Exploring the relationship between hermeneutics and the arts, including painting, music, and literature, this book builds on hermeneutics from a practical perspective, connecting this area of critical research with others to reveal how it is viewed from different perspectives. International and interdisciplinary in scope, this edited volume draws on the work of scholars and practitioners working across a variety of subject areas, themes and topics, including philosophy, literature, religious paintings, musical oeuvres, Chinese urbanscapes, Moroccan proverbs, and Ukrainian internet blogs. Focusing (...) on the idea of hermeneutics as a discipline that can connect different areas of interest, the book offers an inside view into how the contributors 'interpret' it within their own academic remits, demonstrating its presence in qualitative academic interpretations and canonical contemporary research in humanities. (shrink)

Objective communication—the principal aim of languages of any kind—meets with its greatest measure of success in science and art, which can both be precise, and therefore immune to misunderstanding born of vagueness or ambiguity, by giving specific expression to ideas. But, paradoxically, in order to reach specificity science and art must be developed along two opposite directions: in the first technical terminology replaces imagery-bearing words, in the second images are cultivated to the utmost. The scientist's procedure is entirely justified. (...) For it is undeniable that words are often misleading. because they are clouded with different images in the minds of different people. (shrink)

This paper aims to show that any account of how artworks lie must acknowledge (I) that artworks can lie at different levels of their content—what I call ‘surface’ and ‘deep’—and (II) that, for an artwork to lie at a given level, a norm of truthful communication such as Grice’s Maxim of Quality must apply to it. A corollary is that it’s harder than you might think for artworks to lie: Quality is not automatically ‘switched on’ during our engagement with (...) art. However, I show how a work’s curation and genre-membership can ‘switch on’ Quality, allowing artworks to lie at different levels. (shrink)

The article investigates the hypothesis that preaching implies more than merely verbalising, proclaiming and rhetoric reasoning. Preaching is fundamentally the art of poetic seeing; an aesthetic event on an ontic and spiritual level; that is, it provides vocabulary and images in order to help people to discover meaning in life (preaching as the art of foolishness). In this regard, preaching should provide God-images that open up the dimension of aesthetics and provide vistas of the ‘unseen’. The iconic dimension of preaching (...) is about symbols and metaphors that help people to ‘see’ in everyday life (a poetic gaze) the presence of God in such a way that tragic events, the awareness of death and the anguish about the fear for loss and rejection become events for signifying life and for healing (the quest for wholeness). It is argued that practical theology should be about a liturgy of life. In this regard, the ‘ugliness of God’ becomes an aesthetic category in a Christian spiritual approach to iconography. In order to do this a critical approach to praxis thinking should probe into the realm of paradigms, especially paradigms that describe the ‘power of God’. Due to the assumption that the depiction of God’s power was predominantly influenced by the Serapis, Zeus and Roman cult (Emperor mystique), a paradigm shift from omni-categories (pantokrator) to bowel categories (passio Dei) in the homiletic depiction of God is proposed. (shrink)

Why is the urge to lose the iconic image relevant to reformation and modernism? A question so central in a society built more than ever on visual media dependency. Is that relevant to sceptical questioning of the essence of reality, and if the image is a reflection of reality in the era of new technology of image creating and manipulating? As iconoclasts began deliberately destroying images at the alter as a sign of reformation, modern art was no longer bound by (...) truthful representations of iconic reality; from shift in colour as a medium to a scientific light reflection, to pushing colour boundaries in reality, to losing the object for the absolute representation of abstract and supermatist visual, to deliberate losing of intended visual representation to materials, then to the empty frame, and to the empty gallery … on goes the iconoclastic gesture of modern art. Followed by a transitional shift from iconic representation all the way to resonance in visual communications, exploring with the possibilities of different referential functions of signs, and thru to minimalism and replacing visual by verbal referential codes. This article studies actions and motives of deliberate loss of iconic image, examining the factors associated with the development and process, criss-crossing the boundaries of two image dependant yet very different domains; art and visual communication. (shrink)

