Umayyad Islamic art has a very rich understanding of art. It will not be possible to create architectural, handicrafts and other custom decorations of these dates, including animal decorations and animal decorations. Therefore, it has become a very important owner in figure art. The figures of the early Islamic period have a common style and style while under the influence of different cultures. In this high Islamic art, it is preserved and maintained before it is transformed into a form (...) that can be applied from sculpture and painting. It is one of the figures that can be said to what extent the people who have survived until today. Because human and animal figures will not be a part of the most important elements of Islamic art. With the absence of Islam and the negative view of the statue, the life necessary for an early period aimed to be completed. In the design of the plan, private 'civil decorations' can be included in Islamic art with a political planning. Do not avoid this art because they are not cautious about verses and events. In this work, it is aimed to place the subject in question, to bring it to the exhibition and to imagine a wider window expression. Therefore, it will be a pleasure to reach and present the goals achieved. (shrink)

Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in a (...) variety of ways--through personal experience, natural history, cultural studies, philosophical inquiry, art history, literary analysis, film studies, and theoretical imagining, and through a combination of these trains of thought. The essays expose weaknesses in western epistemological frames of reference that for centuries have limited our views and, thus, our experiences of animal being, including our own. (shrink)

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements (...) used, constructions often resulted in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)

This chapter considers several dimensions of humanity’s “in-betweenness,” starting from the historical roots of the idea in Western theology, philosophy, and science. A fundamental distinction is highlighted between “human” as a continuous property and as a discrete entity. The former focuses on the human as a state of being into and out of which something might pass, whereas the latter focuses on being human as a state that something is or is not at a given moment. Both (...) conceptualizations of the human bear on the construction and significance of the Turing Test, which aims to distinguish a human from a computer simply based on responses to questions posed by a human. Usually, the Turing Test is seen as selecting the computer as non-human, but it may be redeployed to select the computer as human. This latter prospect is dubbed “Turing Test 2.0” and explored in the rest of the chapter, especially in terms of the figure of the cyborg, which has passed from cybernetics through science fiction to the lived experience of an increasing number of beings. Implied in Turing Test 2.0 is “judgement” on how a candidate might count as human. Here, foundational questions about the ontology of art are applied to understand the requisite sense of judgement involved. In the modern period, these have tended to undermine any strong connection between a work’s origin and its value. In the spirit of Turing Test 2.0, they oppose “cishumanity,” namely, the notion that one must be born human to be human. (shrink)

A well-known Hungarian philosopher, politician, literary and art theorist Georg Lukacs was a notable figure of philosophical thought in XX century. Although he was interested in many problems philosophical-aesthetical matter is the main one in all his works. The problem of human alienation from social forms is outlined in his numerous literary, philosophical, aesthetical works of pre- and post- Marxian periods. The concept of philosophical-aesthetical grounds for overcoming human alienation has been developed in his art from romantic (...) feeling of existential tragedy through the utopian expectancy of “aesthetic ideal” realization to the reliance on being conscious of individual blood nature through dialectic penetration of subjectivity and objectivity in the process of aesthetical perception. Thus he has the unaltered point of view that the art is a particular opposed to alien human nature sphere of being which allows taking away the dual principle of alien forms of human being and its essence. (shrink)

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements (...) used, constructions often resulted in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)

The objective of this article is to investigate the perceptual experience of a mediated temporality as it pertains to the structure and iteration of the narrative matrix. It examines the construction of the internal narrative assembled from disparate points of media production and distribution fictionalized into codified sequences through the operational stages of figuration and the subsequent iteration. The article will consider the syntagmatic and the paradigmatic within the narrative matrix of the Arab Spring, and the subsequent breakdown of the (...) chronological and mimetic activity. […] time becomes human to the extent that it is articulated through a narrative mode, and narrative attains its full meaning when it becomes a condition of temporal experience. (shrink)

There is an irony in that, the modern empirical and scientific study of metaphor, as arguably the major form of figurativity, arose in part from a realization that metaphor resides in territories s...

In recent years, the research field of the evolution of art has witnessed contributions from a wide range of disciplines across the "three cultures". In this thesis, I make both a critical review of existing explanations, and try to do elucidate the evolution of art by employing insights, methods and concepts from different disciplines. First, I critically evaluate the evidentiary criteria from standard evolutionary psychology some accounts employ to demonstrate that art qualifies as a human biological adaptation. I argue (...) that these criteria do not suffice to make that claim. Furthermore, I make the case for a cultural evolutionary approach to the arts. One commonly used evidentiary criterion for art as adaptation is the “tight fit” between artnbsp;human cognition, which is interpreted as suggesting that cognition has undergone selection to produce and appreciate art. However, disentangling cultural and genetic evolution allows formulating thenbsp;hypothesis that art has evolved culturally to match human cognition. Second, I observe that in ancient and modern hunter gatherer societies, artistic activities are virtually alwaysnbsp;with ritual. I discuss what this implies for the adaptive significance of art. Specifically, if the arts have culturally evolved in function of ritualistic purposes, their adaptive value has depended on the adaptiveness of ritual. Third, because architecture is characterized by the combination of utilitarian and aesthetic aspects, it is particularly interesting from an evolutionary perspective and therefore I devote special attention to it. Employing the cross-species comparative approach, I investigate two main purposes human architecture has in common with nonhuman animal constructions: protection andnbsp;Based on the phylogenetic approach I establish that protection may have been the primary function of building aptitudes in humannbsp;and that building was later co-opted for signaling purposes. Subsequently, I comparatively evaluate thenbsp;of signaling models in the cultural evolution of architectural aesthetics. Furthermore I combine insights from environmental psychology, niche construction and cultural evolution theory to develop the hypothesis that a function of religious monumental architecture may have been to support nbsp;or even to galvanize nbsp;social learning. Finally, I connect the account I developed to the cognitive science of religion. I complement the frequently held view that religious monumental architecture is a costly signal with the mechanism of sensory exploitation. I attempt to demonstrate that by exploiting thenbsp;response of awe in religious followers, religious monumental architecture promotes and regulates prosocial behavior and creates in them an openness to adopt supernatural beliefs. Fourth, I dealnbsp;the evolution of visual art, paying again special attention to cultural evolution andnbsp;explanatory value of sensory exploitation. I assert that the relatively late appearance of figurative art in the course of human evolution may be attributed to an increase in the number of social learning opportunities within and between human populations at that time. I support this assertion with archaeological data that indicate overall population growth and increased population densities at that time. These demographic changes, I argue, have allowed the retention and accumulation of innovations required for figurative art making. Contrary to previous accounts, I furthermore aim to show that this process doesnbsp;require figurative art to have served adaptive purposes. Employing sensory exploitation, I establish that figurative art could have evolved by exploiting pre-existing biases of evolved psychology. The dominant themes of upper Paleolithic and late stone age figurative art, animals and humans, seem to support this contention. Fifth, I present a number of experimental studies I conducted to verify whether contemporary art experts would have socially learned to resist exploitation of evolved psychology. One aspect ofrsquo;s exploitative power may be that it elicits aesthetic pleasure by pushing “pleasure buttons” that evolved for other purposes. Consequently, spectators may trade-off rewards from indulging in art and biological activities, resulting in less effort being allocated to reproduction. I contend that, while the generalnbsp; may indeed be exploited, experts, who are typically being exposed to high doses of art, may have socially learned to resist exploitation by selectively preferring art from prestigious art contexts. The latter would be in line with the claim that prestige bias may trump content biases of evolved psychology. The results of three experimental studies supportnbsp;contention. I find that laypeople's art appreciation is positively affected by a content bias for attractive faces, mediated by aesthetic pleasure, whereas experts' appreciation is positively affected by prestige and mediated by admiration for the artist. Moreover, experts confer lower appreciation to attractive compared to moderately attractive content, which is consistentnbsp;the contention that expertise and the use of prestige are associatednbsp;resistance against beautiful content that exploits evolved preferences. This research thus suggests that expertise moderates content and context biases, which may be of relevance to an ongoing debate about their relative importance as drivers of cultural evolution. In addition, this study provides a tentative but novel explanation for the fact, famously established by philosopher Arthur Danto, that beauty lost its central position in Western art during the 20th century. However my findings cannot exclude alternative explanations for the fact that art expert appreciation deviates from evolved aesthetic preferences. Further research may experimentally assess the role of prestige bias and resistance as drivers of this deviation versus other, previously suggested, potential processes. For example, preferences of experts may deviate on account of the fact that art serves as a badge of elite group membership and thus expert art appreciation as a means to distinguish oneself from the masses. Alternatively, art experts may seek intellectual challenges instead of pushing pleasure buttons. Future research may experimentally verify the respective roles of these different hypothesized mechanisms. In addition, it may be investigated how insights from sexual selection research may help elucidating the different processes at play in cultural evolution and particularly in the cultural evolution of art appreciation, given the commonalities between sexual selection and cultural selection models. (shrink)

