tyler, T. R. (2006). Why People Obey the Law. Princeton University Press. -/- . (shrink)

The fair use doctrine has been tech companies’ most valuable legal justification for systematically extracting and scraping content from the internet to train their generative artificial intelligence tools. Although fair use has historically protected the public from the monopolization of creative expression and intellectual property, in its current state, the doctrine enables powerful tech companies and movie studios alike to hoard copyrighted content while disenfranchising individual artists and creators. In May 2023, the United States Supreme Court ruled on Andy (...) Warhol Foundation for the Visual Arts, Inc. v. Goldsmith, a dispute about whether Andy Warhol’s use of Lynn Goldsmith’s original photo of Prince is a fair use. The Court concluded that a copy is not transformative under fair use when it is used commercially for a substantially similar purpose as the original. The decision affirms that the fair use inquiry must look beyond mere similarities and differences between a copy and the original. Instead, courts must grapple with how a copy is used. -/- This Article examines the Supreme Court’s reinterpretation of the fair use doctrine in the Warhol decision in the context of creative expression and generative AI. More specifically, the majority’s emphasis on purpose and market competition tips the scale in favor of artists and creators concerned about generative AI models trained on copyrighted work. This Article also argues that the fair use analysis in Warhol recontextualizes Authors Guild v. Google, weakening a defense tech companies have relied on for ingesting copyrighted material to train AI models. Lastly, this Article considers the entertainment industry’s response to generative AI, including the WGA and SAG-AFTRA strikes, and proposes changes to the fair use doctrine to avoid a bleak future for art and creative expression. -/- Ultimately, the Warhol ruling introduces some refreshing complexity back to the issue of fair use, particularly in context of generative AI and AI image generators. Still, many legal and existential questions remain. For instance, given the potential of AI to relieve society of dangerous and unfulfilling labor, why have tech companies opted to devalue labor that is abundant, meaningful, and undervalued? (shrink)

At a House hearing on December 5, 2023, the presidents of three universities—Harvard, MIT, and the University of Pennsylvania—refused to state that certain kinds of hate speech, specifically calls for genocide of Jews, are prohibited on their campuses. The backlash against two of them, Harvard’s Claudine Gay and Penn’s Liz Magill, was swift and devastating; both of them were successfully pressured to resign. Still, while Professors Gay’s and Magill’s responses were widely criticized as tone-deaf, they were legally correct. At many (...) private, and all public, colleges and universities, even the worst hate speech is generally protected unless it is accompanied by aggressive, threatening, or violent conduct. -/- These “demotions” augur even worse consequences, including termination, for less powerful faculty who say the “wrong” thing, in particular statements in support of Trumpism, an increasingly mainstream ideology that stitches together white supremacy, misogyny, a preference for autocracy over democracy, and several phobias—homophobia, Islamophobia, transphobia, and xenophobia. The question I address in this paper is whether these consequences are constitutional at public schools. Whose right is stronger—a public-school teacher’s First Amendment right to express pro-Trumpist sentiments or a public school’s right to maintain a fair, inclusive, and welcoming learning environment? In this article, I argue that the public school has the upper hand here, that it is indeed constitutionally permitted to prohibit political hate speech that contributes to a hostile learning environment. Still, I narrowly limit this prohibition to dehumanizing speech—that is, speech explicitly suggesting that some human beings are “lesser”, intrinsically less valuable, than other human beings. -/- One objection to this position is that public schools may not prohibit any speech, no matter how dehumanizing, because such prohibition amounts to constitutionally impermissible viewpoint discrimination. I argue, however, that viewpoint discrimination is an integral part of education and therefore constitutionally permissible. Education necessarily involves promoting some values over others. These values fall into seven categories: constitutional principles, the humanist virtues, successful character traits and behaviors, knowledge and truth, art and beauty, health (both mental and physical), and social goods (such as justice, peace, and rule of law). (shrink)

After the collapse of the totalitarian regimes, participation into public matters has been an objective of democratic theory. Judging by a variety of instances from the sixties to today, it can be said that finding new means for encouraging audiences to participate in their works has become the major concern for contemporary art as well. Therefore, we can say that the problem of participation is the focal point of art and politics.

