Results for 'Concrete art '

976 found
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  1.  30
    Pensée concrète, Art abstrait.Jean-Louis Major - 1962 - Dialogue 1 (2):188-201.
    Les biographies de poètes et d' écrivains sont beaucoup plus nombreuses que celles de philosophes. Pour expliquer ce phénomène il se présente sûrement plusieurs raisons. Je n'en veux souligner qu'une: l'apparente objectivité du système philosophique, qui se fonderait sur la distance de l'œuvre à l'égard de son auteur et sur l'absence de marques personnelles. Pourtant on peut accepter que l'interrogation philosophique soit intemporelle ou « perennis » tout en concevant qu'elle soit liée à l'époque dans la formulation des problèmes et (...)
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  2.  71
    Art, Philosophy and Concreteness in Hegel.William Desmond - 1985 - The Owl of Minerva 16 (2):131-146.
    It is a philosophical commonplace to juxtapose logic and imagination, reason and sensibility, the concept and intuition, philosophy itself and art. Frequently these pairs are thought of as opposites, one mediated through abstract reflection, the other a more intimate participant in the given of concrete existence. Philosophy does not always come off uncriticized in this opposition. Its reflective, analytical impulse is often thought to abstract us, remove us from the concretely real. Art, by contrast, it is said, serves to (...)
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  3.  27
    Beyond the Concrete: Toward an Art of Living with Abstract Conditions.Yoni Van Den Eede - 2017 - Foundations of Science 22 (2):451-454.
    Responding to the commentaries by Corey Anton and Ian Angus, I outline anew, and so seek to further clarify, the starting points of and motivations behind my reflection about the concrete-abstract distinction and the ways in which this plays out in technology use, seen from an epistemological standpoint. My eventual purpose is to begin to develop, on the basis of the conceptual exercise, guidelines for an emancipatory ‘art of living with technology,’ that circles around the attempt to think beyond (...)
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  4.  36
    Concrete and general in art criticism.Leo Stein - 1928 - Journal of Philosophy 25 (25):691-694.
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  5.  32
    The art of teaching philosophy: reflective values and concrete practices.Brynn F. Welch (ed.) - 2024 - London: Bloomsbury Academic.
    From a team of renowned and innovative philosophy teachers, this volume offers accessible reflections and practical suggestions for constructing a successful philosophy course. The collection covers syllabus design, classroom management, and exercises and assessments, with each section concluding with insights from students on what they have learned from studying philosophy. An essential resource for teachers of philosophy at any stage of their career, each contribution balances reflective values with concrete practices and presents a valuable discussion about theories of philosophy (...)
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  6.  21
    Art & Art-Attempts.Christy Mag Uidhir - 2013 - Oxford: Oxford University Press.
    Although few philosophers agree about what it is for something to be art, most, if not all, agree on one thing: art must be in some sense intention dependent. Art and Art-Attempts is about what follows from taking intention dependence seriously as a substantive necessary condition for something's being art. Christy Mag Uidhir argues that from the assumption that art must be the product of intentional action, along with basic action-theoretic account of attempts (goal-oriented intention-directed activity), follows a host of (...)
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  7.  14
    Concerning the Spiritual—and the Concrete—in Kandinsky’s Art.Lisa Florman - 2014 - Stanford University Press.
    This book examines the art and writings of Wassily Kandinsky, who is widely regarded as one of the first artists to produce non-representational paintings. Crucial to an understanding of Kandinsky's intentions is _On the Spiritual in Art_, the celebrated essay he published in 1911. Where most scholars have taken its repeated references to "spirit" as signaling quasi-religious or mystical concerns, Florman argues instead that Kandinsky's primary frame of reference was G.W.F. Hegel's _Aesthetics_, in which art had similarly been presented as (...)
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  8. Art and Embodiment: From Aesthetics to Self-Consciousness.Paul Crowther - 1993 - Oxford, GB: Oxford University Press.
