All sorts of things may be described as 'inspired': a mathematical theorem, a work of art, a goal at football, a short-cut home from the shops. What lies behind all these? Where does 'inspiration' come from? Does it derive from a source external to the person inspired, or is it the end result of sheer hard work - or is it purely serendipitous? Within the fields of science and religion, the word 'inspiration' might be thought to carry very (...) different connotations. But is there a degree of overlap? If scientists and religious thinkers alike may acknowledge the power of inspiration, do we have here an important area of convergence between two important areas of human discourse which are all too often believed to be opposed to one another? These were some of the issues considered at the 2011 conference of the Science and Religion Forum, held at Cumberland Lodge near Windsor. This book presents papers from that conference, including contributions from such major thinkers as Lord Winston, Linda Woodhead and John Hedley Brooke, among other leading scientific and theological practitioners. Their wide-ranging studies - and very diverse conclusions - will be of interest to a wide readership. (shrink)

Realists regarding scientific knowledge – those who think that our best scientific representations truly describe both observable and unobservable aspects of the natural world – have special need of a notion of approximate truth. Since theories and models are rarely considered true simpliciter, the realist requires some means of making sense of the claim that they may be false and yet close to the truth, and increasingly so over time. In this paper, I suggest that traditional approaches to approximate truth (...) are insensitive to two crucial features of scientific knowledge, and that for each of these, analogies between representational practices in the sciences and in art prove useful to understanding how this situation can be remedied. First, I outline two distinct ways in which representations deviate from the truth, commonly referred to as ‘abstraction’ and ‘idealization’. Second, I argue that these practices exemplify different conventions of representation, and that for each, the conditions of approximation relevant to explicating the concept of approximate truth must be understood differently. The concept is thus heterogeneous; approximate truth is a virtue that is multiply realized, relative to different contexts of representation. This understanding is facilitated, I suggest, by considering the distinction between realistic and non-realistic representation in art. (shrink)

Doctoral learning entails transition from experienced student to stance-defending researcher, exposed to international critique: a disorientation and reorientation into a new identity. Arts and Hum...

The aim of our study is to highlight the obvious similarities that exist between the organizational structures of the biological world, particularly in terms of the number and distribution of the petals on flower and the geometric configurations used by the great masters of European painting, both in the East but also in the West, in order to elaborate the compositional framework of paintings and icons. Taking into consideration the symbolic connotations concerning the field of biology, we chose as a (...) case study the Russian icon from the 14th century entitled “The Triumphal Entry of Jesus into Jerusalem”, exhibited and venerated across the orthodox world on Palm Sunday. Starting with the circle of the aureole of Jesus, we have marked the harmonic series of concentric circles that are distributed across the nodal points of some regular polygons with seven and nine sides, which make reference to the ergonomic formulas of distribution of the petals on a flower and highlight the fact that the beauty of the natural world was and still is the main source of inspiration in the world of arts. (shrink)

Although the creative impulse surges in revolt against everyday reality, breaking through its confines, it makes pacts with that reality’s essential laws and returns to it to modulate its sense. In fact, it is through praxis that imagination and artistic inventiveness transmute the vital concerns of life, giving them human measure. But at the same time art’s inspiration imbues life with aesthetic sense, which lifts human experience to the spiritual. Within these two perspectives art launches messages of specifically human (...) inner propulsions, strivings, ideals, nostalgia, yearnings prosaic and poetic, profane and sacral, practical and ideal, while standing at the fragile borderline of everydayness and imaginative adventure. Art’s creative perduring constructs are intentional marks of the aesthetic significance attributed to the flux of human life and reflect the human quest for repose. They mediate communication and participation in spirit and sustain the relative continuity of culture and history. (shrink)

Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.

