Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Our goal in this paper is to articulate a novel account of the ordinary concept ART. At the core of our account is the idea that a puzzle surrounding our thought and talk about art is best understood as just one instance of a far broader phenomenon. In particular, we claim that one can make progress on this puzzle by drawing on research from cognitive science on dual character concepts. Thus, we suggest that the very same sort of phenomenon that (...) is associated with ART can also be found in a broad class of other dual character concepts, including SCIENTIST, CHRISTIAN, GANGSTER, and many others. Instead of focusing narrowly on the case of ART, we try to offer a more general account of these concepts and the puzzles to which they give rise. Then, drawing on the general theory, we introduce a series of hypotheses about art concepts, and put those hypotheses to the test in three experimental studies. (shrink)

This discussion note addresses Caleb Hazelwood’s ‘Practice-Centered Pluralism and a Disjunctive Theory of Art’. Hazelwood advances a disjunctive definition of art on the basis of an analogy with species concept pluralism in the philosophy of biology. We recognize the analogy between species and art, we applaud attention to practice, and we are bullish on pluralism—but it is a mistake to take these as the basis for a disjunctive definition.

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

In this essay, I will examine Henri Maldiney’s phenomenological aesthetics, focusing on his claim that “art is the truth of the sensible.” This claim is presented by Maldiney in the context of a two-fold critique of Husserl’s and Heidegger’s respective attempts to phenomenologically elucidate the experience of artworks. According to Maldiney, both Husserl and Heidegger fail to recognize what he, following Erwin Straus, terms the “pathic” moment of sense experience, which is also the key moment of the aesthetic reception of (...) art. Drawing on this concept of the pathic and its way of engaging what Maldiney calls the “transpassibility” of receptivity, I argue that his phenomenology of art can be viewed as an attempt to bring together the two senses of the aesthetic in the Kantian sense, namely as an aesthetics of sense experience and as an aesthetics of art, from within the domain of sensibility itself. I develop this idea by turning to Maldiney’s notion of rhythm and examining how he thinks that it can be applied to the visual arts. Ultimately, I suggest that Maldiney’s aesthetics imbues art with ontological significance, since he takes the rhythmic presence of artworks to be a sensuous manifestation of the rhythmic ground of the world’s constitution. The truth of art, in this sense, is a revelation of the ontological functioning of rhythm. (shrink)

In the art of radical Informel, we encounter works with emphasised non-pictoriality, non-semantics and non-referentiality, as well as a tendency towards entropy, layering and the disintegration of form through destructive processes such as deformation, perforation, incision, scratching, the accumulation of structures and masses, fragmentation, stripping and burning. In this paper, theoretical models of interpretation for the art of radical Informel are pointed out through the concepts of the aesthetics of ugliness, i.e. brutal aesthetics, such as (1) deformation, (2) disfiguration, (3) (...) formlessness and (4) entropy – using the example of the informal works of Croatian authors Ivo Gattin, Eugen Feller and Marijan Jevšovar, which result from their attitude towards art and painting. The artists have deliberately created paintings that are not “beautiful” by opposing the classical values of art and beauty through oppositional and negative approaches, nihilism, destruction, deformation and the abolition of the surface of the painting as forms of anti-aesthetics. (shrink)

This essay centralizes and explores Ernst Cassirer’s concept of style. Although it does not emerge as much as the concept of form or symbol in Cassirer’s corpus, style plays a major—if intrinsic—role throughout the Philosophy of Symbolic Forms. I shall examine how Cassirer’s conception of style is derived from Goethe’s theory of art and why it is fundamental to Cassirer’s theory of knowledge. Style is considered the defining feature of the cultural sciences, as well as the sign of the anthropological (...) character of the natural sciences, and, more generally, as the creative principle underlying all objectivity. I argue that it is therefore justified to read style as the fundamental yet variable expression of our symbolic relation to reality. Indeed, style refers neither to an abstract principle nor to a predetermined truth: it is a formative force actualizing itself in the incessant diversification of its forms. In so doing, Cassirer’s underexamined concept of style proves highly relevant in our times of epistemic and cultural pluralism. (shrink)