    Paul Crowther argues that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. He proposes an ecological definition of art: by making sensible or imaginative material into symbolic form, it harmonizes and conserves what is unique and what is general about human experience.
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  9.  20
    Philosophizing Art: Selected Essays.Arthur Coleman Danto - 1999 - University of California Press.
    Arthur Danto's work has always affirmed a deep relationship between philosophy and art. These essays explore this relationship through a number of concrete cases in which either artists are driven by philosophical agendas or their art is seen as solving philosophical problems in visual terms. The essays cover a varied terrain, with subjects including Giotto's use of olfactory data in _The Raising of Lazarus; _chairs in art and chairs as art; Mel Bochner's Wittgenstein drawings; the work of Robert Motherwell, (...)
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  10.  22
    Concrete/abstract: Sketches for a Self-Reflexive Epistemology of Technology Use.Yoni Van Den Eede - 2017 - Foundations of Science 22 (2):433-442.
    This essay takes an epistemological perspective on the question of the ‘art of living with technology.’ Such an approach is needed as our everyday notion and understanding of technology keep being framed in the old categories of instrumentalism and essentialism—notwithstanding philosophy of technology’s substantial attempts, in recent times, to bridge the stark dichotomy between those two viewpoints. Here, the persistent dichotomous thinking still characterizing our everyday involvement with technology is traced back to the epistemological distinction between ‘concrete’ and ‘abstract.’ (...)
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  11.  14
    Art as techne or the intentional fallacy and the unfinished project of formalism.Henry Staten - 2007 - In Garry Hagberg & Walter Jost, A Companion to the Philosophy of Literature. Malden, MA: Wiley-Blackwell. pp. 420–435.
    This chapter contains sections titled: The Intentions of Art Can Private Intentions Go Public? The Intention to Make a Poem Poems Are Made out of Words Blake's “London”.
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  12.  4
    Art and abstract objects.Christy Mag Uidhir (ed.) - 2012 - Oxford, United Kingdom: Oxford University Press.
    This book presents a lively philosophical exchange between the philosophy of art and the core areas of philosophy. The standard way of thinking about non-repeatable (single-instance) artworks such as paintings, drawings, and non-cast sculpture is that they are concrete (i.e., material, causally efficacious, located in space and time). This volume examines how philosophical enquiry into art might itself productively inform or be productively informed by enquiry into abstracta taking place within not just metaphysics but also the philosophy of mathematics, (...)
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  13. Art & Abstract Objects.Christy Mag Uidhir (ed.) - 2013 - Oxford University Press.
    Art and Abstract Objects presents a lively philosophical exchange between the philosophy of art and the core areas of philosophy. The standard way of thinking about non-repeatable (single-instance) artworks such as paintings, drawings, and non-cast sculpture is that they are concrete (i.e., material, causally efficacious, located in space and time). Da Vinci's Mona Lisa is currently located in Paris. Richard Serra's Tilted Arc is 73 tonnes of solid steel. Johannes Vermeer's The Concert was stolen in 1990 and remains missing. (...)
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  14. Photographic Art: An Ontology Fit to Print.Christy Mag Uidhir - 2012 - Journal of Aesthetics and Art Criticism 70 (1):31-42.
    A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the (...)
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  15.  19
    Spirit and Concrete Subjectivity in Hegel's Phenomenology of Spirit.Marina F. Bykova - 2009 - In Kenneth R. Westphal, The Blackwell Guide to Hegel's Phenomenology of Spirit. Malden, MA: Wiley-Blackwell. pp. 265–295.
    This chapter contains sections titled: Introduction Hegel's Account of Subjectivity: General Remarks The Phenomenology as the Theory of Concrete Subjectivity Conclusion References Further Reading.
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  16.  13
    Concrete: Photography and Architecture.Daniela Janser, Thomas Seelig & Urs Stahel (eds.) - 2013 - Scheidegger & Spiess.
