Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

Sul concetto di scienza della pittura nel Trattato della Pittura di Leonardo da Vinci.

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

In most groups, there’s a sort of commedia del l’arte distribution of roles. In families, factories, universities, corporations, people are known not only for their work, their looks, their social and economic status, but also for the characters they assume in the organization. So there are clowns and those who laugh at them, there are leaders and there are followers; some followers are worshipful, some resentful. Most people put on their organization-character as they put on their uniforms. It doesn’t mean (...) that the character isn’t related to their temperament—they have, after all, chosen it as they have chosen what they wear—but it never represents all of what they are and often represents very little. It is a convenience, a way of smoothing the roughness of interaction.At a congress of writers, things are somewhat different. At the PEN Congress there were the clowns—writers, say, like Salman Rushdie, the young Anglo-Indian novelist; there were dour, dynical observers from the periphery—I think of Sven Delblanc, the Swedish novelist; there were writers who’s pulled themselves out of Pleistocene social pockets which they’d barely survived and which they record: here I think of Kenji Nakagami, the Japanese novelist, screenwriter, and critic. Richard Stern’s Noble Rot, Stories 1949-88, will be published in the fall of 1988. (shrink)

University teachers, as is well known, commit acts of despotism. About three years ago I committed such an act. I told my students that I would not accept papers which included the words protagonist, basic , alienation, total , dichotomy, and a few others including elite and elitist. On consideration I decided to remove the ban on the last two for it seemed to me that there was no other term that could be used to discuss what is, after all, (...) an interesting idea.It is of course true that my students and I use the word incorrectly. An elite must surely be a chosen body. Congress, the police, the final heat of the Miss World contest, and the Bolshevik Party are elites, whereas an aristocracy or a plutocracy—unless one believes the rich and the nobility to be chosen by God—are not. Nevertheless, when we use the word elite in connection with the visual arts it is certainly related to, though not synonymous with, class. An elite is usually a group within a relatively prosperous class. The patrons of the Renaissance were, presumably, at the apex of the social system: on the other hand, the patrons of the Impressionists belonged to a comparatively humble section of the middle classes. But it will be found that an aesthetic elite does always enjoy certain advantages of wealth and leisure and education.Quentin Bell is professor of the history and theory of art, Sussex University. He has written Virginia Woolf: A Biography, Of Human Finery, Ruskin, Victorian Artists and Bloomsbury. Other contributions to Critical Inquiry are "The Art Critic and the Art Historian" , "CRITICAL RESPONSE: Notes and Exchanges" , and "Bloomsbury and 'the Vulgar Passions'". (shrink)

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Media art can be conceived as laboratory, at the edges of art. These technological experiments give priority to innovation and exploration by means of new media. In metaphorical terms, we could say that the emphasis is on creating new languages that allow us, in a later phase, to write prose or poetry with it.In my paper, I discuss why the common view on media art falls short. Media art is not just about mixing media but rather about mixing art. Several (...) different challenges are at stake that beget a hybrid post-medium condition. (1) The artistic practice of media art often concerns exercises in remediation (i.e. resonating visual narratives of old media in new media). Here, we encounter a repetition of historical themes and re-makes or re-enactments of classical art pieces. These experiments thus mix the history of art. (2) Media art is often also about immersion (i.e. interactively enclosing the spectactor in a audiovisual or virtual realm). In experiments with CAVE-installations or 3D-cinema using digital goggles, for instance, we notice a combination of an artistic interest with a phenomenologicaland a scientific one (cf. so-called postfenomenology, robotics, experimental psychology). Hence, these experiments mix art with science. (3) Media art is not just a friction between art an technoscience. It takes place at a junction between art, creative industry, design, sociology and politics. Concerning the latter, I willdiscuss the culture-critical potential of i.e. hacktivism, marx 2.0 and bio-performances like Stelarc and Orlan. (4) Media art is not simply a genre that aims for recognition as a part of or a completion of fine art. While democratizing new media technology, it actually blurs the idea of genre, altering and opening up the very canon of fine art, music art, live art, performance art, video art and cinema. (shrink)

Art and the aesthetic -- Traditional aestheticism -- A new aestheticism -- Aesthetic communication -- The artworld and the practice of art -- The artifactual concept of function -- Art as an aesthetic practice -- Artistic value as aesthetic.