What is art? What constitutes great art? Why do we value art so much and why has it been such a conspicuous feature of all human societies? These questions have been discussed at length though without satisfactory resolution. This is not surprising. Such discussions are usually held without reference to the brain, through which all art is conceived, executed and appreciated. Art has a biological basis. It is a human activity and, like all human activities, including morality, law and religion, (...) depends upon, and obeys, the laws of the brain. To understand the biological foundations of art, we must enquire into the biological foundations of knowledge, for art constitutes a form of knowledge; indeed is knowledge. We are still far from knowing the neural basis of the laws that dictate artistic creativity, achievement and appreciation, but spectacular advances in our knowledge of the visual brain allow us to make a beginning in trying to formulate neural laws of art and aesthetics; in short, to study neuroaesthetics. In this essay, I try to discuss the art of three Titanic figures in Western culture — Dante, Michelangelo and Wagner — in neurological terms. I try to show that we can trace the origins of their art to a fundamental characteristic of the brain, namely its capacity to form concepts. This capacity is itself the by-product of an essential characteristic of the brain. That characteristic is abstraction, and is imposed upon the brain by one of its chief functions, namely the acquisition of knowledge. (shrink)

First published in 1991. The arts can only thrive in a culture where there is conversation about them. This is particularly true of the arts in an education context. Yet often the discussion is poor because we do not have the necessary concepts for the elaboration of our aesthetic responses, or sufficient familiarity with the contending schools of interpretation. The aim of _Key Concepts _is to engender a broad and informed conversation about the arts. By means of over sixty alphabetically (...) ordered essays, the author offers a map of aesthetics, critical theory and the arts in education. The essays are both informative and argumentative, with cross-references, a supporting bibliography and suggestions for further reading. (shrink)

Abstract The strength of a discipline is reflected in the development of a set of concepts relevant to its practice domain. As an evolving professional discipline, nursing requires further development in this respect. Over the past two decades in North America there have emerged three different approaches to concept analysis in nursing scholarship: Wilsonian-derived, evolutionary, and pragmatic utility. The present paper compares and contrasts these three methods of concept in terms of purpose, procedures, philosophical underpinnings, limitations, guidance for researchers, and (...) ability to contribute to nursing knowledge and disciplinary advancement. This work extends prior criticisms of concept analysis methods, especially as formulated by Morse and colleagues, by promoting further critical discussion regarding the direction and effectiveness of nursing efforts to meet the basic needs of disciplinary development. Its central thesis is that nursing concept analysis must advance beyond the Wilsonian-derived methods of Walker and Avant by devoting greater attention to understanding the domain of concepts to be analysed and deriving features from these contexts. (shrink)

Past philosophical ideas about arts influence contemporary artistic practices. We still use traditional Idealist concepts, such as the autonomy of art or the subjective expression of the artist. At the same time, today_s art often attacks and abandons Idealist thinking. The author of this book analyses this relation between the Idealist conception of the arts including literature and present-day reality. The aim is to create a link between past and present artistic practices and theoretical, philosophical thinking. The author also questions (...) the Idealist notions of history and the relation between the theoretical, the aesthetic and the practical, and seeks new ways to deal with the relation between the past and the present. (shrink)

The article explores the specific conception of art developed by Danko Grlić, a prominent member of the Yugoslav Praxis School. Grlić conceptualised art beyond both aesthetic norms and technological determinism. Within the context of praxis philosophy, a distinct theory of the subject and a Marxist humanist approach, he reconceptualised art as a distinct type of praxis, a revolutionary and creative practice of changing existing living conditions. The article explains how his unique understanding of art leads Grlić to analyse, criticise and (...) refute various Marxist approaches to art: art as an ideology, art as a reflection of the objective world, art as sociological analysis. Moreover, while sharing many ideas and conceptions with Walter Benjamin’s materialist conception of art, Grlić reached the point where he became critical due to Benjamin’s belief in technology concerning processes of emancipation, which Grlić viewed with scepticism. (shrink)

ABSTRACTJan Patočka is known as a philosophical analyst of the phenomenological concept of the live-word, which contradicts the preoccupations expressed in Sir Herbert Read’s Art of Sc...