This book is the first attempt to think philosophically about the comic phenomenon in literature, art, and life. Working across a substantial collection of comic works author Agnes Heller makes seminal observations on the comic in the work of both classical and contemporary figures. Whether she's discussing Shakespeare, Kafka, Rabelais, or the paintings of Brueghel and Daumier Heller's Immortal Comedy makes a characteristic contribution to modern thought across the humanities.

This paper draws a correlation between processes of research and drawing by analyzing the formation of emotional content and stylistic representation in art. The paper suggests that research process fundamentally involves a systematic development of understanding on a particular issue through a process of rational inquiry. The research outcome or an intellectual understanding is therefore nothing more than a thoroughly investigated form of a hypothesis/ premise/ theory/ idea that has undergone a careful process of scrutiny, comparison and evaluation. On similar (...) grounds, drawing process also involves a systematic development of form in which adjustments are made with the help of nonverbal reasoning till the final form is evolved. The development of form in drawing becomes a systematic rational process but operates at a subconscious plane; reason is substituted by aesthetic sensibility. It is suggested that aesthetic sensibility is a judgment that the human mind tailors through the use of non-verbal criteria of evaluating the beautiful and ugly. The paper develops a theoretical model in the light of above and then applies it to analyze various drawing conventions used by Sadequain in figurative treatment. (shrink)

This article analyses 2001 in terms of what I term paleofuturism. Fusing deep future and deep past, this cyclical figure reconciles rational machinic intelligence with diverse repressed temporal layers: archaic cultures, the embryonic state of individuals, and bygone biological and geological eras. In 2001, paleofuturism is nourished by Nietzsche’s Übermensch of the future, reborn as a child, and by Jungian ideas of individuation, the reconciliation with the shadow of the collective unconscious that leads to the black cosmos itself. Further (...) paleofuturist contexts for 2001 are explored in the so-called “ancient astronaut thesis” of science fiction, speculative science, and pseudo-science. Finally, in minimalism and earth art of the late 1960s we meet a structural parallel to 2001’s bypassing of the organic human body, one that bridges the inorganic entropic realities of deep future and deep past. (shrink)

In this inspirational discourse, scholar Sarah Wider and Buddhist leader Daisaku Ikeda celebrate the great spiritual and literary figures, East and West, who have inspired their own work as educators, poets, and peace builders, including both the men and the women of the American Renaissance. They reserve their highest praise, though, for the lesser-known influences, especially teachers and mothers, whose humble, compassionate actions provide the truest foundation for the realization of ever-greater peace. Ultimately, the book is a tribute to the (...) bonds that give life meaning. These bonds are the ones built between friends and family; those who teach and those we might learn from; with the great thinkers of the past who live on in books, poetry, and art; with nature; and most of all with the best version of ourselves. (shrink)

Tanja Klemm legt in dieser kunsthistorischen Studie ihr Augenmerkauf das Verhältnis von Bild, Wahrnehmung und Betrachterkörpern im Spätmittelalter und in der Renaissance. Medizin, Naturphilosophie, Theologie und Bildtheorie dieser Zeit nimmt sie unter der Perspektive einer historischen Phänomenologie der Verkörperung in den Blick: Sinnliche Wahrnehmung versteht sich vor dem Hintergrund zeitgenössischer Theorien vom lebendigen Körper (corpus animatum) in einem ganzkörperlichen Sinn; Wahrnehmung - in den Worten der Zeit perceptio bzw. conceptio - erfolgt als gesamtorganismischer Vorgang. In einem ersten Teil der Studie (...) liegt der Fokus auf der Lebendigkeit und Sinnlichkeit des corpus animatum aus medizinischer, theologischer und bildtheoretischer Sicht. Daraus entwickelt die Autorin eine Theorie des Bildes und der verkörperten Wahrnehmung, die bisher innerhalb der Renaissanceforschung nicht im Mittelpunkt des bild- und wahrnehmungsgeschichtlichen Interesses stand. In einem zweiten Teil exemplifiziert sie diese Theorie anhand von kunsthistorischen Studien zu Leonardo da Vinci, Albrecht Dürer und Martin Schongauer. (shrink)

The dissertation is an interdisciplinary study of the dismantling effects postmodern discourses have within the humanities. Postmodernism's anti-foundationalism, I argue, can only take shape around questions of ultimacy and sacrality in human existence. The dissertation explores the emergence, persistence and metamorphosis of the ultimate and the sacred in art history, modern literature, continental philosophy, and religion. Central figures studied in the work include Mircea Eliade, Gilles Deleuze, Jacques Derrida, Andre Malraux, Friedrich Nietzsche, and Ludwig Wittgenstein.

Maurits Cornelis Escher’s 1938 lithograph, Cycle, illustrates what mathematical physicist Roger Penrose calls ‘impossible objects’. The illusion of three-dimensionality, the innovative use of tessellation, and the incorporation of traditionally figurative elements induce the viewer to perceive the lithographic print as depicting a visually plausible reality built on the deconstructive metamorphosis of man into cube. It is Escher’s ability to paradoxically combine the radical oppositions of man and cube, landscape and geometric abstraction into an apparently harmonious composition where shapes repeat with (...) subtle variation and almost imperceptibly transition into radically different shapes that I want to use as a visual paradigm for conceptualizing the shifts in human consciousness in the digital age. Roger Penrose, path-breaking theorist of consciousness as a physical but non-computational process, was inspired by and inspired Escher. Penrose’s provisional concepts of consciousness, time and space can be visually compared to Escher’s earlier man-cube renderings, where each of these individual design elements allows the transition to another shape. In other words, Penrose’s theories, like Escher’s design concepts, illustrate a moment of transition in consciousness theory. As in Escher’s Cycle, the individual elements are being continually redefined, reshaped and revealed. Each may be a unique distortion of the previous, but this does not mean that it is disconnected or independent of the final outcome. These distortions are transitional elements that lead us visually to the other side of the composition. Radical transformations and developing connectedness in the boundaries between art, technology and science function like the individual elements in Escher’s Cycle. As we try to define the shifts in human consciousness occurring in the digital age, visually speaking, we are focusing on only one element right in the middle of an Escher metamorphosis, unable to see exactly how this element will be part of the completed design. This thought can be both frightening and liberating: frightening because we humans are used to relying on boundaries and predictable outcomes to feel a sense of control, liberating because anything and everything is possible and the changes will occur naturally as part of the transition. If Escher teaches us anything, it is that each piece in the meta-morphosis is needed to complete the big picture. (shrink)