    Architecture has always been a magnificent and much debated platform to express the spirit of the times, world views, everyday life, and aesthetics. It is a daring materialisation of private and public visions, of applied art and the avant-garde alike.
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  17.  8
    The art experience: an introduction to philosophy and the arts.Alex Rajczi - 2024 - New York, NY: Routledge.
    The Art Experience: An Introduction to Philosophy and the Arts takes readers on an engaging and accessible journey that explores a series of fundamental questions about the nature of art and aesthetic value. Three of these questions serve as the major sections for the book's 12 chapters: What makes something a work of art? How should we experience art in order to get the most out of it? And once we understand art, how should we evaluate whether it is good (...)
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  18.  52
    The art of mathematics: Bedding down for a new era.Tony Brown - 2007 - Educational Philosophy and Theory 39 (7):755–765.
    Comparisons made between art and mathematics so often centre on the beauty of mathematics and how its forms might be seen as aesthetically pleasing. Yet the prominence of beauty as an attribute is less prevalent in contemporary art. Rather, art has a much broader scope of concern, perhaps with a greater emphasis on providing apparatus through which we might better understand who we are. This paper considers some performative aspects of contemporary art and draws parallels with some examples of mathematical (...)
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  19.  11
    Arche i arte. Prymarny dualizm z ducha muzyki.Krzysztof Szwajgier - 2019 - Principia 66 (Tom 66):187-208.
    The arche–arte dualism (concrete–abstract) is fundamental and basic, due to its universality and comprehensive generative function. This duality characterizes our actions in every dimension, and is thus necessarily involved in cognitive and creative acts. The “arteic” includes the categories of consciousness, consideration, calculation, ordering, knowledge, intellect, and artificiality. On the other hand, the “archeic” refers to that which is, in us, subconscious, eternal, primordial, innate, instinctive, and natural. When this basic duality is posited at the outset, it furnishes an (...)
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  20.  17
    The Art and Science of Surgery: Innovation and Concepts of Medical Practice in Operative Fracture Care, 1960s–1970s.Thomas Schlich - 2007 - Science, Technology, and Human Values 32 (1):65-87.
    In this article, I am using the example of the introduction of osteosynthesis into surgical routine practice to analyze the use of the notions of art and science in medical innovation. The examination of the renegotiations of power and responsibility associated with the introduction of this new technique shows that proponents and critics actively linked their arguments to more fundamental epistemological and social issues. The proponents claimed to manage the uncertainties of innovation through making surgery more scientific, drawing on the (...)
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  21. Art's Self-Disclosure: Hegelian Insights into Cinematic and Modernist Space.C. A. Tsakiridou - 2013 - Evental Aesthetics 2 (1):44-72.
    This article uses Hegel’s analysis of the Romantic form to elucidate the relationship between aesthetic space and subjectivity in modernist painting (Paul Klee) and cinema (Sergei Eisenstein). The movement that brings art to realization in Hegel thus includes genres and modalities of art that did not exist in his time: in cinema and modernist painting, the Idea or truth of art evolves and brings itself to completion. Plasticity, the movement of aesthetic form toward self-expression, abandons the rigid substantiality it achieves (...)
     
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  22.  23
    Augustine's Confessions: The Concrete Referent.Elizabeth Hanson-Smith - 1978 - Philosophy and Literature 2 (2):176-189.
    In lieu of an abstract, here is a brief excerpt of the content:Elizabeth Hanson-Smith AUGUSTINE'S CONFESSIONS: THE CONCRETE REFERENT The chief problem facing critics who would consider the Confessions as both a literary work and a philosophical treatise remains the connection between the first nine books, the autobiography, and the last four, the metaphysical speculations on time, eternity, epistemology, and theology. A persistent desire to justify the work as an aesthetic whole has led critics on a search for thematic (...)
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  23.  5
    L'art et le temps.Jan Patocka & Erika Abrams - 1992 - Pocket.
