Dissent has its own special place in art education. It has two stereotypical, polarized faces. The first is a classical institution modelled on Italian and French academies. As official places, they aimed at elevating art to the rank of science and making it an expression and instrument of power. The opposite image of the school is an oasis of intellectual freedom, a space for inventiveness, a place for applying unusual teaching methods and organizing the academic community. The most famous examples (...) are avant-garde acctivities. This historical division is unreliable in fact. Dissent or even rebellion can be an instrument of morality and principles that could be followed. Quite unexpectedly, a peculiar anarchism can be found in the first art academy run by the Carracci. The name ‘academy’ popularized among the Italian humanists and Marsilio Ficinno, drew attention to the informal nature of scientific associations, opposing the fossilized formula of the university existing since the Middle Ages. It is surprising then that Joseph Beuys just created the Free International University. The very name of school and its understanding indicate a significant dichotomy not only in art education, but also in art theory. The point is not that the model of education has simply loosened over time. The above-mentioned facts reflect great disputes about the essence of art, about its relationship with science, everyday life, and practical application. An analysis of specific programs will allow us to see the sense of the mutual connections between rebellion and principles in modernizing artistic education. (shrink)

With this nuanced and interdisciplinary work, political theorist Mihaela Mihai tackles several interrelated questions: How do societies remember histories of systemic violence? Who is excluded from such histories' cast of characters? And what are the political costs of selective remembering in the present? Building on insights from political theory, social epistemology, and feminist and critical race theory, Mihai argues that a double erasure often structures hegemonic narratives of complex violence: of widespread, heterogeneous complicity and of "impure" resistances, not easily subsumed (...) to exceptionalist heroic models. In dialogue with care ethicists and philosophers of art, she then suggests that such narrative reductionism can be disrupted aesthetically through practices of "mnemonic care," that is, through the hermeneutical labor that critical artists deliver—thematically and formally—within communities' space of meaning. Empirically, the book examines both consecrated and marginalized artists who tackled the memory of Vichy France, communist Romania, and apartheid South Africa. Despite their specificities, these contexts present us with an opportunity to analyze similar mnemonic dynamics and to recognize the political impact of dissenting artistic production. Crossing disciplinary boundaries, the book intervenes in debates over collective responsibility, historical injustice, and the aesthetics of violence within political theory, memory studies, social epistemology, and transitional justice. (shrink)

Graffiti, as a form of artistic and social expression, has long been entangled in debates concerning its legitimacy, ethics, and cultural significance. Initially serving as a medium for creative expression and social communication, graffiti has evolved from an act of defiance to a widely recognized form of urban artistry. However, this transformation raises deeper philosophical and theological questions about the nature of artistic legitimacy, the moral implications of public space utilization, and the tension between transgression and sacred expression. (...) Is graffiti an act of rebellion against authority, or does it serve as a reflection of deeper existential and spiritual inquiries? Rooted in historical traditions of visual storytelling, from prehistoric cave paintings to religious iconography, graffiti occupies a unique space between vandalism and sacred art. Its presence in urban landscapes often symbolizes dissent and marginalized voices, yet it also engages with the broader philosophical discourse on freedom, moral agency, and the sanctity of public expression. The increasing acceptance of graffiti as a legitimate art form further complicates the boundary between crime and creative expression, raising ethical concerns about ownership, space, and cultural identity. This study explores graffiti’s evolution through a lens of religious and philosophical reflection, analyzing its role in shaping public consciousness, its intersection with ethical discourse on transgression and creativity, and its potential as a medium for spiritual and social transformation. By tracing graffiti’s historical roots, examining the debates surrounding its moral and aesthetic value, and considering its future trajectory in the democratization of public space, this paper argues that graffiti should not be viewed solely through the dichotomy of legality and illegality. Instead, it should be examined as an evolving cultural and philosophical phenomenon that challenges conventional notions of art, morality, and the human search for meaning in public expression. Future research should further explore graffiti as a contemporary manifestation of sacred and profane spaces, its parallels with religious artistic traditions, and its role in redefining ethical and spiritual engagement with the urban environment. (shrink)