In a wide-ranging argument moving from Sumerian demons to Lucian Freud, from Syriac prayer books to John Carpenter's film The Thing, this book explores the ways the body has been represented through time. A response to the vertiginous increase in writings on bodily representations, it attempts to form a single coherent account of the possible forms of representation of the body. This work brings together concerns, images, and concepts from a wide range of perspectives: art history and criticism, the history (...) and philosophy of medicine, the history of race, phenomenological and post-phenomenological thought, studies of feminism and pornography, and the new interest in visual studies. Yet it is less a philosopher's look at history or a historian's foray into philosophy than a practical and critical look at the current constellation of art practices. Above all, it is intended to be of immediate use in the conceptualization and production of visual art and its history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Place of Touch in the ArtsChristopher Perricone (bio)IntroductionIn Breughel's great picture, The Kermess, the dancers go round, they go round and around, the squeal and the blare and the tweedle of bagpipes, a bugle and fiddles tipping their bellies (round as the thick- sided glasses whose wash they impound) their hips and their bellies off balance to turn them. Kicking and rolling about the Fair Grounds, swinging their (...) butts, those shanks must be sound to bear up under such rollicking measures, prance as they dance In Breughel's great picture, The Kermess.1"The Dance" written by William Carlos Williams in 1944 is one of my favorites. Williams gives us a feel for that life of the kermess (a carnival) in his poem through Breughel's picture, as it were three times removed from the event itself. Of course, unlike Plato, I would argue that the vitality of the kermess is not lost in the poem; it is actually enhanced by a subtle sleight of hand. The poem is not primarily about Breughel's picture. It is about dance, about the dancers who go round, their squeal, the crude music, its rollicking measures, the dancers kicking and rolling and swinging, their hips, bellies, and butts. Reading this poem, I "see" those ordinary folk of Breughel's great picture. I "hear" their music. I "move" to their dance. The poem seems a condensation, a summary of the fine arts. Perhaps the poem is about poetry's power to reinvigorate imaginatively what we hear and see. Perhaps I think of festivities at which I have danced, how such festivities are essential to the human experience. Perhaps William Carlos Williams in 1944, World War II coming to a close, was anticipating similar good times.Tactile ValuesThe fine arts do much to educate our senses. One need only recall the many essays and books written on art, on how to look and hear, how various [End Page 90] critics draw our attention to the power of imagery and song. The well-formed visual and auditory sensations we gain from the arts are, as it were, the melody of those experiences. They are the pictures we store away, the tunes we whistle. However, here I want to draw attention to an overlooked sense—touch. I want to argue that touch is the bass line to the melody of sight and hearing in the arts, that is, that touch keeps the artwork coherent and grounded.This is an old idea. Bernhard Berenson had the idea when he was examining the painters of the Italian Renaissance. In a sense this article is a resurrection of Berenson's idea of "tactile values." Berenson was on to something both about painting and about the arts in general. However, he lacked the scientific evidence about touch and its role in human relationships needed to develop his idea of tactile values to any great extent.The idea of tactile values is first mentioned at the beginning of the essay "The Florentine Painters." Berenson is discussing the art of Giotto. However, prior to plunging into his subject, he says that we need to know what is essential to figure painting before we can appreciate its real value. What is essential are the "tactile values" we give to our retinal impressions, "a test of reality."2 Painting stimulates touch in order for it to stimulate our "tactile imagination."3 Giotto was a genius in stimulating the tactile imagination. Like other medieval masters, Giotto was a fine story teller and had great compositional skills. However, unlike Giotto, other medieval masters "never painted a figure which has artistic existence."4 Giotto's predecessors crafted "highly elaborate, very intelligible symbols, capable, indeed, of communicating something, but losing all higher value the moment the message is delivered."5 If such medieval symbols communicated anything at all, it was only some residue of what one might touch; whatever reality those symbols might have possessed was virtually eviscerated by the artists' emphasis on form and cognitive content. Giotto's predecessors were driven merely by ideas and, one might add, not altogether consistent and coherent ones. On the contrary, Giotto's work seemed to... (shrink)

This article analyses the sign systems or semiotic models that make up the meaning of a double face or mask drawing in the pre-Columbian rock art of Colombia, also discussing two human figures with depicted faces associated with the main picture. The sample of rock art was detected on the walls of the Chicamocha Canyon at the Mirador de Barcenas site in the Santander Department in Northeast Colombia. Its origin is attributed to the Guane chiefdom. We hold as a (...) central argument that this face and its gestures were part of a sign system or visual semiosphere that spread along the banks of the Chicamocha Canyon. However, the image shared some semiotic models and visual communication strategies with societies that inhabited areas in central Colombia located hundreds of kilometers away from the site studied. We support this claim because the forms, the use of the space in the images, and the gestures of a hieratic character appear both in the faces of the petroglyphs of the Huila Department as well as in some pre-Hispanic gold masks from the Cundinamarca region. The images of the rock art faces were analysed using a visual semiotic model based on the suggestions of the Mu group and analyses by Felix Thurleman and Jean Marie Floch. The analysis was complemented by Jacques Fontanille’s proposal for the levels of semiotic relevance, with Juri Lotman’s concept of the semiosphere employed as a key concept. (shrink)