This paper describes and discusses overlapping interests and concerns of art and bioethics and suggests that bioethics would benefit from opening to contributions from the arts. There is a description of recent events in bioethics that have included art, and trends in art that relate to bioethics. The paper outlines art exhibits and performances within two major international bioethics congress programs alongside a discussion of the work of leading hybrid and bio artists who experiment with material (including their own (...) bodies) at the ambiguous intersections between art, bio art and bioethics. Their work seeks to engage audiences in challenging ethical precepts and assumptions about life and existence. We consider the response of art and social theorists and compare these with the responses of bioethicists to comparable cases in bioethics. We note divergent views within the arts and within bioethics in relation to some pivotal questions including questions about what limits, if any, can apply in particular cases and on what basis. This approach allows for a transfer of information and perspectives, challenges assumptions in both art and bioethics and opens up a space for future exchange and dialogue along the shifting borders between these genres. (shrink)

Proceedings of the 11th Interdisciplinary Symmetry Congress-Festival of the International Society for the Interdisciplinary Study of Symmetry. Special Theme: “Tradition and Innovation in Symmetry - Katachi”.

This is the first of two volumes comprising the papers submitted for publication by the invited participants to the Tenth International Congress of Logic, Methodology and Philosophy of Science, held in Florence, August 1995. The Congress was held under the auspices of the International Union of History and Philosophy of Science, Division of Logic, Methodology and Philosophy of Science. The invited lectures published in the two volumes demonstrate much of what goes on in the fields of the Congress and give (...) the state of the art of current research. The two volumes cover the traditional subdisciplines of mathematical logic and philosophical logic, as well as their interfaces with computer science, linguistics and philosophy. Philosophy of science is broadly represented, too, including general issues of natural sciences, social sciences and humanities. The papers in Volume One are concerned with logic, mathematical logic, the philosophy of logic and mathematics, and computer science. (shrink)

What has been noticed during the history of human thought and human life is that forms, figure, feelings of pleasure and aesthetic perception, are not the only subjects that belong to the sphere of art. In fact, art includes other aspects, such as themes and content. As a matter of fact, each art work could be considered as outstanding, not only because of its form, but because of its theme and content, as well. However, art works in the western classical (...) art, were inspired by mythology and religion and their form has been a reflection of that content. In this paper art is going to be discussed through its religious themes and contents. Therefore, first, I will analyze some approaches to religious themes and content in art works through discussion of religion as its background. And, second, I will try to establish a method which will distinguish between religious and non-religious themes and contents in the works of art. (shrink)

This volume offers an unusual variety of topics presented during the sixth annual Oberlin Colloquium in Philosophy.

Developed from two reports to seminars organized by the Congress of Cultural Freedom, in 1962 and 1963, The Art of Conjecture constitues a programmatic document for the work of Futuribles, a team of intellectuals collecting materials on the role of the social sciences. The intellectual fabric of this work are woven with a fine mixture of hard-nosed mathematical analysis, derived from demographic and economic forecast, and less accurate, more imaginative, modelings for short and long term social forecast. Much of the (...) book is devoted to an analysis of common and special conceptions of the future. Here lies the greatest philosophical interest of this work. The method pivots around techniques of long term economic forecasting. The political and human aspects are ever present in the course of the study. Toward the end the author asks himself, and us, the question: should forecast be based on technological sources alone? The question has already been answered in such brilliant chapters as, "The Conditions of Political Foreseeability," "The Ecology of Social Ideas," "The Social Career of Ideas," "The Force of Moral Ideas," and "Empirical Relations between Ideas."—A. M. (shrink)

The universal social significance of the phenomena of artistic culture has its own specific features. Often it is something standing alone, an "exception to the rule," which nonetheless gives expression to some important tendency in the evolution of literature and art. This has been the case, in particular, with the works of Vladimir Vysotskii, who only a short time ago still seemed to some as some almost peripheral offshoot of the real artistic process, a kind of "nonsense," having no direct (...) bearing on the social problems and questions bothering us. In light of the lessons of truth, interpreted and experienced by the public under the impact of the recent party congress, the situation is literally changing before our very eyes. (shrink)

