Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...) ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

In Art in Context: Understanding Aesthetic Value, philosopher David Fenner presents a straightforward, accessible overview of the arguments about the importance of considering the relevant context in determining the true merit of a work of ...

One point that definitions of art experience disagree about is whether this kind of experience is qualitatively different from experiences related to ordinary objects and everyday contexts. Here, we follow an ecological approach assuming that art experience has its own specific quality that is, not least, determined by typical contexts of art presentation. Practically, we systematically observe typical phenomena of experiencing art in ecologically valid or real-world settings such as museum contexts. Based on evidences gained in this manner, we emulate (...) and implement essential properties of ecological contexts (e.g., free choice of viewing distance and time, large scale of artworks and exhibition-like context) in controlled laboratory experiments. We found, for instance, that for large scale paintings by Pollock and Rothko preferred viewing distances as well as distances inducing most intense art experiences including Aesthetic Aha insights were much larger than typical viewing distances realized in lab studies. Following Carbon’s (2019) terminology of measurement strategies of art experience, the combined use of “Path #1” (real-world context) and “Path #2” (mildly controlled, still ecologically valid settings and contexts), enables us to understand and investigate much closer what is really happening when people experience art. (shrink)

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

The article is dedicated to Ukrainian Art Nouveau architecture, which became a unique phenomenon in the development of late nineteenth and early twentieth-century architecture. Along with the reality that architecture in Ukraine evolved as a component of the European artistic movement, a distinctive architectural style was formed, based on the development of the traditions of folk architecture and ornamentation. This style produced much innovation in the shaping, decor, and ornamentation of buildings. Significant contributions to the development of architectural modernism in (...) Ukraine were made by Opanas Slastion, Vasyl Krychevskyi, Yevhen Serdiuk, Oleksandr Verbytskyi, Serhii Tymoshenko, Oleksandr Lushpynskyi, Ivan Levynskyi, Dmytro Diachenko, and others. Ukrainian Art Nouveau architecture was represented by five main architectural styles: modernist, folkloric, rationalist, neo-baroque, and Vienna Secession. Due to an attainment of the possibilities embodied in the constructions, developed techniques, and in the design of interior space and external features — such as walls, roofs, doors and windows, columns and balustrades — this style formed its own expressive system, which included a significant number of socially significant types of buildings. The styles of Ukrainian architectural modernism have not exhausted their potential and may yet have a continuation in contemporary architecture and that of the future. (shrink)

Examines the complex thirteenth-century poem Roman de la rose in the light of the philosophical ideas of its time and shows the range and scope of the poem's dialogue with pressing philosophical questions at the time it was written.

In the performing arts, such as music and dance performances, people actively interact with each other and show their exciting performances. Some studies have proposed that this interaction is a social origin of the performing arts. Some have further investigated this phenomenon based on the synchronization and coordination theory. Though the majority of these studies have focused on the collaborative context, several genres of the performing arts, such as jazz sessions and breakdance battles, have a competitive context. Several (...) studies have suggested that, in this competitive context, performers actively interact with each other and construct some correspondence. Moreover, a few recent studies focusing on competitive conversations, such as debates, have shown that, compared to people's interactions in collaborative conversations, people in competitive contexts frequently coordinate their behaviors in complicated ways. However, the interaction and coordination among performers in these competitive contexts have not been sufficiently investigated. Therefore, we investigated the coordination of expert breakdancers in battle scenes and measured their rhythmic movements using a motion capture system. We calculated the relative phase of the rhythmic movements between two dancers to investigate their coordination. The results showed that the dancers' rhythmic movements tended to synchronize in an anti-phase fashion, which means that there were similarities as well as differences between the two dancers' rhythmic movements. Furthermore, this pattern of coordination changed dynamically as time elapsed, from an in-phase synchronization or leader-follower relationships to an anti-phase synchronization and then leader-follower relationships. (shrink)