The cultivation of creativity in art education is not merely a cognitive or technical process but also a deeply philosophical and spiritual endeavor. Emotions, as integral components of human consciousness, play a crucial role in shaping artistic inspiration, imaginative expression, and the transcendent experience of creativity. This study explores the role of _multimodal affective computing_ in emotional guidance within art education, integrating philosophical and theological perspectives on creativity, inspiration, and the human experience of artistic expression. By analyzing the (...) interaction between emotions, cognition, and creativity, this research examines how computational technologies can facilitate a more profound engagement with artistic and spiritual dimensions in education. The study employs a personalized art teaching model based on multimodal affective computing, measuring students’ emotional intensity in real-time through multimodal data collection in fine arts classrooms. A comparative teaching experiment was conducted with fine arts students at a university, assessing their creativity development before and after the intervention. Through independent sample tests and regression analysis, the findings reveal that multimodal emotions have a significant positive impact on creativity at the 1% level. The emotional intensity thresholds for optimal artistic engagement were identified at 0.25 (positive) and -0.25 (negative), with students’ emotional distributions mostly ranging between [-0.2, 0.1]. After implementing the affective computing-supported teaching model, students in the experimental group demonstrated a _13.94-point_ increase in creativity scores, which was _17.67% higher_ than those in the control group. Beyond technological efficiency, this study reflects on the philosophical and spiritual implications of emotional engagement in artistic creation. Drawing on religious and metaphysical perspectives, it considers the role of emotions in fostering divine inspiration, self-transcendence, and artistic enlightenment. By enabling art educators to better understand students’ emotional states, multimodal affective computing can enhance emotional guidance in teaching, leading not only to improved artistic creativity but also to a deeper connection between artistic practice, spiritual growth, and philosophical reflection. Future research should explore how computational tools can further support the integration of spiritual and artistic experiences, enriching both pedagogical practice and the metaphysical dimensions of creativity. (shrink)

Resumen En el siguiente artículo se indaga en torno a la naturaleza del ícono en cuanto tradicional representación pictórica de Cristo y los santos de la Iglesia. Trataremos de entender en qué consiste este arte, cuyos orígenes se pueden rastrear desde los primeros siglos de la cristiandad, cuáles son sus motivaciones, fines y rasgos esenciales, es decir, sobre qué bases ha logrado cumplir un rol tan importante en la vida de innumerables fieles. Por medio de una metodología de revisión bibliográfica (...) y documental, prestaremos atención a las tesis de diversos filósofos, teólogos e historiadores que se han acercado a reconocer y pensar sobre el significado del ícono para el pueblo cristiano. Nuestro propósito es eminentemente filosófico, pero se nutre de muchos autores que se han preocupado, desde diversas disciplinas, por esta especial y conmovedora belleza cristiana. Conocer en profundidad el ícono nos permitirá resolver nuestra pregunta investigativa que apunta a descubrir la herencia que el ícono le entrega al arte universal de todos los tiempos y al arte cristiano en particular. Partimos de la hipótesis de que el ícono encierra un aporte muy original y poco explorado que tal vez pueda ser de gran provecho e inspiración para pensar, por lo pronto, un arte contemporáneo y futuro enriquecido de esta herencia.The following article explores the nature of the icon as traditional pictorial representation of Christ and the saints of the Church. We will try to understand what this art consists of whose origins can be traced from the first centuries of Christianity, what are its motivations, aims and essential features, that is, on what basis has managed to fulfill such an important role in the lives of countless faithful. By means a methodology of bibliographic and documentary review, we will pay attention to the thesis of different philosophers, theologians and historians who have come to recognize and think about the meaning of the icon for the Christian people. Our purpose is eminently philosophical, but it is nourished by many authors who have been concerned, from different disciplines, with this special and moving Christian beauty. To know in depth the icon will allow us to solve our investigative question that aims to discover the inheritance that the icon gives to the universal art of all times and to Christian art in particular. We start from the hypothesis that the icon contains a very original and little explored contribution that may be of great benefit and inspiration to think, for now, a contemporary art and future enriched by this heritage. (shrink)

