In the first half of the twentieth century there was a remarkable convergence of art and design in De Stijl, Constructivism and the Bauhaus. But in the second half of the twentieth century fine art relinquished its liaison with design due to the influence of Dada and Surrealism's postromantic antagonism to practical-functionalism. Dada and Surrealism and postmodern fine art are characterized by a critique of the dominant social discourse of functionalism and the demand for a sublime poetics to (...) be brought into everyday life. This article argues that the apparent antipathy between postmodern fine art and design can be ameliorated if we critically analyse interpretations of evolutionary theory by postromantic philosophers such as Nietzsche, Bergson, and Deleuze and Guattari. When Bergson notes that practical-functional reasoning was created by evolution he reveals a flaw in the pursuit of an aesthetics that is totally opposed to commonsense and practical-functionalism. And when we turn to Deleuze and Guattari we find another valuable concept in the form of their notion of the machinic, which assists further in reconciling the postromantic emphasis on the sublime with the practicality of mechanism. Moreover, Deleuze and Guattari's notion of the machinic is informed by chaos theory, which allows further elaboration in terms of complexity theory. Complexity theory can be understood as a process philosophy that has no need to figure the sublime in terms of a mysterious force of nature because the mystery is located within complex interactions among a manifold of components, what one might refer to as a cosmic, machinic, combinatoire that arises out of what Christopher Langton has called the edge of chaos. This makes it possible to replace the emphasis on desire as the fundamental force of nature evident in Nietzsche, Bergson, Deleuze and Guattari with a complexity-theoretical concept of a cosmicmachinic combinatoire. It is then possible to formulate a machinic, evolutionary aesthetics that can reconcile the postromantic demand for sublimity with the demand for practical-functionalism that lies at the heart of the discipline of design. In place of the modernist machine aesthetic that informed De Stijl, Constructivism and the Bauhaus we would have a postmodernist machinic aesthetic. (shrink)

On October 23, 1965, Theodor Adorno delivered a lecture to the German Werkbund in Berlin in which he addressed the relation between the supposedly “fine” and the so-called “applied” arts—a polarity he finds highly problematical. This essay analyzes Adorno’s discourse in the context both of the German Werkbund and subsequent developments in design and design theory. We conclude with some reflections on the meaning of functionalism today.

In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can be defined, (...) and if so, how. As the author sees it, the functionalist believes that an object is a work of art only if it performs a particular function (usually, that of providing a rewarding aesthetic experience). By contrast the proceduralist believes that something is an artwork only if it has been created according to certain rules and procedures. Davies attempts to demonstrate the fruitfulness of viewing the debate in terms of this framework, and he develops new arguments against both points of view--although he is more critical of functional than of procedural definitions. Because it has generated so much of the recent literature, Davies starts his analysis with a discussion of Morris Weitz's germinal paper, "The Role of Theory in Aesthetics." He goes on to examine other important works by Arthur Danto, George Dickie, and Ben Tilghman and develops in his critiques original arguments on such matters of the artificiality of artworks and the relevance of artists' intentions. (shrink)

Whitehead’s process metaphysics, as developed in Process and Reality, is harmed by the incoherence of his notion of eternal objects as timeless and essentially unrelated entities, which therefore need a primordial agent as their ontological ground and the source of their relatedness and relevance. Such nontemporal entities undermine what is supposed to be a thoroughly temporalist metaphysics. Eternal objects can be understood solely as functions of Creativity, however, as features of a purely temporal process. A notion of God is not (...) required. Whitehead’s Categoreal Obligations specify the necessary conditions for this process, including how the novelty is possible that is needed to account for temporal change and the increased complexity that value enhancement presupposes and makes possible. Adventures of Ideas, especially through the notions of Art and Peace, develops at the level of human civilization this same secular interpretation of the capacity of entities to fashion novel and progressive outcomes. (shrink)

This essay is a discussion and critical analysis of Nick Zangwill's theory of art. Zangwill's theory makes aesthetic intention (or "aesthetic insight") central to the status of art in various articles and in his book, Aesthetic Creation (OUP, 2007). The present essay focuses on the analysis found in his book and in particular whether Zangwill's theory adequately addresses the nature of avant-garde works of art. In the end, I argue that Zangwill's theory is both too narrow and too broad to (...) fully succeed as an account of the full sweep of artistic endeavors. (shrink)