    Neuf études sur l'art et le temps - c'est-à-dire - l'art et l'histoire. Regard historique sur l'esthétique, analyse des conceptions du Beau dans la tradition philosophique, au travers d'exemples venant de la Grèce, de la Renaissance, du Romantisme, et d'auteurs comme Burckhardt ou Hegel - ces essais sont le prétexte à une exploration des grandes questions métaphysiques sur l'art et les hommes, analyses par un auteur dont l'engagement concret contre le régime totalitaire de son pays porte la marque de son (...)
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  24.  12
    Art and Humanism in the Work of Tzvetan Todorov.Mihaela Czobor-Lupp - 2024 - Dialogue and Universalism 34 (2):279-302.
    In reaction to what he defines as the modern (anti-humanistic) totalitarian frame of mind, characterized by scientism, Manicheism, and aestheticism, the French critic and historian of ideas, Tzvetan Todorov engages in an ambitious project of rethinking humanism. A (post-Romantic) view of art that retains its representational role, its intersubjective and truth-disclosive power, and that does not betray the humanism that marked the debut of modernity, plays a central role in this enterprise. I argue in this paper that, through his interpretation (...)
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  25.  11
    Bridging Art and Bureaucracy: Marginalization, State-Society Relations, and Cultural Policy in Brazil.Anne Gillman - 2018 - Politics and Society 46 (1):29-51.
    Even under many formally democratic regimes, large swaths of the citizenry experience alienation from states with uneven presence throughout the national territory. Addressing a gap in scholarship that has examined why rather than how states establish new modes of engagement with subaltern groups, this article documents concrete mechanisms by which the Brazilian state built new state-society relations through a particular cultural policy. By recognizing and funding artistic initiatives in underserved communities, the program aimed to expand their access to the (...)
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  26.  23
    Appreciation of Art as a Perception Sui Generis: Introducing Richir’s Concept of “Perceptive” Phantasia.Dominic Ekweariri - 2021 - Frontiers in Psychology 12.
    In theOrigin of the work of art, Heidegger claimed that the work of art opens to us thetruth of Being, the opening of the world. Two problematics arise from this. First, his idea of “world-disclosure” evoked a sense ofeverydayness(which captures, for me, the idea of credulism in perception). Second, the senses oftruth,Being, andworldare metaphysically condensed. Hence the question: how then could the “truth of Being” or the “world” that artworks reveal be experienced? Among other ways (mimesis, imagination, perception, etc.) by (...)
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  27.  17
    Drawing on the Arts to Enhance Salutogenic Coping With Health-Related Stress and Loss.Ephrat Huss & Tali Samson - 2018 - Frontiers in Psychology 9.
    The connection between art therapy and specific theories of positive psychology such as Antonovsky's theory of salutogenic sense of coherence (SOC) has been less articulated in the literature. This paper draws a methodological connection between arts therapy and SOC, that is, meaning, manageability and comprehensibility, as the components of coping. This theoretical and methodological connection is then explored with a group of participants dealing with the health-stress of cancer. Method We conducted a large-scale, qualitative study that included fifty transcribed hours (...)
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  28.  9
    Imitating Art Beyond Copies.Dominic Nnaemeka Ekweariri - 2022 - Phänomenologische Forschungen 2022 (1):38-56.
    According to Martin Heidegger’s The Origin of the Work of Art, the truth of Being is disclosed in artworks. With this as a starting point, one wonders if this (truth of Being) is encounterable given its metaphysical/ontological condensation. We elaborate, one way, in which artworks have been contemplated in the history of the philosophy of art – namely, mimesis. Two possibilities are opened up in this regard: the first (e. g. Aristotle) credits the reproduction of copies/likeness of the original to (...)
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  29.  16
    Vision and Difference: Feminism, Femininity and the Histories of Art.Griselda Pollock - 2003 - Psychology Press.
    Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art, exploring the writings of Elizabeth Siddall, Mary Cassatt and Berthe Morisot.
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  30.  13
    L’esthétique concrète de Gaston Bachelard ou la réintégration du sentir dans le penser.Renato Boccali - 2024 - Nouvelle Revue d'Esthétique 2:173-181.