Representations of critical geography and border studies have developed concepts and methodologies for exploring the multifaceted and contradictory image of contemporary borders. Artists, scholars and social activists show increased interest in the narrative and visual documenting of border’s closures. The border’s visuality becomes a supporting argument for dissent and protest, giving the ‘visual evidence’ of the extremely quick border’s re-territoriality. As a result, important events allow one ‘to extracts sameness even from what is unique’ (W. Benjamin). The mass migration and (...) the pandemic return us to the reality of the human world with their non-freedom and illness. In the migration case, Europe has dealt with an ‘alien body’, and in the pandemic, with an ‘infected or sick body’. The relationship between the image and the viewer is an important starting point in the representation of mass migration and pandemic. Mitchell’s metaphor of ‘live images’ help us better understand the sense and reasons of new biological and politic events. Nowadays, the development, materialisation, and embodiment of European borders are the stable visual symbol of our existence. (shrink)

This chapter attends to somaesthetic expressions occurring irrespective of knowledge of the movement, using Mandalay’s Water Festival and Cairo’s Arab Spring as case studies. These celebrations and protests feature bodies creatively gravitating around urban structures and according to emotional, cultural concerns, all of this together defining city spaces for a time. Bodies also become venues for artistic refashioning, for example, through creative conversion of injuries into celebratory badges of dissent. Geared almost therapeutically towards life-improvement—albeit sometimes implicitly—these celebrations and protests (...) also have meliorative aspects that mark the somaesthetic movement. Moreover, they have a shared, public character stressed by Shusterman, but arguably lost on many because of his interest in self-focused meditation and the popular appeal of such exercises among those interested in body practices. (shrink)

All of Stanley Cavell's work, whether its topic is Shakespeare's or Beckett's theatre, Hollywood cinema, Caro's sculpture or Derrida's deconstruction, rests on the philosophies of language of Wittgenstein and Austin and on the vision that in these one finds the life of human animals in language and culture. Behind the question "What is art?" Thus, in Cavell, questions such as: How does one enter language? What is speaking on one's own behalf? How is it possible to escape from inexpressiveness? What (...) does it mean to speak for others with whom we consent to associate? What is recognizing others, being recognized by them, or recognizing a community? What responsibility do I have for the way language means? What is consent and dissent? How do you come to have, not just your own voice, but a voice capable of articulating something new, for example, artistically new? How can that voice ever be shared? (shrink)