The subject of the study is the consideration of modern trends in the study of fine art, in particular Russian portrait and narrative painting of the beginning of the XXI century. The object is scientific works related to various fields of the humanities, namely: art history, aesthetics, anthropology, sociology, philosophy, psychology, etc. Using their material, it is possible to show not only the difference in approaches to understanding the essence and role of the image of a modern person in the (...) art process, but also to demonstrate the specifics of the artistic interpretation of this figurative system in the context of art criticism, cultural and philosophical issues. Such a study allows us to systematize existing ideas about the peculiarities of the development of anthropological subjects in the mainstream of contemporary fine art in modern Russia, to identify the main directions. The main methodological basis of the study was a systematic approach that allowed us to consider contemporary Russian art as a single system. This helped to compare the approaches of modern researchers analyzing the place and role of the human image in it. Through the postmodern paradigm of perception and interpretation of anthropological topics, to identify the essential features of the ideas of Russian scientists. Methods of art historical analysis were also used. The starting point of the research is that at the moment in Russian science there is a body of art history and cultural studies devoted to the development of contemporary art in the country. However, there are no works summarizing the existing experience of scientists and defining the main directions of scientific thought. In light of this, the scientific novelty of the article lies in expanding the understanding of the methodological apparatus necessary for the analysis of the anthropological trend in the visual arts of our time, which is a promising path for future research in this area. The most demanded conceptual philosophical and historical-cultural foundations for the analysis and solution of practical problems in the field of contemporary art in relation to the representation of the human image are identified. Empirical research material has been collected and analyzed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 78-98 [Access article in PDF] Aesthetic Understanding as Informed Experience:The Role of Knowledge in Our Art Viewing Experiences Richard Lachapelle, Deborah Murray, and Sandy Neim [Figures] Thinking calls for images, and images contain thought. Therefore, the visual arts are a homeground of visual thinking. 1A common misconception about the nature of art and of aesthetic appreciation is that these activities are essentially (...) a question of "feeling," as if tuning in to the right feeling will automatically lead to a full understanding of the work of art. Another widespread misunderstanding essentially reduces art viewing to a simple question of perception, as if looking long and hard isalways enough to apprehend the work of art's message. Fortunately, a growing body of research into adults' art viewing experiences is debunking these widely held beliefs as oversimplifications of the art viewing process. We can now assert, with a good degree of certainty, that our art viewing experiences solicit four key areas: the affective, perceptual, communicative, and cognitive dimensions of human experiencing. 2 Therefore, we would be hard-pressed not to agree with Rudolph Arnheim's reflections, presented above, on the important role of thought in shaping our artistic and aesthetic experiences.While acknowledging at the outset the essential roles of affect, perception, and communication in our art viewing experiences, this paper focuses more specifically on aspects of the intellectual dimension of this experience. First, we will present and discuss a model that we have developed over the last several years. This model identifies the kinds of knowledge and learning involved in art viewing activities. Second, we will present the results of an empirical study conducted to provide support for the model. Finally we will briefly discuss the model's usefulness for the purposes of aesthetic education. [End Page 78] The Model of Aesthetic Understanding as Informed Experience The Model of Aesthetic Understanding as Informed Experience provides an explanation of the process of understanding and appreciating a work of art from an educational perspective: it identifies the types of knowledge involved and it also pinpoints the kinds of learning at each stage in the process leading to an understanding of the aesthetic object.In this model, the process of viewing and understanding a work of art is visualized as a two-phased type of informed experience. Through a process of experiential learning, the viewer first encounters the work of art and formulates an initial interpretation. Then, through a process involving theoretical learning, the viewer compares his or her first interpretation with a related body of external, scientific information. This second step in the learning process leads to a reconstruction of knowledge about the work of art. Tandem use of the two processes assists the viewer in furthering his or her understanding of the art object; it also promotes growth in his or her art viewing skills. In the course of each new encounter with an aesthetic object, the interplay of experiential and theoretical learning leads to additional development of the viewer's background knowledge in art, resulting in better preparedness to successfully engage the next work of art. 4 Theoretical Foundations of the Model Three different theories informed the development of the model. 5 By using anecdotal evidence obtained from a group of fifty-two museum professionals, Mihaly Csikszentmihalyi and Rick E.Robinson were able to identify the four major dimensions of aesthetic experience: intellect, communication, perception, and emotion. Each one of these dimensions constitutes, to some extent, a challenge that the work of art addresses to the viewer. According to these researchers, the intellectual dimension of aesthetic experience consists of all aspects of the viewer's attempts to use knowledge in order to find meaning in the work of art (TAS, 27-71). Csikszentmihalyi and Robinson also propose a model that describes the aesthetic encounter in terms of an interaction between the viewer, the work of art, and the artist. To this encounter, the viewer brings his skills in aesthetic appreciation; these may be... (shrink)

In his Ideas II , Husserl interprets the apprehension of cultural objects by comparing it to that of the human “flesh“ and “spirit.“ Such objects are not just “bodies“ ( Körper ) to which a sense is exteriorly added, but instead they are, similarly to human bodies ( Leiber ), entirely “animated“ by a cultural meaning. In fact, this is not just an analogy for Husserl, since, in several of his later notations, he comes to show that cultural (...) objects are actually understood as such by means of an apperception employing empathy, as sediments of subjective acts and performances. Understood as cultural objects, images also point towards a previous subjective doing, and it is precisely by grasping this “pointing“ that we comprehend them in their proper significance as artifacts. In my paper, I would like to explore the nature and forms of this empathic “pointing,“ focusing on the possible use of Husserl's conception for an interpretation of non-figurative art. (shrink)

What is the relation between mimesis and posthumanism? And why should these seemingly antagonistic concepts be joined in a volume opening up a new branch of posthuman studies titled Mimetic Posthumanism? After the plurality of innovative qualifications that, since the twilight of the twentieth century, have been giving critical and creative specificity to the posthuman turn, rendering posthumanism "critical" and "speculative," "philosophical" and "ecological," among other future-oriented perspectives, adding "mimetic" to the list of qualifications may initially sound disappointing. Skeptics might (...) wonder: What now? Is the posthuman turn so deprived of originality that it now returns to the old humanistic notion of "mimesis," traditionally restricted to all-too-human forms of artistic representation? This first impression is partially justified. At first sight, what we group under the rubric of mimetic posthumanism appears to look in two diametrically opposed directions: the mimetic side looks back to the past origins of aesthetic and philosophical theories attentive to the ways humans are uniquely endowed with a capacity to copy, represent and, in this restricted sense, imitate the world; the posthuman side looks ahead to technological developments that go beyond the human and are characterized by posthumanist difference rather than humanistic sameness, innovation instead of repetition, creativity and originality rather than copying or imitation. Given the long shadow mimesis casts on the very idea of technological innovation that drives posthuman studies, mimetic posthumanism might thus not only seem deprived of originality, it may also appear to generate a performative contradiction that a genealogy of philosophers informing posthuman studies has long trained us to critique, unmask, and deconstruct. And yet, precisely if we adopt genealogical lenses, the opposition between mimesis and posthumanism reveals itself to be less stable than it appears to be, generating mirroring inversions of perspective that open up new possibilities for alternative reconstructions. Convoking the ancient philosophical and aesthetic concept of "mimēsis" should at least remind thinkers of the posthuman that first appearances tend to be deceiving. A second look, in fact, shows that if the two perspectives look in opposed directions, they can be joined to compose a Janus-faced conceptual figure. As we shall see, a plurality of posthuman figurations, configurations, or, better still, transfigurations open up creative, strikingly metamorphic, and even original directions of inquiry to further a "mimetic turn or re-turn to mimesis" in the twenty-first century. After all, the same genealogists that paved the way for the supplementary "post" that now destabilizes the anthropocentric concept of the "human," rendering it "posthuman," started by troubling the hierarchical metaphysical binaries on which humanism relied. Such binaries were often structured on much-iterated oppositions such as inside/outside, nature/culture, mind/body, self/other, male/female, dominant/subaltern, and human/nonhuman. They also rested on an idealist metaphysics that opposed the "copy" to the "original," the material "phenomenon" to the ideal "Form," the "imitation" to the "model." Despite their multiple iterations that traverse the history of western thought, ultimately, such binary oppositions rested on a dominant conception of mimesis that, at least since Plato, was predicated on the mirroring logic of the Same, a vertical mimetic logic that has long been deconstructed, overturned, and unmasked as a metaphysical fiction. In the wake of Nietzsche's critique of metaphysics, humans revealed themselves to be far removed from being mere debased imitations of a divine, transcendental, and ideal model posited in an imaginary world behind the world. Rather, the very idea of a divine model, ideal, or phantom turned out to be given form by all-too-human drives constitutive of our evolutionary history in general and modernist critiques of that history in particular. As a period characterized by technological innovations and accelerations, modernist thinkers were thus quick to diagnose a change in human character or subjectivity that turned the ego into a copy, simulacrum, or, to use Nietzsche's phrase, a "phantom of the ego." Over a century later, in the wake of recent developments in robotics and algorithmic reason, and especially the artificial intelligence (AI) revolutions that increasingly blur the frontier between human and artificial intelligence, it is thus tempting to repeat modernist claims on radical changes or transformations. (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)