English Abstract In Art as Experience, John Dewey decried the estrangement of art from lived human experience, both by artificial conceptual walls and the physical walls that secluded art within museums. Instead he argued that making and enjoying art are crucial organic functions that sustain communities and integrate individuals within their environments. In the 1920’s Diego Rivera became one of the luminaries of the Mexican muralist movement by creating frescoes that were rooted in Mexican life, both in their subject matter (...) and public location. Rivera and the other artists working within the government cultural program guided by José Vasconcelos created murals that boldly expressed the new values of democracy, peaceful revolution, racial equality and cultural pride. This essay explores the deep resonance between Rivera’s most prominent murals from this period and Dewey’s argument that art is a refined and integral feature of human experience. In particular, this essay will examine the great extent to which these men independently came to the common understanding that for people to thrive and grow they need to create and experience art that grows out of and remains rooted in their culture. Without claiming that either thinker influenced the other, this essay argues that their works mutually inform and enrich each other. Both men sought to free art from the museum, but where Dewey urged us tear down the walls that separated art from lived experience, Rivera transformed walls themselves into murals that unified and educated the people of Mexico and restored their culture. (shrink)

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

Public communication plays a pivotal role in shaping societal understanding of climate justice and influencing pathways toward equitable climate action. In a comprehensive scoping review, Tschötschel et al. [2] analyze 250 peer-reviewed English-language studies to chart how climate change and justice are discussed across a range of public-facing platforms, including activism, media, policy discourse, and the arts.

Abstract The awakening of art to self-awareness and the statement of its autonomy are modern phenomena. The way we think about art in the modern age may be derived from the Kantian “beauty without concept”. Beautiful art is the work of the genius, who creates a work of art that is valuable in itself and is admired in museums by the public. That which I call here “the modern paradigm of art” is based on an absence: the non-conceptuality of (...) the beautiful, i.e., the fact that objective qualities cannot define the beautiful. This absence establishes originality as the essential requirement for modern art and creates the possibility for artists to push the boundaries of the modern paradigm. Thus, the 20thcentury sees the appearance of strategies for overriding or substituting originality. The artist withdraws from behind her work, and the work of art is no longer an unapproachable object with an aura, just as the museum is also no longer the temple of the arts. But do these experiments overcome the frontiers of art’s modern paradigm? And, more generally, can this paradigm be overcome at all? Here I deduct three elements of the modern paradigm of art from the idea of “beauty without concept”: (1) the original artist, who is seen as a genius, (2) the work of art with an aura, and (3) the museum as the temple of art. Then I present how artists, based on the requirement of originality, worked on dismantling the frontiers of the modern paradigm. (shrink)

The performing arts and their financing have been analyzed by cultural economics. Many papers have focused on importance of state intervention both as a financing agent, as a provider and producer of cultural services. Otherwise, several studies have appeared focusing on management of the performing arts in Management Accounting framework. This paper shows relevance of performance indicators for evaluating cultural policies and focuses on symphony orchestras financed with public funds. The objective is verifying strategy compliance and measure the efficient (...) and effective use of the public resources and evaluate the social and cultural profitability too. This paper also proposes a change in the symphonic orchestras current strategy for increasing social and cultural profitability. (shrink)

Beginning with the work of Olafur Eliasson, with particular reference to the recent exhibition “Trembling Horizons” but not limited to it, a number of works representative of an artistic vision that might be called eco-logical are analyzed. Not only by explicitly thematizing the issue of the environmental crisis, Eliasson's works seem to materially express the demands of theorists who question how art can actively respond to the need for a shift in outlook that characterizes current events. Starting from the idea (...) of art as praxis, which allows the viewer to regard himself or herself and to place himself or herself in relation to what surrounds us – human and non-human – Eliasson's works act on the intrinsic objecthood of the work itself by creating a relationship with otherness and datity. They generate, therefore, a feeling of proximity, which concretizes a meaning of creativity in a transformative and site-specific sense; they promote an eco-logic that has its basis in a nomadic and depotentiated vision of subjectivity, engendering a feeling of interconnectedness and care. It will be argued in this paper the need to rethink art in these terms by hypothesizing a particular efficacy of some works that actively work in public space: places where the split between nature and culture has taken place, urban and public space are privileged contexts to actively promote the overcoming of this fracture and generate ethically responsible, already intrinsically ecological subjects. (shrink)