In this article, I am using the example of the introduction of osteosynthesis into surgical routine practice to analyze the use of the notions of art and science in medical innovation. The examination of the renegotiations of power and responsibility associated with the introduction of this new technique shows that proponents and critics actively linked their arguments to more fundamental epistemological and social issues. The proponents claimed to manage the uncertainties of innovation through making surgery more scientific, drawing on the (...) ideals of control, rationality, objectivity, and predictability. The critics mobilized another discursive pattern. They considered surgery an art and emphasized the individuality, contingency, and situatedness of medical practice. I investigate the discursive function of these argumentative patterns and how they played out in the concrete example of this surgical technique. (shrink)

One reason that many of the philosophical debates about free will might seem intractable is that di erent participants in those debates use various terms in ways that not only don't line up, but might even contradict each other. For instance, it is widely accepted to understand libertarianism as\the conjunction of incompatibilism [the thesis that free will is incompatible with the truth of determinism] and the thesis that we have free will" (van Inwagen (1983), 13f; see also Kane (2001), 17; (...) Pereboom (2006), xiv). However, for van Inwagen's later reservations about the use of the term `libertarianism', see van Inwagen (2008), relevant pages). This makes perplexing a number of views that have the name `libertarian compatibilism' (see Vihvelin (2000) and Arvan (2013)) as on the standard use of the terms involved, the name appears to involve a contradiction. Even the meaning and usage of the term `free will' is itself contested. Manuel Vargas writes that \`free will' is a term of both ordinary and technical discourse" (Vargas (2013), 325). However, it is not clear if the ordinary use of the term always tracks the technical use. But in an in uential paper on \How to Think about About the Problem of Free Will," Peter van Inwagen claims that \the phrase `free will' . . . hardly exists except as a philosophical term of art. Its non- philosophical uses are pretty much con ned to the phrase `of his/her own free will' which means `uncoerced"' (van Inwagen (2008), 320 footnote 1). To many of us, a look at the philosophical and literatures of the past millennium suggest a use that need not be a technical notion, even if it is often used in a technical way. No matter how this debate about the `ordinary use' of the phrase turns out, recognizing that `free will' gets used in di erent ways and being careful in such usage is important in order to avoid what Chalmers has called `merely verbal disputes' (Chalmers (2011)). For this reason, we want to be very clear in how we understand and de ne free will. There seem to be at least two di erent fundamental notions of what free will is in the contemporary literature. The rst of these, which seems to have garnered the most attention in the last century, works under the assumption that for a person to rightly be said to have free will, she must have the ability 1 to do otherwise than what she does, in fact, do. Under this view I could be said to have freely chosen to drive to work only if I also could have freely chosen, for example, to bike to work or to skip work altogether. This approach to free will is referred to as a `leeway-based approach' (cite my book) or an `alternative- possiblities approach' (see Sartorio (2016).) In contrast, a smaller percentage of the extant literature focuses primarily on the issues of `source,' `ultimacy,' and `origination'. This second approach doesn't focus immediately on the presence or absence of alternative possibilities. On this approach, I freely choose to drive to work only if I am the source of my choice and there is nothing outside of me from which the choice is ultimately derived. In what follows, we refer to the rst of these conceptions|the conception that free will is primarily a matter of having alternative possibilities|as the `leeway- based' conception. Similarly, we will refer to the second of these conceptions| that free will is primarily a matter of our being the source of our choices in a particular way|as the `sourcehood' conception. (John Fischer and Carolina Sartorio refers to sourcehood views as `actual sequence' views; see Fischer (2006) and Sartorio (2016)). Both of these notions can be seen in the following passage taken from Robert Kane: We believe we have free will when we view ourselves as agents ca- pable of in uencing the world in various ways. Open alternatives, or alternative possibilities, seem to lie before us. We reason and deliberate among them and choose. We feel (1) it is `up to us' what we choose and how we act; and this means we could have chosen or acted otherwise. As Aristotle noted: when acting is `up to us,' so is not acting. This `up-to-us-ness' also suggests (2) the ultimate control of our actions lies in us and not outside us in factors beyond our control (Kane (2005), 6). In the next two sections, I look in greater detail at each of these two approaches to the nature of free will, and how they each seek to approach what it means for an action to be `up to us'. I also show how the di erences between these two conceptions cut across the debate about what Kane refers to as the Com- patibility Question: \Is free will compatible with determinism?" (Kane (1996), 13). Along the way, I also brie y point out a number of ways how which of these conceptions is at work shapes how one engages various arguments and other issues regarding. (shrink)