Essays address the major themes of Pareyson’s hermeneutic philosophy in the context of his existentialist approach to personhood. What if the inexhaustible were the only mode of self-revelation of truth? The question of the inexhaustibility of truth, and its relation to being and interpretation, is the challenge posed by the philosophy of the prominent Italian thinker Luigi Pareyson (1918–1991). Art, the interpretation of truth, and the theory of being as the ontology of both inexhaustibility and freedom constitute the main themes (...) of Pareyson’s distinctive form of philosophical hermeneutics, which develops also on the basis of another fundamental concept, that of personhood understood in the radically existentialist sense of the human being. In Thinking the Inexhaustible, Silvia Benso and Brian Schroeder bring together essays devoted to Pareyson’s hermeneutic philosophy by important international scholars, including well-known Italian thinkers Umberto Eco and Gianni Vattimo, who were both students of Pareyson. Pareyson’s philosophy of inexhaustibility unfolds in conversation with major figures in Western intellectual history—from Croce to Valéry, Dostoevsky, and Berdyaev; from Kant to Fichte, Hegel, and German romanticism; and from Pascal to Schelling, Kierkegaard, Marcel, Jaspers, and Heidegger. “This book introduces, in a way that has not been done before, the central ideas from Pareyson’s long philosophical career. It opens up pathways for further critical analysis and fills in a neglected history within the broader scope of continental philosophy.” — James Risser, editor of Heidegger toward the Turn: Essays on the Work of the 1930s. (shrink)

Ce livre s’inscrit dans un projet d’anthropologie sensorielle de l’intime. On y montre comment l’expérience du vertige dévoile une part cachée de notre écologie corporelle : plonger dans son corps, lorsque le vertige nous prend, traduit moins un désir de disparaître en s’évanouissant qu’une sensibilité "émersant" en nous. En retournant ainsi la peau, le vertige révèle une cartographie des cavernes intérieures. Se donner le vertige en y étant contraint ou de manière volontaire est une expérience enivrante.

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

Movement perception and its role in aesthetic experience have been often studied, within empirical aesthetics, in relation to the human body. No such specificity has been defined in neuroimaging studies with respect to contents lacking a human form. The aim of this work was to explore, through functional magnetic imaging (fMRI), how perceived movement is processed during the aesthetic judgment of paintings using two types of content: human subjects and scenes of nature. Participants, untutored in the arts, (...) were shown the stimuli and asked to make aesthetic judgments. Additionally, they were instructed to observe the paintings and to rate their perceived movement in separate blocks. Observation highlighted spontaneous processes associated with aesthetic experience, whereas movement judgment outlined activations specifically related to movement processing. The ratings recorded during aesthetic judgment revealed that nature scenes received higher scored than human content paintings. The imaging data showed similar activation, relative to baseline, for all stimuli in the three tasks, including activation of occipito-temporal areas, posterior parietal and premotor cortices. Contrast analyses within aesthetic judgment task showed that human content activated, relative to nature, precuneus, fusiform gyrus and posterior temporal areas, whose activation was prominent for dynamic human paintings. In contrast, nature scenes activated, relative to human stimuli, occipital and posterior parietal cortex/precuneus, involved in visuospatial exploration and pragmatic coding of movement, as well as central insula. Static nature paintings further activated, relative to dynamic nature stimuli, central and posterior insula. Besides insular activation, which was specific for aesthetic judgment, we found a large overlap in the activation pattern characterizing each stimulus dimension (content and dynamism) across observation, aesthetic judgment and movement judgment tasks. These findings support the idea that the aesthetic evaluation of artworks depicting both human subjects and nature scenes involves a motor component, and that the associated neural processes occur quite spontaneously in the viewer. Furthermore, considering the functional roles of posterior and central insula, we suggest that nature paintings may evoke aesthetic processes requiring an additional proprioceptive and sensori-motor component implemented by “motor accessibility” to the represented scenario, which is needed to judge the aesthetic value of the observed painting. (shrink)

This research essay was published in the monograph dedicated to the first major exhibition dedicated to photography and drawings by theAkbar Padamsee in India after his demise early 2022 at the age of 91. “Searching for the present, where?...” is drawn from The Guild and some important private collections. The exhibition is a tribute to Padamsee’s commendable contribution to the Indian art. This is also the first time the photographs and drawings spanning from over a decade are contextualised in an (...) exhibition form. Padamsee’s previous exhibition of photographs at The Guild was in 2006, titled, Akbar Padamsee, Photographs 2004-2006. This exhibition celebrates Padamsee’s cognitive pondering of body as form. Curator Srajana Kaikini delicately brings in art historical and philosophical discourses around human form and representation while delving into varied dimensions of artist’s practice. “These series of drawings and photographs speak about the body as a place of being and becoming. These are figurations, subjects set in motion. In this world view of the self, perhaps social signifiers like clothes, location, context and thinking of the body singularly may be perceived superfluous. Embodiment of the self, here, is presupposed. The interest is, therefore, to look for when and where these embodiments become present to us. While some drawings bring to us glimpses from other selves - lives enmeshed in sanchaari bhaavas (fleeting emotions), the photographic images speak in their own language trying to grow from the moment captured into new kinds of beings, creating their own sthaayi bhaavas (foundational emotions). They are not so much abstract as they are intentional – they need us to speak to them, for them to speak to us.” Excerpt from the Curatorial note by Srajana Kaikini. (shrink)

The primary intention of this book is to elucidate the relations between sensory perception and art as a form of knowledge. This enables us to understand how different kinds of art are given their meaning not only from observation, resemblance and reason but also from an artist’s sensitivity to the inner form of sensory experience as it is realized in perception, reflection, memory and imagination. By assuming a number of different points of view, Part 1 shows how the physical object (...) and the act of sensory perception are logically interdependent, and I give my elaboration of this argument two kinds of emphasis. In the first place, it opposes all arguments that support a merging of the mental and physical, as in idealism, materialism, neutral monism and panpsychism. A conceptual distinction is observed because sensory perception gives the physical object its identity. This idea also implies that the physical object is only realized by sentient life - self-aware inner life and a world become possible simultaneously. The second emphasis concerns the mind-body problem, and towards the end of Part 1 I offer an argument which places this problem in a certain light by representing the brain not as a physical counterpart to inner experience but as essentially instrumental to perception and self-awareness, and related experience. The argument in Part 2 is distinguished by a sense of continuity between the nature of sensory perception and the formal resources of artists in both physical and literary media. Hence, in a discussion of Titian’s Assumption of the Virgin, I indicate ways in which the painter conveys the inner experience and character of the figures in the painting by means of compositional design, light and colour, and thereby uses these and other sensuous resources to portray human life and experience. This is followed by a discussion of two sonnets by Shakespeare, in which the same general aim is pursued by using the literary resources of figurative language. Finally, a discussion of Hamlet shows how, in this work, the augmentation of figurative language by dramatic form strengthens the view that art can provide a form of knowledge that is based as completely upon intuition about our sensory experience as it is upon reason and observation. Just as my (true) perception of a cup as a vessel for drinking tea or coffee arises immediately from past experience, so the dramatist can see immediately from his or her past experience how a character might perceive things and behave. -/- . (shrink)