Republicanism is contrasted with liberalism with special reference to the notions of presence, absence and representation. The contrast is more conspicuous in the Platonic tradition of republicanism than it is in the Aristotelian tradition, the former being more likely to degenerate into some form of totalitarianism. Examples thereof are given in accordance with the distinction between a strong and a soft iconoclasm, as it is found both in Antiquity and in Eastern and Western Europe’s quest for absolute presence or—as in (...) avantgarde art of modernity—for absolute self-presence of the work of art. Having left such political and artistic utopias behind it, the pendulum is now swinging back in the direction of representation, but no longer in the illusionist sense which has dominated Western art form the Renaissance to the beginning of our century. Tied to the question of iconoclasm is the debate about the end of art inaugurated by Hegel in the general introduction to his Aesthetics and resumed in our days. (shrink)

The aim of this paper is to analyse the critical interpretation of Greek art and religion provided by Hegel in the “Religion in the form of art” section of Chapter VII of his Phenomenology of the Spirit. The study will, thus, commence with an overview of the role played by art in the religion of ancient Greece, and then examine the reasons for the historical decline of this special phenomenon and the rise of Christianity, a religion referred to by Hegel (...) as a “visible religion” as it is required to “disclose” and manifest its contents: the spirit. Having focused special attention on the relationship between the people of ancient Greece and their gods and the role played by the concept of the ethical life, the paper will then proceed to investigate the relationship between the individual, the population and the ancient polis or Greek State as illustrated in the early works of Hegel and in the Phenomenology of the Spirit, in which Hegel develops his theory of ethical relations in ancient Greece as exemplified in the model of sibling relations within the family. The paper continues with an examination of Hegel’s criticism of Greek rituals and the inability of the modern world to understand such practices from the perspective of the life of the time, concluding, in line with Hegel, that our experience is now an external process as we no longer embrace the interiority of the ethical life of the past. Indeed, as Hegel considers the “spirit of destiny offered by those [ancient] works of art” to go beyond the ethical life of a nation, the fact that those works of art are no more considered useful and important is a tragic event, even though this destiny has shown us the spirit within them, and thanks to this tragic end, we have finally been able to reunite all the Greek gods in a single Pantheon in which “the spirit is conscious of itself as a spirit”. (shrink)

Life-extension was the focus for the 10th annual Congress of the International Association of Biomedical Gerontology, held last September at Cambridge University. This scientific convention included a panel of several bioethicists, including Art Caplan, John Harris, and others. The presentations on the ethics of life-extension are reviewed here.

Short overview of the From Small Beginnings Project and its relevance for resisting eugenics in contemporary society.

The Paleolithic art interpretation is still a polemical subject. Nearly 300 caves covered with Paleolithic paintings have been discovered and more than 90% are located in Spain and in France. Surprisingly, more than half the painted illustrations are abstract patterns such as dots and lines. The high realism of naturalist figures also stands out. We will present the four groups of theories that have been formulated since the end of the XIXth century in order to interpret the Paleolithic art: the (...) artistic theory from Lartet and Piette; the magical hunting theory from anthropologists such as Tylor and Frazer and archeologists like Breuil; the structuralist theory from Raphael, Leroi- Gourhan and Laming-Emperaire; and lastly the shamanist theory from Lewis-Williams and Clottes. We will also refer to the agglutinative theory gathering all of these from Ucko and Rosefeld. Afterwards I will offer my own thought. Paleolithic paintings are the expression the life led by every generation of the clan. The panels or the set of animals as much as the painted signs are their own History collection. (shrink)

There is a whole discussion around the genuine/non genuine appurtenance of the Fractal Art to the Art (Ken Keller, Tad Boniecki, Noel Huntley a.o.). Fractal Art is a new way to manipulate shapes, colors and light. It is a subclass of the visual digital art that could describe as that art form produced using a computer (PC, Mac), fractal and graphical software and output devices (monitors, plotters, printers etc.) or using fractal rules and traditional painting techniques (example: Pollock) as essential (...) tools in the creative process. It is crucial to understand that the use of a computer is not a sine qua non condition, even most of the fractal artworks were digitally realized. Fractal Art is an experimental art, engaging in a new way the relations between Creator and Work. Fractal Art has a genuine equilibrium between “pragmatic” and “theoretic”. It is rather about “discovering” than “manufacturing”, rather “evocation” than “mimesis”. The conclusion has to be: Fractal Art is a genuine art form. (shrink)

