Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...) artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artists’ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of art’s meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposium’s achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction. (shrink)

Guiding you through the topics that shape aesthetics, this introduction explores the truth, meaning, taste, aesthetic merit and the role of perception. Each chapter offers a wealth of examples from Asia, including Sonny Liew's The Art of Charlie Chan Hock Chye, Tan Tai Yong, Kueh Appreciation Day and dragon kiln pottery. They deal with controversies and address central questions, such as: When are artworks considered dangerous? Why does Socrates recommend the banishment of the poets? What are the problems and challenges (...) posed by forgery? Here is a creative and accessible introduction that inspires a love for art and aesthetics. (shrink)

Wang Guangyi, one of the stars of the new wave of Chinese art, has artistically addressed major philosophical trends in Western philosophy while drawing on Taoism, Marxism and Maoism. By bringing together a team of experts in the philosophy of art to discuss his work, The Philosophy and Art of Wang Guangyi presents the first philosophical exploration of Wang's art, his thought and his analysis of Chinese society. -/- From his use of words in images to his (...) reference to the classics of Western painting, contributors set Wang's work against key questions in contemporary art. As well as answering what makes the language of pop art successful, they examine whether art and its history have come to an end, as Hegel posited, and if it is possible or even necessary to rework a new narrative for the history of contemporary art. The Philosophy and Art of Wang Guangyi marks an important contribution to understanding the background, work and ideas of a 21st-century political artist outside the West. (shrink)

Editorial introduction to the first issue of Labyrinth 2020, which is dedicated to the general theme "Philosophy, Art(theory), and Literature.".

This volume consists of papers given to the Royal Institute of Philos ophy Conference on 'Philosophy and the Visual Arts: Seeing and Abstracting' given at the University of Bristol in September 1985. The contributors here come about equally from the disciplines of Philosophy and Art History and for that reason the Conference was hosted jointly by the Bristol University Departments of Philosophy and History of Art. Other conferences sponsored by the Royal Institute of Philosophy have been (...) concerned with links between Philosophy and related disciplines, but here, with the generous support of South West Arts and with the enthusiastic co-operation of the staff of the Arnolfini Gallery in Bristol we were able to attempt even more in the way of bridge building; not only were we able to hold some of our meetings in as possible to the general the Gallery, thus making them as accessible public, but we were also privileged in having our discussions supported by two exhibitions of contemporary painting that together presented contrasting aspects of the abstracting enterprise. One, featuring works by Ian McKeever, and drawings and painting by Frank Auerbach, some of which are discussed and illustrated in the present volume, was about the painterly exploration of 'abstracting from' images in nature and in painting itself. The other, curated by Waldemar Januszczak, while showing some figurative works, was concerned with the 'pure' power of colour perceived 'abstractly, in its own right. (shrink)

_Imagination, Philosophy and the Arts_ is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of sustained, critical attention it deserves. This collection of seventeen brand new essays critically examines just how and in what form the (...) notion of imagination illuminates fundamental problems in the philosophy of art. (shrink)

It is much more certain that the artist can help the philosopher than that the philosopher can help the artist. The purpose of this paper is to indicate the kind of questions about art which the philosopher asks, in order that those whose concern is with art, artists themselves in the first instance, and critics of art, may judge if these questions are interesting to them, and if so may co-operate with the philosophers in seeking to answer them. Now that (...) the sciences and the other occupations of man become so sharply separated from each other, philosophy has come to have a peculiar position. It deals with the questions which are left over from the sciences, and this gives it a specific and important office to perform. (shrink)

Glimpses into Byzantium. Its Philosophy and Arts -/- This volume contains peer-reviewed articles published by the author either in hard-copy or in electronic format between 2019 and 2021. These focus on various aspects of Byzantine and Medieval culture. -/- It is not possible to upload an entire book here, but there are copies of it in libraries and it can also be bought from Amazon.