This article explores what it can mean to navigate notions of productive idiocy with aspects of mātauranga Māori (Māori knowledge), through some recent art-as-activism practices of the author, Aotearoa/New Zealand artist Mark Harvey. The works explicated include Waitākere Drag and Auau in the Te Wao Nui ā Tiriwa forest ranges and Productive Promises, which was part of TEZA (Trans Economic Zone of Aotearoa) in Ōtautahi/Christchurch. Avital Ronell’s Nietzschean-influenced perspectives on idiocy are drawn from in relation to Western and Māori perspectives, (...) along with Roger Sansi’s work on idiocy as dissent. From this aggregation of epistemologies, it is proposed that idiocy can be productive through art as activism and that this can align with Indigenous Māori perspectives on playing the fool as a form of resistance and refusal. Examples of Māori concepts engaged with here include perspectives on relationship building, human relationships with forests and the environment, and sovereignty under Te Tiriti o Waitangi (The Treaty of Waitangi). These art-activism projects promised micro-attempts at making positive changes for the communities in which they were situated through performatively generated actions from a Māori perspective within the shroud of ongoing colonization and capitalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Community and the “Absolutely Feminine”Sheri I. Hoem (bio)I’ve emphasized the importance of the moment of dissent in the process of constructing knowledge, lying at the heart of the community of thought.—Jean-François Lyotard, The Postmodern ExplainedMaurice Blanchot’s The Unavowable Community places side by side a “community” of writers who confront the very possibility of community as it comes to be inscribed in politico-philosophical and literary modes. His “little book” [56], (...) as he calls it, takes up these modes of discourse separately, in two parts. The first section of his text, “The Negative Community,” constitutes an analytical defense of Bataille’s theoretical concepts of community as they have been interpreted by Jean-Luc Nancy in The Inoperative Community. Blanchot engages the question of community, communion, and communism not simply to contest or continue Nancy’s text, but to restore Bataille to a brotherhood, or “fraternity” [26] of friends and scholars who have come to think in terms of an “unworking” [23] or “negative” community. The second section of Blanchot’s text, “The Community of Lovers,” performs a critical reading of Marguerite Duras’s fictional work The Malady of Death.In The Inoperative Community—the pretext, at least in part, for part one of Blanchot’s little book—Nancy credits Bataille as having “gone farthest into the crucial experience of the modern destiny of community” [16] in that Bataille’s thinking reveals the experience of discerning communism’s failure, followed by a fascination with fascism, and finally a “withdrawal from communitarian enterprises” [16–17] altogether. According to Nancy, at the juncture of the historical and theoretical failings of community, Bataille abandons all forms of community other than “an accursed isolation of lovers and of the artist” [24]. Admitting that he is dealing only with ‘“themes’” rather than with Bataille’s “writing” itself, Nancy nevertheless asserts that Bataille’s thinking on community has always been limited by “the theme of the sovereignty of the subject” [23], even in his community of lovers:Bataille’s lovers are also, at the limit, a subject and an object—where the subject, moreover, is always the man, and the object always the woman, due no doubt to a very classical manipulation of sexual difference in an appropriation of self by self. (However, on another register and in another reading of Bataille’s text, it is not certain that love and jouissance do not pertain essentially to the woman—and to the woman in man. To discuss this it would be necessary to consider Bataille’s writing... something I cannot do here, inasmuch as I am for the moment considering only its “themes.”).[24]Nancy’s reading of Bataille thus clears a space for Nancy’s own investigation into the possibility of community after or beyond the subject, so to speak. Instead of a subject described as an (undivided) individual, Nancy speaks of a “singular being” who is always already othered. Singular beings as such are “constituted by... sharing that makes them [End Page 49] others: other for one another... ‘“communicating’ by not ‘communing’” [25]. For Nancy, it is the very experience of the limits of communication that allows each being to discover a certain singularity in common.Blanchot too reflects on the “theme” of community in Bataille’s works without examining Bataille’s “writing” as such, but he reads Bataille differently. Blanchot demonstrates how Bataille’s thinking gives the effect of “mutation” [4], that Bataille comes to an understanding of self-difference beyond the subject, beyond the limits imposed by Nancy’s reading, beyond the classical construct of subject/object discourse. Blanchot’s “Negative Community” establishes Bataille as one who experienced stages of thought: his thought exhibited its own infidelity.Blanchot turns to certain of Bataille’s terms, particularly “sacrifice,” “ecstasy,” and “inner experience,” to present an alternative to Nancy’s reading. According to Blanchot, the “inner experience” (l’expérience intérieure) is a concept in Bataille that does the opposite of what one might expect. The “inner experience,” Blanchot explains, is amovement of contestation that, coming from the subject, devastates it, but has as a deeper origin the relationship with the other which is community itself... (shrink)

Art viewers and critics talk as if visual artworks say things, express messages, or have meanings. For instance, Picasso’s 'Guernica' has been described as a “generic plea against the barbarity and terror of war”, forming a “powerful anti-war statement”. One way of understanding meaning in art is to draw analogies with language. My thesis explores how the notion of a speech act – an utterance with a performative aspect – can illuminate art’s power to ‘speak’. In recent years, philosophers of (...) art have explored speech act theory in relation to literary art, though barely at all in relation to visual art. Given the way we talk about painting, sculpture, installation, film, and photography, and given that artists have investigated performativity through their art, this neglect is surprising. My thesis develops two main arguments. First, artwork meaning is active. I argue that visual artworks, under certain conditions, are speech acts. They have propositional content, and they have a certain force: they can do things such as assert, protest, and criticise – things we would normally do with words. I defend these contested claims against several dissenters, and explore some consequences: in particular, I explore how art can lie, a hitherto neglected question. Second, artwork meaning is flexible. I argue that what an artwork says and does is affected by the context in which it’s displayed, and in particular, by its curation. As a result, an artwork’s content and force can vary from context to context. This goes against a dominant view in the philosophy of art – what I call ‘Originalism’ – that the meaning of an artwork is fixed by factors which held at the time of the work’s creation, and so cannot change across time. I argue that this is mistaken: artworks can change in meaning. Curatorial factors can affect an artwork’s content and force, and consequently its social effects. It is known that our verbal speech has the power to oppress and liberate people in a society. My thesis aims to show that art also has this power to shape society; through what it says, and through what it does. (shrink)