With this book we want to illustrate the way we philosophers think that public argument and debate should be. Our goal is not to present a collection of academic texts. Although most of us are part of the academy, we want to present to the lay public shorter, more essay-like texts, originally published on an Internet page called Refutations. The page is not, of course, an academic journal; it is a digital magazine with opinion texts that share simplicity, (...) rigor and total accessibility to anyone not initiated to the philosophers' way of thinking. And although the magazine's columnists are friends, they actively disagree on the most diverse topics, such as politics, economics, ethics and art. The reader, therefore, has before him a book with the most varied opinions on some of the main contemporary themes. Naturally, we do not expect to have the last word on any matter. Our intention is much more modest, but also very important: to show that it is possible, even without putting an end to the debates, to think in a creative, clear and civilized way. / Com este livro queremos ilustrar a maneira como nós, filósofos, pensamos que a argumentação e o debate públicos devem ser. Nosso objetivo não é apresentar uma coletânea de textos acadêmicos. Embora a maioria de nós seja parte da academia, queremos apresentar ao público leigo textos mais curtos e ensaísticos, originalmente publicados em uma página na Internet chamada Refutações. A página não é, naturalmente, um periódico acadêmico; trata-se de uma revista digital com textos de opinião que compartilham a simplicidade, o rigor e a total acessibilidade a qualquer não iniciado ao modo de pensar dos filósofos. E, embora os colunistas da revista sejam amigos, eles discordam ativamente a respeito dos mais diversos temas, como política, economia, ética e arte. O leitor, portanto, tem diante de si um livro com as mais variadas opiniões a respeito de alguns dos principais temas contemporâneos. Naturalmente, não esperamos dar a última palavra a respeito de qualquer assunto. Nossa pretensão é bem mais modesta, mas também muito importante: mostrar que é possível, mesmo sem colocar pontos finais aos debates, pensar de forma criativa, clara e civilizada. (shrink)

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)

There has recently been a focus on the question of statue removalism. This concerns what to do with public history statues that honour or otherwise celebrate ethically bad historical figures. The specific wrongs of these statues have been understood in terms of derogatory speech, inapt honours, or supporting bad ideologies. In this paper I understand these bad public history statues as history, and identify a distinctive class of public history-specific wrongs. Specifically, public history plays an important (...) identity-shaping role, and bad public history can commit specifically ontic injustice. Understanding bad public history in terms of ontic injustice helps understand not just to address bad public history statues, but also understand the value of public history more broadly. (shrink)

This research primarily identified the current employment profile of the graduates of Master of Arts in Filipino of Polytechnic University of the Philippines (2017-2020). Specifically, it sought to determine the progress on their professional status and the relevance of institutional and academic factors to it. This descriptive study utilized purposive sampling and involved an iterative process of frequency distribution, percentage, rank, and average weighted mean. This study found out that the majority of the respondents: are currently employed before and after (...) they took up MAF; are permanent/regular teachers in public secondary schools; have received job promotions and salary increase after graduating; and have acquired several professional skills and values relevant to their profession. The study generally concludes that the program has succeeded in providing quality education to its respondents as analyzed from their positive feedbacks. The researchers, however, recommend improving areas relative to influencing graduates to conduct and publish studies in refereed journals, be active members of discipline-related organizations, and attend several conferences, workshops, seminars, etc. Keywords: Curriculum, Master of Arts in Filipino, Polytechnic University of the Philippines, Professional Development, Tracer Study. (shrink)

ABSTRACT -/- One increasingly reads about different aspects of the death of philosophy. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. The professionalization of philosophers created other problems of this socio-cultural practice. The dying out of philosophy is not only cased by external social and cultural factors, but also by internal (...) factors such as its methods and those concerning its subject-matter. I have explored the above in the context of meta-philosophy. In the process I also investigated the nature, the subject-matter and theories of philosophy of art, aesthetics and theory of art. It is mostly about these explorations of art that the contents of this piece is concerned with. All this is an exercise with words as the verbal means are the traditional instruments of doing philosophy. These tools not only enable the doing of philosophy but also creates limitations and limits to philosophizing. This will remain the case until the discourse develops other (for example visual, auditory, computational, etc) means to develop its many levelled and multi-dimensional practice - and in the process questions and overcomes its anthropo-centered bias. (shrink)