This article sketches a strategy for teaching Heidegger’s essay “The Origin of the Work of Art” (“Origin”). I illustrate how one can address Heidegger’s Nazi affiliation while simultaneously engaging his philosophy of art on its own terms—goals that often work at cross purposes in the classroom. Like many, I read “Origin” together with Meyer Schapiro’s critique of Heidegger’s interpretation of a van Gogh still life of shoes, which figures so prominently in “Origin.” My innovation is to pair the Heidegger/Schapiro dispute (...) with Holocaust imagery of victims’ shoes and personal effects. Such imagery serves to introduce historical and political context for the debate and to highlight methodological differences in their conceptions of the meaning, reception, and interpretation of artworks and images more generally. These differences raise big-picture questions about the norms that govern our engagements with art and the theoretical desiderata we want a philosophy of art to satisfy. The dispute between Heidegger and Schapiro, read in conjunction with Holocaust imagery, lends these rather abstract questions a concreteness and urgency that greatly enhances classroom discussion. (shrink)

THE cult of “art for art's sake,” which had a great vogue at the end of the last century, was, in pictorial art, set aside, or rather absorbed between the two wars by other cults of a similar nature, such as the cult of pure form, of plastic form, of cubism, and these in their turn have been pushed into the background by the sinister spectre of the unconscious. There are genuine problems behind these cults, and they are by no (...) means easy problems. The cult of art for art's sake fell into disrepute; but this was not so much because of its artistic products as because of the kind of life which the devotees of this cult thought they were entitled to lead. (shrink)

Many philosophers consciously seek conceptual connections, conceptual necessities, conceptual truths, and conceptual analyses. Philosophers of mind and language dispute whether there is a language of thought; whatever the answer, it is no conceptual truth. Moral and political philosophers and philosophers of art appeal to empirically discovered human cognitive limitations, and so on. This chapter examines a variety of attempts to develop a metaphysical account of analyticity. It also explores epistemological account of analyticity, also with negative results. The overall upshot is (...) that philosophical truths are analytic at most in senses too weak to be of much explanatory value or to justify conceiving contemporary philosophy in terms of a linguistic or conceptual turn. A core of philosophical truths may indeed be modal‐analytic. Some philosophers seek to articulate necessary truths without essential reliance on indexicals; if they succeed, the sentences they produce are modal‐analytic. (shrink)

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the (...) essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

The article examines Tischner’s views on the meaning of ethics in human life. Tischner opposes positions that treat ethics as a set of recommendations. He believes that such an approach amounts to a kind of training in which the final effect is most important and, what is more, imposed. According to Tischner, a man’s attitude towards his activity is what is important. Therefore, first we should ask who the person is and what his good is. Tischner does not give precise (...) answers to these questions. He notes that self-awareness is not given to man from the beginning but is shaped throughout his life. Its course is influenced by his upbringing, education and life circumstances. Tischner points out that the most important of those are interpersonal relations. In an encounter one man helps another to discover what is good. Ethics is precisely the art of accurate revelations of the good. It is also the art of planning and undertaking activities that ensure that the good is preserved. Ethics is also an art because every encounter is different and, therefore, unique. (shrink)

INTRODUCTION This book is on the relationship between certain theories or " concepts" about art and particular periods ...