Academics from diverse disciplines are recognizing not only the procedural ethical issues involved in research, but also the complexity of everyday “micro” ethical issues that arise. While ethical guidelines are being developed for research in aboriginal populations and low-and-middle-income countries, multi-partnered research initiatives examining arts-based interventions to promote social change pose a unique set of ethical dilemmas not yet fully explored. Our research team, comprising health, education, and social scientists, critical theorists, artists and community-activists launched a five-year research partnership on (...) arts-for-social change. Funded by the Social Science and Humanities Research Council in Canada and based in six universities, including over 40 community-based collaborators, and informed by five main field projects, we set out to synthesize existing knowledge and lessons we learned. We summarized these learnings into 12 key points for reflection, grouped into three categories: community-university partnership concerns, dilemmas related to the arts, and team issues. In addition to addressing previous concerns outlined in the literature, we identified power dynamics hindering meaningful participation of community partners and university-based teams that need to be addressed within a reflective critical framework of ethical practice. We present how our team has been addressing these issues, as examples of how such concerns could be approached in community-university partnerships in arts for social change. (shrink)

Subject: Volume dedicated to the question of how dance, both in its historical and in its contemporary manifestations, is intricately linked to conceptualisations of the political. Whereas in this context the term "policy" means the reproduction of hegemonic power relations within already existing institutional structures, politics refers to those practices which question the space of policy as such by inscribing that into its surface which has had no place before. The art of choreography consists in distributing bodies and their relations (...) in space. It is a distribution of parts that within the field of the visible and the sayable allocates positions to specific bodies. Yet in the confrontation between bodies and their relations, a deframing and dislocating of positions may take place. The essays included in this book are aimed at the multiple connections between politics, community, dance, and globalisation from the perspective of e.g. Dance and Theatre Studies, History, Philosophy, and Sociology. (shrink)

Experiential knowledge is not often associated with research and organized inquiry, and even less often with the rigour of debating and honing research methods and methodology. However, many researchers in art and design and related fields perceive experiential knowledge or tacit knowledge as an integral part of their practice. The editorial article for the special issue on "Research Practice in Art and Design: Experiential Knowledge and Organised Inquiry" explores how research can recognise the relationship between creative practice, experience, and knowledge (...) generation in art and design in order to develop relevant approaches to organised inquiry. This discussion provides the backdrop against which the different articles of this special issue are introduced. The first section, "Experiential Knowledge and Organised Inquiry" addresses issues of integration and communication of experiential and tacit knowledge within the context of organised inquiry. The second section, "Experiential Knowledge in Doctoral Research" examines research practice options within doctoral research in art and design. (shrink)

Contagion is more than an epidemiological fact. The medical usage of the term is no more and no less metaphorical than in the entire history of explanations of how beliefs circulate in social interactions. The circulation of such communicable diseases and the circulation of ideas are both material and experiential. Diseases and ideas expose the power and danger of bodies in contact, as well as the fragility and tenacity of social bonds. In the case of the theatre, various tropes of (...) contagion are to be found in both the fictional world on the stage and in many theories defining the rules of interaction between theatre audiences, fictitious characters and/or performers. In consequence, the historically changing concept of contagion has in many respects influenced how mimesis was conceived and understood. The main goal of my article is to demonstrate how the concept of contagion has changed over the last few decades and how it may influence our understanding of the idea of mimesis and participation in performative arts. This will be achieved in two steps. Firstly, I will compare the concept of contagion as the outbreak narrative that had influenced, among others, Antonin Artaud’s The Theater and the Plague with the more recent and dynamic concept of epidemic structured around the tipping point. Secondly, I will look for performative art forms with similar structure of audience responses, analyzing Mariano Pensotti’s project Sometimes I Think, I Can See You, in order to demonstrate new forms of performativity and presentation. (shrink)

ArgumentThis article focuses on a problematic character of communication in science. Two solutions are compared: paradigm-based science and the semiotic solution developed in the arts and social sciences. There are several parallels between the latter approach and Marxist dialectics. A third, original, approach to solving communication problems is proposed; it can be labeled “transactional.” It represents a version of the semiotic solution with particular emphasis on interactions, both face-to-face and depersonalized, and the imperative of negotiating and finding compromises. (...) Communication problems existing at two registers of interactions, face-to-face and depersonalized, are differentiated; freedom is interpreted as the capacity to change the registers at will. An in-depth case study of the Coase theorem in economic sciences and legal studies illustrates key points in the proposed analysis. (shrink)