This sparkling collection of essays both defines and reassesses the concept of Utility. Using it as a touchstone for the consideration of the place of ethics in the recent history of design, the collection offers a way into the issues which concern design decision-makers today. It offers previously unpublished research into diverse topics such as the investigation into the hitherto undiscovered designs for a utility vehicle, and it reveals a fresh perspective on the philosophy behind the concept of Utility as (...) a design theory. (shrink)

The paper is one of the four central texts where Clifford Geertz summarized his ideas. Geertz suggests an understanding of art as a social phenomenon and gives a social anthropological account of aesthetic experience. In opposition to structuralism, which analyzes art as a closed sign system developing according to its inherent logic, and to radical functionalism, which attempts to study art as if its main function was to maintain established institutions of culture, Geertz proposes to view a work of (...) art as a symbolical expression of the significant experience of its creator. In this case the ability of aesthetic perception of the work of art is treated as the ability to recognize the symbols it contains — the ability that results from involvement in the relevant cultural practices. Author illustrates his argument by the examples from the studies of that time: studies of Abelam tribe of New Guinea, Yoruba people of Western Africa, Quattrocento Italia, and modern Morocco. (shrink)

I introduce and explicate a new functionalist account of art, namely that something is an artwork iff the fulfillment of its function by a subject requires that the subject aesthetically engage it. This is the Aesthetic Engagement Theory of art. I show how the Aesthetic Engagement Theory outperforms salient rival theories in terms of extensional adequacy, non-arbitrariness, and ability to account for the distinctive value of art. I also give an account of what it is to aesthetically engage a work (...) that relies on our agential capacity to treat an object as having non-instrumental value, even while the ultimate purpose for our engaging the object is to get something from it. (shrink)

Contemporary art is a global success story. It is regularly lauded for its formal experimentation, its diversity, and its interrogation of pressing issues. However, it is also a category of art that creates deep confusion, seemingly floating free of any attempts to clarify its historical determination, conceptual definition, or criteria for critical judgement. The aim of this thesis is to move against this confusion by attempting to answer a central question: what makes art contemporary? In response, I develop three main (...) lines of argument. -/- I begin by arguing that contemporary art has two key features. First, it is made in contexts of absolute heterogeneity, in which artists are free to use any material, art form, genre, or style they please. Second, it attempts to engage with the crises of contemporaneity. This thesis focuses on understanding the second feature which has not been subject to extended philosophical reflection. -/- Next, I argue that one of the main ways contemporary art attempts to grapple with contemporaneity is by getting its audience to improve their cognitive standing on crises. I argue that contemporary art aims not just to provide its audiences with knowledge, but also to make them active co-producers of understanding. In doing so, contemporary artists attempt to help their audiences become participants in shaping the present. -/- Finally, I explore the ways in which the preceding arguments can help us to understand what it means to appreciate an artwork as contemporary art. I endorse a functionalist approach to artistic value. But I also argue that realising the artistic value of contemporary art is often a risky endeavour. I claim that, when dealing with experimental and challenging art, we have to be closely attentive to the way artists exempt themselves from various norms and the impact this has on the activity of audiences and mediators. (shrink)

Numerous theories have attempted to overcome the anti-essentialist scepticism about the possibility of defining art. While significant advances have been made in this field, it seems that most modern definitions fail to successfully address the issue of the ever-changing nature of art raised by Morris Weitz, and rarely even attempt to provide an account which would be valid in more than just the modern Western context. This thesis looks at the most successful definitions currently defended, determines their strengths and weaknesses, (...) and offers a new, cultural definition which can preserve the good elements of other theories, solve or avoid their problems, and have a scope wide enough to account for art of different times and cultures. The resulting theory is a synthetic one in that it preserves the essential institutionalism of Dickie's institutional views, is inspired by the historical and functional determination of artistic phenomena present in Levinson's historicism and Beardsley's functionalism, and presents the reasons for something becoming art in a disjunctive form of Gaut's cluster account. Its strengths lie in the ability to account for the changing art-status of objects in various cultures and at various times, providing an explanation of not only what is or was art, but also how and why the concept 'art' changes historically and differs between cultures, and successfully balancing between the over-generalisations of ahistorical and universalist views, and the uninformativeness of relativism. More broadly, the cultural theory stresses the importance of treating art as a historical phenomenon embedded in particular social and cultural settings, and encourages cooperation with other disciplines such as anthropology and history of art. (shrink)