이 논문은 알파고 충격 이후 등장할 미래 사회인 포스트휴먼 시대의 예술의 가능성을 살펴보려는 것이다. 인간의 형상이 기술적으로, 혹은 탈생물학적으로 다시 그려질 때 기존 인간(휴먼 시대)의 예술과 포스트휴먼 시대의 예술은 어떤 차이가 있을까? 물론 예술의 역사는 부친살해의 역사였다. 기존 전통을 해체하고 늘 새로움을 추구한 것이 예술사였다. 그렇다면 포스트휴먼 시대에도 휴먼 시대의 예술과 같이 부친 살해의 전통을 따르는 새로움이 있을 것인가? 그 새로움은 휴머니즘 예술에 기초한 것일까? 아니면 전혀 새로운 차원의 예술인가? 혹은 예술의 개념이 전혀 달라지는 것인가? 따라서 예술에 대한 기본적 이해와 (...) 포스트휴먼 시대를 조망해보고, 이후 포스트휴먼 시대의 예술을 ‘인간의 능력에서 기술적 상상력으로 재편되어 공간에서 시간의 예술로 변화되는 것’, ‘인공지능의 딥드림’을 통해 기존 초현실주의와 관련이 되는 것으로서 포스트휴먼의 예술을, 마지막으로 최근 신경과학의 발전과 그 영향으로 인공지능의 예술을 기존 개념 예술과 연관하여 ‘새개념 예술’의 출현으로 살펴보고자 한다. 결국 어원적으로 예술은 기술과 동일한 속성을 지니기에 포스트휴먼 시대에도 예술은 기술의 힘으로, 또한 기술은 예술의 창조성으로 서로 소통하며 발전할 것이라고 조망해 졸 것이다. (shrink)

Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys’s concept of social sculpture and Marcuse’s idea of society as a work of art can be complemented by Abreu’s project of a musical orchestra as a social ideal and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey, with D’Annunzio also touching upon them with his State of Fiume, for (...) which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research. (shrink)

What is the folk concept of art? Does it track any of the major definitions of art philosophers have proposed? In two preregistered experiments (N = 888) focusing on two types of artworks (paintings and musical works), we manipulate three potential features of artworks: intentional creation, the possession of aesthetic value, and institutional recognition. This allows us to investigate whether the folk concept of art fits an essentialist definition drawing on one or more of the manipulated factors or whether it (...) might be a disjunctive or cluster concept. The results suggest that none of the three manipulated properties alone suffices for an object to be considered art. The folk concept of art might thus well be a cluster concept instead of an essentialist concept. (shrink)

on great currency in analytic philosophical aesthetics. What is not generally known is that the American philosopher Eli Siegel called the philosophy he founded in the 1940s Aesthetic Realism. His philosophy has as its central principle: ‘The world, art, and self explain each other: each is the aesthetic oneness of opposites.’ Thus, two distinct uses of the same terminology exist, and should not be confused.

This book concerns the history of fine art in higher education in Britain and Ireland, from 1770 to the present. From one point of view, the book could have begun auspiciously with Hans Holbein, who, as a young artist, designed the title page cover for Thomas More’s Utopia and who came to England in 1526 with an introduction from Erasmus. But that would not have been an apt place to start since it is not a “Master” per se that this (...) book explores but, as it declares, the many roles of a “Master” as a leader, scholar, instructor, director, progenitor, role model, supervisor, curator, lecturer, teacher, practitioner, public servant, and policy maker in art education nation-building ways that, for... (shrink)