In this paper I focus on recent artworks by South African artist Nandipha Mntambo. I read these for the ways in which the discourse of species works within and against the humanist sacrificial economy of the subject that Jacques Derrida calls “carno-phallogocentric”. Drawing on Derrida's “metonymy of ‘eating well,'” Achille Mbembe's analysis of colonial violence, and Julia Kristeva's theory of abjection, I argue that these works inscribe and disturb a speciesist, sexual, and racial politics of animalization, and do so by (...) figuring a transgressive animality that stalks the “origins” of “the human” and troubles its carnivorous and colonial relations of “eating the other.” The works render ambiguous the humanist border that separates “man” from what he calls “the animal” and thicken the singular division between edible and inedible bodies, and literal and figurative eating. I suggest that this figures what Haraway might call an “eccentric subject”, one that not only holds open the possibility of a nonanthropocentrism but, as Haraway would say, “nourishes indigestion” at the heart of “carno-phallogocentric” power. But this is risky practice, as a recent controversy about reading Mntambo's work shows. (shrink)

Memory, mother of the Muses by Zeus, has nurtured culture for nearly three millennia while her nemesis, forgetfulness, has been demonized as an agent of destruction. In the modern age, however, memory has grown increasingly burdensome, opening the way for a more positive assessment of forgetfulness. Nietzsche praises animals for an inability to remember that preserves their innocence and happiness, and Freud documents the discontents of a civilization that cannot forget. ;In tracing the recent development of these issues, the dissertation (...) focuses primarily on Walter Benjamin, Hans Blumenberg, and Thomas Pynchon. Benjamin and his anguished "angel of history" show the destructive psychological effects of trying to use human memory as a secular form of redemption. Blumenberg's philosophy of history makes it possible to trace memory's responsibility for redemption to the modern age's inflated notion of the subject. Blumenberg's work also emphasizes the importance of metaphor and narrative in mediating and creating historical understanding, and this aesthetic distance weakens memory's redemptive relation to the past. Pynchon's protagonists, too, find that their desire to make historical meaning fully present is overshadowed by their fear of such presence. By reconciling themselves to a profane aesthetic distance from the past, Blumenberg and Pynchon redeem themselves from the melancholy engendered by an overly ambitious memory. ;Thus the dissertation attempts to recover a more modest and less oppressive memory by understanding it as a way to distance rather than redeem past injustices. This reconception of the function of memory helps establish an equilibrium between the pensive memory of Benjamin's "angel of history" and the innocent oblivion of Nietzsche's animals. ;In addition to the three major figures named in the title, the dissertation devotes sections and excursuses to Friedrich Nietzsche, Sigmund Freud, Ernst Cassirer, Martin Heidegger, Virginia Woolf, Ernst Robert Curtius, Elie Wiesel, Primo Levi, Michel Foucault, and Thomas Kuhn. Translations of two essays by Blumenberg, "Pensiveness" and "Being--A MacGuffin," and a comprehensive Blumenberg bibliography are included as appendices. (shrink)

본 연구는 데 키리코의 ‘형이상학적 회화(Pittura Metafisica)’에 나타난 니체의 철학적 인간상에 관한 고찰이다. 초현실주의의 선구자인 데 키리코는 니체의 철학을 기반으로 현실과 비현실이 뒤섞인 ‘형이상학적 회화’를 창조한다. 니체의 디오니소스적 정신과 영원회귀, 위버멘쉬는 은유의 방식을 통해 데 키리코 특유의 회화적 형식으로 재탄생한다.BR 데 키리코의 형이상학적 회화의 방식이란 눈에 보이는 표면적 세계 이면에 존재하는 수수께끼와 미스터리를 품은 세계의 발견이자 재현이다. 데 키리코에게 회화의 진리란 이성과 관습을 통한 기억으로부터 멀어지는 방식을 통해 성취될 수 있다. 이것은 원근법의 파괴, 데페이즈망 기법, 마네킹의 형상, 건축적 주제의 반복 (...) 등의 형식을 통해 달성된다. 이는 바로 니체의 철학적 인간상, 즉 영원회귀와 디오니소스적 인간인 위버멘쉬를 함의한 회화적 외침이다. 하나의 진리는 존재하지 않으며 모순적이고 비합리적 상황에 대한 긍정과 자기극복을 형이상학적 회화 속에 함축하고자한 데 키리코의 의지는 바로 힘에의 의지를 포함한다. 니체와 데 키리코의 방식은 논리적 인식에 맞서 진실로 ‘인간이란 무엇인가?’ 진정 ‘삶이란 무엇인가?’라는 인간학적, 존재론적 물음에 대한 성찰이다. (shrink)