A democracy is more than a form of government; it is primarily a mode of associated living, of conjoint communicated experience.in this short excerpt, John Dewey expresses the pragmatist conviction—first stated by Jane Addams in Democracy and Social Ethics—that a society must cultivate dispositions of curiosity and understanding between its diversely situated members in order to sustain a robust and genuine democracy. It is by our habitual exposure to the experiences of our fellow citizens that we can imagine and understand (...) each other’s diverse situations, struggles, and needs. In enabling such imagination and understanding, we create the possibility of fairly incorporating these diverse perspectives into... (shrink)

Engaging communities in community-based health research is increasingly being adopted in low- and middle-income countries. The use of community advisory boards is one method of practicing community involvement in health research. To date, few studies provide in-depth accounts of the strategies that CAB members use to practice community engagement. We assessed the perspectives, experiences and practices of the first local CAB in Eswatini, which was implemented as part of the MaxART Early Access to ART for All study. Trained Swazi research (...) assistants conducted two focus group discussions and 13 semi-structured interviews with CAB members who had been part of the MaxART study for at least 2.5 years. Interviews explored CAB composition and recruitment, the activities of CAB members, the mechanisms used to engage with communities and the challenges they faced in their role. The MaxART CAB played an active role in the implementation of the Early Access to Art for All study, and activities mainly focused on: promoting ethical conduct, in particular privacy, consent and confidentiality; communication and education, communicating about the study and educating the community on the benefits of HIV testing and early access to HIV treatment; and liaising between the community and the research team. Strategies for interacting with communities were varied and included attending general community meetings, visiting health facilities and visiting public places such as cattle dipping tanks, buses, bars and churches. Differences in the approach to community engagement between CAB members living in the study areas and those residing outside were identified. The experiences of the first CAB in Eswatini demonstrate that community engagement using CABs is a valuable mechanism for engaging communities in implementation studies. Considerations that could impact CAB functioning include clearly defining the scope of the CAB, addressing issues of CAB independence, the CAB budget, providing emotional support for CAB members, and providing continuous training and capacity building. These issues should be addressed during the early stages of CAB formation in order to optimize functioning. (shrink)

This article addresses a stated need within the food justice movement scholarship to increase the attention paid to the political socialization of hired farm hands in industrial agriculture. In Canada, tackling the problem of farm worker equity has particular social and political contours related to the Canadian horticultural industry’s reliance on a state-managed migrant agricultural labour program designed to fill the sector’s labour market demands. As Canada’s Seasonal Agricultural Worker Program produces relations of ‘unfree labour’, engaging migrant farm workers in (...) social movement initiatives can be particularly challenging. Critical educational interventions designed to encourage migrant farm workers’ contribution to contemporary social movements in Canada must therefore confront the socio-cultural obstacles that constrict migrant farm workers’ opportunities to participate as full members of their communities. In this article, I argue that social justice oriented approaches to community-based arts can provide a means for increasing the social movement contributions of farm workers employed through managed labour migration schema such as Canada’s SAWP. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Emotion, Restraint, and Community in Ancient RomePeter TooheyRobert A. Kaster. Emotion, Restraint, and Community in Ancient Rome. Classical Culture and Society. New York: Oxford University Press, 2005. xii + 245 pp. Cloth, $45.Emotion, Restraint, and Community has much in common with William Miller's well-known The Anatomy of Disgust (1997). There is their interest in disgust, their focus on the social and literary life of the emotions, and, best (...) of all, their tone. The ironic, fresh, often funny, and personal tone of Kaster's book is very like that of Miller's. The tone is utterly unlike anything one normally expects from a learned classical volume from a learned press. Similarities end there. While [End Page 137] Miller focuses on the modern world, Kaster's book on the social life of the emotions takes as its research object Roman literature up until Christianity becomes the religion of the Roman Empire. In five chapters, Kaster looks at five emotions (verecundia, pudor, paenitentia, invidia, and fastidium) and offers, as a conclusion, a vision of what it must have been like for a Roman male to have control over the workings of these five emotions. That person, he suggests, is what would have been termed integer—upright, honest, and undamaged.Based on word searches and contextual analyses for each of the terms, Kaster's discussion provides an engaging way of describing the life of these emotions. Rather than relying on dictionary definitions, he briefly analyzes and illustrates his terms in their literary contexts. Then he produces scripts, which consist not just of the things you think, feel, and do as they relate to these five emotions, but which also show how they are played out in a social context. What does it feel like to be the object of fastidium, for example, or to direct it at another? Kaster's analysis, therefore, concerns itself more with the cognitive dimension of these emotions rather than the affective. Or, to adapt his own terminology, the analysis is on the occurrent (situational) rather than dispositional (psychological).How does Kaster understand the basis of each of these terms and how it is that they are defined socially? Verecundia ("respect" or "shame"—the subject of chapter 1) "animates the art of knowing your proper place in every social transaction and basing your behavior on that knowledge; by guiding behavior in this way, verecundia establishes or affirms the social bond between you and others, all of whom (ideally) play complementary roles" (15). Kaster makes his understanding even more clear when he states that "verecundia is what might be called 'ignorability': not being invisible, quite, but being seen to claim the minimum amount of social space needed to carry out a given line of action" (17). Pudor ("decency," "shame," "embarrassment"), the subject of the second and longest chapter, can be paraphrased as "being aware of others being aware of you" (28–29). He expands on this to add that "while it was understandably your goal to receive the largest possible share of creditable attention ('honor') and experience the least possible discomfort from discrediting attention ('shame'), honor and shame were experienced as complementary, rather than opposed" (29).Kaster is not, therefore, interested in the modes by which verecundia and pudor can become internalized. He does not believe that a Roman's valuation of what action could or could not be judged as invoking verecundia or pudor can be made without immediate recourse to others (cf. 59). He is not interested, for example, in the way that Seneca, with his recommendation for daily (Epistles 83) self-scrutiny (so, for example, Epistles 16.2: excute te et varie scrutare et observa) might have evaluated an action. Seneca, as we know, suggested that you judge an action, hence its capacity to evoke an emotion such as verecundia, by checking it against a judge internal to your mind, such as an imagined Scipio, Cato, or Laelius (Epistles 25.5–6; see Edwards, G&R 54, 1997). The point is an important one. Kaster sees little shift in the way verecundia and pudor, or indeed his five emotions generally, are understood throughout the period he covers (roughly [End Page 138] 200... (shrink)