    L’œuvre de Gaston Bachelard n’est pas toujours prise en considération dans le cadre de l’histoire de l’esthétique française. S’il est vrai que le philosophe n’a pas élaboré une théorie esthétique accomplie, ses travaux sur l’imagination et la rêverie non seulement démontrent une connaissance des débats théoriques de l’époque, mais, plus profondément, représentent une prise de position en faveur d’une « esthétique concrète » qui s’écarte des stériles disputes philosophiques d’académie pour s’appuyer directement sur la présence matérielle de l’œuvre d’art, aussi (...)
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  31.  53
    Art and the Shift in Garden Culture in the Jiangnan Area in China (16th-17th Century).Jane Zheng - 2013 - Asian Culture and History 5 (2):p1.
    The remarkable growth in interest in aesthetic gardens in the late Ming period has been recognized in Chinese garden culture studies. The materialist historical approach contributes to revealing the importance of gardens’ economic functions in the shift of garden culture, but is inadequate in explaining the successive burgeoning of small plain gardens in the 17th century. This article integrates the aesthetic and materialist perspectives and situates the cultural transition in the concrete social and cultural context in the late Ming (...)
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  32. The Art of Interpretation in Depicting (the Idea of) God.Paul C. Martin - manuscript
    In this paper I shall argue that useful correspondences can be drawn between the role of depiction in showing a view of the world and the realisation that would view God as a picture of experience in the world, since both can be seen to illustrate an art of interpretation. The perceptual insight that is gleaned in mystical-philosophical consciousness converges on the idea of a realm that is marked as divine, and by exploiting mental and linguistic imagery this mindful awareness (...)
     
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  33.  18
    Ranking Art: Paradigmatic Worldviews in the Quantification and Evaluation of Contemporary Art.Paul Buckermann - 2021 - Theory, Culture and Society 38 (4):89-109.
    While numerous studies have shown diverse effects of rankings, rather little is known about their production. This article contributes to a broader understanding of rankings in society, and does so by focusing on underlying worldviews. I argue that the existence of a ranking and its concrete methodology can be explained by the producer’s paradigmatic assumptions about a world-to-be-ranked. Referring to the sociology of knowledge and studies on commensuration, comparisons, quantification and valuation, I provide a general heuristic to analyze this (...)
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  34.  73
    Art, politics and knowledge: Feminism, modernity, and the separation of spheres.Amy Mullin - 1996 - Metaphilosophy 27 (1-2):118-145.
    Feminist epistemology and feminist art theory are characterized by an opposition to modernity's separation of art, politics, and knowledge into three autonomous spheres. However, this opposition is not enough to distinguish them from other philosophies. In this paper I examine parallels between the two fields of inquiry in order to discover what makes them distinctively feminist. Feminist epistemology sees interconnections between knowledge and politics, feminist art theory sees connections between art and politics. We need to explore as well connections between (...)
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  35.  35
    Abstraction in science and art: philosophical perspectives.Chiara Ambrosio & Julia Sánchez-Dorado (eds.) - 2024 - New York, NY: Routledge.
    This volume explores the roles and uses of abstraction in scientific and artistic practice. Conceived as an interdisciplinary dialogue between experts across histories and philosophies of art and science, this collection of essays draws on the shared premise that abstraction is a rich and generative process, not reducible to the mere omission of details in a representation. When scientists attempt to make sense of complex natural phenomena, they often produce highly abstract models of them. In the history and philosophy of (...)
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  36.  8
    Networked Art.Craig J. Saper - 2001 - Univ of Minnesota Press.
    The experimental art and poetry of the last half of the twentieth century offers a glimpse of the emerging networked culture that electronic devices will make omnipresent. Craig J. Saper demarcates this new genre of networked art, which uses the trappings of bureaucratic systems - money, logos, corporate names, stamps - to create intimate situations among the participants. Saper explains how this genre developed from post-World War II conceptual art, including periodicals as artworks in themselves; lettrist, concrete, and process (...)