Taking inspiration from the film Wit (2001), adapted from Margaret Edson’s (1999) Pulitzer Prize-winning play, this article explores the particularities of witnessing a cinematic cancer narrative juxtaposed with the author’s own cancer narrative. The analysis reveals the tenuous line between death and dying, illness and wellness, life and living and the resulting identities shaped in the process of understanding both from a personal and professional lens. By framing these representations of illness experience within the narrative constructions of drama, time, (...) metaphor and morality, the personal stories of intellectual knowledge converging with intimate and embodied knowing are revealed. (shrink)

_Art and Mourning_ explores the relationship between creativity and the work of self-mourning in the lives of 20th century artists and thinkers. The role of artistic and creative endeavours is well-known within psychoanalytic circles in helping to heal in the face of personal loss, trauma, and mourning. In this book, Esther Dreifuss-Kattan, a psychoanalyst, art therapist and artist - analyses the work of major modernist and contemporary artists and thinkers through a psychoanalytic lens. In coming to terms with their own (...) mortality, figures like Albert Einstein, Louise Bourgeois, Paul Klee, Eva Hesse and others were able to access previously unknown reserves of creative energy in their late works, as well as a new healing experience of time outside of the continuous temporality of everyday life. Dreifuss-Kattan explores what we can learn about using the creative process to face and work through traumatic and painful experiences of loss._Art and Mourning _will inspire psychoanalysts and psychotherapists to understand the power of artistic expression in transforming loss and traumas into perseverance, survival and gain. Art and Mourning offers a new perspective on trauma and will appeal to psychoanalysts and psychotherapists, psychologists, clinical social workers and mental health workers, as well as artists and art historians. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art in Social Studies: Exploring the World and Ourselves with RembrandtIftikhar Ahmad (bio)IntroductionRembrandt’s art lends itself as a fertile resource for teaching and learning social studies. His art not only captures the social studies themes relevant to the Dutch Golden Age, but it also offers a description of human relations transcending temporal and spatial frontiers. Rembrandt is an imaginative storyteller with a keen insight for minute details. His narrative (...) of the culture, society, economy, geography, and contemporary events of seventeenth-century Dutch life is as vivid and perceptive as a historian’s eloquent text. How people lived in community, how the city of Amsterdam functioned, how important religion was to people, how diverse and cosmopolitan the culture was, how interdependent the world was in the seventeenth century, and what the social and civic ideals of the Dutch people were during the Golden Age—Rembrandt’s paintings, etchings, and drawings neatly organize these and other social studies themes into visual messages. More importantly, our appreciation and interpretation of Rembrandt’s work helps us learn about not just Dutch society and culture of four hundred years ago but also about ourselves. The passion, emotions, conflicts, and inspirations of his subjects are essentially human and eternal, arousing empathy in every generation and cross-section of society. In this article I look at Rembrandt’s art for the purpose of teaching and learning social studies in our contemporary interdependent world—a world that is chronologically and geographically distant from the Dutch Golden Age but in many respects shares its enduring values, norms, ideals, pursuits, challenges, and possibilities. To do so, I employ a conceptual lens—the curriculum thematic strands of the National Council for the Social Studies (NCSS)—to examine Rembrandt’s art in order to explore life and make meaning of the story that is being told about the human condition, and to seek out its relevance to ourselves and [End Page 19] our world in the early twenty-first century. Although Rembrandt’s oeuvre is extensive, including the diverse genres of self-portraits, group portraits, drawings, etchings, landscapes, and religious themes, for our limited purpose I have selected only those works that, in my judgment, correspond with the following seven of the ten thematic curriculum strands of the NCSS:CultureTime, Continuity, and ChangePeople, Places, and EnvironmentIndividual Development and IdentityProduction, Distribution, and ConsumptionGlobal ConnectionsCivic Ideals and PracticesThese thematic curriculum strands are derived from the foundational disciplines of the social sciences and humanities such as anthropology, history, geography, sociology, political science, psychology, economics, philosophy, and law, but they are conceptually interrelated.1 For example, culture is a core concept in anthropology but it is also relevant to Time, Continuity, and Change, which is the main concept in the history discipline. Similarly, culture is relevant to the theme of People, Places, and Environment, which is the central focus of geography. More importantly, since social studies is about human experiences, there is a general consensus among the social studies educators that classroom teachers should draw content knowledge not just from the social sciences as mentioned here but from wide sources “to construct curricular experiences enabling students to actively relate new knowledge to existing understanding.”2 That is to say all fields of knowledge that are related to human civilization and that help in developing students’ skills in reflective thinking, decision making, and problem solving are relevant to social studies education. Those fields also include art. Rembrandt’s art is especially relevant because his themes are universal and the social, political, and economic contexts in which he created his work—globalization, individualism, and free enterprise—are more or less similar to our age.It needs to be mentioned that by looking at Rembrandt’s art from the social studies perspective it is not my intention to strip his work of its aesthetic scope and value. On the contrary, by looking at Rembrandt in the social studies classroom I seek to humanize social studies education itself. That [End Page 20] is to say I wish to step back from the conventional view of social studies to feel free from the bonds of traditionalism and discover, describe, analyze... (shrink)