AbstractFrom Karl Marx to Martin Heidegger, the dialectical relationship between technology and art has become an ontological question of social reality. Marshall McLuhan’s theory of cool-hot media provides an analytical framework for the information age. “Cool-hot media” is McLuhan’s truly original concept. However, while McLuhan determined electronic media to embrace printing media which was regarded as a typical representative of hot media, he could not foresee that electronic media is properly speaking the latest representative of the split type of hot (...) media. Through Gödel’s Incompleteness Theorems which underlies formalization and Embodied Cognition Theory, this article argues that there exists an ontological difference between computers and human existence and explores the position of art from the contemporary cool media perspective. This contribution is not only intended to be a philosophical critique of the philosophy of technology of the media age, but also a repositioning of contemporary art and its function from the media perspective. The technological division and abstraction represented in hot media becomes the basic premise for a holistic approach to computer science and artificial intelligence. Their rich information context leads to multiple interpretations of meaning instead of a one-dimensional definition; the everyday actions of cold media have become a type of life art in a broad sense, and manifest their social function as an art of the information age, i.e. to balance the cognitive narrative of hot media and to ensure that its communication does not suppress the audience’s individual creativity, so that they can maintain their subjectivity by tracing the source of information. Art facilitates active audience participation and so allows participants to overcome a one dimensional way of thinking and promotes imagination and creativity in liberal arts education. Following the rules of art, cold media obtains its greatest significance as the guardian of the free subjectivity of all humans, which is alien to modern technology. Cold media and hot media balance each other to create a new way of producing and living that not only discovers but also safeguards the world. (shrink)

One of the most pressing issues for contemporary continental philosophy turns on the determination of a concept of community that twists free from the dangerous tendency in the canon of Western thought to associate the perfection of political affiliation with complete unity, even totality and immanence. In this article the author suggests that in the Phenomenology of Spirit Hegel provides important resources for this project—not, of course, in his conception of that community indicated by the absolute spirit, itself a preeminent (...) example of political totality, but instead in his discussion of a very different form of togetherness, one achieved in the tragic work of art. As the author argues, this is a sense of community that takes as its very basis the impossibility of political totality, for Hegel an impossibility evoked by a crisis concerning the political significance of the dead. (shrink)