In this paper, I argue that ‘art’, though an open concept, is not undefinable. I propose a particular kind of definition, a disjunctive definition, which comprises extant theories of art. I co-opt arguments from the philosophy of science, likening the concept ‘art’ to the concept ‘species’, to argue that we ought to be theoretical pluralists about art. That is, there are a number of legitimate, perhaps incompatible, criteria for a theory of art. In this paper, I consider three: functionalist definitions, (...) procedural definitions, and an intentional-historical definition. The motivation for this pluralism comes from an analysis of practice, because the term is of apparent value to practitioners. However, a closer analysis of the concept reveals that, while disjunctive definitions help us to understand how we use certain terms, they lack ontological import. In sum, I attempt to glean lessons from the philosophy of science about the philosophy of art. If my analysis is correct, we ought to be eliminative pluralists about art as a concept. (shrink)

This paper addresses theoretical challenges, still relevant today, that arose in the first decades of the twentieth century related to the concept of the organism. During this period, new insights into the plasticity and robustness of organisms as well as their complex interactions fueled calls, especially in the UK and in the German-speaking world, for grounding biological theory on the concept of the organism. This new organism-centered biology understood organisms as the most important explanatory and methodological unit in biological investigations. (...) At least three theoretical strands can be distinguished in this movement: Organicism, dialectical materialism, and holistic biology. This paper shows that a major challenge of OCB was to describe the individual organism as a causally autonomous and discrete unit with consistent boundaries and, at the same time, as inextricably interwoven with its environment. In other words, OCB had to conciliate individualistic with anti-individualistic perspectives. This challenge was addressed by developing a concept of life that included functionalist and metabolic elements, as well as biochemical and physical ones. It allowed for specifying organisms as life forms that actively delimit themselves from the environment. Finally, this paper shows that the recent return to the concept of the organism, especially in the so-called “Extended Evolutionary Synthesis,” is challenged by similar anti-individualistic tendencies. However, in contrast to its early-twentieth-century forerunner, today’s organism-centered approaches have not yet offered a solution to this problem. (shrink)

This essay seeks to establish the relevance for contemporary aesthetic theory of Hegel's view of the relationship between art, religion, and philosophy. The way in which Hegel relates these three is shown to offer an aesthetic theory in conflict with, and superior to, both functionalist and naturalist approaches. The views of Arnold Berleaut and Robert Steeker are used as foils for the functionalism/naturalism part of the argument. Finally, the views of Benedetto Croce concerning the death of art and religion (...) in Hegel are shown tobe mistaken, clearing the way for asserting the relevance of He gel's ideas to contemporary aesthetic theory. (shrink)

Ontological approaches to the arts have neglected art forms such as dance. This hinders analysis of the metaphysical similarities and differences between different art forms. In this paper, I develop a metaphysical realist ontological approach to dance and sport that is grounded in embodiment. I first examine the debate between descriptivism and metaontological realism in the philosophy of arts in the context of Thomasson’s descriptive approach and Dodd’s metaontological approach of folk-theoretic modesty. Following Dodd, I adopt a realist metaontological approach (...) to dance as an art form, drawing on philosophical debates within dance. I then review metaphysical approaches to sport and argue that most such approaches are based on abstract, top-down models. I therefore propose an ontological account of sport and dance based on metaontological realism and grounded in embodied movement knowledge. Drawing on Schaffer’s concept of ground functionalism, I use this approach to compare the aesthetic and bodily aspects of sport and dance in terms of elite-level movement knowledge. I describe how the embodiment of such movement knowledge through practice permits dancers and athletes to create expert movements. Drawing on findings from neuroscientific research, I argue that dancers and athletes, through the process of physiological plasticity, acquire embodied memories that are transformed into new bodily and behavioral dispositions. I believe that the metaphysical realist ontological approach presented here could help to broaden the focus in arts ontology to encompass movement disciplines such as sport and dance. This account may also engender cross-disciplinary research and encourage philosophers to explore the role of movement in arts such as music. (shrink)

The claim that the functions of art liable to change over time appears to suggest that any attempt to define art in terms of a limited set of functions will fail. Robert Stecker has offered a functionalist definition which seeks to accommodate this criticism by making the functions which are relevant to an artwork's status those which are 'standard or correctly recognized' for some art form. I argue that Stecker does not offer a clear enough distinction between the 'standard or (...) correctly recognized' and the accidental functions of an art form; that his account of the 'standard or correctly recognized' functions of an art form does not exhaust important artistic functions; and that his proposed definition is neither necessary nor sufficient for an object to count as an artwork. For these reasons I suggest that Stecker's functionalist account of art should be rejected. (shrink)