What good is art? What is the point of a university education? Can philosophers contribute anything to social liberation? Such questions, both ancient and urgent, are the pulse of reformational philosophy. Inspired by the vision of the Dutch religious and political leader Abraham Kuyper, reformational philosophy pursues social transformation for the common good. In this companion volume to Religion, Truth, and Social Transformation, Lambert Zuidervaart presents a socially engaged philosophy of the arts and higher education. Interacting with the ideas of (...) leading Kuyperian thinkers such as Calvin Seerveld and Nicholas Wolterstorff, Zuidervaart shows why renewal in the arts needs to coincide with political and economic transformation. He also calls for education and research that serve the common good. Deeply rooted in reformational philosophy, his book brings a fresh and inspiring voice to current discussions of religious aesthetics and Christian scholarship. Art, Education, and Cultural Renewal is a testament to the practical and intellectual richness of a unique religious tradition, compelling in its call for social solidarity and cultural critique. (shrink)

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...) strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

This article analyses the topic of presence in modern and contemporary religious art by means of the work of two artists. Graham Sutherland’s Christ in Glory (1951-1962) will be compared to the Buddhism-inspired works of Antony Gormley. Sutherlands Christ in Glory is intended to show Christ’s presence to the involved observer: the invisible Christ can become present through interaction with Christ in Glory in the same way that Christ becomes present through prayer. Viewed in connection with other works by Gormley, (...) Land, Sea, and Air II (1982) is intended to show presence to the viewer, the body as presence. This concerns an attitude of quiet concentration and awareness in connection with the ‘elemental’ world. Theologically speaking, the difference between Christ in Glory and Gormley’s works is as follows: the Christian tradition views the human being as a creation of God. He or she lives in his or her presence only in dependence on God. For Gormley, it has to do with a presence without God the creator. The human being is present as body and awareness in a world in which everything is uncertain. There is an unmistakable difference in their views of presence, but that does not mean, as we will see, that Gormley’s work cannot be fruitful for the Christian religion. Gormley’s Sound II in the crypt of Winchester Cathedral points the involved observer to the importance of the renewal of life after baptism through meditation as an important part of Christian spirituality. (shrink)

In this book, Zach Kelehear offers readers a new perspective on an important, dynamic, and sometimes daunting issue: managing successful school-based leadership. The author uses an arts-based approach to weave together notions of research-based leadership skills for successful school-based management with standards of professional competence as represented by the Interstate School Leaders Licensure Consortium Standards for School Leaders.

