A picture lives by companionship.In Art as Experience, John Dewey is clear that art, like life, goes on in an environment—or, more emphatically, art, like life, goes on "not merely in it but because of it, through interaction with it.... The career and destiny of a living being are bound up with its interchange with its environment, not externally but in the most intimate way."2 Later, Dewey says: "The word 'esthetic' refers, as we have already noted, to experience as appreciative, (...) perceiving, and enjoying. It denotes the consumer's rather than the producer's standpoint.... As with cooking, overt skillful action is on the side of the cook who prepares, while taste is on the side of the... (shrink)

In 2017, the artist Dana Schutz presented her painting, Open Casket, at the Whitney Biennial. Both the painting and the painter were subsequently subjected to criticism from the art world. A central critique was that Schutz usurped the story of Emmett Till and that, as a white woman, she had no right to do so. Much can—and has—been said on the appropriateness of Schutz's painting. In this article, I argue that Open Casket is a site of oppression, an object (...) that both reflects and reinforces dominant racial hierarchies. Specifically, I argue that Open Casket is a case of what Linda Alcoff calls “the problem of speaking for others”: when a member of a privileged social group speaks on the social experiences of an oppressed group, effectively silencing that group. I explore the moral and epistemic implications of Open Casket and related works and provide some reasons to think that socially privileged persons should not depict the experiences of socially oppressed persons—at least in many cases. I conclude by presenting some conditions under which it may be appropriate for privileged artists to speak for oppressed groups. (shrink)

This paper argues that debates over art exhibitions that make use of live animals, such as the Guggenheim Museum's 2017 Art and China After 1989: Theater of the World, are reflective of a schism between two general approaches to the ethico-political criticism of art. One of these approaches, the interpretation-oriented approach, is dominant in the art world and its adjacent institutions. The other, the production-oriented approach, is tacitly adopted by art-interested non-specialists. This rift explains why the use of (...) animals in contemporary art—a practice that many art-interested people outside of the art world find bizarre and prima facie unethical—is so rarely discussed critically within art world institutions such as museums and journals. In an attempt to redress this oversight, the paper argues that the production-oriented approach is not only conceptually sound, but rationally preferable to the interpretation-oriented approach in many such cases. (shrink)

Hans van Maanen is professor of art and society at the Department of Arts, Culture & Media Studies of the University of Groningen, the Netherlands.

Not too long ago the trustees of my college decided to update the artistic holdings of our campus, and to this end they set out to acquire a contemporary work of art for permanent display in the College art museum. Not being timid, the trustees wanted a challenging, cutting-edge work, preferably from the West Coast, but they felt they lacked the expertise to find and buy the right piece. As it happened, a few of them had heard of my interest (...) in modernism and its philosophical challenges, and so I found myself with an unusual assignment: I was to fly to Los Angeles with a ten thousand dollar check and bring back something distinguished, a unique object to be discussed and appreciated for years to come. (shrink)

By now it is clear that the word postmodern has a settled into an insurmountable usage in the field of architecture and this in addition to its continuing currency for art critics and theorists, social analysts, and political and literary theorists, not to mention journalists and philosophers. Nevertheless no one less influential for the real or built presence of postmodernism than Charles Jencks could complain that with respect to architecture, critics apply the term as a kind of catchall, so that (...) postmodernism is used for "everything that was different from high modernism, and usually this meant skyscrapers with funny shapes, brash colors, and exposed technology."1. (shrink)

Volume 11, Issue 1-2, January–December 2024.

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories (...) were of animals and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

The era of the Internet of Things provides a free space for the public to participate in the consumption, production, dissemination and sharing of art and aesthetics in a way that is accessible and equal to all. This promotes the development of daily aesthetic and artistic practices of the masses in the age of sharing, thus promoting the development of Community Art. Based mainly on the perspectives and theoretical orientations of the disciplines of art theory and art anthropology, this paper (...) explores the development and impact of Community Art based on the research background of the post-modern art world by comprehensively applying research methods such as theoretical deduction, phenomenology and case study analysis. In the postmodern art world, exchanges and intermingling between different art forms, such as contemporary art, popular art, ethnic folk art and local art, promote dialogue, exchange and cooperation between different groups and classes. Therefore, the postmodern art world has shaped a public aesthetic space based on the popular sharing platform of Community Art, which advances the construction of artistic community. Although this study is dedicated to a comprehensive and in-depth analysis of “Community Art” in the context of the postmodern art world, some points may not be adequately argued due to the author's current level of academic research and the availability of information. Future research can continue to expand the scope of the study and enrich the research methodology with the development of the practice, so as to better make up for the shortcomings of this study. (shrink)