Deforming American Political Thoughtoffers an alternative to the dominant American historical imagination, treating issues that range from the nature of Thomas Jefferson's vision of an egalitarian nation to the persistence of racial inequality. Presenting multifaceted arguments that transcend the myopic scope of traditional political discourses, Michael J. Shapiro summons disparate disciplines and genres - architecture, crime stories, novels, films, and jazz/blues music to provide approaches to the comprehension of diverse facets of American political thought from the founding to the present. (...) The book's various investigations disclose that there have always been dissenting voices, articulated in diverse genres of expression that cast doubt on the moral purpose and exceptionalism of the American mind. This highly anticipated updated second edition features a preface focusing on aesthetic theory and the contributions of artistic genres for political analysis, and a completely new chapter on critical thinking about the US western and urban encounters afforded by the two HBO series, Deadwood and The Wire respectively. (shrink)

»[W]hile one can do nothing about choosing one’s relatives, one can, as artist, choose one’s ›ancestors‹.« These words lead to the heart of a dispute between Ralph Ellison and the Dissent editor Irving Howe in the early sixties which had an impact far beyond literary criticism and scholarship. From this well documented controversy we can learn something about both the power of attributions of belonging and the art of evading them.

This article is an effort to register the archival surge among Palestinians in Palestine and beyond. It is focused not on the collection of archives but on the mulitmedia practice of archiving as political practice. It is not the work in and on archives that redefines the terms of engagement but the practice of archiving itself. The challenge is directed at what constitutes custodial control, access, rubrics of order, and a pedagogy of use. Academics, artists, and activists are challenging the (...) aesthetics of dissent and the work of aesthetics in redefining what constitutes the political in oppressive colonial regimes today. Countermovements of documentation are efforts to displace rather than only disprove colonial truth. The conceits of what counts as archival labor—and who can do it—are poised to implode. (shrink)

Pamela Sue Anderson’s project about vulnerability and the silencing of the female speaker began with her realization of the female philosopher’s position within academia. Exposing the disavowal of the female “knower,” Anderson lays bare the mechanisms of excluding women from intellectual, artistic and religious discourse. Moving beyond the negative configuration of vulnerability associated with an openness to violence, Anderson refigures it as an openness to affection. The denial of thus refigured vulnerability has led to the literal and discursive oppression (...) of women through the “wilful ignorance” of their intellectual, emotional and sexual needs. In this article Filipczak analyses manifestations of this oppression exposed by female writers who illustrate the predicament discussed by Anderson in their fiction. Starting with Anderson’s refiguring of Antigone as a figure of dissent and marginality in her early work, Filipczak discusses Maggie Tulliver from The Mill on the Floss by George Eliot, Morag Gunn from The Diviners by Margaret Laurence and Mary Magdalene from The Secret Gospel of Mary Magdalene by Michèle Roberts. What connects these characters is the fact that they are disavowed as knowers in intellectual, artistic or theological endeavours by male figures of authority who deny vulnerability as an openness to affection, and rely on social collusion with such denial. The analysis also refers to Anna Karenina by Leo Tolstoy and Aritha van Herk’s Places Far From Ellesmere. (shrink)

This volume delves into the question of how, in an Iberian world apparently far removed from the battlegrounds of modernity and secularisation, doubt and unbelief found fertile soil, stimulated by social and religious developments. Adopting a multidisciplinary perspective, the contributors show how the crisis of identity produced by forced mass conversion touched off inner crises about the nature of Truth. By tracing the path from medieval Spain to the Spanish Inquisition, and from the great literary and artistic works of (...) the Spanish Baroque to Sephardic Marranism, this volume fills a historiographical gap in European social and intellectual history, demonstrating the importance of the Iberian world in the evolution of European scepticism. Mercedes García-Arenal is Research Professor at CSIC, Madrid, and Stefania Pastore is Associate Professor at the Scuola Normale Superiore di Pisa. They work on tolerance and dissent in Early Modern Iberia: on forced conversion, on the violent world of the Inquisition and the debates and protests that it sparked, and on the complex interplay of minorities. They have recently collaborated on After Conversion. Iberia and the Emergence of Modernity (Brill, 2016) and, as editors, Visiones imperiales y profecía. Roma, España, Nuevo Mundo (Abada, 2018). (shrink)

These words are a collaborative effort to think across different practices of knowing and sensing. They don’t pretend to compose a complete article. They are simply an assemblage that wants to open spaces for dwelling, for connecting, for dissenting. As such it gravitates around the images of Daniel Brittany Chávez’s performance: “Quisieron Enterrarnos … ”, his artist statement and Rolando’s notes on precedence, trans* and the decolonial. In this conversation, we are allies and accomplices in thinking through trans* as a (...) prefix both of non-binary transgender identity and from Rolando Vázquez’s conceptions of trans* from decolonial thought at praxis. In conversation, we offer this assemblage not from a space of tension but from a space of mutually nurturing decolonial praxis. (shrink)