The question of what art is and why certain objects and events are considered art is examined. In the light of John Searle’s Social Philosophy, a hybrid Institutionalist-Functionalist explanation of what counts as art is presented. However, Searle’s apparatus applied to the ontology of the work of art is not enough to answer the question of why art has the status it exhibits. The proposal is to trace back the ontology of art to the origins of the dichotomy between freedom (...) and necessity, and more specifically to the notion of “end in itself” presented by Kant, as the status that persons have. Ultimately, the ontology of art emerges as a projection of the status “end in itself”, of personhood, to objects and events. (shrink)

This chapter contains sections titled: Canary Wine and Beyond Wine, the Analogy with Art, and Expression Dewey Seeing As and Seeing In Critical Rhetoric The Institutional Theories Attention, Attitude and Appreciation Aesthetic Attributes and Experiences Aesthetic Experience: What Is It? Functionalist Theories The Necessity of Aesthetic Competency Aesthetic Emergence Aesthetic Competency Notes.

This work was presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – in Aug 2020. --- -/- Briefly, in the first section of this Persian book, first of all, I (Hereafter: the writer) have presented generalities of Aesthetics and an interpretation of aesthetic universality (Hereafter: φ) and it is argued that each definition of art has to admit φ and this is a Kantian, minimalist, and subjective perspective view (some others would incline (...) objective interpretation of φ, but it is beyond the purpose of this work). What’s more, this view could be applied to all definitions of art e.g. Functionalism, Conventionalism, or Hybrid Theories. Additionally, the writer has replied to some objections, those would promote definitions of art without φ, it seems that they could not be successful to refuse φ, since it appears that φ is a premise in every aesthetic judgment. Next, in another section, the writer has written some primary notes on creativity, those have come from contemporary literature of it, and it is argued that there is a relation between creativity and φ. It is also claimed that the relation is the same φ by the creative processes, creative products, and creative persons, both scientifically and philosophically; and so, the relation represents that φ is true. Besides that, the writer has presented some potential objections to the writer’s aspect of the relation and the writer has also replied to those objections. --- -/- In the next section of the book, the writer has applied the φ by creativity to the philosophy of animal-made art, the writer revolutionarily illustrates that first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one. Second of all, φ is principally the criterion to know that animal-made art is impossible. The writer’s position recognizes those other works of animal aesthetics, which means aesthetics of all of the non-human creatures in the earth or cosmos as a new part of environmental aesthetics, is the marginally second order of animal aesthetics. It is owing to the fact that first of all, the question, of whether animal-made art is possible or not, is normative. Second of all, if one does not concern normativity of the question, then one could not get the answer to the nature of it. Next, one could not distinguish between on the one side, the pleasure of drinking water when one’s thirst may cause death, on the other side, the one’s pleasure of listening to music when there is no urgent necessity of it. The fourth argument is that one needs to identify the normativity of animal-made art because one could generalize aesthetic judgments if one sets φ as the basis of it, and then, one identifies that φ is one of the most fundamental bases in Aesthetics. --- -/- The main section of this book is that the writer’s argument -Animal-Made Art Impossibility Argument- is in favor of the impossibility of animal-made art i.e. Functionalist, Conventionalist, or Hybrid Theories of the definitions of animal-made art, also the writer has replied to some possible ideas and objections to the argument. --- -/- Pouya Lotfi Yazdi --- Iran | June 2022. (shrink)

La estética analítica hizo suyo, entre otros, el problema de la definición del arte y halló en el concepto dantiano de artworld una alternativa de solución eficiente. Motivador de subsecuentes propuestas, el costado más contextualista del programa de Arthur Danto debe aún enfrentar el reclamo de una supuesta falta de especificidad. Este escrito busca poner en diálogo dicho aporte teórico con los desarrollos hechos por Nelson Goodman en torno al arte a fin de aportar elementos de efectiva visibilidad frente a (...) tal reclamo. Al hacerlo, se prevé analizar la diferencia introducida por este último a propósito de la ejecución y la implementación como instancias configuradoras de lo artístico de espesor y relevancia para su lectura funcionalista. La articulación de un bloque explicativo afin a ambos planteos supone, así, una alternativa novedosa para el área teórica en que se inserta al tiempo que otorga una ventaja considerable frente al marco contextualista del tratamiento del problema. Analytic aesthetic addressed the problem of the definition of art and found an al ternative efficient solution in the Dantian concept of artworld. Nevertheless, the contextualist side of the Danto's program must face the claim of a certain lack of specificity. This paper seeks to link that with the developments made by Goodman around art in order to provide effective visible elements to such claim. In doing so, it is expected to analyze the difference between execution and implementation as central instances of artmaking according to his functionalist reading. The relation between both accounts represents, thus, an innovation over the theoretical area in which is inserted as much as a considerable advantage over the contextualist treatment of the problem. (shrink)