This volume is a collection of the Lullian contributions to the 2012 Congress of the Societe Internationale pour l'Etude de la Philosophie Medievale (SIEPM), held in Freising, Germany, 20-25 August. The Lullian Opera constitute a philosophical mirror of the medieval tradition. The questions and interests of medieval masters played a role in the Renaissance and Early Modern period through the Lullian Art. The three parts of this volume-Knowledge, Contemplation and Lullism- are intended to show that influence, collecting the contributions of (...) well-known specialists on the Lullian works, conceived of as Opera philosophica, in different areas such as geometry, logic, methodology, or Early Modern law. The results of Lullian studies in the past 20th century and the revival of Lullian discussions at present also hold an important place. The Raimundus-Lullus-Institut in Freiburg supports this edition, and in the introduction its members place the volume in the great tradition of Lullian studies. The celebration of a Lullian meeting devoted to the relationship between medieval philosophy and the Lullian Opus at the 2012 SIEPM Congress, the recent constitution of a Lullian Section by the SIEPM-Bureau to develop projects about Llull's works as a vehicle of medieval philosophical concerns and the history of its reception, and the results collected in this volume, are a good example of the increasing relevance of Llull-studies today. (shrink)

In this paper I intend to present a philosophical account of what is commonly called verbal or literary art. Starting from the Hegelian conception of language and of the aesthetic experience, I shall argue that literary, and more specifically poetic, discourse can be defined as the verbal completion of an aesthetic experience, and that this distinctive feature marks off literary discourse from other types of discourse, such as scientific and philosophical discourse. In his phenomenological description of the growth of a (...) subject's identity, Hegel situates the birth of language in the transition from consciousness to self-consciousness. In his Philosophy of Fine Art, this transition also marks the locus philosophicus of the artistic experience. (shrink)

This study will focus on a systematic exemplification of the notion of art and artwork based on Hegels aesthetics. It opposes two forms of skepticism which (1) question the possibility and value of a definition of art and (2) reject the category of the artwork for art is regarded as a process rather than a material thing. As such it is no longer something that can be conceived by seeing, hearing or touching the end product of that process. The criticism (...) of these postions results in an understanding of works of art as objects or processes with a specific structure of meaning. The study developes ideas which are related to Hegel's thought, insofar as Hegel regards the artwork as an expression of the ‘idea’, and the term ‘idea’ designates a complex semantic structure. (shrink)

Die 'Süddeutsche Tafelsammlung', Library of Congress, Rosenwald Collection, ms. 4, stellt eine Abbreviatur spätmittelalterlichen Laienwissens dar: Sie umfasst einerseits das Wissen um das Leibeswohl (Einfluss der Planeten, Aderlass, Diätetik), andererseits die Weisheit bezüglich des Seelenheils (Tugend- und Lasterbaum, Turm der Weisheit); zudem finden sich darin weitere Visualisierungen: Analogien zwischen Mikrokosmos und Makrokosmos, der Topos des Zwergen auf den Schultern des Riesen, Darstellungen der Artes liberales und der Philosophie, die sogenannten Frauensklaven und das Rad der Fortuna. Die Interpretation und Dokumentation der (...) Text- und Bildtraditionen erfolgt anhand einer umfangreichen Sammlung von Bildmotiven aus mittelalterlichen Handschriften. (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

This book gives a state-of-the-art survey of current research in logic and philosophy of science, as viewed by invited speakers selected by the most prestigious international organization in the field. In particular, it gives a coherent picture of foundational research into the various sciences, both natural and social. In addition, it has special interest items such as symposia on interfaces between logic and methodology, semantics and semiotics, as well as updates on the current state of the field in Eastern Europe (...) and the Far East. (shrink)