"A compelling, insightful, and intimate portrait of William James as artist, philosopher, and psychologist, The Compromised Scientist explains James's emergence as a founding father of American experimental psychology. Unlike most books about James, this one emphasizes the fact that he had found a career as a painter and was not really a "buried" philosopher or psychologist. He was, in fact, an artist who was forced to compromise his urge to paint by developing a unique psychological language--the language of the "stream (...) of consciousness." Daniel W. Bjork offers an entirely new perspective on James by analyzing his famous diary as a record of his brilliant flight from art to psychology. In addition, Bjork explores the ways in which James's artistic orientation inevitably brought him into conflict with such other major psychological pioneers as Hugo Münsterberg, Edward Bradford Titchener, and James McKeen Cattell, all of whom dissented from James's psychological and professional outlook and, in particular, his enthusiastic crusade for the unconscious and psychic research. For them too, James was a "compromised scientist"--A man who had abandoned scientific standards. This indispensable study, complete with ample diary notations and illustrations, brings into new perspective the leading figure in American experimental psychology."--Provided by publisher. (shrink)

There is no established agreement concerning the meaning of πτυχας. The scholiasts give three alternatives: τας ποισεσιν πε διαιρεται ες στρος κα ντιστρΦους κα πδς. To the same effect, but more comprehensively, Boeckh interprets: artificiosi flexus numerorum harmoniae saltationis. Similarly Donaldson, Paley, Fennell, and Mezger apply the expression to the artistic turns of poetry; and Gildersleeve's sinuous songs is explained to mean the same thing. Myers translated sounding labyrinths of song, which Sandys modified to sounding bouts of song; but (...) I am not sure that I understand their metaphors. Embroidery of song is apparently a suggestion of the scholiast, since he remarks that πτυχας is suitably attached to δαιδαλωσμεν and ποικλλειν—σπερ π κατασκευσματος. But we look in vain for a justification of πτυχα so employed. Then comes the counsel of despair μνων πτυχας: τος μνοις κατ περΦρασιν, for which it is perhaps unnecessary to refer to Rutherford's Annotation, p. 250. I cannot think that anyone is really satisfied with such explanations, although there are no open notes of dissent. There must be some objection which I do not see to the rendering ‘glorious pages of minstrelsy,’ and yet πτυχ is well established in that connexion: Aesch. Suppl. 947 οδ' ν ββλων πτυχας κατεσΦραγισμνα where Schuetz rightly finds a reference to charta papyracea )( πνακες. Everyone remembers Gray's ‘Knowledge … her ample page rich with the spoils of time did ne'er unroll.’. (shrink)

Looking at the digital–cultural–political means of resistance and media activism on the Internet, this article explores Internet art practices in South Africa as a manifestation of cultural dissent towards western hegemony online. Confronting the unilateral flow of online information, Afro Cyber Resistance is a socially engaged gesture aiming to challenge the representation of the African body and culture through online project. Talking as examples the WikiAfrica project, Cuss Group’s intervention Video Party 4 (VP4) and VIRUS SS 16 by artiste Bogosi (...) Sekhukhuni, this article attempts to demonstrate that the use of the Internet as a medium for digital cultural production and as a platform of dissemination is crucial to raise social awareness and defy African stereotypes and misrepresentation. Creating a unique visual language using the ‘global’ aesthetics of the Internet, yet rooted in African culture, these works deeply reflect on the social environment they spawn from and therefore act as cultural and visual resistance. (shrink)

Artificial intelligence is now capable of generating sophisticated and compelling images from simple text prompts. In this paper, I focus specifically on how artists might make use of AI to create art. Most existing discourse analogizes AI to a tool or collaborator; this focuses our attention on AI’s contribution to the production of an artistically significant output. I propose an alternative approach, the exploration paradigm, which suggests that artists instead relate to AI as a participant: artists create a space for (...) interaction with the AI algorithm by way of their prompts, thereby allowing them to explore the way that the algorithm “sees” and “represents.” AI art practiced in this fashion bears a striking resemblance to contemporary conceptual and participatory art. Viewing AI art in this way has implications for the appreciation of style in AI art; concerns about novelty and originality; and the assignment of artistic credit and copyright. (shrink)