The lecture is an argument for a marriage of theory and experience. It contains something old, something new, something borrowed and something true. The argument is that the dichotomy between science and art, between theory and experience is resolved and the components unified when the role of consensus in the acceptance of theory and the conception of experience is made clear. Moreover, the unification achieved brings with it a method for unifying the empiricism of Moritz Schlick1 with the consensualism of (...) Otto Neurath.2 In earlier work, I developed a mathematical model of consensus with Carl Wagner. That work concerned the aggregation of probabilities by weights of respect assigned by members of a community to each other that converged toward a consensual probability. The convergence depended on connectedness among the members of the group in terms of positive weights. We thought of the probabilities as probabilities of scientific theories or hypotheses. The process converging toward consensus was mathematically equivalent to finding consensual weights to be assigned to members of the group that could be used as a measure of competence and expertise. The consensual weights can be applied to find consensus concerning factors other than probabilities. The use of probabilities was in fact an incidental, though formally well articulated, application of the underlying aggregation of weights to obtain convergence toward consensual weights. (shrink)

The rise of non-fungible tokens (NFTs) has been astonishing, in particular for the arts and creative industries. The dominant discourse both in mainstream media and in academia today focuses predominantly on what this new technology can do for the art market rather than art itself. However, framing NFTs in art in the context of money and markets draws attention away from the more subtle and creative role of NFTs. Consequently, this article asks: What is the role of NFTs in art, (...) beyond the market? This research complements existing empirical work, by conducting a case study and interviews with members of DADA, a historic NFT art project which is particularly critical towards the role of the art market. The findings foregrounded five roles that NFTs play in art: as (1) a tool for systemic change, (2) a new way to community, (3) a ritual artefact, (4) a means for preservation and (5) a new medium. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning from Examples of Civic Responsibility:What Community-Based Art Centers Teach Us about Arts EducationJessica Hoffmann Davis (bio)Introduction/QuestionThroughout the United States, beyond school walls, there struggles and soars a sprawling field of community art centers dedicated to education.1 Most frequently clustered on either coast in bustling urban communities, these centers provide arts training that enriches or exceeds what is offered in schools. They serve artists who need space for work (...) or performance, students who crave instruction and direction, and the broader community that enjoys attendant cultural enrichment. At the core, they create safe havens for arts learning that has been marginalized elsewhere.Unfettered by the demands and constraints of school administrations, these self-designed centers have been of considerable interest to arts education researchers over the last twenty years.2 Largely conceived and staffed by artists, they demonstrate artful alternatives to mainstream education: creative visions of teaching, learning, and assessment. Moreover, the positive impact these centers have had on students considered at risk across a number of variables has caught the attention of researchers looking for better ways to serve our youth.3The location of these centers beyond school walls, like their operation beyond the hours of the school day, would naturally seem to cast them as positive opportunities for extending arts learning that goes on in school. But with school art curricula scarce or in danger of elimination, supplementary options can seem threatening to school arts specialists. Administrators have regarded the opportunities that outside artists and centers provide as sufficient substitutes for a school-based course of sequential instruction in the arts. While vital funding sources encourage and sustain collaboration, a tension persists between the autonomy of outsider arts centers and the integrity [End Page 82] of insider school arts programs. For students disenfranchised from schools, the "otherness" of centers has a certain cachet. For centers unable to afford their own space, school classrooms in after-school hours offer a home base for their offerings and easy access for students. The back and forth across school walls raises opportunities and concerns that have resulted in a range of creative solutions.4 But my interest here is not in the cross-wall meeting of services, but rather in the differences in arts learning on either side of school walls. In the pages that follow, I pose the question, What can schools learn from the arts education provided in the community?In addressing this question, I first mark the differences between arts learning in schools and in the community as a need for justification versus an opportunity for demonstration. I then describe the research from which my thinking and discussion draw and offer a brief overview of the history of community art centers as inspired by and illustrative of civic responsibility. With an eye to what educators and advocates can learn from these community-based efforts, I focus next on three common objections to prioritizing the arts in our schools: value, measurement, and autonomy. Each objection is introduced from a school-based perspective and then reconsidered in light of community-based attitudes and activities.5 In conclusion, I delineate the insights derived from a consideration of community arts education as stimulus for the redirection of educational objectives and advocacy rationales for arts learning in schools.Justification vs. DemonstrationIn its struggle for recognition and place in school settings, arts education has sought justification in terms of its potential to serve the broader educational scene. We ask of classes that provide mounting skills in visual arts, music, or theater, "Yes, but what else does arts learning do? Can it improve student skills in reading, mathematics, or any other subjects that are more traditionally valued?" Such demands may seem unfair. When has math ever been defended for its ability to improve arts performance? Beyond a sense of injustice, claims for arts learning's causal impact on measurable extraneous outcomes (such as improvements in test scores in nonarts academic subjects) are at best most difficult to prove.6In community centers where art is the chosen heart of the matter, students come specifically to study the arts and to benefit from their enhancement of more generalized experience... (shrink)