Surprising artistic interventions in the landscape of the public everyday are psychologically, socially, and politically beneficial to individuals as well as their communities. Such interventions enable their audiences to access moments of surprising inspiration, self-reflection, and revitalization. These spontaneous moments may offer access to the experience of distance from the rational “self,” allowing the irrational and purely emotive that resides within all of us to assert itself. It is this sensual instinct that all we too frequently push aside, particularly (...) in the public realm, for the sake of our responsibilities. Urban communities in particular are persistently accosted by visual and aural advertisements and consumerist lures, that further discourage individuals from accessing their non-rational selves. Yet, I argue that it would improve the health and vibrancy of our communal lives if we encountered among others in public, even for a moment, the strong feelings of sudden elation or confusion that we generally consider to be private. I also argue that an addition could be made to the already diverse oeuvre of artistic approaches that comprise the realm of “sound art” and that it may be termed “musical intervention art” – or, simply put, music played in a circumscribed area in the form of an outdoor installation, that is designed to accost, surprise, overwhelm, and through this, actively engage. This article will describe an imaginary example of musical installation art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Painting in Tongues:Faith-Based Languages of Formalist ArtKevin Z. Moore (bio)A philosophical problem is created by the incoherence between the earlier state and the later one.—Ian Hacking, Historical OntologyWhatever is happening to evidence-based treatment? When the facts contravene conventional wisdom, go with the anecdotes?—New York Times, "Science Times," February 14, 2006Cephalopods have a visual language that may be considered artful; humans have written and vocalized languages that are sometimes artful; (...) but it is doubtful that there is such a thing as a "language of art," particularly in the sense that twentieth-century formalists and their critics carelessly speak of one or many. Cephalopods flash color-forms on their hides to communicate intents and emotions, maybe even to project plans. They speak in tattooed tongues through neurologically embossed patterns and color field designs displayed on the skin. The large-eyed sea creatures communicate voicelessly in a visual language of pure color-forms, each species perhaps having its own dialect. Though not a full or official language by any means, their color-forms display the ideal that twentieth-century formalist artists sought to graphically realize (referential and conceptual immediacy, emotional coloring, communication via pure, that is, nonpictorial, form). Formalist inspired artists and their critic-expositors describe abstract pattern-painting as though it were a visual language equal to that of the cephalopod. Yet [End Page 40] although we can reasonably imagine cephalopods getting the correct message by observation, we cannot reasonably imagine observers getting any message at all, let alone the intended message, from abstractionist painting. This casts suspicion on the formalists' claims about visual language. Observers cannot and famously do not get anything "out" of formalist pattern paintings, though they do project quite a lot "into" them. The telling difference between octopus and artist? Cephalopods communicate visually—their survival depends on it. Formalists do not, though the survival and flourishing of their art depends upon the belief that they do.Notably, explanations of what exactly a formalist language of art is goes missing from accounts of sense and reference in the relevant literature, where we learn that this or that painting exhibits this or that language of art but never how this or that painting functions as a language of any sort. The "language of art" phrase, it seems, has the same force as mentioning truth or existence: it explains nothing. Talk of a language of art suggests merely that a painting exhibits a communicative intent; it does not explain how that intent is linguistically mediated. The phrase is ostensive and nominal, not descriptive and expository.Prior to the twentieth century there may have been some justification for this language since art was shaped by objective reference, identifiable codes (sign and symbol systems), and recognizable scenes (compositions) that made painting a language-like public media. Observers could see immediately or "read" paintings by observation as though they were reading a language. Images were shaped by observation; reference was fixed by convention. The formalist revolution in the late nineteenth and early twentieth centuries dismantled the public character of representation in painting. After the revolution, the new art that appeared was a sort of visual humpty-dumptyism, to invoke a language metaphor. Formalist imagery functioned the way words did for Mr. Carroll's Mr. Dumpty: they meant what the artist intended them to mean and not what observation or convention constrained them to mean. Reference and meaning were as arbitrary as the visual forms chosen to bear them. Once a communicative medium, painting became an expressive medium, the values of the latter superseding those of the former wholly or in part. Even when a formalist painting alluded to a conventional arrangement (a landscape or portrait, for example), the composition was as visually parodic of genre as Mr. Carroll's Jabberwocky was verbally parodic of narrative poetry, preserving syntax (form) but not the integrity of the formal agents of communication. Both are forms of nonsense, yet only one intentionally so.Styles of formalism do not facilitate the observation of intended reference; they are not effective forms of communication because they are not languages. If the basic function of a visual art is to communicate a specific... (shrink)