Qu’est-ce que l’expérience artistique nous apprend de l’art? C’est la question à l’horizon de cette étude dont le but est de jeter les bases pour repenser la spécificité de cette expérience dans le contexte actuel. En effet, l’offre artistique contemporaine a bouleversé le rôle du spectateur, sa relation avec l’œuvre ainsi que l’idée d’art tout court. Qu’est-ce qu’une œuvre d’art aujourd’hui? Faut-il parler encore de spectateur? Peut-on concevoir l’expérience de l’art au-delà du conflit entre l’ancien idéal de contemplation et les (...) exigences performatives actuelles? Avec deux nouveaux outils conceptuels, cet article propose de frayer un chemin parmi quelques-uns des préjugés de la tradition philosophique afin de formuler les premières hypothèses pour repenser la théorie de l’art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 12-19 [Access article in PDF] The Concept of Freedom in Art Education in Japan The concept of freedom has played a very important role in art education in Japan. Needless to say, freedom has been regarded as an essential principle of education in the West. Writers from Jean Jacques Rousseau to John Dewey stressed the significance of freedom in education. Especially, in (...) the field of art education, Frantz Cizek, Viktor Lowenfeld, and Herbert Read emphasized the importance of children's free expression in relation to creativity. This article examines the concept of freedom in art education in Japan, focusing on the ideas of two major non-governmental movements in art education; the Free-Expression Movement in the 1920s and the Creative Aesthetic Education Movement in the 1950s-1960s. Although both movements have already declined, their impacts are still felt in Japanese art education. The Beginning of Art Education in Japan In the early Meiji Era (1868-1912), art education was introduced to Japan when the modern school system was imported from the West. In 1872, the first government drawing textbook; Seiga Shinan [Guide to Western Pictures] was published based on a Japanese translation of British drawing manuals. 1 In this period, the purpose of art class was to teach the basic skill of mechanical drawing for industrial development; the method consisted of merely copying model pictures in the drawing textbook. In 1910, Akira Shirahama, who spent three years in Europe and the United States surveying art education, edited Shintei Gacho [New Textbook of Drawing]. As Okazaki points out, Shirahama, who was impressed by the art curriculum in the public schools of the United States, referred to the importance of children's creative imagination; however, the new textbook did not fully reflect the idea. 2 Thus, the practice of art class was limited to copying textbooks, and children's free expression was not considered important in art class. Until this period, the issue of freedom did not correlate to art education. The Free Expression Movement in the Taisho Era After the World War I, a democratic movement prevailed during the Taisho Era (1912-1926) in Japan. This movement, called Taisho Democracy, influenced various parts of Japanese life including politics. In the field of education, many democratic ideas of education were introduced from the West and books on progressive educational thought such as John Dewey's Democracy and Education were translated into Japanese. Child-centered education also became popular among progressive teachers. During this period, Jiyuga KyouikuUndo, the Free-Drawing Education movement, was started by Kanae Yamamoto. Okazaki describes this epoch-making movement as "the remarkable movement of art education in 1919 which began to change art education philosophy." 3 It was the first time the issue of freedom was raised in art education in Japan. [End Page 13] Yamamoto's Concept of Freedom Kanae Yamamoto, born in 1882, studied Western painting at the Tokyo Fine Arts School. After graduation, he started his career as a print artist and set off for Europe in 1912. He stayed in France to study art and experienced the much freer atmosphere in Europe compared to Japan. When he returned to Japan via Russia in 1916, he encountered an exhibition of children's paintings in Moscow. The free expression of the Russian children's paintings deeply impressed him.After Yamamoto's return from Europe, he organized the first exhibition of children's free painting in Japan and established Japan Children's Free Drawing Association in 1919. The exhibition was given great attention by the public, who, influenced by the Taisho democratic movement, was becoming very interested in democratic education. Yamamoto's book; Free Drawing Education was published in 1921. In his usage, the term "freedom" is sometimes synonymous with creativity. 4 He explained the meaning of freedom in his education theory: Our education of freedom is not to educate as teachers like. It is not a worship of freedom showing the model of freedom but to teach freedom itself....In my belief, the essence of human beings will never... (shrink)