I develop and defend the following functional view of art: a work of art typically possesses as an essential feature one or more points, purposes, or ends with reference to the satisfaction of which that work can be appropriately evaluated. This way of seeing a work’s artistic value as dependent on its particular artistic ends (whatever they may be) suggests an answer to a longstanding question of what sort of internal relation, if any, exists between the wide variety (...) of values (moral, cognitive, aesthetic, etc.) that may be possessed by works of art and their value qua works of art. (shrink)

In today's world, the problems of culture have become world problems, as are those of the protection of the environment, the rational use of natural resources, the demographic situation, international disarmament and the prevention of war. We speak of a “cultural explosion” with regard to the very lively interest that culture arouses today and the increasing needs in this area. We can expect this development to continue, but what is the social significance of the process? What is its origin? To (...) what is it connected? (shrink)

To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor (...) of uniqueness, and the contextual factor of appreciative environment. We explore the context of appreciation by performing studies in a museum as well as the lab. We found that contagion made a difference to judgments of artistic value in both settings. These results are congruent with previous empirical research as well as recent philosophical work that defends the artistic significance of authenticity. However, uniqueness only made a difference in the lab setting, but not in the museum. This suggests that the context of appreciation may make a difference to judgments of artistic value. Of broader significance, these studies show the value of experimental philosophical aesthetics and the value of doing in situ empirical research on art. (shrink)

Zwar wurde den Nonkonformisten 1689 religiöse Toleranz zugesichert, doch wurden sie von den Universitäten in Oxford und Cambridge ausgeschlossen. Daher rührt die Bedeutung ihrer eigenen Akademien, von denen einige eine allgemeinere Form der höheren Bildung anboten, andere dagegen speziell die Kandidaten für geistliche Ämter unterichteten. Die Mehrheit der hier besprochenen Theologen waren akademische Lehrer.Die nonkormistischen Theologen schrieben über viele Themen. Abgesehen von der Bibel lasen sie kontinentaleuropäische Theologen, Puritaner und auch Locke. Was die Moralphilosophie angeht, waren sie sich bewußt, daß (...) sie ihre Aufmerksamkeit sowohl dem moralischen Gesetz als auch der göttlichen Offenbarung zu widmen hatten, und einige von ihnen bezogen geradezu fanatische Gegenpositionen zu Hobbes. Während manche von Zeit zu Zeit an das moralische Gefühl appellierten, zogen andere einen rationalen Intuitionismus vor. In den Schriften der meisten zeigt sich ein gewisser Eklektizismus. In der Praxis der liberaleren Theologen wurde die Ethik mehr und mehr von der Dogmatik geschieden, obwohl die Autoren Gott nie gänzlich aus ihren Gedanken verbannten. Demgegenüber bietet John Gill, Puritaner in Gedanken wie in der Methode, ein konservatives Gegenbeispiel und illustriert die Verzögerung auf intellektuellem Gebiet.Die Beiträge zur Moralphilosophie von Isaac Watts, Henry Grove, John Taylor, Thomas Amory, Samuel Bourn III, Richard Price und Thomas Belsham werden vorgestellt, und die Positionen dieser Autoren, ebenso wie die Position von Joseph Priestley, zur Freiheit - Freiheit und Notwendigkeit, Freiheit des Gewissens und Freiheit des Gottesdienstes - werden untersucht.Themen, die für eine weitere Diskussion fruchtbar wären, werden vorgestellt. Außerdem werden abschließend einige kurze Betrachtungen zu den Versuchen einiger heutiger Philosophen angestellt, den Graben zwischen Moralphilosophie und Theologie, der seit dem achtzehnten Jahrhundert immer größer wird, zu schließen..Zwar wurde den Nonkonformisten 1689 religiöse Toleranz zugesichert, doch wurden sie von den Universitäten in Oxford und Cambridge ausgeschlossen. Daher rührt die Bedeutung ihrer eigenen Akademien, von denen einige eine allgemeinere Form der höheren Bildung anboten, andere dagegen speziell die Kandidaten für geistliche Ämter unterichteten. Die Mehrheit der hier besprochenen Theologen waren akademische Lehrer.Die nonkormistischen Theologen schrieben über viele Themen. Abgesehen von der Bibel lasen sie kontinentaleuropäische Theologen, Puritaner und auch Locke. Was die Moralphilosophie angeht, waren sie sich bewußt, daß sie ihre Aufmerksamkeit sowohl dem moralischen Gesetz als auch der göttlichen Offenbarung zu widmen hatten, und einige von ihnen bezogen geradezu fanatische Gegenpositionen zu Hobbes. Während manche von Zeit zu Zeit an das moralische Gefühl appellierten, zogen andere einen rationalen Intuitionismus vor. In den Schriften der meisten zeigt sich ein gewisser Eklektizismus. In der Praxis der liberaleren Theologen wurde die Ethik mehr und mehr von der Dogmatik geschieden, obwohl die Autoren Gott nie gänzlich aus ihren Gedanken verbannten. Demgegenüber bietet John Gill, Puritaner in Gedanken wie in der Methode, ein konservatives Gegenbeispiel und illustriert die Verzögerung auf intellektuellem Gebiet.Die Beiträge zur Moralphilosophie von Isaac Watts, Henry Grove, John Taylor, Thomas Amory, Samuel Bourn III, Richard Price und Thomas Belsham werden vorgestellt, und die Positionen dieser Autoren, ebenso wie die Position von Joseph Priestley, zur Freiheit - Freiheit und Notwendigkeit, Freiheit des Gewissens und Freiheit des Gottesdienstes - werden untersucht.Themen, die für eine weitere Diskussion fruchtbar wären, werden vorgestellt. Außerdem werden abschließend einige kurze Betrachtungen zu den Versuchen einiger heutiger Philosophen angestellt, den Graben zwischen Moralphilosophie und Theologie, der seit dem achtzehnten Jahrhundert immer größer wird, zu schließen. (shrink)