If we are to escape reification—a sort of cogni- tive neutrality of basic, gnosic apprehension of the world plus a fundamental disrespect of the other as free agent—we should recognize our mode of existence as always already one of existential engagement with and within experience, aiming at articulating and expressing this engagement. One way of fully inhabiting this, let’s call it the proper human stance, is through recognizing a pendular space between the basic attitudes of acknowledging lived, shared interests and (...) values and avoiding being bound to and dependent on the values of others. Both philosophy as radical critical re- flection, and art, or artistic processes of production and re- ception, can be seen as invitations to inhabit this pendular space of human experience, by way of continually opening up our habits of sensibility to new engagements in thought and life, and successfully articulating and expressing these engagements in public forms. I take Cavell’s reading of Wittgenstein’s mature philosophy as an attuning to an apt attitude towards this invitation. Is this attitude one possible, non-procedural meaning of “liberalism”? (shrink)

Ambient assisted living technologies are increasingly presented and sold as essential smart additions to daily life and home environments that will radically transform the healthcare and wellness markets of the future. An ethical approach and a thorough understanding of all ethics in surveillance/monitoring architectures are therefore pressing. AAL poses many ethical challenges raising questions that will affect immediate acceptance and long-term usage. Furthermore, ethical issues emerge from social inequalities and their potential exacerbation by AAL, accentuating the existing access gap between (...) high-income countries and low and middle-income countries. Legal aspects mainly refer to the adherence to existing legal frameworks and cover issues related to product safety, data protection, cybersecurity, intellectual property, and access to data by public, private, and government bodies. Successful privacy-friendly AAL applications are needed, as the pressure to bring Internet of Things devices and ones equipped with artificial intelligence quickly to market cannot overlook the fact that the environments in which AAL will operate are mostly private. The social issues focus on the impact of AAL technologies before and after their adoption. Future AAL technologies need to consider all aspects of equality such as gender, race, age and social disadvantages and avoid increasing loneliness and isolation among, e.g. older and frail people. Finally, the current power asymmetries between the target and general populations should not be underestimated nor should the discrepant needs and motivations of the target group and those developing and deploying AAL systems. Whilst AAL technologies provide promising solutions for the health and social care challenges, they are not exempt from ethical, legal and social issues. A set of ELSI guidelines is needed to integrate these factors at the research and development stage. (shrink)

This article starts from the assumption that there is a connection between art and language and responsibility. What is it based on? It follows on from the research of the Hamburg Circle in the 1920s by Ernst Cassirer and Aby M. Warburg, and was strengthened in the 2000s by Hartmut Böhme. Their joint starting point is the emotional life of human beings. Thus, they assume that already the perception is shaped by it and can be increased in rituals. Comparably hardly (...) noticed by us, it continues to have an effect in art and language and thus influences the recipient. From this derives the demand that both the one who speaks and the one who is creatively active bears responsibility for his or her doing. With the knowledge of the effect of art and language, however, the recipient is also required to take responsibility for his actions influenced by it. The article aims to show this connection, which is deeply rooted in the nature of human beings. -/- The article was originally published in German. It has now been translated by the author with the kind permission of the Evangelical Church in Germany. Additions were made only in the notes and in the bibliography. The concept for the text goes back to a conference of the Evangelical Academy of the Martin Luther City of Wittenberg (Saxony). On this basis, the author was invited to contribute to the publication of the Evangelical Church in Germany (EKD) Mitteilungen—Zur Erneuerung evangelischer Predigtkultur (Kirche im Aufbruch 5), edited by Kathrin Oxen and Dietrich Sagert. Leipzig: Evangelische Verlagsanstalt, 2013. The selection of the text for this issue of Art Style Magazine was based on one of the fundamental ideals of Metropolis, which sees itself as democratic and based on the responsibility of each member in dealing with art and language. (shrink)