In a period of high definition, photorealism, and postmodern deconstruction the experience of art making, its theory, and its art itself have drifted away from some understandable connection to the process of art creation as a connection to some psychologically deep inspiration. Abstract art as conceived and practiced by Wassily Kandinsky, which included in his later stage beyond representation or abstractions of representation jumbled gatherings of biomorphs with no connection to representation may be compared to the White Shaman rock (...) art panel with its gathering of seemingly abstract geometric images as well as transformed representational imagery, much like the related Fate Bell Shelter rock art and Three Rivers Petroglyphs. Kandinsky would claim his expressed abstractions are prompted by his psyche. The artist or artists of the White Shaman panel of the lower Pecos River operated under transformed consciousness and Shamanism. Kandinsky’s “unconscious, spontaneous expression” and “expression... of inner feeling” may be compared to the probably hallucinogenic connection to the other world in the White Shaman panel. Such connections and abstractions and transformations could be related to the “total theater” of Diaghilev and the contemporary rave dances in which consciousness is heightened by sensory overload. The cybernetic capacity of the computer age has worked in another direction and even “objectified” consciousness itself. (shrink)

Why does art matter to us, and what makes it good? Why is the role of imagination so important in art? Illustrated with carefully chosen colour and black-and-white plates of examples from Michaelangelo to Matisse and Poussin to Pollock, _Revealing Art_ takes us on a compelling and provocative journey. Kieran explores some of the most important questions we can ask ourselves about art: how can art inspire us or disgust us? Is artistic judgement simply a matter of taste? Can art (...) be immoral or obscene, and should it be censored? He brings such abstract issues to life with fascinating discussions of individual paintings, photographs and sculptures, such as Michelangelo's _Pieta_, Andres Serrano's _Piss Christ_ and Francis Bacon's powerful paintings of the Pope. He also suggests some answers to problems that any one in an art gallery or museum is likely to ask themselves: what is a beautiful work of art? and can art really reveal something true about our own nature? _Revealing Art _is ideal for anyone interested in debates about art today, or who has simply stood in front of a painting and felt baffled. (shrink)

Artists inspired by music and musicians -- Composers inspired by art and artists -- Twin talents : artist-musicians and musician-artists -- Musicians pose for the artists : a history of portrait iconography.

In this article, we explore the role that art can play in ethical reflection on risky and controversial technologies. New technologies often give rise to societal controversies about their potential risks and benefits. Over the last decades, social scientists, psychologists, and philosophers have criticized quantitative approaches to risk on the grounds that they oversimplify its societal and ethical implications. There is broad consensus amongst these scholars that stakeholders and their values and concerns should be included in decision-making about technological risks. (...) It has also been argued that the emotional responses of people can shed important light on the ethical aspects of risk and uncertainty. However, people’s emotions can be narrowly focused and biased. This article therefore assesses the role that technology-inspired artworks can play in overcoming such biases, by challenging our imagination and providing us with different perspectives on possible technological developments and their implications for society. Philosophers have not yet studied such artworks, so this constitutes an entirely new field of research for scholars of risk and moral theory. In particular, we focus on the case of BNCI technologies and related artworks. These technologies and artworks touch on questions of what it means to be human, thereby raising profound ethical and philosophical challenges. We discuss the experiences of artists, scientists, and engineers who are directly involved with BNCI technologies, and who were interviewed during a Hackathon at Amsterdam’s Waag Society in June 2016. Their views are analyzed in light of philosophical and aesthetic theories, which allows us to consider relevant ethical and conceptual issues as well as topics for further investigation. (shrink)