Recently David Best has advanced the claim that sport is not an art form, and that although sport may be aesthetic, it is not artistic. Such a claim is false and runs counter to ordinary usage and sport practice. On behalf of sport practice, let me cite as an example the world-class Canadian skater, Toller Cranston, who thinks there are such things as ‘artistic sports, those being gymnastics, diving, figure skating’. Best claims that athletes like Cranston are conceptually (...) confused and that they endow sport with greater respectability than should be allowed. Ascribing the predicate ‘artistic’ to sport performances reflects ‘barbarous usage’. Why does Best exclude the artistic from the realm of sport? Upon examination of his argument, one finds that this exclusion derives mainly from his concepts of art and sport. He thinks that art has a subject-matter, a content, and that sport does not. Sport is contentless, so ‘sport’ and ‘art’ are two logically distinct regions. But is this so? Are we to accept Best's argument or are we to listen to accomplished, reflective athletes in the area of artistic sports? It seems the most reasonable analytic procedure would be to listen to Cranston's case and decide whether such a piece of intentionalist criticism5 should override Best's premises. (shrink)

Dynamically transforming the elements of any performing artist’s craft, this practical guide is a must-have for musicians, dancers, and actors. The handbook shows how artistic performance is embodied in the unification of three critical elements—motion, emotion, and love—demonstrating how it offers experiences and opportunities distinct from the nonperforming arts. Step-by-step guidelines are provided for building intentional and inspirational practice time, thereby enhancing the relationships between the source, the performer, and the audience. Illustrating how intentional movement invokes emotions from both (...) the performer and the audience and how the concept of love gives a performance humanity and life, this eye-opening exploration creates pathways for achieving true artistry. (shrink)

This research investigates flow experiences and explores meaning construction for artistic practices that differ in haptic nature. In addition to the phenomenological analysis of interviews, videos of artistic practice and practice-based research were employed to obtain both retrospective and real-time records of the physicality of artistic practice. Drawing on authors who emphasise the automatisation of actions in flow and heightened body awareness flow is reconceptualised in non-representational terms as optimal precognitive engagement with the world. In this light (...) meaning in flow results not from bringing order to the mind as Csikszentmihalyi proposed, but through its embodied construction in activity. Analyses revealed that the sources of enjoyment and meaning, the relationship between artist, tools and artwork, and the nature and extent of self-differentiation differ between artists who work in two and three dimensions, and whose physical actions differ in the production of their artwork. 2D artists derive enjoyment from their creative process and meaning from capturing an atmosphere or place, and attribute artistic control to their artwork. 3D artists derive more enjoyment from the product of their artistic activity and meaning from the recreation of the self in material form, and do not attribute artistic control to the artwork. Consequently, embodied physicality of activity appears fundamental to similarities in flow experiences and meaning-making: accounts of flow and the meanings generated in activity differ between activities that differ in their haptic or performative nature but are similar among haptically similar activities. (shrink)