This article provides the original perspective on esotericism. Two author distinguishes between the two polar directions of esotericism – "transcendental" and "latent" ; as well as introduces the two postulates characteristic to the first direction that in previous research received the name of "classical". The article discusses what binds esotericism and philosophy, religion, and art; outlines the common aspects of these fields of knowledge and life activity are indicated ; examines the cases of interaction, and what caused the decline of (...) interest in esoteric teachings. The research consists of two parts. The first part explores the three cases that reveal a close link between esoteric, philosophical, scientific and literary thought, as well as the fact that esoteric ideas and concepts often enrich philosophy, science and art. The second part discusses the key reasons for the slump in esotericism: new cultural challenges that to which there is yet no esoteric answer, interception of esoteric discourse in a number of directions of contemporary art and philosophy. However, this pause is temporary, since esoteric path is one of the ways to prevail in personality culture; it can be assumed that esotericists will soon eliminate the existing gap. On the example of current interest in vampires, the author discusses certain peculiarities of the phenomenon of mysticism, which indicate that the phenomenon of vampirism is real, perhaps related to the forms of communication widely used in modern life. (shrink)

Communities of Style: Portable Luxury Arts, Identity, and Collective Memory in the Iron Age Levant. By Marian H. Feldman. Chicago: University of Chicago Press, 2014. Pp. xvii + 250, illus. $70.

This paper offers an approach to support the development of reflective teaching practice among university academics that can be used to promote dialogue about quality enhancement and the student experience. Pedagogic frailty has been proposed as a unifying concept that may help to integrate institutional efforts to enhance teaching within universities by helping to maintain a simultaneous focus on key areas that are thought to impede development of pedagogy. These areas and the links that have been proposed to connect them (...) are interrogated here through the dialogic analysis of a framed autoethnographic narrative produced by a community ‘insider’ who has considerable experience of teaching within the arts and humanities. This person-centred methodology acknowledges the subjective nature of teaching and gives voice to important stories that otherwise might not be heard formally, and allows an academic to rehearse this voice individually before comparing it with others in the institution. (shrink)

BackgroundCORE (Clarity and Openness in Reporting: E3-based) Reference (released May 2016 by the European Medical Writers Association [EMWA] and the American Medical Writers Association [AMWA]) is a complete and authoritative open-access user’s guide to support the authoring of clinical study reports (CSRs) for current industry-standard-design interventional studies. CORE Reference is a content guidance resource and is not a CSR Template.TransCelerate Biopharma Inc., an alliance of biopharmaceutical companies, released a CSR Template in November 2018 and recognised CORE Reference as one of (...) two principal sources used in its development.MethodsThe regulatory medical writing and statistical professionals who developed CORE Reference conducted a critical review of the TransCelerate CSR Template. We summarise our major findings and recommendations in this communication. We also re-examined and edited the Version 1 CORE Reference Terminology Table that we first published in 2016, and we present this as Version 2 in this communication.ResultsOur major critical review findings indicate that opportunities remain to refine the CSR Template structure and instructional text, enhance content clarity, add web links to referenced guidance documents, improve transparency to support the broad readership of CSRs, and develop supporting resources.The CORE Reference ‘Terminology Table’ Version 2 includes estimand as a defined term and an adaptation of the original ‘worked study example’ to incorporate the recently evolved concept of ‘estimands’.ConclusionsAs TransCelerate’s CSR Template represents an important milestone in authoring CSRs, we offer CSR authors advice and recommendations on its use, similarities, and differences with CORE Reference and advise them to consider shared interpretations between the two.RegistrationCORE Reference is registered with the EQUATOR Network. The TransCelerate CSR Template is not registered with any external organisation to the knowledge of the authors of this paper. (shrink)