Abstract:This paper discusses Emerson's thoughts on the history and future of art in his 1841 essay "Art." I suggest that characterizing Emerson as a "functionalist" obscures the radical nature of his views and that Emerson ultimately sought the disappearance of the fine arts altogether through a merger of fine art with other creative activities. Emerson seeks to raise human creativity to a divine level and to incorporate beauty in the nature and actions of human beings themselves. I conclude with a (...) brief discussion of the relation between subsequent art movements and Emerson's ideas. (shrink)

This article presents the main theoretical approaches to the religious phenomenon: functionalism, constructivism, civil religion, invisible religion, diffused religion, rational choice, vicarious religion, and so on. It is difficult to accumulate empirical data that in general are considered too weak. The state of the art of sociology of religion seems promising because of the presence of new generations of sociologists who are deeply involved in their work. For the future a specific theory on migration mobility is necessary. Another necessity (...) is a wider development of qualitative analysis for a better knowledge of religious dynamics. (shrink)

In this paper I hope to show that a particular modern approach to Aristotle's philosophy of mind is untenable and, out of that negative discussion, develop some tentative suggestions concerning the interpretation of two famous and puzzling Aristotelian maxims. These maxims are, first, that the soul is the form of the body and, second, that perception is the reception of form without matter. The fashionable interpretation of Aristotle which I wish to criticize is the attempt to assimilate him to certain (...) modern philosophies of mind by making him into a functionalist. I shall therefore begin by explaining this modern term of art. (shrink)

It is a fact that wine tasting can at times take the form of an aesthetic experience and that many wines can be regarded as proper aesthetic objects. Can we consider wines works of art, then? This is the question I explore in this essay. I have reservations towards a positive answer to the question, but I think their nature is psychological or cultural, rather than theoretical. From a theoretical point of view we probably have sufficient reasons to claim that (...) high quality wines are artworks: in this essay I try to lay out those reasons. My remarks are based on the discussion of three key points: (a) the artifactual nature of wine, (b) a version of the aesthetic theory of art, and (c) the metaphysical view Nick Zangwill calls ‘Aesthetic Functionalism’. According to this view, in order to be an artwork an object must have originated in an insight concerning the fact that certain aesthetic properties would be realized by certain non-aesthetic properties. The thesis I defend is that a certain wine is an artwork if and only if it has been produced with the intention to realize certain aesthetic properties in other, non-aesthetic properties, i.e. in the smell and taste of the wine, on the ground of an insight into the dependence of the former on the latter. (shrink)

The topic of the article is George Dickie’s institutional theory of art as one of contemporary art theories which purport to answer the “what is art?” question by defining the concept of art in terms of its necessary and sufficient conditions. Introductory part of the article brings a brief review of so-called functionalist theories, as well as of their shortcomings when compared to theories to which institutional theory belongs. Also included is a short survey of theories and arguments that significantly (...) influenced institutional theory, e.g. Danto’s “theory of meaning”. Next are presented the basics of the institutional theory. It is shown that advantages of this theory over other functionalist theories became especially visible after the appearance of art practices of the 20th century which rendered the difference between artistic and non-artistic objects extremely complex. (shrink)

The ArgumentThe avant-garde's fascination with technology around 1900 grew out of several motivations: to shock the antitechnological bourgeois public; to experience a sense of mastery toward the material world, especially with cars, airplanes, and other machines; and to overcome the nineteenth-century separation of art and technology. The article highlights the radical shifts in the perception of technology that correspond with the emerging hands-on encounter with technological objects in homes, cities and at the workplace at the turn of the century. This (...) technological fundamentalism differed sharply from the anxious and symbolically mediated approach to the “materialism” of the machine in the nineteenth century. It was accompanied by a concept of liberation through technological purity which is reflected by the fact that Gropius, Mies van der Rohe and Corbusier did not just design functional objects but also made special efforts to accentuate their functionalism as part of the aesthetic experience of modernity. As French and Italian artists, especially the Futurists, incorporated speed, virility, and the experience of the elementary in the metaphoric construction of technology, they even expressed a kinship with those painters and sculptors who shifted their focus to the rediscovery of the “primitive” magic in the art works from Africa and Polynesia. (shrink)

Norman Malcolm; XIII*—‘Functionalism’ in Philosophy of Psychology, Proceedings of the Aristotelian Society, Volume 80, Issue 1, 1 June 1980, Pages 211–230, http.