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  37.  9
    Hegel et l'art.Gérard Bras & Georg Wilhelm Friedrich Hegel - 1989 - Presses Universitaires de France - PUF.
    Si les expositions de peinture font l'objet d'une large fréquentation, Hegel est bien souvent décrié, surtout dans les milieux artistiques. Cette présentation de son Esthétique voudrait montrer, en privilégiant les analyses concrètes comme celle de la peinture hollandaise du XVIIe, toute la fécondité de cette approche philosophique. Loin du dogmatisme, Hegel conçoit l'art historiquement, jugeant les œuvres, mais récusant par avance toute norme académique. L'historicité de l'art est-elle solidaire de sa fin, de son dépassement? Dans quelle mesure art et religion (...)
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  38. Abstract Art: Its Origin, Nature, and Significance.Marcel Brion & Elaine P. Halperin - 1958 - Diogenes 6 (24):42-64.
    To define abstract art, which occupies such an important place in contemporary aesthetics, merely as a plastic mode of expression that makes no attempt to seek its own forms among those already existing in reality is to give a very inadequate notion of it. The term “non-figurative art,” which is sometimes used to describe it, arbitrarily restricts its range by stressing as peculiar to it this elementary fact alone and by characterizing abstract art solely as a controversial or even as (...)
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  39.  45
    European plastic art in anthropological dimension: From the classics to the postmodernism.R. M. Rusin & I. V. Liashenko - 2018 - Anthropological Measurements of Philosophical Research 14:20-29.
    Purpose. The article is devoted to the analysis of corporality as an attribute of plastic art in the Ancient art, the Middle Ages, the Renaissance, the modernism and the postmodernism. Theoretical basis. The authors consider historical development of the art as a change of paradigms. Within each paradigm a special understanding of art is created, which is characterized both by the act of creativity itself and by the evaluation of its results. Particularly urgent is the task to identify the origins (...)
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  40.  20
    ART moves MIND moves ART The Moses of Michelangelo and the ‘Gestaltkreis’ of Art Reception.Herbert Fitzek - 2020 - Gestalt Theory 42 (2):133-144.
    Summary According to Gestalt theory the impact of arts is not adequately described as a transfer of an artist’s message into a recipient’s state of mind. As a matter of fact (and effect) art represents complex fields of meaning (figurations) rooting in the specific conditions of art creation and proceeding to the concrete effects of art reception. From a psychological point of view artefacts cannot be reduced to static objects, nor are the recipients to be seen as passive spectators (...)
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  41.  27
    (1 other version)The art of equity: critical health humanities in practice.Irène P. Mathieu & Benjamin J. Martin - 2023 - Philosophy, Ethics and Humanities in Medicine 18 (1):1-6.
    Background The American Association of Medical Colleges has called for incorporation of the health humanities into medical education, and many medical schools now offer formal programs or content in this field. However, there is growing recognition among educators that we must expand beyond empathy and wellness and apply the health humanities to questions of social justice – that is, critical health humanities. In this paper we demonstrate how this burgeoning field offers us tools for integrating social justice into medical education, (...)
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  42.  28
    The Art of Collectively Loving Well in the Digital Age.Kate Milberry - 2017 - Foundations of Science 22 (2):297-300.
    In this response to Pieter Lemmens’ post-autonomist evaluation of the liberatory potential of digital network technologies, Kate Milberry finds the concept of pharmakon as a diagnostic to uncover what ails the worker in technocapitalism wanting. Through an exploration of Marxian concepts and critical theory of technology, she explores ways to augment political responses to capitalist exploitation in the digital age. Milberry concludes that it is not possible to change the sociotechnical foundation of contemporary life until we fundamentally alter the capitalist (...)
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  43.  72
    Experience as art.Sor-Hoon Tan - 1999 - Asian Philosophy 9 (2):107 – 122.