The urgency of the research is determined by the intensive development of new technologies as prospects for further development of society. Art accumulates intellectual, spiritual, material, and value heritage of previous epochs and determines the perspective features of the future. Vocal art is thereby one of the manifestations of individual ideological rethinking. Variety as a socio-cultural phenomenon combines different styles of music, genres, types, and aspects of professional music and vocal performance, which is important for the research in the (...) class='Hi'>context of social rethinking of future social development. Objective of the article is to determine specifics of pop vocal art, its long-term development as an aspect of integration into society of the future. The article reflects the essential characteristics of the concept of pop vocal art and worldview perception of art as an aspect of the future society. In the process of research a method of abstraction, descriptive method, methods of analysis and synthesis were used in the theoretical substantiation and characterization of pop music as a vocal art. The method of generalization and systematization was used to determine the results of the research. The results became the basis for asserting the importance of pop vocal art in the further development of society. (shrink)

This article interprets the formation of personal value orientations in the context of the artistic perception of the world. Personality is formed in the process of socialization and self-realization. Every person in the world is an individual, and individuality is formed in the process of acquiring value orientations, as well as in the conditions of cultural and educational development. Thus, an individual perceives the world and the environment in own way. His or her idea is a consequence of the (...) value perception of the world, which arose as a result of certain life experience and educational activitiy. Human has a value attitude to oneself, to people, to art, to work, to society and state, and such an attitude is formed individually for everyone, but on equal conditions. After all, each individual has own characteristics, own worldview, dreams, and ideas. The perception of art is phenomenological in the formation of value orientations of human. After all, works of art are already a consequence of a certain value representation of a creator, which is interpreted through the work of art. In the course of our research the integration method of synthesis and the analysis of figurative structure, and, the characteristic of works of art are used. The methods of synthesis, analysis and interpretation contribute to the scientific perception of works of art that influence the formation of human values to culture. The results of our study reveal that in general, value attitude are formed throughout a person's life. (shrink)

This article offers a detailed textual reexamination of the ‘family resemblance’ passages to reconsider their implications for understanding art. The reassessment takes into account their broader context in the Philosophical Investigations, including the rule following considerations, and draws on a realist interpretive framework associated principally with the work of Cavell, Diamond, McDowell, and Putnam. Wittgensteinian “realism with a human face” helps us discern that the primary issue is not whether certain concepts are definable, posing a stark opposition between essentialism (...) and its denial about kinds such as language or games. What is at issue is keeping uses of language in view in their variety and their broader life contexts. Focus on rules suggests more broadly that norms and values inhere in practices and play a constitutive role in determining the entities integral to those practices. From this perspective, a Wittgensteinian framework explains art as locally overlapping practices, each with their own constitutive norms and values for the works integral to them. What makes something art has normative force specific to a practice. This recognizes the historically contingent nature of art practices in a way that relational definitions or disjunctive ‘cluster’ explanations do not. (shrink)

The aesthetic experience may be defined as people's interactions with, and reactions to, objects, places, but also to the environment. Most psychological perspectives on the aesthetic experience argue that it results from the coordination of different mental processes such as perception, attention, memory, imagination, thought, and emotion. Physiological and neurological responses are also involved. Aesthetic experiences can take place while we observe works of art in museums and galleries as well as in other contexts such as natural and built environments. (...) Looking at a landscape, walking in a park, meeting people in a square, and walking into a building that is architecturally appealing are examples of natural and built environments where we can experience beauty, pleasure, attraction, and interest, among other aesthetic reactions.Research on aesthetic experiences has a long history, and in recent decades, the field has experienced tremendous growth in the number of empirical studies conducted. One of the areas that researchers have yet to fully address is the influence of the context (natural and built environments) on aesthetic experiences. We refer to context according to three broad categories: Context as natural environments, context as built environments, and environments for aesthetic experiences.Context as natural environments: People show a basic tendency to associate the natural environment with positive evaluations. According to an evolutionary explanation know... (shrink)

Has art theory any function and any importance? A function and importance for who? For the practising artist, theorists, writers on art? Art speak and its place in art theory, art criticism and artists’ statement. - Many tools to create an intersubjective and universal frame of reference to make sense of any art exist., for example art history, labels such as expressionism, impressionism, modern art, contemporary art, Fine art, Visual Arts, Northern Baroque Art, minimalist, post-minimalist, anti-art, anti-anti-art, New Aesthetics, new (...) media, slow art movement, etc and ‘art speak”. (shrink)

Art is analyzed in relation to the socio?political crisis in Russia. Stress is placed on the role of art in the creation of new mythologies.