The philosophy of art and empirical aesthetics are, to all outward appearances, natural bedfellows, disciplines bound together by complimentary methodologies and the common goal of explaining a shared subject matter. Philosophers are in the business of sorting out the ontological and normative character of different categories of objects, events and behaviors, squaring up our conception of the nature of things, and clarifying the subject matter of different avenues of intellectual exploration via careful conceptual analyses of often complex conventional practices. (...) Psychologists have developed careful empirical methods for measuring and modeling behavior, methods that are fruitfully used in practice to test and evaluate hypotheses derived from our conception of the nature of our own cognitive and emotional engagement with the world. So, for all appearances, philosophy and psychology are grounded in complimentary research methods directed at the common task of sorting and testing theories about the nature of art and artistic practices, e.g. what is an artwork, what is the nature of the productive practices involved in creating these kinds of artifacts, or what is the nature of a consumer's artistic engagement with these artifacts. Unfortunately appearances can be deceptive. Despite common calls for rapprochement the two disciplines rarely meet. There are methodological and ideological reasons for this rift, and they are, not surprisingly, related. In what follows I will explore and evaluate some of the central sources of resistance on both sides this divide, introduce a model for the possibility of rapprochement, and briefly sketch the promise and pitfalls of current research in two areas, dance and film, where an active attempt at bridging the divide between philosophy and empirical aesthetics is underway. (shrink)

Nietzsche's writings have shaped much contemporary reflection on the relation between philosophy and art. This book brings together a number of distinguished contributors to examine his aesthetic account of the origins and ends of philosophy. They discuss the transformative power which Nietzsche ascribes to aesthetic activity, including his aesthetic justification of existence and its fusion of social and personal existence, and they investigate his experiments with an 'aesthetic politics' and a politicisation of aesthetics. Together their essays set out (...) the ground for future debate about the inter-relation between art, philosophy, and value. (shrink)

The essays collected here present a cross section of the debates on postmodernism being waged in philosophy and the arts. Some contributors raise general questions about postmodernism, for example, its language and its politics. Others offer specific readings of architecture, painting, literature, theatre, photography, film, and television.

This article introduces the thought of the Romanian philosopher Lucian Blaga on religion as a cultural creation that has value apart from questions of the truthfulness of religious doctrines. According to Blaga, religion has considerable aesthetic and philosophical significance. The article places this insight within the context of Blaga’s metaphysical vision and his analysis of epistemology and illustrates it with a new translation of one of his most famous poems.

While philosophy and psychoanalysis privilege language and conceptual distinctions and mistrust the image, the philosopher and psychoanalyst Julia Kristeva recognizes the power of art and the imagination to unblock important sources of meaning. She also appreciates the process through which creative acts counteract and transform feelings of violence and depression. Reviewing Kristeva's corpus, Elaine P. Miller considers the intellectual's "aesthetic idea" and "thought specular" in their capacity to reshape depressive thought on both the individual and cultural level. She revisits (...) Kristeva's reading of Walter Benjamin with reference to melancholic art and the imagination's allegorical structure; her analysis of Byzantine iconoclasm in relation to Freud's psychoanalytic theory of negation and Hegel's dialectical negativity; her understanding of Proust as an exemplary practitioner of sublimation; her rereading of Kant and Arendt in terms of art as an intentional lingering with foreignness; and her argument that forgiveness is both a philosophical and psychoanalytic method of transcending a "stuck" existence. Focusing on specific artworks that illustrate Kristeva's ideas, from ancient Greek tragedy to early photography, contemporary installation art, and film, Miller positions creative acts as a form of "spiritual inoculation" against the violence of our society and its discouragement of thought and reflection. (shrink)

François Laruelle emerged from the hallowed generation of French postwar philosophers that included luminaries such as Jacques Derrida, Gilles Deleuze, Luce Irigaray, and Jean Baudrillard, yet his thinking differs radically from that of his better-known contemporaries. In Laruelle and Art, Jonathan Fardy provides the first academic monograph dedicated solely to Laruelle's unique contribution to aesthetic theory and specifically the 'non-philosophical' project he terms 'non-aesthetics'. This undertaking allows Laruelle to think about art outside the boundaries of standard philosophy, an approach (...) that Fardy explicates through a series of case studies. By analysing the art of figures such as Julia Margaret Cameron, Anish Kapoor, Dan Flavin, and James Turrell as well as the drama of Michael Frayn, Fardy's new book enables new and experienced readers of Laruelle to understand how the philosopher's thinking can open up new vistas of art and criticism. (shrink)

The volume contains 26 contributions to literature, philosophy, linguistics and epigraphy in Islamic culture, ranging from pre-Islamic poetry to contemporary ...