“Flesh” and “Figure” in Merleau-Ponty and DeleuzeGilles Deleuze points out, in his work on Francis Bacon, that “the phenomenological hypothesis is perhaps insufficient because it invokes only the lived body. But the lived body is still very little in relation to a more profound and almost unlivable Power.” The present study fi rst seeks to specify what is this intensive Power of a life carried out at the limit of the unlivable. This leads to an analysis of Deleuze’s notion (...) of Figure. Thus, we come back to the explicitly anti-phenomenological position of Deleuze, in other words, to his will, which he constantly reaffirms, to liberate philosophy – by following the path opened by Bergson – from the ruinous presupposition of a merely human measure of appearing, which would still be the presupposition of phenomenology. In particular, we are asking ourselves if Merleau-Ponty’s notions of “being in depth” and of “pregnancy” do not escape from Deleuze’s critique, and if it is also substantiated that Deleuze was able to assert that phenomenology “erects as a norm ‘natural perception’ and its conditions.” It is the confrontation of Deleuze and Merleau-Ponty’s theses on art and the world, which finally allows us to put forward an answer.“Carne” e “Figura” in Merleau-Ponty e DeleuzeGilles Deleuze fa notare, nella sua opera su Francis Bacon, che «l’ipotesi fenomenologica è forse insufficiente, in quanto si rifà solamente al corpo vissuto.Ma il corpo vissuto è ancora poca cosa rispetto ad una Potenza più profonda e quasi invivibile». Il saggio presente cerca innanzitutto di precisare che cosa sia questa Potenza intensiva di una vita portata al limite dell’invivibile. Questo condurrà in un secondo momento ad un’analisi della nozione deleuziana di Figura.Il saggio ritorna quindi sulla posizione esplicitamente anti-fenomenologica di Deleuze, in altri termini sulla sua volontà, incessantemente riaffermata, di liberarela fi losofi a, nel solco di Bergson, dal pericolo di una misura semplicemente umana dell’apparire, premessa che a suo giudizio starebbe ancora al fondo del progetto della fenomenologia. Ci chiederemo, in particolare, se le nozioni merleau-pontiane di “essere della profondità” e di “pregnanza” non sfuggano alla critica di Deleuze, al di là del fatto quest’ultimo abbia affermato che la fenomenologia “erige a norma la ‘percezione naturale’ e le sue condizioni”. È il confronto tra le tesi di Deleuze e di Merleau-Ponty sull’arte ed il mondo che permetterà, in ultima analisi, di avanzare una risposta a questo insieme di interrogativi. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 278-294 [Access article in PDF] Homer's Human Animal: Ritual Combat in the Iliad Jonathan Gottschall I Freud called Darwin's revelation of man's animality a blow to human narcissism on par with Copernicus's finding that Earth is not the center of the solar system. While Darwin hinted at our bestiality in the Origin of Species, in later publications he conveyed the disturbing and (...) fantastic news that our ancestors were, as he playfully wrote in private notebooks, "monkey men." 1 Adam and Eve were not lovingly molded from the clay; they were the rude grandchildren of a "hairy, tailed quadruped, probably arboreal in its habits, and an inhabitant of the Old World." 2 Darwin's news was greeted by his contemporaries with a range of responses, from hooting derision to holy indignation, to resigned acceptance. Yet his hypothesis has been amply verified by the work of geneticists, primatologists, biologists, archaeologists, paleoanthropologists, and others. Nowadays we are not too chagrined to hear that we share a common ancestor with the other apes; it is orthodox evolutionary theory.But perhaps we give Darwin rather too much credit for this discovery. Surely he deserves esteem for deciphering the mechanism of evolution in natural selection, for helping demonstrate our kinship with other primates, and for providing subsequent scientists a head start for their research. He also deserves the less technical distinctions of giving human self-regard a terrific bloody nose and of helping to sire the modern existential crisis. But while Darwin may be responsible for giving scientific credibility to the notion that humans do not stand aloof from the rest of the animal kingdom, he was far from the first to come to this realization. [End Page 278]The artists of every age and the builders of mythology have come, with wondrous unity of conception, to similar conclusions. In fact, the world's earliest known pictorial art conveys this message. The hundreds of paintings and etchings adorning the walls of the Chauvet Cave in France, though over thirty thousand years old, include depictions of human-animal compounds, including a figure that is half-human and half-bison. 3 This ancient suggestion that the human and animal realms overlap is likewise indicated in the common mythological figure of the human-animal hybrid. As Dorothy Dinnerstein says: "Myth images of half-human beasts like the mermaid and the Minotaur express an old, fundamental, very slowly clarifying communal insight: that our species' nature is internally inconsistent; that our continuities with, and our differences from, the earth's other animals are mysterious and profound." 4 So Darwin did not invent the concept of the human animal. Rather, he marshaled the evidence and developed the theoretical model that established scientific credence for an ancient belief.The Ancient Greeks were particularly fascinated by hybrids blending human and animal morphology. Their mythology abounds with queer, conflicted, compound creatures. And so does their literature. Their first and greatest poet, Homer, was characteristically Greek in his attention to half-human creatures. The sirens, the centaurs, the minotaur, the chimera, Scylla, "Ox-eyed" Hera, and "Owl-eyed" Athena are all present or alluded to in his work. All of these figures symbolically insinuate that beasts dwell under every human skin.But Homer's suggestions of human animality do not cease with these compound creatures. In the Iliad, he presses this theme with depictions of warriors who are, physically, fully human. Homer suggests, however, that their dispositions and behavior patterns are, often, fully brutish. For Homer, the human animal is the most incongruous crossbreed of all: he is queer, conflicted, inconsistent, godlike, and brute. It is the "in-betweenness" of the human animal that makes him tragic. His soul would gravitate toward the empyrean, but his body roots him steadfastly in the blood and filth of animal life. The father Zeus, perhaps recognizing this, says: "In truth there is nothing more wretched on earth than man, of all things that breathe and move." 5The Iliad suggests human animality in a variety of ways. First, we are aligned with... (shrink)

The illustrated anatomical works of Andreas Vesalius, now icons of medical history, exemplified Renaissance humanists' attitudes toward the human condition. Methods of teaching medical students gross anatomy have evolved from the attitudes and methods of Renaissance scientist-scholars. The work of Vesalius is crucial to understanding the revolution in early modern medicine, for not only is it devoted to minute observation and exploration of the human body, but also to translating new knowledge by means of art. In the process (...) of illustration, the cadavers become ennobled, leading the viewer to contemplation of the nature of our common humanity. It is the thesis of this paper that the merging of art and science achieved in the great anatomical studies of the 16th and 17th centuries may still be useful in the education of medical students by allowing a balance between scientific detachment and compassion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"An Option for Art But Not an Option for Life":Beauty as an Educational ImperativeJoe Winston (bio)IntroductionIn a recent meeting of the academic staff in the university department where I work, we were asked to state our current research interests. Responses progressed around the circle and everyone listened quietly and respectfully until I stated that my interest was beauty, to which there was general laughter—complicit, not derisory, as if everyone (...) laughing presumed it was a joke. In the same week, I heard a story from a colleague who works in another institution. She had been interviewing a prospective female candidate for their postgraduate teacher training course with a deputy principal from a local school. When it came to a decision, the latter had not been in favor of offering the young woman a place; she was "too beautiful," she thought, to the extent that she would "be a distraction" in the classroom.I offer these stories as illustrative of a fact little discussed—that beauty is a problem in educational discourse, seen as either wildly irrelevant or discordant with the job of teaching. Yet it was not always the case. Beauty has in the past been understood as one of the highest aims of education. For Schiller, it fulfilled a core human need, and he wrote in the second of his Letters on the Aesthetic Education of Man that "it is only through Beauty that man makes his way to Freedom."1 Matthew Arnold argued that it was in beauty that the "human race finds its ideal."2 Emerson saw beauty as "the form under which the intellect likes to study the world,"3 and Iris Murdoch argued that it should be at the base of any education in the virtues, citing Plato's argument that beauty is the one spiritual quality that we love by instinct.4 These figures could hardly be described as philosophical lightweights, yet their sentiments and the complex arguments through which they expressed [End Page 71] them have for years been neglected; only recently has this begun to change. Elaine Scarry, in particular, has written an influential book on the topic, taking up the argument of Iris Murdoch and developing a strong case for the educational power of beauty, allying it strikingly with an education in social justice.5 Two recent articles in this journal have also heralded a re-evaluation of beauty as a concept of profound significance for both the arts and education. Stuart Richmond sees in the development of our capacities to create and appreciate beauty "a way to bring us back into contact with what is sensual and intrinsically worthwhile,"6 and Howard Cannatella argues passionately "that something of the indelible quality of poiesis and delight in beauty should be the focus of specific educational concern, a factor at its core."7This article is an attempt to add further substance to the claim that-beauty should be one of our core educational values. In doing so, it develops the ideas that connect these perspectives: that beauty's power is instinctive, that it delights, that it is of deep human value. As do Murdoch and Scarry in their different ways, I will argue that beauty is powerfully formative and intrinsically associated with virtue, an idea developed in the final section of the article. First, however, I wish to consider what happened to beauty and why it became a neglected concept not only in education but also in the arts.What Happened to Beauty?Language and world refer to each other and presuppose each other for their mutual intelligibility. In this count, human learning becomes the process of aligning language and world.8In considering beauty, we begin inevitably with the word itself and with its usage. Like all evaluative concepts captured through language, beauty is a historical and cultural entity and, as such, it has both gathered and discarded meanings with the passage of time. Consequently, its nature is elusive and open to revision and debate. Is it characterized by perfect harmony and balance, as the classical world would have it, or by the soaring solidity of a medieval Gothic cathedral? Do we associate it with goodness... (shrink)