This article engages with the immuno-political juxtaposition of the healthy self and the pathogenic other to critically examine the representation of Nazis and Jews in Art Spiegelman’s Pulitzer Prize-winning graphic novel _Maus_ (1996). Written as a postmemory narrative, _Maus_ recounts the horrors experienced by the author’s father Vladek Spiegelman as a survivor of the Holocaust that claimed an approximate six million Jewish lives. Beginning with the years leading up to World War II, Spiegelman’s novel reimagines the discrimination, dislocation, and dehumanization (...) suffered by Vladek and his family at various prison camps in Nazi-occupied Poland before being transferred to Auschwitz. Deploying an immuno-political reading of _Maus_, this article investigates how the Third Reich undertook a systematic extermination of the Jewish race by construing them as _immunological nonself_ or pathogenic others. It further argues that Nazism’s fantasy of constructing a racially aseptic German identity by eradicating the Jews as vermin or parasites was reinforced by the late nineteenth-century eugenicist ideologies of racial hygiene. This article finally considers how policies of excessive immunization that was deployed by Nazi biopolitics against the Jewish community, as well as exercised by the Jews to survive the Holocaust, eventually assumed the form of an autoimmune pathology that culminated with the attempted destruction of the entire medico-juridical infrastructure of the German Reich on the one hand and the fostering of suicidal tendencies by the Jewish survivors on the other. (shrink)

I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve (...) artistically interesting communication of thought. The central resources of representation are content, vehicle properties, and the interplay between these two. Whereas painting and other representational arts are able to exploit all three to communicate thought, authentic photography can exploit interplay only to a very limited degree. However, the exploitation of interplay is the culmination of communicative representational art: the natural endpoint in its development. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply hisEthics and Economic Progressto problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public good” (...) might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

It is the metaphoric doubling of past into present that gave Renaissance ekphrastic representations its techniques of self-understanding. In effect, in the ekphrastic doubling of the past in the present, we notice that historicity becomes an inalienable part of its contemporary credibility. The reduction of distance between life and art, as evident in contemporary obsession with selfies and photographs, thus begins to become the central project of early modern ekphrasis, enhanced in the Renaissance. In sum, art becomes equivalent to legal (...) tender, and ekphrasis, a principle of exchange and substitution, through which objects and artefacts seem to be in danger of losing their particularities and gaining new generic human values. When Shakespeare wrote The Rape of Lucrece, it was ekphrasis that allowed Shakespeare to speak about the ills of his own times through a Greco-Roman subject. The metaphorical implications that his story has for the issues of good government and private and public securit... (shrink)

Generative AI has captured the public imagination as a tool that promises access to expertise beyond the technical jargon and expense that traditionally characterize such infospheres as those of medicine and law. Largely absent from the current literature, however, are interrogations of generative AI’s abilities to deal in culturally responsive communication, or the expertise interwoven with culturally aware, socially responsible, and personally sensitive communication best practices. To interrogate the possibilities of cultural responsiveness in generative AI, we examine the (...) patterns of response that characterize ChatGPT-3.5’s advice for coming out. Specifically, we submitted 100 prompts soliciting coming out advice to GPT-3.5, variegating each of those prompts slightly to account for intersectional identities. From the analysis, we find that, while the responses are largely in-line with best practices, there are also instances that might represent problematics concerning the interpellation of the user or the persons to whom one is coming out. (shrink)

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

The subject of the study is the works of contemporary St. Petersburg artists of different generations and creative trends, as well as the forms and features of their communication with each other and with the general as well as professional public. The trends of artistic communication in the city are determined by the activities of such institutions as art and non-art museums, art galleries and exhibition centers, which are a classic form of presentation of contemporary art; alternative venues (...) such as creative spaces and art clusters. The field of attention also includes the attraction of St. Petersburg authors to the organization of small artistic associations, mainly art groups, for example, "Unconquered", "North-7", "Parasites", etc. In addition to works of art, theoretical works and reflections by researchers of contemporary art in St. Petersburg and the spaces of its public presentation are involved. The methodological basis is the analysis of the works of St. Petersburg masters of the beginning of the XXI century in the context of the development of urban institutions of artistic communication. The research is based on theoretical works devoted to the problem of artistic communication and trends in the current art process. Comparative-interpretative and typological methods are used to compare the works of artists and forms of artistic communication. The problem of artistic communication in the field of fine art in St. Petersburg is becoming the subject of a separate study. This area of city life is currently developing quite dynamically, as new art associations, curatorial practices and alternative classical platforms for the presentation of the work of authors belonging to different generations and art movements are emerging. Traditional museums and galleries, as well as creative spaces, art clusters and other often non-core institutions, such as libraries and cafes, are involved in this process. Against this background, the features of St. Petersburg artistic communication crystallize, which is characterized by a desire to organize communities, to fuse realistic traditions and current trends, to escapism and symbolism, as well as an interest in oriental themes and stylistics. (shrink)