An alternative to the traditional religious and religious art was the time, which, especially in the XX century, began to intensively transform the entire arsenal of sacred art into the art at a fast pace. All changed - architecture, fine arts, music, literature... There were new types of art, and traditional ones, under the pressure of socio-economic changes and globalization processes, experienced significant deformations in both form and content. Extrapolation of these tendencies to the life of the Christian church and (...) its sacred inspiration in religious art caused a violent reaction, opposition and confusion. Christianity also had to face similar processes, to adapt to the demands of time, but the scale of change that life in the 20th century required was completely different. (shrink)

Philosopher David E. W. Fenner walks a fine line. In Art in Context: Understanding Aesthetic Value, he attempts to throw out the dirty bathwater of formalism while leaving the baby, the work of art itself, unscathed. He defines formalism as the approach to art in which the viewer “restricts her attention to the formal properties of the object, properties that are accessible through the senses . . . in the object” (xv). Fenner is not interested in defining art, which (...) is the primary role of professional aesthetics, but experiencing it (1). And he argues, quite rightly, that formalism cannot account for the richness of aesthetic experience. Fenner accounts for this richness through “context,” by which he means “all .. (shrink)

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

The main subject of this research is the specificity of I. E. Repin's perception of the dynamics of artistic-aesthetic tasks formed under the influence of changing modernity. In view of this, one of the compositional centers of the research is the history of relationship that developed between I. E. Repin and the artists of the “first wave of symbolism” – members of the association “The World of Art”. Special attention is given to the question of perception of I. E. Repin (...) by certain representatives of the avant-garde in 1910s. Developing in the range “attraction – negation”, full of dramatic and comic moments, the dialogue between Repin and younger generation indicates the hastiness of univocal view of realism and Art Nouveau as opposing imagery systems. For the first time, on the current level of scientific comprehension of the aesthetics of symbolism and neo-romanticism, the article analyzes the attitude of I. E. Repin towards the innovative imagery pursuits of the Art Nouveau artists. At the same time, the very concept of Art Nouveau is interpreted in two dimensions: as a certain milestone in the context of the development of the history of art of the late XIX – early XX century; and as an inner dynamic potential embedded by I. E. Repin in his works since the beginning of his creative path. Based on systematization of the artistic and documentary sources and the method of complex reconstruction of the views of Peredvizhniki and symbolist artists upon the objectives and nature of art, the author concludes that the poetics of art of Ilya Repin, synthesizing the ideas of time, tends to reflect a complicated and distinctive artistic image formed by realistic and idealistic principles. (shrink)

Résumé La question du rapport de l’art à l’éthique se pose de manière différente suivant qu’on la considère du point de vue des présuppositions éthiques que recèle l’offre artistique, ou du point de vue de l’éthique elle-même, des réponses, possiblement décalées, qu’elle apporte aux précédentes. En outre, il convient d’examiner cette question dans le contexte où l’art avait son plein sens et dans le contexte actuel de sa dé-définition.

This book discusses how China’s transformations in the last century have shaped its arts and its philosophical aesthetics. For instance, how have political, economic and cultural changes shaped its aesthetic developments? Further, how have its long-standing beliefs and traditions clashed with modernizing desires and forces, and how have these changes materialized in artistic manifestations? In addition to answering these questions, this book also brings Chinese philosophical concepts on aesthetics into dialogue with those of the West, making an important contribution to (...) the fields of art, comparative aesthetics and philosophy. (shrink)

The Liberal Arts model of undergraduate education within small, internationally-focused University Colleges is becoming increasingly popular in Europe. This trend is most notable in the Netherlands, where the liberal arts model is acclaimed as filling a gap in Dutch undergraduate education at conventional research universities. This paper explores the status of the Dutch University College as simultaneously continuing the liberal arts tradition of the US, with its civic and pedagogic values, and providing a truly modern education preparing students to find (...) innovative and inter-disciplinary solutions to the complex problems which define contemporary society. It concludes that the traditional role of a liberal arts education in cultivating intellectual rather than vocation skills does not have to exclude its appeal as providing the skills necessary for professional success in global sectors of the 21 st century knowledge economy. (shrink)