IN HIS System des transzendentalen Idealismus, Schelling describes the philosophy of art as the “key stone” of the entire “arch” of the system. The purpose of the following essay is to explore why this is so, why Schelling’s idea of philosophy led him to take up the question of “art” not only as philosophically interesting, but as the key to understanding his system as a whole.

Addresses the end of art and the task of metaphysics.

Up to now, China's painting has not completely shaken off the influence of the spirit of European philosophy or a fundamental change in the way of viewing. The spirit of the unity of subject and object in ancient China philosophy influenced the formation and development of China's paintings. Since China Art Institute introduced figurative expressionism, a new art, into the contemporary art education system of China, it has shown its unique value in professional theory and practical skills. It (...) not only provides new opportunities for reforming contemporary art education in China but also adds a new development direction for contemporary oil painting art in China. This article attempts to reveal the existence and artistic concept of violence in contemporary Chinese oil painting through the description and analysis of painting images and artists' emotional expression, combined with interviews with artists. Based on the development of contemporary Chinese society, the rise of new literary and artistic trends, and the influence of western painting, this paper analyses the historical causes of violence in contemporary Chinese oil painting, and examines the value of contemporary Chinese oil painting in terms of aesthetics and sociology. Therefore, establishing cultural core values is still the indispensable spiritual power of contemporary artists' artistic creation. (shrink)

Hamlet tells Horatio that there are more things in heaven and earth than are dreamt of in his philosophy. In Double Vision, philosopher and literary critic Tzachi Zamir argues that there are more things in Hamlet than are dreamt of--or at least conceded--by most philosophers. Making an original and persuasive case for the philosophical value of literature, Zamir suggests that certain important philosophical insights can be gained only through literature. But such insights cannot be reached if literature is deployed (...) merely as an aesthetic sugaring of a conceptual pill. Philosophical knowledge is not opposed to, but is consonant with, the literariness of literature. By focusing on the experience of reading literature as literature and not philosophy, Zamir sets a theoretical framework for a philosophically oriented literary criticism that will appeal both to philosophers and literary critics. Double Vision is concerned with the philosophical understanding induced by the aesthetic experience of literature. Literary works can function as credible philosophical arguments--not ones in which claims are conclusively demonstrated, but in which claims are made plausible. Such claims, Zamir argues, are embedded within an experiential structure that is itself a crucial dimension of knowing. Developing an account of literature's relation to knowledge, morality, and rhetoric, and advancing philosophical-literary readings of Richard III, Macbeth, Romeo and Juliet, Othello, Antony and Cleopatra, Hamlet, and King Lear, Zamir shows how his approach can open up familiar texts in surprising and rewarding ways. (shrink)

Matravers examines how emotions form the bridge between our experience of art and of life. We often find that a particular poem, painting, or piece of music carries an emotional charge; and we may experience emotions toward, or on behalf of, a particular fictional character. Matravers shows that what these experiences have in common, and what links them to the expression of emotion in non-artistic cases, is the role played by feeling. He carries out a critical survey of various accounts (...) of the nature of fiction, attacks contemporary cognitivist accounts of expression, and offers an uncompromising defense of a controversial view about musical expression: that music works by expressing the emotions it causes its listeners to feel. (shrink)

A reader of previously published and new material (interviews with artists and theorists) devoted to the new and growing field of critical plant studies, and a reader that practices what it covers by arranging and intertwining its contents through a non-hierarchical and articulated manner that allow for different, alternate reading pathways.

Philosophy and Science are subject to conflicting interpretations, such as the rules of positivism and analytic thought. Bernard Lonergan and Gilles Deleuze have both assessed such issues in complementary fashion. This book examines their arguments through the application of mathematical theories and Buddhist-Christian ethics in an attempt to bridge the religious-secularist divide exacerbated by postmodernism.