    Chinese philosophy views experience as intrinsically aesthetic. This world view could be elucidated through a consideration of John Dewey's aesthetics and features of Chinese art. Dewey's philosophy of art starts with an understanding of experience as 'live processes' of living creatures interacting with their environment. Such processes are autopoietic in being self-sustaining, ever-changing, capable of increasing complexity, capable of generating novelty, direction and progress on its own. Its autopoietic character is a precondition of the aesthetic in the process of experience. (...)
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  44.  53
    Why Aesthetic Patterns Matter: Art and a “Qualitative” Social Theory.Eduardo Fuente - 2014 - Journal for the Theory of Social Behaviour 44 (2):168-185.
    This paper argues that an explanation of the role of aesthetic patterning in human action needs to be part of any “qualitative” social theory. It urges the social sciences to move beyond contextualism and to see art as visual, acoustic and other media that lead to heightened sensory perception and the coordination of feelings through symbols. The article surveys the argument that art provides a basic model of how the self learns to interact with external environments; and the complementary thesis (...)
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  45. The Double Content of Art.John Dilworth - 2005 - Amherst, NY: Prometheus Books.
    The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies (...)
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  46.  27
    Economic Art and Human Welfare.John A. Hobson - 1926 - Humana Mente 1 (4):467-480.
    While there have always been schools of religious and ethical thought favourable to poverty, or a simple life, the general opinion of mankind has always regarded the increasing wealth of an individual or a community as conducive to human happiness. Qualifications have commonly been attached to this judgment in recognition of a certain danger and deceitfulness of riches, especially when rapidly acquired and lavishly expended, but the presumption still stands that wealth in general conduces to well-being. The nature, degree or (...)
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  47. Nietzsche on the Art of Living: New Studies from the German-Speaking Nietzsche Research.Günter Gödde, Jörg Zirfas, Reinhard Mueller & Werner Stegmaier (eds.) - 2023 - Nashville: Orientations Press.
    The philosophy of the art of living asks the age-old question of orienting one’s own life: ‘How can I live well?’ An art of living is always called for when people do not know what to do and how to go on, when the ways of life are no longer self-evident, when traditions, conventions, rules, and norms lose their plausibility and individuals begin to worry about themselves. The art of living and of its philosophy has a practical aim: It is (...)
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  48. (1 other version)Badiou, pedagogy and the arts.Thomas E. Peterson - 2010 - Educational Philosophy and Theory 42 (2):159-176.
    The essay distils from Badiou's writing a pedagogy based on his theories of knowledge and truth, as brought to bear on poetry and the arts. By following Badiou's implicit ontology of learning, which presupposes a dynamic and passionate engagement with a concrete situation, the essay argues that Badiou's view of modernity, in particular, contributes greatly to the educational topic, and offers an alternative teaching paradigm to the outmoded schools of criticism of the 20 th century. It also argues that (...)
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  49. Heidegger's Thinking on Art.William F. Hasselberger - 1997 - Dissertation, University of Miami
    Martin Heidegger produced a comprehensive, highly original body of thought on art. He conceived of the work of art primarily as a projected place where art happens. For Heidegger, art is a largely linguistic process or an advent of truth, in the sense of a language-bound revealing of the Being of some being . Because art and language are essentially connected, the work of art is place, time and "Volk" specific. The work of art is, like its human author, linguistically (...)
     
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  50.  37
    “Art for humanity's sake” the social novel as a mode of moral discourse.D. M. Yeager - 2005 - Journal of Religious Ethics 33 (3):445-485.
    The social novel ought not to be confused with didacticism in literature and ought not to be expected to provide prescriptions for the cure of social ills. Neither should it necessarily be viewed as ephemeral. After examining justifications of the social novel offered by William Dean Howells (in the 1880s) and Jonathan Franzen (in the 1990s), the author explores the way in which social novels alter perceptions and responses at levels of sensibility that are not usually susceptible to rational argument, (...)
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