This article investigates the aesthetic experience within telematic space, using terms introduced by kleinian psychoanalysis. We argue that the object of the aesthetic experience in multi-sensory interactive installations can be analysed within a spatial context of a dual nature, involving both the physical space of the installation and the virtual space of the participating subject’s perception, a hybrid space. Therefore, we discuss the aesthetic experience of interactive artworks as an intersubjective relationship between the artist and the audience, where the (...) aesthetic object becomes the subjective perceptual experience of this process of interaction. The space, where the visitor ‘meets’ the artist, is the place of the aesthetic experience. Aesthetic experience takes place in both the physical and the ‘potential’ world of our internal representations, the internalized, ‘mental space’ of projected fantasies: our unconscious. (shrink)

A CasaDuna – Centro de arte, pesquisa e memória de Atafona é uma residência de arte sediada na praia de Atafona localizada no município de São João da Barra, litoral norte do estado do Rio de Janeiro. A região, próxima ao delta do rio Paraíba do Sul, sofre há mais de cinquenta anos um intenso processo de erosão costeira. Pretendemos expor relatos de uma experiência interdisciplinar a partir de uma metodologia de pesquisa-ação, em produções de arte contemporânea que operem com (...) o agenciamento contextual. Defendemos que existe uma dimensão ética, estética e política ao se propor a trabalhar com o ambiente, principalmente no que concerne à possibilidade de desenvolver ações que afetem imaginários e epistemologias na relação com o território. Esses serão apontamentos sobre o desenvolvimento de um trabalho de mediação pedagógica e curadoria em uma residência artística com arte ambiental em um contexto erosivo. (shrink)

In this first of two articles, I look at the project for the “Encyclopedia of Artistic Terminology” in connection with the idea of a synthesis of the “artistic sciences” as the principal task of the State Academy of Artistic Sciences (GAKhN, 1921–1930) in Moscow. The most important feature of the Academy was the unity of its epistemological conception (the system of artistic sciences) and the institutional structure of the Academy (its “departments,” “sections,” and “laboratories”), which embodied the interdisciplinary intention of (...) uniting the philosophy of art, the artistic sciences, and artistic experimentation. I analyze the connection of the project with the task of “concept formation” in the artistic sciences, which was recognized in European philosophy at the beginning of the twentieth century as the main criterion for scientificity in the human sciences. I also investigate how the Encyclopedia project, developed by Gustav Shpet, took into account previous attempts to systematize aesthetic terminology (in nineteenth-century dictionaries). I show that the project of the “Encyclopedia of Artistic Terminology” was not the sole attempt to create a new dictionary of aesthetic concepts and of the cultural sciences. Similar projects were being developed in the 1920s and 30s in Germany (Erich Rothacker planned to produce Handwörterbuch der gesamten gemeingeisteswissenschaftlichen und kulturphilosophischen Grundbegriffe) and in France (Étienne Souriau published Vocabulaire d’esthétique; see Souriau 2010). (shrink)

[Vol. 1.] Text volume -- [Vol. 2.] Illustrated volume.

Street art and graffiti are on the rise and their problematic relationship with the law is becoming an increasingly pressing issue. This paper considers a series of high profile street art controversies involving famous street artists Banksy and Alice Pasquini as cases studies for illuminating such a relationship. First, by discussing the “Banksy’s Law” – a “law” protecting street artworks in the style of Banksy while condemning graffiti – and its perceived arbitrariness, I investigate what I call the structural differences (...) between aesthetic and legal judgments. While not denying some continuity in reasoning about the law and the arts, I argue that legal judgments possess a degree of formality that cannot be found in their aesthetic counterpart. Second, in expanding my discussion, I also maintain that aesthetic considerations should not function as overriding reasons in legal determinations. By being illegal, many street artworks and graffiti acquire subversive power. If deprived of the possibility of challenging the law because of their aesthetic value, these art forms would lose much of their political value. And, more generally, a world where artworks cannot challenge the law is a world where the arts are rather superficial forms of entertainment. (shrink)