In this article, I will first present a number of contemporary philosophical conceptions that offer various solutions to the “paradox of negative emotions” as a general problem of how one can enjoy art that involves painful emotions. Solutions presented include ambivalence and value judgments theories, compensatory theories, and theories of catharsis. Then the article highlights a number of modern empirical studies devoted to this paradox. Despite the fact that they contain methodological and substantive problems, and do not add up (...) to a coherent system, their results are valuable, since they challenge the possibility of a universal solution to the paradox. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 77-88 MuseSearchJournalsThis JournalContents[Access article in PDF]The Aesthetic Appreciation of Environmental Architecture under Different Conceptions of EnvironmentAllen CarlsonIntroductionIn what is in retrospect easily recognized as one of the three or four truly groundbreaking essays in environmental aesthetics, Francis Sparshott distinguishes a number of different ways of conceptualizing our relationships to our environments. Such different conceptualizations, he argues, deeply influence the ways in (...) which we aesthetically experience both environments and the things that occupy them. 1 It follows that understanding of, and thus education about, our environmental conceptualizations are of the utmost importance to our aesthetic appreciation. In this article I follow up some of Sparshott's insights by considering the ways in which a number of rather common conceptualizations of environments relate to what is an increasingly important feature of our built environments—what is commonly referred to as "environmental architecture." In doing so, I hope to make clear how aesthetic education concerning these common conceptualizations is vital for the appreciation of not only environmental architecture but the whole of our built environment.Initially, however, some clarifications are in order. First, due to the emphasis in environmental architecture on environments in general, there is, within this area of concern, somewhat of a shift away from the idea of architecture as a fine art. Traditionally, architecture, along with painting, sculpture, poetry, and music, was regarded as one of the five founding art forms of the so-called modern system of the arts. 2 And, although architecture, given its utilitarian dimensions, has often been the poor sister of the famous five, some individuals nonetheless regard it essentially as a fine art. 3 However, given my focus on environmental architecture, I here pay equal attention to what is known as "vernacular architecture." [End Page 77]Second, the phrase "environmental architecture" refers to architecture and architectural practices that are typically promoted as "working with the environment" or as being "environmentally friendly." Such characterizations bring to mind ideas such as ecological design, sustainable development, and green architecture. They are associated with design and building practices that rely on renewable energy and materials, stress recycling and efficient use of resources, and attempt to maintain the long-term integrity of both natural and human environments. Consequently, whether exemplified in the fine art of architecture or in the vernacular, such design and building practices point initially to the ecological and, more broadly, the ethical issues associated with architecture, which are best approached within environmental ethics or traditional ethical theory. 4 Although these ethical matters are of the greatest importance, I here primarily address, as noted, aesthetic issues involved in environmental architecture.Aesthetics and Environmental ArchitectureThe aesthetics of environmental architecture, as the ethics of environmental architecture, concerns most generally the relationships between structures and their environments, and especially the environmental effects of the former on the latter. Of course, unlike ethics, which in the case of architecture considers the environmental benefits or harms brought about by design and building practices and the resultant structures, aesthetics focuses first and foremost on appearances, on that which is perceived by the senses. As is well known, the discipline takes its name from the Greek aisthetikos, meaning "of sense perception." However, to recognize that aesthetics is concerned with appearances is not necessarily to relegate it to the realm of the superficial. Even though, since the aesthetics of environmental architecture considers the relationships between structures and their environments, it initially focuses on the appearances of such relationships, it need not be restricted to questions of whether such relationships are simply "pleasing to the eye" or "pretty." Rather, the basic question in the aesthetics of environmental architecture is whether structures reside in their environments such that they appear as they should. By this I mean that they and their environments are related in such a way that the structures appear appropriate or proper within their environments. 5An emphasis on whether structures appear appropriate within their environments immediately moves the matter beyond simple appearances. This is because... (shrink)