Like most aestheticians today I begin by firmly separating the concept of art from the concept of the aesthetic; unlike them, I conclude by reuniting these concepts in the thesis that the function of art is to promote the aesthetic. I understand the existence of artworks and of artists to be “institutional facts” (though the institution of art is an informal one, not to be confused with formal institutions to which it has given rise, such as museums, academies, etc.), while (...) I take “aesthetic situations,” involving appreciators and objects made, at least in part, to be appreciated, to constitute something approaching a natural kind. Rather than dealing directly with the concept of a function I argue for three theses closely related to the idea that the function of art is aesthetic: that art is better than any other institution at promoting the aesthetic; that art is better at promoting the aesthetic than it is at doing anything else; and that art was intended by its instituters to promote the aesthetic. (shrink)

The architectonic principle, as stated in Aristotle's Politics, is related to the arrangement of the arts, the technai, whereby it is argued that the leading art is the politike techne. Plato, in the Gorgias, has argued for an architectonic of crafts. Four technai provide the best, aei pros to beltiston therapeuousai, and they differ from the pseudo-crafts that offer pleasure while indifferent to the beltiston. The principle for arranging the architectonic is the pursuit of the best, whereby each practitioner (...) of a craft is expected to give logos concerning the "how" as well as the end of the craft. Extending the Platonic principle, Aristotle brings together under a unified theory the intelligibility of nature and human nature in line with the ends of episteme and techne, especially the politike techne. (shrink)

The essays appearing in these two volumes are based on Keynote and State-of-the-Art Lectures delivered at the XXVth International Congress of Psychology, in Brussels, July 1992. The Brussels Congress was the latest in a series of conferences which are organized at regular intervals under the auspices of the International Union of Psychological Science, the main international organization in the field of Scientific Psychology. The first of those meetings took place in Paris in 1889. An important function of the International Congresses (...) is to promote communication between different specializations in Psychology. Speakers were therefore asked to present lectures and discussions in their own fields of study, in a way that would be accessible to fellow psychologists active in other fields. State-of-the-Art lecturers were specifically asked to prepare a tutorial review on a topic which, in the view of the Program Committee, had recently given rise to particularly important developments. These contributions are included in Volume Two. Keynote lecturers were left free to address whatever subject they felt was of greatest interest. The chapters in Volume 1 are preceded by the Presidential Address by Mark R. Rosenzweig. (shrink)

La catégorie du suranné, appliquée à l’objet esthétique, notamment au produit de l’activité artistique, désigne une mesure, un kairos, qui se situe entre l’ancien qui ne s’érige pas encore en classique et le contemporain qui n’est pas encore jugé démodé. Il qualifie tout objet esthétique en passe d’acquérir une valeur d’ancienneté sans pour autant s’affirmer comme universellement acceptable et sans s’imposer impérativement. Il ne détermine ni ce qui a vieilli ni ce que l’on qualifierait de vieillot; il dénote, plus particulièrement, (...) un état intermédiaire, plus ou moins officiellement reconnu, qu’il relie au présent. Dans cet ordre d’idées, le suranné implique pour la conscience esthétique un jeu dialectique entre ce qui est directement vécu et ce qui est poursuivi, avec, en plus, un rien de dédain, mais aussi avec un certain regret à son égard. Il équivaut à un présent rétentionnel dont on voudrait, mais ne pourrait, se détacher; d’où la nostalgie que la conscience esthétique éprouve pour lui. D’ordre éminemment transitoire, l’objet suranné est un objet esthétiquement intermédiaire qui s’identifie à une hystérésis formelle autant que fonctionnelle. Dès lors, le suranné assure une continuité esthétique, oriente la conscience vers le passé, actualise l’inactuel et cautionne le rapprochement de ce qui est sujet à distanciation. (shrink)

The relationship between art and time is one of pre-figuration–transfiguration, a continuous exchange between the art of the present and that of the past and it is in this sense that we can understand how the works of art are have almost their entire life before them. It is in this sense also that the real meaning of metamorphosis should be understood: The works of art are not permanent acquisitions. They offer themselves the ways through which they appear in another (...) light, gathering up at the same time a series of antecedent expressions in an eternity ever to be recreated. Hence, art’s time is neither a-historical nor exclusively history embedded (in history’s empirical sense). Art’s time is trans-historical: artworks, initiating themselves the process of their metamorphosis, ‘transcend’ time being into time and, thus, they ‘traverse’ history. (shrink)