The book concludes that it is a mistake to think of Art as something subjective, or as an arbitrary social representation, and of Technology as an instrumental ..

These challenging essays defend Romanticism against its critics. They argue that Romantic thought, interpreted as the pursuit of freedom in concrete contexts, remains a central and exemplary form of both artistic work and philosophical understanding. Marshalling a wide range of texts from literature, philosophy and criticism, Richard Eldridge traces the central themes and stylistic features of Romantic thinking in the work of Kant, Hölderlin, Wordsworth, Hardy, Wittgenstein, Cavell and Updike. Through his analysis he shows that Romanticism is neither emptily (...) literary and escapist nor dogmatically optimistic and sentimental. This is the first serious philosophical defense of the ethical ideals of Romanticism and will appeal particularly to all professionals and students in philosophy, literature and aesthetics who are interested in what, philosophically, literature can show that philosophy cannot say. (shrink)

We reflect on the nature of art, the creative process, and the connection between art and philosophy.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In her excellent "Feminist Art History and De Facto Significance," for example, aesthetician Susan L. Feagin explains how her initial skepticism about Continental approaches-especially those drawing on Foucault, Marx, Levi-Strauss, Lacan, and "even Derrida and poststructuralist literary theory" - gave way to an appreciation of how these approaches encourage, in a way analytic aesthetics does not, "the trenchant analyses and acute observations that have emerged from feminist art historians" (305). And, indeed, although she goes on to suggest how traditional aesthetics (...) might accommodate feminist and other politically informed analyses, she cautions that "it is too easy to miss the most innovative aspects of another's view if one tries to understand it only in terms of one's own theoretical perspective" (305). (from review by Sally Markowitz, Hypatia Vol. 11, No. 3 (Summer, 1996), pp. 169-172). (shrink)

Designed for readers with no or little prior knowledge of the subject, this concise anthology brings together key texts in aesthetics and the philosophy of art. Designed for readers with no or little prior knowledge of the subject. Presents two contrasting pieces on each of six topics. Texts range from Plato’s famous critique of art in the ‘Republic’ through Nietzsche’s ‘The Birth of Tragedy’ to Barthes’ ‘The Death of the Author’ 'and pieces in recent philosophical aesthetics from a number (...) of traditions. Interactive editorial commentary helps readers to engage with the philosophical train of thought. Explains the argumentative and historical context in which each piece was written. Includes questions for debate and suggestions for further reading. (shrink)

Unlike most anthologies in aesthetics and the philosophy of art, the present selection does not try to collect representative extracts from the writings of most, or even many, important aestheticians throughout the ages. It aims for depth rather than width and tries to do as much justice as possible to those aestheticians which it does include, without bothering much about those left out. The result is really impressive. No less than 138 pages are devoted to Plato and Aristotle alone, (...) where the reader may find not only the usual passages from the Poetics and the Rhetoric but also relevant material from De Partibus Animalium and Politica. Such an anthology, so it seems, must be an opinionated one. Thus, while it contains some 70 pages of Dewey's Art as Experience, there is not a single line of Santayana in it. Although I disagree with the choice made in this case, I cannot but admire the courage it took to make it. Another surprise is the inclusion of the relatively obscure mediaeval thinker, Marsilio Ficino, in an anthology which excludes Baumgarten, Lessing, Burke, Schiller, Coleridge, Bosanquet and Alexander, to mention but few, and whose sole contemporary representative is Heidegger. The extracts from Ficino's commentary on Plato prove, however, to be highly interesting and relatively original, too. Thus, even if Ficino is not as great as some of the aestheticians not included in this volume, I, for one, would not regret this mark of personal, off-beat, taste. The last selection, Heidegger's "The Origin of the Work of Art," appearing for the first time in English translation, comes as special bonus to the reader. The editors' introductions to each selection are generally concise, precise, and very helpful. Sometimes, however, one may find an exception: in their introduction to the Heidegger translation, the editors characterize the Kehre as a "reversal... from the stress on anxiety, nothingness... to a stress on more affirmative moods." This is, to say the least, a grossly misleading remark, which is likely to confuse the student of the later Heidegger rather than help him.—E. M. Z. (shrink)