Logical positivism had an important impact on the Danish intellectual climate before World War Two. During the thirties close relations were established between members of the Vienna Circle and philosophers and scientists in Copenhagen. This influence not only affected Danish philosophy and science; it also impinged on the cultural avant-garde and via them on the public debate concerning social and political reforms. Hand in hand with the positivistic ideas you find functionalism emerging as a new heretical language in art, (...) architecture, and design. Not surprisingly, you may say, since the logical positivists’ wishes of stripping philosophy of metaphysics is spiritually similar to the functionalists’ desire to get rid of symbols and ornaments. One event more than anything confirmed the connection between the Vienna Circle, Denmark, and the rest of the Nordic countries. For a short while Copenhagen became the centre for the Circle’s activities when in 1936 the 2nd Inter national Congress for the Unity of Science was held there between June 21 and 26. A photograph, taken during the conference, shows many of the participants sitting in the hall of Carlsberg’s honorary mansion where Niels Bohr was living at the time. Among the audience you find Otto Neurath , Carl Gustav Hempel and Karl Popper , but also some of the more prominent Danish scientists and scholars whose world views were congenial with the logical positivists. (shrink)

In 2018 the Congregation for the Doctrine of the Faith issued a responsum ad dubium, addressing the question of whether a hysterectomy is morally licit in cases wherein miscarriage is foreseen with medical certainty if the woman were to conceive. The CDF responded in the positive, explaining that “it does not regard sterilization.” The responsum provoked great controversy, with some commentators wondering at the prudence of issuing the teaching, and others questioning whether it represented a departure from the Catholic moral (...) tradition. This paper looks at a further area of concern in the reasoning of the responsum, namely that it departs from an essentialist account of the human person and of the organs and systems within the human body, and it moves toward a functionalist account of the meaning of the body and bodily systems as arising from whether they are functional. This represents a distressing shift in language from the previous hermeneutic employed by the magisterium, which could open the door to further controversy. (shrink)

Straipsnyje tiriamos dvi XX a. viduryje iðplëtotos funkcionalistinio sàmonës aiðkinimo kryptys: D. Armstrongo ir D. Lewiso analitinis funkcionalizmas ir H. Putnamo komputacinis funkcionalizmas. Siekiamaparodyti, kad ðios dvi kryptys ið esmës sutampa metodologiniu poþiûriu, taèiau jø atstovai suteikiasavøjø teorijø metodologiniam pagrindui skirtingas ontologines interpretacijas. Sutardami, kad fizikinio bûvio ir funkcinio bûvio sàvokos skiriasi, jie nesutaria dël to, ar funkcinio bûvio sàvokà reikialaikyti iðskirianèia atskirà ontologinæ bûviø kategorijà, ar ði sàvoka iðreiðkia tik skirtingà tø paèiø fizikiniø bûviø identifikavimo realiame pasaulyje bûdà. Ðiame (...) nesutarime ið esmës uþsimezga ðiuolaikineisàmonës filosofijai bûdinga kontroversija klausimu: savybiø ontologija turi bûti rekonstruojama intensiniu ar ekstensiniu pagrindu?Pagrindiniai þodþiai: funkcionalizmas, materializmas, ávairiopa realizacija, reduktyvistinës sàmonës teorijos. (shrink)

This article asserts the significance of the portrayal of the political art of statesmanship as weaving, and aims to show how this image emphasizes two main aspects of the political art of statesmanship. Firstly, the image implies a three-dimensionality, both through the process of weaving and through the thickness of the protective fabric this produces, that in turn indicates the vital aspect of corporeality in politics. Secondly, weaving as a paradigmatic example of the art of statesmanship presents a way of (...) incorporating different entities and joining diverse threads into a cohesive unity, without reducing them to a form of sameness as mere mathematical counting would. These two aspects are in turn connected to an emphasis on the importance in good statesmanship of recognizing the specificity of the occasion and the variety and difference of the innumerable qualities to be interlaced in weaving the fabric of a good society. (shrink)