Objections arise to the concept of artistic intention based upon the psychology of a period. Here too we experience trends or volitions which can only be explained by precisely those artistic creations which in their own turn demand an explanation on the basis of these trends and volitions. Thus "Gothic" man or the "primitive" from whose alleged existence we wish to explain a particular artistic product is in truth the hypostatized impression which has been culled from the (...) works of art themselves. Or it is a question of intentions and evaluations which have become conscious as they find their formulation in the contemporary theory of art or in contemporary art criticism. Thus these formulations, just like the individual theoretical statements of the artists themselves, can once more only be phenomena parallel to the artistic products of the epoch; they cannot already contain their interpretation. Here again this parallel phenomenon would, in its entirety, represent an extraordinarily interesting object of humanistic investigation, but it would be incapable of defining in detail a methodologically comprehensible volition. So, too, the view of art which accompanies a period's artistic output can express the artistic volition of the period in itself but cannot put a name to it for us. This view can be of eminent significance when we are seeking a logical explanation for the perception of tendencies dominating at a given time and thus also for the judgment of artistic volition at that time, which must also be interpreted.Erwin Panofsky, the renowned art historian, was professor at the Institute for Advanced Study, Princeton University, until his death in 1968. Among his many books and articles are Meaning in the Visual Arts, Early Netherlandish Painting, and Renaissance and Renascenes in Western Art. Kenneth Northcott is professor of German and comparative literature at the University of Chicago and the translator of Arnold Hauser's Sociology of Art . Joel Snyder is chairman of the committee on general studies in the humanities at the University of Chicago. (shrink)

This article examines the artistic potential of forms of image-making that involve registering the features of real objects using mind-independent processes. According to skeptics, these processes limit an agent’s intentional control over the features of the resultant “automatic images,” which in turn limits the artistic potential of the work, and the form as a whole. I argue that this is true only if intentional control is understood to mean that an agent produces the features of the work by (...) their own bodily movements alone. Not only is this an unrealistic standard to uphold, but I show that a definition of intentional control based on the skeptic’s position does not prohibit an agent from realizing the features of an image by means beyond their own actions. An agent can exercise intentional control over the features of an image if they successfully anticipate the effect that the remote consequences of their actions will have on these. This, I argue, entails that to exert intentional control over the features of an image is to exercise “creative agency,” which is a species of executive agency. Consequently, I defend the idea that the origin of automatic images in creative agency grounds their artistic significance. (shrink)

Volume 11, Issue 1-2, January–December 2024.

The notion of a meal is explored in relation to questions of art status and artistic value. Meals are argued not to be works of art, but to have the capacity for artistic value. These claims are used to respond to Dominic Lopes’s arguments in Beyond Art that demote artistic value in favour of the values that emerge from specific kinds of art. A conception of artistic value that involves ‘taking reflective charge’ of the possibilities for (...) goodness available in an activity is sketched. (shrink)

Small projects are among the most important projects that bring economic benefit to societies, especially developing societies, because of their effective role in training young people, investing in their energies, and urging them to establish their own small production units, which contributes to eliminating the phenomenon of the unemployment problem. The current research aims to design works of art using Asiri art motifs by recycling scraps of fabric, ready-made clothes, and furnishings using a patchwork method. This has led to an (...) interest in teaching industrial designers how to draw inspiration from Asiri art motifs and the different types that this art includes, whether geometric or floral, as a source of innovative and sustainable design in the field of artistic works using leftover factory fabrics. This is done through designs characterized by aesthetic and artistic values. Therefore, we made several designs suitable for use in artwork, inspired by the decorations of Asiri art in an abstract style, using the experimental descriptive approach. The research was based on three main axes: the axis of patchwork art techniques and the axis of sustainable development of the artwork. Focusing on Saudi traditional artistic decorations and combining them to develop small projects. The results of the research showed the possibility of utilizing leftover fabrics using the patchwork method to achieve sustainable development of artistic works derived from the decorations of Saudi Asiri art, benefiting from them in the field of small projects and employing them in innovative plastic compositions. Which combines simplicity and modernity, both in terms of design and performance. (shrink)