The Dealing in the Art Galleries: How is Affecting the Contemporary Art World. The present study focuses on the different types of artist-gallery collaborations established in the contemporary art world, trying to underline the impact that such collaborations can have on the art world in general. I shall point several effects that these types of collaborations can have in relation to the art market or even in relation to the aesthetics of contemporary art. The role of private (...) art collectors is also of some importance in this equation and I shall also focus on some relevant examples of galleries or art dealers symptomatic to some of the issues discussed. (shrink)

Discusses about selective engagement as the most desirable strategy for contemporary America, stating that it is the one that seeks to forestall dangers, not simply to react to them; that is politically viable; at home and abroad; and that protects US interests.

This study analyzes the relevance in the art world of an ethical and juridical category as the responsibility, as well as its content and limits. The acceptance of the idea of responsibility of the artists depends on the manner in which the “art world” and its frontiers are comprehended - as an autonomous and closed realm or, on the contrary, as a space open to the public control. If the modernist logic of the autonomy had led to the (...) emergence of an artist who claims to an immunity/ impunity based on the absolute artistic freedom, the other model of the art world implies legitimately ethical and juridical questions, as well as an active relation between the public and the forms of the contemporary art. Still, the idea of responsi- bility is tighten to the mode of evaluating the powers of art. As soon as the social and political utility of the art is invoked, it ceased to be not only beyond the good or evil, but also beyond desirable and undesirable, and the responsibility of the artists belongs not only to the aesthetic realm but also to the political one. (shrink)

Helps individual readers to overcome procrastination and build self-esteem Reveals how to create a culture of accountability, and how to hold someone accountable Gives leaders a step-by-step process for helping team members become more self-responsible Explains commitment reluctance and how to encourage self-responsibility among team members Uncovers why we blame others and shows how to defeat a blame culture Provides an easy read with no consultant-speak In recent years, HORN Training and Consulting was awarded the distinguished Gold Medal by the (...) Canadian Society for Training and Development for its leadership development program designed for one of the world’s largest international banks; and HORN is currently executing leadership development projects on a global scale for companies in the consumer packaged goods and pharmaceutical industries. (shrink)

The paintings of the three brothers -- Marcial Camilo, Juan Camilo, and Felix Camilo Ayala -- stand among the high points of modern Mexican folk art, and represent the most ambitious creations to have come from the province of Guerrero . The joyous traditions of Guerrero rival the better-known outputs of Oaxaca or Michoacan in quality but they have not received comparable attention from collectors or museums.

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted (...) fantasy, and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

"Works of art sometimes leave us speechless. But they almost never shut us up. They can't. There's just too much to say. Talking about art doesn't leave things as they are; it changes everything. To look, to think, to say what you see, or why you respond as you do, this changes what you see and it changes your response. The effort and the caring remake us. They remake us, in real time, as we listen to the song, or examine (...) the painting, or watch the movie. This is not unique to art, of course. What I have just outlined goes for all experience and is really life's first principle: life is a process of growth and reorganization, a process that commences right then when we first act, for we reorganize ourselves and develop in response to the ways what we do changes what we undergo, as Dewey might have said. But art aims at this; there is art so that we may remake ourselves, and also, so that we may catch ourselves in the act of this remaking. Art requires creation, even from its beholder. Yogi Berra was right: you can see a lot by observing. But observation - the effort and the caring - this requires thought, attention, focus. It can be play, but it is also work-like. Art always proposes a task, and the task is neither easy nor quite well-enough defined. The task, though, is only this: try to perceive, try to bring what is there into focus. If you do this, you will find yourself unveiled and, to whatever little extent, put together anew. The crucial thing to accept is that we don't get all this - the wow, the pleasure, the unveiling, and the reorganization - just for the price of admission. We have to join in, turn on, throw thoughts and reactions at the works themselves, position ourselves to catch them on the rebound, and allow room for emotions, not always positive. This is something we typically do with other people, and in the field cast by their responses and their words and argument. Works of art are always strange provocations; sometimes they offend us; more often they leave us untouched, unaffected, even bored. And this is where their value lies. Each of the short writings collected here is an exercise in giving art and myself the time to let something happen; I try to do this work so that art may do its work. Some of them were written while I was working on my 2015 book Strange Tools: Art and Human Nature, and they flow from the same well of curiosity that nourished that project. The title is borrowed from Joshua C Taylor's famous Learning To Look, which was the first book about art that I ever read"--. (shrink)

AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology and digital (...) media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds. (shrink)

Symbolic Worlds contains fifteen chapters, with all but the first published between 1972 and 1996. The unifying theme concerns aspects of the symbolic function in language, science, art, ritual, and play. The approach is nominalist and heavily influenced by the work of Nelson Goodman.

In the article, the subject of the study is art. Some problematic points in the conceptualization of this phenomenon in modern science are considered, the available empirical research is evaluated, as well as the interdisciplinary perspective of the study of the phenomenon of art. The problem discussed in the article is the objectification of art as an independent phenomenon, and not only as a "form of social consciousness". The possibilities of such objectification can bring scientists closer to understanding the importance (...) of art for self-expression, human improvement, and survival in a modern post-industrial society. To solve this problem, some results of the well-known monitoring of changes in value structures are used – the World Values Survey, which contains data on value transformations in cross-country comparison. This study has been conducted for about 30 years and provides a broad understanding of the relevant changes. The research methodology is based on interdisciplinary, axiological and systemic approaches, the concept of "centralization" of values is used as a new perspective of the study. The scientific novelty of the study in general and its main provisions in particular boils down to the following: (1) the need to understand art from the point of view of not a form of public consciousness, but as a value included in various value systems is shown the structure of human existence; (2) based on the materials of the World Values Survey, the position of the value of art in the system of values of self-expression and values of self-survival is analyzed (according to R. Inglehart); (3) from the point of view of value transformations or changes occurring in the hierarchies of values, the "position" of art has been revealed, consisting in balancing (harmonizing) "intellectual values", which include art. The main result is as follows: art as a value is not subject to transformation and crisis, according to the results of the World Values Survey. (shrink)

BackgroundPsychotherapy interventions increasingly utilize digital technologies to improve access to therapy and its acceptability. Opportunities that digital technology potentially creates for art therapy reach beyond increased access to include new possibilities of adaptation and extension of therapy tool box. Given growing interest in practice and research in this area, it is important to investigate how art therapists engage with digital technology or how practice might be safely adapted to include new potential modes of delivery and new arts media.MethodsAn integrative review (...) of peer-reviewed literature on the use of digital technology in art therapy was conducted. The methodology used is particularly well suited for early stage exploratory inquiries, allowing for close examination of papers from a variety of methodological paradigms. Only studies that presented empirical outcomes were included in the formal analysis.FindingsOver 400 records were screened and 12 studies were included in the synthesis, pertaining to both the use of digital technology for remote delivery and as a medium for art making. Included studies, adopting predominantly qualitative and mixed methods, are grouped according to their focus on: art therapists’ views and experiences, online/distance art therapy, and the use of digital arts media. Recurring themes are discussed, including potential benefits and risks of incorporating digital technology in sessions with clients, concerns relating to ethics, resistance toward digital arts media, technological limitations and implications for therapeutic relationship and therapy process. Propositions for best practice and technological innovations that could make some of the challenges redundant are also reviewed. Future directions in research are indicated and cautious openness is recommended in both research and practice.ConclusionThe review documents growing research illustrating increased use of digital technology by art therapists for both online delivery and digital art making. Potentially immense opportunities that technology brings for art therapy should be considered alongside limitations and challenges of clinical, pragmatic and ethical nature. The review aims to invite conversations and further research to explore ways in which technology could increase relevance and reach of art therapy without compromising clients’ safety and key principles of the profession. (shrink)

The Art of Randomness teaches readers to harness the power of randomness (and Python code) to solve real-world problems in programming, science, and art through hands-on experiments-from simulating evolution to encrypting messages to making machine-learning algorithms. Each chapter describes how randomness plays into the given topic area, then proceeds to demonstrate its problem-solving role with hands-on experiments to work through using Python code.