Decolonizing aesthetics requires a philosophical reexamination of art and cultural representation to address ethical conflicts and the legacy of colonial biases. This study explores the suppression and marginalization perpetuated by colonial aesthetics, with a focus on gender, race, and cultural diversity. Drawing on postcolonial theories, the research highlights the disparities and systemic exclusions within artistic traditions, advocating for decolonized practices that restore and celebrate suppressed cultural expressions. Case studies such as Indigenous Futurism and exhibitions promoting the art of formerly colonized (...) communities illustrate the practical application of decolonization efforts. Using primary data analyzed through Smart PLS software, the study examines correlations and causal relationships between decolonization initiatives and shifts in aesthetic valuation. The findings reveal both challenges and opportunities in dismantling colonial legacies, emphasizing the role of art education, public workshops, and community engagement in fostering awareness and inclusivity. Artists and institutions play a pivotal role in promoting decolonized aesthetics by addressing historical biases and amplifying marginalized voices. Decolonization emerges as an ongoing ethical and cultural practice aimed at dismantling colonial power structures in art and aesthetics, ensuring a more equitable representation of global artistic traditions. (shrink)

From text to action -- Park fiction, ala plastica, and dialogue -- The risk of diversity -- Programmatic multiplicity -- Art theory and the post-structuralist canon -- Lessons in futility -- Enclosure acts -- The twelfth seat and the mirrored ceiling -- The atelier as workshop -- Labor, praxis, and representation -- The divided and incomplete subject of yesterday -- Memories of development -- The limits of ethical capitalism -- The art of the locality -- Blindness and insight -- The (...) invention of the public -- The boulevards of the inner city -- Park fiction : desire, resistance, and complicity -- A culture of needles : project row houses in Houston. (shrink)

Art theory has consistently emphasised the importance of situational, cultural, institutional and historical factors in viewers’ experience of fine art. However, the link between this heavily context-dependent interpretation and the workings of the mind is often left unexamined. Drawing on relevance theory—a prominent, cogent and productive body of work in cognitive pragmatics—we here argue that fine art achieves its effects by prompting the use of cognitive processes that are more commonly employed in the interpretation of words and other stimuli (...) presented in a communicative context. We describe in particular how institutional factors effectively co-opt these processes for new ends, allowing viewers to achieve cognitive effects that they otherwise would not, and so provide cognitivist backing for an Institutional Theory of Art, such as that put forward by Arthur Danto. More generally, we situate and describe the Western fine art tradition as a phenomenon that is a consequence of both the cognitive processes involved in communication, and of cultural norms, practices and institutions. (shrink)

The recent swell of public interest in AI image generating software, such as Midjourney, DALL-E 2, and Stable Diffusion, has led to a great deal of consternation among conventional visual artists. Understanding that the process through which these machines generate images depends ultimately on a machine learning process that involves the use of copyrighted artworks, has led many artists to allege that AI art is theft. There has already been a substantive debate in the literature concerning whether this use of (...) copyrighted material by AI image generating software constitutes copyright infringement in the United States. However, the artists’ complaint appears to be a moral claim, rather than a legal one. In this paper, I will argue that these artists are essentially mistaken. Their copyrights should not protect them from this use of their art by AI image generating software. While I am sympathetic to the claims that this technology will harm visual artists, and that there should be some kind of protection afforded to artists against that harm, that harm is not caused by anything analogous to theft. (shrink)

The role of the arts has become crucial to understanding the origins of “modern human behavior,” but continues to be highly controversial as it is not always clear why the arts evolved and persisted. This issue is often addressed by appealing to adaptive biological explanations. However, we will argue that the arts have evolved culturally rather than biologically, exploiting biological adaptations rather than extending them. In order to support this line of inquiry, evidence from a number of disciplines will be (...) presented showing how the relationship between the arts, evolution, and adaptation can be better understood by regarding cultural transmission as an important second inheritance system. This will allow an alternative proposal to be formulated as to the proper place of the arts in human evolution. However, in order for the role of the arts to be fully addressed, the relationship of culture to genes and adaptation will be explored. Based on an assessment of the cognitive, biological, and cultural aspects of the arts, and their close relationship with ritual and associated activities, we will conclude with the null hypothesis that the arts evolved as a necessary but nonfunctional concomitant of other traits that cannot currently be refuted. (shrink)