This article describes activities carried out at the computational art laboratory and discusses a question about place. To think of place as the place of universal, it’s ground, the place where you live, it isn’t only a residence place, a construction of exploration, but also the planet as a possible place of survival. Therefore, we will present artworks that, in the name of a conception inspired by ecocentrism, propose to eliminate the ontological and axiological difference between all living beings and, (...) for this reason, considers the biosphere as an important biotic unit in the context of artworks. Here the development of affective computer interfaces that seek to promote interactions is also described: a process by which an external or an internal stimulus causes a specific reaction, producing a perception, considering that the idea, in the Deleuzian and Guattarian sense, goes through creative activities. The idea arises in three distinct forms: in the philosophical context, in the form of concepts and in visual production. We describe below the results of collaborative research that has in common the poetics of interactivity between living beings and machines through graphical and machine interfaces, provided by computational processes and methods that approach several ideas involving affective mapping, body, nature and artificial life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art in Nature and Schools:Nils-UdoYoung Imm Kang Song (bio)IntroductionThe arts are an integral part of our culture, and they invite us to investigate, express ideas, and create aesthetically pleasing works. Of interest to educators is clear scholarship that links the arts to cognitive and intellectual development. The processes of creating art and viewing and interpreting art promote cognitive and skill development.1 Elliot Eisner, who has written extensively on this (...) topic, argues that "Artistic activity is a form of inquiry that depends on qualitative forms of intelligence."2 Eisner suggests that children can use art to question and reflect on sensory information from their daily lives, and from this reflection develop insight, awareness, and critical thinking skills.3 Expanding on this idea, many scholars suggest that sensory perceptions promote learning through reflection, thus affirming the link between sensory perception and cognitive processing.4 Greene also posits that the arts provide a reflective type of learning, in which students learn "new ways of seeing, hearing, feeling and moving."5 This expressiveness develops from the creative nature of art and its ability to encourage students to "[learn] to learn."6This article focuses on how the arts heighten cognitive experience through the use of natural materials and sites and the engagement with the natural world. The arts expose viewers to new ways of seeing, feeling, and thinking about nature; this can lead to greater awareness of and motivation to act on behalf of nature. Arts-based experiences "encourage contemplative, reflective thought, which can extend environmental awareness, an essential basis for environmental understanding."7 Sharpening sensory and perceptive [End Page 96] skills through observation and creation can offer children insights into the mystery and metaphor of nature.8 Such a powerful experience often fosters aesthetic sensitivity and can also motivate students to act. To assist in this process, teachers can offer a context of factual information, creative idea exploration, interdisciplinary tools, and a sense of social awareness.9Eisner notes that simple natural components, such as those encountered in viewing or creating ecological art, can be enormously powerful when considered from an aesthetic perspective.10 He writes,A tree, for example, can be viewed as an investment in the value of one's property, as a species of flora, as a source of shade, or an expressive form that provides a certain quality of experience when one looks through its leaves just before sunset. The tree's aesthetic features become salient when we choose to perceive the expressive features of the tree.11Greene reinforces the idea that aesthetic understanding can be deeply engaging to learners and can highlight things that had previously gone unnoticed, thus providing new insights in the life of the viewer.12 Viewers experience new connections, identify new patterns, and think in entirely different ways that break from a more constricted viewpoint. It is this kind of fresh thinking that is needed in the field of environmental education, and which ecological art may in fact provide. Click for larger view View full resolutionFigure 1.Nils-Udo, Circle of Calumet Bamboo, Calumet bamboo; 1990, Reunion, Indian Ocean. Photo by Nils-Udo.[End Page 97]In light of these ideas about aesthetics, ecology, and education, several questions are raised. How can an aesthetic experience with the works of an environmental artist lead children to take in more through their senses and to apply such radical openness in any subject that comes up for them? What really makes ecological artworks unique, not only as aesthetic experiences but as learning experiences? How can ecological art in educational settings inform, inspire, and engage students around environmental issues? In this article, I examine the artworks of Nils-Udo, a German artist, by looking at his art-making processes, intentions, and themes. Using illustrations of several of his major works situated in various natural environments, I consider how these artworks could initiate discussions and foster connections to classrooms while providing elementary and middle school students with the opportunities to view and ponder existing artworks, create their own natural artworks, and heighten their ecological awareness.The ArtistIn order to more deeply understand Nils-Udo's life and work, I interviewed... (shrink)