ABSTRACTThis article describes our experience using art and theatre to engage rural communities in western Cambodia to understand malaria and support malaria control and elimination. The project was a pilot science–arts initiative to supplement existing engagement activities conducted by local authorities. In 2016, the project was conducted in 20 villages, involved 300 community members and was attended by more than 8000 people. Key health messages were to use insecticide-treated bed-nets and repellents, febrile people should attend village malaria workers, and to (...) raise awareness about the risk of forest-acquired malaria. Building on the experience and lessons learnt in the year prior, the 2017 project which was conducted in 15 villages involved 600 community members and attracted more than 12,000 people. In addition to the malaria theme, upon discussion with local health authorities, secondary theme was added to the 2017 project. We learnt the following lessons from our experience in... (shrink)

The concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a whole, and the word (...) “expressiveness” is used for the audience-centered aspect, and I shall keep to this usage. In this paper I shall argue that although expression is closely related to expressiveness, the two concepts are distinct and, in particular, expressiveness cannot be analyzed in terms of expression, as has been recently suggested by Stephen Davies and Jerrold Levinson. Nonetheless, the richest examples of expression in the arts involve both expression and expressiveness. (shrink)

The article engages Bakhtin’s corpus with Nietzschean ideas in order to draw out critical resources for the social theory of ‘community’. It begins by considering both thinkers’ debt to neo-Kantianism, and proceeds to relate the ‘will to power’ to Bakhtin’s early intersubjective phenomenology of intentional acts. This interpretation is then extended to Bakhtin’s conception of art, where aesthetics stands in tensile relation to ethics in the exercise of authorial will. Bakhtin’s later work might be seen as elaborating more complex terms (...) for describing will and event, now as composite embodiments of multiple intentions within art, discourse and language, thus suggesting a novel approach to ‘communality’ in modern social life. (shrink)

In this paper, I argue that Kant has a far more communitarian theory of aesthetic life than is usually acknowledged. I focus on two aspects of Kant’s theory that might otherwise be taken to support an individualist reading, namely, Kant’s emphasis on aesthetic autonomy and his characterization of judgments of taste as involving demands for agreement. I argue that the full expression of autonomy in fact requires being a member of an aesthetic community and that within such a community, judgments (...) of taste are issued as invitations to others to engage their faculties towards the goal of shared aesthetic appreciation. (shrink)

This dissertation enquires into the nature and value of a phenomenon which is typically found in art. Chapter 1 attempts to get clear on what phenomenon is being discussed by considering various thinkers' attempts to talk about it, and by considering artworks which exemplify it. I call the phenomenon 'art' and roughly characterise it as the expression of emotion. Chapter 2 considers the role of artists' intentions to the meaning of the artworks they create, and more broadly the role of (...) utterers' intentions to the meanings of their utterances. This is done because certain positions regarding the role of intentions to utterances' meanings breaks the communicative link between the utterer of an utterance and the apprehender of the utterance, which link is important to the thesis advanced. Chapter 3 argues for a particular analysis of what I call art in Chapter 1, and briefly argues that it is very valuable. (shrink)

This dissertation develops and applies, through criticism, a theory of rhetoric which addresses the Modernist achievement in literary expression within the context of the current attacks on communication. A modest conclusion about the limits of communicative efficacy in addressing personal experience is proposed and tested. This "modest proposal" represents an alternative to extreme universalist presumptions on the one hand, and radically skeptical solipsism on the other, thus contributing to current discussions emphasizing hopeful directions for communication theory. ;The study (...) examines the limits of rhetoric in approaching human experience by examining the relationship between expression and personal reference in the Modernist epiphany. Particular attention is paid to how this earlier tradition informs the postmodern loss of faith in communication. ;The study applies a dialectical method which involves locating a closely related text and theory, testing the theory against the criterion of the text, using the dialectical imbalance created out of this comparison to move to a higher synthesis of theory and practice. The study moves through three dialectical phases corresponding to the movement of the expression of epiphanel experience form literature, to film, to artistic expression generally. (shrink)