This beautiful introduction to art and language features some of the world's most beloved masterpieces as it entices children to discover art, language, objects, and colors. First pictures, first words--this familiar and time-proven book concept for young children is incorporated brilliantly in this multi-lingual art book. The works of Renoir, Kandinsky, Dürer, Rousseau, Franz Marc, and others are featured in beautiful full-page reproductions. Opposite each image is a word that helps describe the painting--for instance "play," "bunny," "horse," "train." The (...) words are presented in twelve different languages, each with their phonetic pronunciation. Organized thematically, the book touches on a child's everyday experience through simple and comforting images that will invite further investigation: What are the men playing with? What does the bunny's fur feel like? How many teddy bears do you see? Together adults and children can explore great works, planting the seeds for an appreciation of the world's masterpieces and the words to describe them."--Publisher's description. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) class='Hi'>world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

Aron Vinegar’s essay explores art history and visual culture’s dependence on a phenomenological conception of world, which is based on a hermeneutics of facticity, intentionality, and ontological difference. He argues that the ‘basic concept’ of world has structured the field of art history and visual culture in implicit and explicit ways, thus dictating many of its commitments and concerns. One of the primary limitations of this commitment to world, is that it has resulted in art history and (...) visual culture’s tendency to concern itself with a very small portion of existence, usually human existence, in its emphasis on hermeneutics and facticity, thus foreclosing on a more generous and speculative ontology, ethics, and politics. The concept of “world” suggests an overarching totality, an interconnected field of meaning and sense, often indicated by a tacit and resonate tonality. But there is no overarching “world” or “world-view” that can provide us with an overview of or container for the myriad worlds of things. An art history that is willing to consider that the world does not exist would acknowledge and embrace the fact that there is no overall focus, which can encompass things and events in all their spatio-temporal complexity. It would entail a practice attentive to a “supple and inflected bathmology” (Vinegar prefers this phrase to “flat ontology”) in its refusal to emphasize “privileged ontological scenes” predicated on hierarchies of ontological difference, and subsuming things and experience within the structures of phenomenological intentionality. To initiate such a practice, Vinegar suggests an embrace of what he terms “ontological indifference,” a robust notion of habit, and a temporal logic that would be fully attentive to a pluriverse of multiple existences and eruptions of substance, which extend well beyond ‘our’ realms of significance and meaning, cares and concerns, laughter and joy, losses and mournings. (shrink)

Symbolism is a primary characteristic of the mind, deployed and displayed in every aspect of our thought and culture. In this important and broad-ranging book, Israel Scheffler explores the various ways in which the mind functions symbolically. This involves considering not only the world of science and the arts, but also such activities as religious ritual and child's play. The book offers an integrated treatment of ambiguity and metaphor, analyses of play and ritual, and an extended discussion of the (...) relations between scientific symbol systems and reality. What emerges is a picture of the basic symbol-forming character of the mind. In addition to philosophers of art and science, likely readers of this book will include students of linguistics, semiotics, anthropology, religion, and psychology. (shrink)

MANY, PERHAPS MOST OF US, tend to connect art with the past. Faced with the art of our own time we become unsure: everything important seems to have been done, the vocabulary of art exhausted, and attempts to develop new vocabularies more interesting than convincing. Ours tends to be an autumnal view of art. The association of art and museum has come to replace such older associations as art and church, or art and palace. As we know it, the museum (...) is a comparatively recent institution, emerging only in the first half of the nineteenth century, thus lagging somewhat behind such related phenomena, as e.g., archeology, art-history, and neo-gothic architecture, all expressions of a museal [[sic]] attitude extending far beyond art to religion and even to nature. Consider the significance of setting aside a certain part of nature as a national monument. Monuments serve to commemorate, most often the dead. What do such natural monuments commemorate? Perhaps nature herself? But does nature need commemorating? Does it, too, lie behind us? Will future generations know nature only in the form of natural monuments? We do indeed live in an age which increasingly forces us to question whether nature still has a place in the modern world, whether it is not rather a relic from the past. By trying to preserve nature in specially created parks or monuments we show that this loss, although perhaps inevitable, is nevertheless felt to be serious. (shrink)