Sellars, Brandom, and McDowell (whom Maher aptly calls the “Pittsburgh School”) have tremendous influence on the current shape of the analytic tradition. Despite their differing views on philosophy of language, the philosophy of mind, philosophy of action, and epistemology, their shared application of ‘normative functionalism’ highlights important similarities in their approaches to the aforementioned disciplines. Normative functionalism interprets the ability to form judgments, possess concepts, rationally defend or be critical of judgments, and consequently act as an agent, as (...) largely guided by one’s responsiveness to norms. In this article, I argue for two related claims. First, I argue that the Pittsburgh School’s normative functionalism has germinated from the seed of Sellars’ ‘psychological nominalism’ and cannot be separated from it. Second, no philosophical question or approach can be free of competing claims as to the manner in which human beings think, communicate, act, and know. As a result, normative functionalism (insofar as it is a natural extension of psychological nominalism) is relevant to many philosophical disciplines, because it opposes nearly all the traditional views concerning how the human intellect comes into being and functionally operates. (shrink)

This contribution presents two perspectives: one based on AI expertise and the other on the importance of knowledge as human knowledge. The later focuses on the purpose of education by revisiting Alexander von Humboldt’s concept of Bildung as the main purpose of education. Resisting the shifting to radically pragmatic models of education, without Bildung, in recent decades, in the Global North which develops a system of disposable education that focuses on training a workforce for the market. Concerned by the production (...) of disposable knowledge and assessments, with the sole goal of achieving good grades and securing employment, we see Generative AI, as mirroring this functionalist and economist vision of society, revealing strongly the limits of this paradigm. This article first explains how automatic learning, the foundation of generative AI, works. Second, we shall discuss human deep learning, as opposed to surface learning showing how it is required to develop as a person in the Bildung perspective. Third, we highlight this first intuition that AI reveals the functioning of our societies and move beyond, with an art of questioning in philosophy. (shrink)

This qualitative research study explores the cultural identity and artistic creation of traditional architecture in the Wuyuan area within the context of China's new rural construction. The research focuses on the reinvention of tradition and its impact on Wuyuan's architectural art, highlighting the conflict and change between traditional culture and modernization. By maintaining the traditional look, Wuyuan's architectural art has become representative of China's rural landscape, embodying rich historical and cultural heritage. The study aims to provide insights on ways to (...) inherit cultural identity in a balanced and sustainable manner under the principle of reinvention of tradition. Through an analysis of architectural art in Wuyuan, the research emphasizes the importance of traditional creations in the context of new rural construction, offering value to all involved parties. The findings of the study contribute to a better understanding of the preservation and innovation of traditional architectural styles, providing theoretical references for rural development policies in the context of China's new rural construction. (shrink)

In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution.

In this book, McMahon argues that a reading of Kant’s body of work in the light of a pragmatist theory of meaning and language leads one to put community reception ahead of individual reception in the order of aesthetic relations. A core premise of the book is that neo-pragmatism draws attention to an otherwise overlooked aspect of Kant’s "Critique of Aesthetic Judgment," and this is the conception of community which it sets forth. While offering an interpretation of Kant’s aesthetic theory, (...) the book focuses on the implications of Kant’s third critique for contemporary art. McMahon draws upon Kant and his legacy in pragmatist theories of meaning and language to argue that aesthetic judgment is a version of moral judgment: a way to cultivate attitudes conducive to community, which plays a pivotal role in the evolution of language, meaning, and knowledge. (shrink)

Introduction: Adorno and Barthes on the question of the right (di)stance -- The pathos of distances in "a world of banished people" -- George Orwell's critique of sincerity and the obligation of tactlessness -- The inferno of saviors: notes in the margin of Elias Canetti's lifework -- A socialism of distances, or on the difficulties of wise love: Iris Murdoch's secular community -- "The world in me": the distantiality of everyday life -- In search of a whole self: Benjamin's childhood (...) fragments -- Annie Ernaux's diaries of the outside -- Gunter Grass's century -- Damon Galgut on emptying oneself for sleep -- Conclusion. (shrink)