It has been claimed that the prototype theory of concepts supports two controversial claims in the philosophy of art: that art cannot be defined, and that the possession of a certain sort of historical narrative is a sufficient but not necessary means of determining the art status of contested works. It is argued here that two sorts of considerations undermine the thesis that prototype theory offers significant support to anti-definitionism and historical narrativism. First, there is reason to think that prototype (...) theory is as a psychological theory not the sort of view that can support philosophical theories like anti-definitionism and historical narrativism. Second, well-known objections and theoretical alternatives to prototype theory theory raise serious questions about that theory’s own credentials. (shrink)

This paper comprises two parts. The first part is an introduction to Auriol’s moderate conceptualism, as it is presented in his Commentary on Book II of the Sentences, distinction 9, question 2, article 1. The second part is an edition of the text. In the introduction, I focus on Auriol’s use of the noetic tool of connotation. My thesis, in particular, is that connotation is a necessary prerequisite to his moderate conceptu- alism. To this purpose, the first part of this (...) introduction will be devoted to a brief presentation of Auriol’s conceptualism. In the second part, Auriol’s theory of essential predication will be presented. In the third part, I will present my claim that Auriol’s theory of essential predication can only be made sense of when read against the background of his theory of connotation as applied to intellectual cognition. Finally, I will offer a collation of Auriol’s Commentary on Book II of the Sentences, dis- tinction 9, question 2, article 1, obtained by collating eight manuscripts, which hand down Auriol’s text, that is, Firenze, Biblioteca nazionale centrale, ms. Conv. Soppr. B.6.121, Firenze, ms. Conv. Soppr. A. 3.120, Napoli, Biblioteca nazionale, ms. VII.C.3, Padova, Biblioteca Antoniana, ms. 161, scaff. ix, Paris, Bibliothèque nationale de France, ms. latin 15867; Pelplin, Biblioteka Seminarium duchownego, ms. 46/85, Vaticano (Città del), Biblioteca Apostolica, ms. Borgiano 404, Vaticano (Città del), Biblioteca Apostolica, ms. Vat. lat. 942. (shrink)

Did the Florentine philosopher Marsilio Ficino (1433-99) influence the art of his time? Art historians have been fiercely debating this question for decades. This book starts with Ficino's views on the imagination as a faculty of the soul, and shows how these ideas were part of a long philosophical tradition and inspired fresh insights. This approach, combined with little known historical material, offers a new understanding of whether, how and why Ficino's Platonic conceptions of the imagination may have been (...) received in the art of the Italian Renaissance. The discussion explores Ficino's possible influence on the work of Botticelli and Michelangelo, and examines the appropriation of Ficino's ideas by early modern art theorists. (shrink)

The article is dedicated to analyzing the nature of genius in the context of the development of fiction about artists. From the biographies of the famous Renaissance artists by G. Vasari, who made one of the first attempts at chronicling the lives of geniuses of his time, to modern fictionalized biographies of genius artists – we can trace the desire of writers to comprehend the nature of the artists and sculptors’ genius. The foundation of the concept of genius can be (...) found in Immanuel Kant’s works, which synthesized theories developed previously and influenced the understanding of genius by future generations. The paper analyses the consonance of Kant’s aesthetics with the concept of genius in fictionalized biographies of F. Goya, M. Bashkirtseva, V. van Gogh, P. Gauguin, O. Novakivskyi, K. Bilokur, P. Picasso, V. Tsymbal, S. Karaffa-Korbut and other artists, while focusing on the Ukrainian texts of the 20th–early 21st centuries. The research attempts to single out and analyze elements of conceptualizing the notion of genius in novels, including the concepts of the beautiful and the sublime in art, recognition of genius in society, the gender aspect of genius, the issues of heredity, and others. The representation of the image of genius in visual arts, iconography, and the cult of genius are discussed within an intermedial framework. The research relies on literary and art criticism methodology and comparative and intermedial studies. (shrink)