"Marin's admiration (in both seventeenth-century senses) for the word made flesh, and hence the word made power, is what makes this book both fascinating and disturbing." -- Times Literary Supplement A wicked queen orders the palace cook to kill her grandchildren and serve them up for dinner -- "in a sauce Robert." But as any good cook knows, this sauce is properly served with game, not domestic animals. Does the ogress transgress? Perhaps, but the cook breaks the rules as well. (...) Deceiving his mistress, he rescues the children and instead serves goat and lamb. In this provocative volume, Louis Marin treats a subject to which some of the most exciting literary criticism has been devoted: the body as represented in text and image. From fairy tales to biblical narrative, from the divine body in the eucharist to the body of Louis XIV as described in his physicians' journals, Marin focuses on the peculiar relationship between verbal and oral functions--speaking and eating, boasting and gluttony, lying and cannibalism. Drawing on the methodologies of semiology, philosophy of language, and literary and art criticism, Marin explores works by Rabelais, La Fontaine, Perrault, and the Logic of Port-Royal. Throughout, he is concerned with the conceptualization of desire and pleasure, justice and force, natural violence and political power -- and questions their ideological as well as their symbolic bases. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt and Collections of His Art in America: An NEH Curriculum ProjectJoseph M. Piro (bio)IntroductionI have asked myself whether the short time given us would be better used in an attempt to understand the whole of the universe or to assimilate what is within our reach.—Paul CézanneThis issue of the Journal of Aesthetic Education features an arts education curriculum project that was designed to use the oeuvre of Rembrandt (...) van Rijn—seventeenth-century Dutch painter, etcher, and draftsman extraordinaire—as a teaching resource. A partnership of scholars, university professors, museum educators, and classroom teachers designed the project, which uses Rembrandt as the prism through which to diversify teaching of the core content areas of social studies and visual art. Members of this team attempted to expand the boundaries of themes traditionally found in art and other humanities disciplines by linking these with the social sciences, thereby forming what might be called “humanistic social studies.” The final product is a Web site to which teachers and those interested in using this type of instructional approach in their classroom teaching will have access. Funding for this project derived from a National Endowment for the Humanities (NEH) Curriculum Materials Development grant designed to promote the teaching of the humanities and support projects that can serve as national models.1In the eyes of many, Rembrandt is viewed primarily as a “European” artist. Although it is true that many of his major works are found in museums across Europe, he is generously represented in the holdings of collections across America. Yet for many teachers in the United States he remains an enigmatic figure; knowledge about his art is limited, and the U.S. museum collections of his work remain untapped for classroom application. To broaden the appeal and teaching potential of his work, the project team [End Page 1] mined this collection of “American” Rembrandts. Specifically, the project, targeted at secondary art and social studies teachers (grades 6 through 12), is committed to building and increasing the capacities of teachers to network knowledge of Rembrandt’s art with their classroom practice. Further, with its grounding in aesthetic education theory within a humanities framework, the project endeavors to promote instructional innovation and encourage teachers to break new ground in high-impact classroom pedagogy. The timing of the project and its ongoing development was not accidental. They converged with events held in 2006 to commemorate the four hundredth anniversary of Rembrandt’s birth. These events ranged from worldwide museum exhibitions to publications of books containing new insights on Rembrandt, all of this aimed at celebrating an artist whose achievements many consider to be a zenith of world culture.Why Rembrandt: The Rationale for the ProjectWhy is Rembrandt the artist at the center of this project? There are any number of good reasons, but the project’s rationale centers around three in particular. First, to borrow a term from Peter Kivy, Rembrandt is the ultimate “aesthetic symbol,”2 an indisputably blue-chip figure who produced some of the greatest masterworks of world art, many of which students find both intellectually engaging and psychologically insightful. Traditionally, teachers have striven to enrich the aesthetic lives of their students with exemplars of the human mind, and the genius of Rembrandt provides a potent opportunity to do so.3 By studying an artist of such stature teachers can develop students’ cultural intelligence and visual literacy and present opportunities to observe and decode substantive, challenging masterworks of art. In this context, Rudolf Arnheim describes a painting by Rembrandt as containing a network of “visual arrows” that communicate multiple experiences about the human condition, including love, tenderness, and desire, among others. Arnheim speaks of the additive nature of the experience, how the viewer—almost like a mathematician—needs to learn how to add up the clues and arrive at a solution. He does not intend, of course, for the viewer to have an impersonal, “clinical” experience. Rather, he writes, “art... is one of the most powerful instruments available to us for the fulfillment of life. To withhold this benefit from human beings is to deprive them indeed.”4Second, there is a cognitive complexity embedded in... (shrink)

Purpose. The purpose of the study is to show the connection of romanticism with the anthropological doctrine that goes back to Hegelianism and Kantianism, and at the same time – with the concepts of the future, structuralism and postmodernism. Theoretical basis. The man is a central figure of the Romantic literary, therefore it makes sense to single out romantic human anthropological doctrine and the image of man associated with a specific historical and cultural era called the "epoch of (...) romanticism"; to show that many romantic philosophical positions remained relevant to the basic foundations of contemporary anthropological research and coincide with it in analytical and critical thinking about a man, a person, his historical and evolutionary fate. Originality. The romantic worldview determined the specifics of anthropological discourse, both logical and illogical, remaining symbols and attaching, as for example, a real historical anecdote, a popular history, a philosophical thought, a myth, a famous literary episode and the arts multiplied by creative inspiration and imagination. This tendency determined the fragmentation of thinking and the scientific image of man as a dual being, nevertheless, presented and described in all the variety of relations with the world and with himself, that allows us to call this area of thought "the romantic human science". Conclusions. Structural analysis of numerous romantic texts allows us to draw the following conclusion: with mythopoetic imagery and anthropological thought about a man, romantic writers introduced the reader to any wisdom, to philosophical understanding of their human essence, to past and modern teachings, in a way processed antique, medieval and enlightening views, in which an important place was given to reflections on the place of man in nature, society, and history. Correlating the well-known statements about a person as a descendant of the "old Adam", "person", "personality", "soul", with the modern idea of historical and social development, about the evolution of the consciousness of a person who revealed himself as an individual in modern times, with scientific and aesthetic views, the writers of the first half of the XIX century gave romantic thought anthropological meaning and, in fact, laid the foundations of historical, social, psychological, cultural and psychoanalytic anthropology. (shrink)

Art restoration has been around as long as human beings have been involved with artifacts and works of art. Pliny mentions the Shrine of Ceres in the Circus Maximus at Rome.1 When the shrine was undergoing restoration, the embossed work of the walls was cut out and enclosed in framed panels, and figures were taken from the pediment and dispersed. Alteration, or the lack of it, clearly impacts the aesthetic appreciation of works of art, and the hermeneutics of that (...) debate are important in terms of both education and historical understanding.The purpose of this article is to survey the field of restoration and its interaction with problems of interpretation, aesthetic debate... (shrink)

Nature's Teachings, first published in 1877, was one of many books on natural history by J. G. Wood, a Victorian clergyman who was hugely influential in popularising the subject, as well as being the editor of The Boy's Own Magazine. Here he examines the close parallels between nature and human inventions in areas including seafaring, war and hunting, architecture, tools, optics and acoustics, as well as 'useful arts' including sewage disposal. His text contains over 750 figures and illustrations, and (...) he argues that future great discoveries could be made as a result of careful observations of nature. Although a contemporary of Darwin, Wood largely ignored the evolution debates and focused on communicating his enthusiasm for the natural world to a non-scientific audience. His successful publications still make fascinating reading for those interested in Victorian culture and the history of education. (shrink)