According to my entire understanding here, art is itself an emanation of the absolute. The history of art will show us most revealingly its immediate connections to the conditions of the universe and thereby to that absolute identity in which art is preordained. Only in the history of art does the essential and inner unity of all works of art reveal itself, a unity showing that all poetry is of the same spirit, a spirit that even in the antitheses of (...) ancient and modern art is merely showing its two different faces. §14. The indifference of the ideal and the real as indifference manifests itself in the ideal world through art, for art is in itself neither mere activity nor mere knowledge, but is rather an activity completely permeated by knowledge, or in a reverse fashion knowledge that has completely become activity. That is, it is the indifference of both. (shrink)

In this book, McMahon argues that a reading of Kant’s body of work in the light of a pragmatist theory of meaning and language leads one to put community reception ahead of individual reception in the order of aesthetic relations. A core premise of the book is that neo-pragmatism draws attention to an otherwise overlooked aspect of Kant’s "Critique of Aesthetic Judgment," and this is the conception of community which it sets forth. While offering an interpretation of Kant’s aesthetic theory, (...) the book focuses on the implications of Kant’s third critique for contemporary art. McMahon draws upon Kant and his legacy in pragmatist theories of meaning and language to argue that aesthetic judgment is a version of moral judgment: a way to cultivate attitudes conducive to community, which plays a pivotal role in the evolution of language, meaning, and knowledge. (shrink)

This is a multicultural philosophy of art applied to common American and European experience and discussed in relation to Taoist, Buddhist, Hindu, Native American, and African traditions.

What is film? Why are movies important? Why do we care about them in the way we do? How do we think of the connections between the projected image and what it is actually an image of? Most movie-goers assume that they are entitled to make jugments and come to conclusions about the movies they see--to evaluate how "good" they are, or what they "mean." But what do they base, or what should they base, their judgments on? In this thought-provoking (...) new book, Stanley Cavell, a professor of philosophy and aesthetics at Harvard who has long taken a lively interest in movies, looks closely at these and other questions concerning America's most popular art and the perceptions we make of, by, and through it. His answers are surprising and important--not only to our understanding of film and of ourselves, but to our expectations of life and art. Mr. Cavell's explorations of some of Hollywood's stars, directors, and most famous films--as well as his fresh look at Godard, Bergman, and other great European directors--will be of lasting interest to movie-viewers and intelligent people of all ages. (shrink)

Problems arising from two issues are examined and resolved: those having to do with reference and denotation involving fictional entities and those having to do with the realist/idealist controversy - and with confusions due to mingling the two issues. Discussion ranges over the views of Russell, Quine, Strawson, Searle, Beardsley, Ryle, Wolterstorff, van Inwagen, de Man, Bakhtin, Goodman, and others. The solutions offered depend on sorting actual persons, actual stories, and imaginary or fictitious persons; and on treating reference in a (...) purely grammatical way, without ontological import in itself but without precluding ontological interpretation. (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)

This book compares two major leisure activities – watching sport and engaging with art. It explores a range of philosophical questions that arise when sport and art are placed side by side: The works of Shakespeare, Rembrandt and Mozart have continued to fill playhouses, galleries and concert halls for centuries since they were created, while our interest in even the most epic sporting contests fades after just a few years, or even a single season. What explains this difference? Sporting contests (...) are merely games. So why do sports fans attach such great importance to whether their team wins or loses? Do sporting contests have meaning in the way works of art do? Beauty is a central value in art. Is it important in sport? What role does morality play in sport and art? What value do sport and art contribute to the world and to the meaning of people’s lives? (shrink)

Although the reception of John Dewey's _Art as Experience_ has not been totally ignored by secondary literature, the few works that have dealt with the subject have been restricted to the English-speaking context, and more specifically to the United States. This essay sought to consider the reception of Dewey's book on aesthetics in the context of Spanish-speaking countries, with special attention to Mexico, Spain, Colombia, and Argentina. The hypothesis put forward and supported here is that _Art as Experience_ had a (...) late reception due to political and cultural factors in these countries and that it is at present that we really find a deeper reception of this work, with an increasing number of publications about the subject. (shrink)