This essay argues that martial arts, especially Brazilian jiu-jitsu (BJJ), mediate the divine attributes of beauty, goodness, and truth just as much as the fine arts. Some may question the compatibility of martial arts with Christianity. Yet, according to the just war doctrine, fighting is permissible when defending oneself and others. Furthermore, instead of doing nothing about evil or injustice (pacifism) and escalating to violent killing, jiu-jitsu as a distinctive martial arts presents the creative alternative of nonviolence. The essay considers (...) various ways in which martial arts point to God through the analogy of being and the Tao. Jiu-jitsu resonates with Christian notions of perichoresis, self-awareness, rightness, flow, mystery, theosis, and epektasis. BJJ is beautiful in how it inspires existential wonder at the unique and particular gifts of the other. It searches for truth pragmatically and ethically, in a quest for combat effectiveness and social sustainability. Jiu-jitsu is good as it fosters inclusivity, respect, selflessness, and philanthropy. (shrink)

Emmanuel Levinas (1906-1995), French phenomenological philosopher and Talmudic commentator, is regarded as perhaps the greatest ethical philosopher of our time. While Levinas enjoys prominence in the philosophical and scholarly community, especially in Europe, there are few if any books or articles written that take Levinas's extremely difficult to understand, if not obtuse, philosophy and apply it to the everyday lives of real people struggling to give greater meaning and purpose, especially ethical meaning, to their personal lives. This book attempts to (...) fill in the large gap in the Levinas literature, mainly through using a Levinasian-inspired, ethically-infused psychoanalytic approach. All of the essays included in this book are animated by the Levinasian assumption that it is the ethical relation to the other person (and, in one case, dog!) that is primary. That is, there is a human tendency in us, an often inhibited, muted or repressed tendency, as psychoanalysts have taught us, to see the needs of others as more important (or at least as important) than our own and therefore be willing to sacrifice for others. Moreover, once this human tendency to be for the Other is consciously embraced and made part of one's way of being in the world the possibility for a greater degree of personal fulfillment and happiness is often enhanced. Thus, the art of living the "good life" involves embracing "goodness" as one's guiding metaphor, an existential orientation in which, says Levinas, "the Other counts more than myself." As social psychologists have repeatedly shown, in social life, paradoxically, it is often the case that "the more you give, the more you get." Being for the Other, in other words, is often self-affirming!. --- Product Description. (shrink)

In this paper I am proposing to investigate some possible connecting points between art, aesthetics and the urban experience, more precisely how the perception and experience of the city as well as the features of urban life can inspire artists. At the same time, I am also curious how artworks can be used to understand this urban experience, as well as how they can be interpreted as not only simple descriptions and depictions, but also as active contributions and modes of (...) suggesting solutions to the most pressing issues of contemporary cities and of city life. Hence my primary aim is discussing some approaches towards the aesthetic analyses of urbanity through modern and contemporary examples. In this way I am focusing less on how the city appears as a mere motive in artworks, or how it is used as main object or background element indicating the context in representations; and I am also not aiming to provide a survey analyses of the numerous ideas of the aesthetics of urbanity. Instead of these, here I am concentrating on how urbanity and the experiencing of the city in itself as well as its multifaceted aspects can become a source of inspiration and at the same time a critically analysed subject, i.e. a concept that is examined through the work itself. (shrink)

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: copying an artist's drawing, then producing an original drawing; producing an original drawing without having seen another's work; and copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from (...) the model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork. (shrink)