In this clear and accessible book, Gernot Bohme places philosophical ethics in the context of our individual and social lives. Arguing against the conception of ethics as a body of knowledge, Bohme defines morality as a matter of 'serious questions'. In the case of an individual, a serious question is one that determines that person's mode of living. In the case of society, a serious question is one that shapes our social norms. In Ethics in Context, Bohme explores the key (...) areas of moral living and moral discourse. He examines some of the urgent issues affecting society today, such as the moral implications of reproductive technology, man's mastery over nature and the right of citizenship. This book is a lucid and engaging guide to ethics, which will be of great interest to students of philosophy and, indeed, to all those interested in the subject. (shrink)

In this article, I consider ‘skin portraiture’: a mode of representation that privileges quasi-anonymous, fragmented, magnified and anatomized images of skin. I argue that this mode of representation permits a heightened awareness of embodied experiences such as reflexivity, empathy and relationality. Expanding understandings of difference through its engagement with haptic imagery and visuality, skin portraiture reorients the boundaries between ‘I’/‘not I’ and subject/object – often through touch – and challenges the cultural commitment to traditional notions of bodily autonomy. By doing (...) so, skin portraiture functions as an antagonistic form of portraiture; that is, as a kind of anti-portraiture that pushes the genre into an expanded visual field and, at times, beyond representation. Exploring the skin-as-technology metaphor, I show that bio art skin portraiture creates chimeric skins through tissue culturing practices, permitting bodies to become radically relational. Bio art skin portraits celebrate the genetic and cellular differences between bodies through a visible collapse of epidermal boundaries, which engenders a hyper-haptic mode of seeing beyond the subject and her or his skin. Analysing the bio art of Jalia Essaïdi, ORLAN and Julia Reodica, and drawing on the work of Laura Marks and Erin Manning, this article explores the skin-as-technology metaphor in order to offer the arts and humanities an innovative understanding of contemporary embodiment. (shrink)

이 글은 “프랑스의 관전(官展) 아카데미즘 속에서 예술가는 어떻게 구성되는가?”라는 질의로부터 출발하였다. 이를 위해 부르디외가 『예술의 규칙』(1992)에서 언급한 ‘장에서의 경쟁논리’를 ‘관전 對 反관전’에 대입해 살펴보았고, 연구를 통해 지배자들의 권력기제와 신참자들의 도전논리가 새로운 예술을 창출하는 동력임을 확인하였다. 주된 연구대상은 양식투쟁을 향한 미술가 집단의 위계구조이다. 연구자는 이 문제의식을 풀어내기 위해 행위자와 제도/양식논쟁과 미술장 사이의 관계분석을 시도하였다. 미술장의 주된 권력으로 기능해온 관전 아카데미즘에 주목함으로써, 프랑스 관전의 계보를 부르디외의 문화이론을 통해 재해석한 것이다. 이를 전제하는 포괄적 조건이 ‘아비투스’와 ‘장’ 개념이며, 예술작품과 예술가 사이에는 이들을 움직이는 객관적 (...) 요소들(언론·비평가·미술시장·미술관·전람회 등)이 존재한다고 본 것이다. 관전의 시작을 알린 살롱전은 프랑스 작가들이 대중과 만나는 유일한 통로였고 포상과 장려로서 국가의 영향력을 결집한 제도였다. 아카데미의 특권은 수상자에게 과시와 명예를 안겨줬지만, 19세기에 이르러 미술중개상에 따른 수요자의 변화, 마네를 축으로 한 졸라와 플로베르 등의 비평, 국가의 미술시장 개입과 이에 대응해 나타난 인상주의의 출현 등으로 권력의 힘을 신참자에게 내주게 되었다. 이렇듯 새로운 장 속에서는 독점을 옹호하려는 지배자들과 빗장을 부수려는 신참자들의 투쟁이 항상 존재하며, 부르디외의 해석을 통해 관전 아카데미즘에 가려진 ‘상대적 자율성’을 발견할 수 있었다. 결과적으로 장에서의 경쟁논리는 ‘구조화되고 구조화시키는 역동적 행위’로 치환됨으로써 새로운 예술을 창출하는 원동력이 된 것이다. (shrink)

Vision + Value Series. Gyorgy Kepes. Education of Vision. New York: Geo. Braziller, Inc., 1965, pp. 233 + vii. Structure in Art and Science. New York: Geo. Braziller, Inc., 1965, pp. 189 + vii. The Nature of Art and Motion.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Information: 2d ed. Includes bibliographies.