In this expansive and provocative new work, Michael Dango theorizes how aesthetic style manages crisis--and why taking crisis seriously means taking aesthetics seriously. Detoxing, filtering, binging, and ghosting: these are four actions that have come to define how people deal with the stress of living in a world that seems in permanent crisis. As Dango argues, they can also be used to describe contemporary art and literature. Employing what he calls "promiscuous archives," Dango traverses media and re-shuffles literary and art (...) historical genealogies to make his case. The book discusses social media filters alongside the minimalism of Donald Judd and La Monte Young and the television shows West Wing and True Detective. It reflects on the modernist cuisine of Ferran Adrià and the fashion design of Issey Miyake. And, it dissects writing by Jenifer Egan, David Foster Wallace, David Mitchell, and Zadie Smith. Unpacking how the styles of these works detox, filter, binge, or ghost their worlds, Crisis Style is at once a taxonomy of contemporary cultural production and a theorization of action in a world always in need of repair. Ultimately, Dango presents a compelling argument for why we need aesthetic theory to understand what we're doing in our world today. (shrink)

Food has savour: a collection of properties (including appearance, aroma, mouth-feel) connected with the pleasure (or displeasure) of eating. After explaining this concept, and outlining a theory of aesthetic pleasure, I argue that, like paradigm examples of art, savour can be assessed relative to a culturally determined set of norms. Also like paradigm examples of art, the assessment of savour has no objective basis in the absence of such cultural norms. My argument in this paper is part of a larger (...) project in which I develop an account of the pleasure of art. It is a virtue (I claim) of my approach that it permits a much greater diversity of artforms than traditional philosophical aesthetics is inclined to allow. This includes food. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 1-13 [Access article in PDF] From Postmodernism to Postmodernity: The Local/Global Context Ihab Hassan I What Was Postmodernism? What was postmodernism, and what is it still? I believe it is a revenant, the return of the irrepressible; every time we are rid of it, its ghost rises back. Like a ghost, it eludes definition. Certainly, I know less about postmodernism today than I did (...) thirty years ago, when I began to write about it. This may be because postmodernism has changed, I have changed, the world has changed.But this is only to confirm Nietzsche's insight, that if an idea has a history, it is already an interpretation, subject to future revision. What escapes interpretation and reinterpretation is a Platonic Idea or an abstract analytical concept, like a circle or a triangle. Romanticism, modernism, postmodernism, however, like humanism or realism, will shift and slide continually with time, particularly in an age of ideological conflict and media hype.All this has not prevented postmodernism from haunting the discourse of architecture, the arts, the humanities, the social and sometimes even the physical sciences; haunting not only academic but also public speech in business, politics, the media, and entertainment industries; haunting the language of private life styles like postmodern cuisine--just add a dash of raspberry vinegar. Yet no consensus obtains on what postmodernism really means.The term, let alone the concept, may thus belong to what philosophers call an essentially contested category. That is, in plainer language, if you put in a room the main discussants of the concept--say Leslie Fiedler, Charles Jencks, Jean-François Lyotard, Bernard Smith, Rosalind Krauss, Fredric Jameson, Marjorie Perloff, Linda Hutcheon and, just to [End Page 1] add to the confusion, myself--locked the room and threw away the key, no consensus would emerge between the discussants after a week. But a thin trickle of blood might appear beneath the sill.Let us not despair: though we may be unable to define or exorcise the ghost of postmodernism, we can approach it, surprising it from various angles, perhaps teasing it into a partial light. In the process, we may discover a family of words congenial to postmodernism. Here are some current uses of the term: 1. Frank Gehry's Guggenheim Museum in Bilbao (Spain), Ashton Raggatt McDougall's Storey Hall in Melbourne (Australia), and Arata Isozaki's Tsukuba Center (Japan) are considered examples of postmodern architecture. They depart from the pure angular geometries of the Bauhaus, the minimal steel and glass boxes of Mies van der Rohe, mixing aesthetic and historical elements, flirting with fragments, fantasy, and even kitsch. 2. In a recent encyclical, titled "Fideset Ratio," Pope John Paul II actually used the word postmodernism to condemn extreme relativism in values and beliefs, acute irony and skepticism toward reason, and the denial of any possibility of truth, human or divine. 3. In cultural studies, a highly politicized field, the term postmodernism is often used in opposition to postcolonialism, the former deemed historically feckless, being unpolitical or, worse, not politically correct. 4. In Pop culture, postmodernism--or PoMo as Yuppies call it insouciantly--refers to a wide range of phenomena, from Andy Warhol to Madonna, from the colossal plaster Mona Lisa I saw advertising a pachinko parlor in Tokyo to the giant, cardboard figure of Michelangelo's David--pink dayglo glasses, canary shorts, a camera slung across bare, brawny shoulders--advertising KonTiki Travel in New Zealand. What do all these have in common? Well, fragments, hybridity, relativism, play, parody, pastiche, an ironic, anti-ideological stance, an ethos bordering on kitsch and camp. So, we have begun to build a family of words applying to postmodernism; we have begun to create a context, if not a definition, for it. More impatient or ambitious readers can consult Hans Bertens' The Idea of the Postmodern, the best and fairest [End Page 2] introduction I know to the topic. But now I must make my second move or feint to approach postmodernism from a different perspective. II Postmodernism/Posmodernity. I make this move by... (shrink)

En 2014, notre compagnie de théâtre a commencé l’expérience « La Cocina Pública », un projet qui construit une cuisine à l’intérieur d’un conteneur installé dans la rue. En effaçant la ligne qui sépare le « public » des « artistes », nous percevons que la catastrophe et l’urgence de la situation sociale sont des déclencheurs qui réactivent la vie communautaire. La cuisine est un point de départ pour rencontrer l’histoire des territoires à travers la mémoire de leurs (...) recettes. (shrink)

Arthur Rimbaud, a prominent figure in the late 19th-century literary scene, is often celebrated for his groundbreaking contributions to modernist poetry. His work, characterized by its experimental form and vivid imagery, embodies many of the philosophical tenets of modernism. This essay explores how the philosophy of modernism manifests in Rimbaud's poetry, focusing on themes of rebellion against tradition, fragmentation, subjectivity, symbolism, and alienation. -/- 1. Rebellion against Tradition -/- One of the hallmark features of modernist poetry is its (...) defiance of traditional forms and conventions. Rimbaud was a pioneer in this regard, rejecting the rigid structures of classical poetry in favor of free verse and unconventional rhythms. In works such as "A Season in Hell" ("Une Saison en Enfer"), Rimbaud employs a prose-poetic style that eschews the constraints of meter and rhyme, allowing for a more fluid and dynamic expression of thought. This rebellion against tradition reflects a broader modernist impulse to break free from the past and explore new artistic possibilities. -/- Fragmentation and Juxtaposition -/- Modernist poets often use fragmentation and juxtaposition to create complex layers of meaning and challenge readers' perceptions. Rimbaud's poetry is replete with abrupt shifts in imagery and tone, resulting in a disjointed yet evocative narrative. In "The Drunken Boat" ("Le Bateau Ivre"), for example, Rimbaud presents a series of vivid, seemingly unrelated images that collectively convey a sense of disorientation and liberation. This technique mirrors the fragmented nature of modern existence, as well as the modernist desire to capture the multiplicity of human experience. -/- 2. Subjectivity and Inner Experience -/- A key aspect of modernist philosophy is its emphasis on subjectivity and the inner workings of the mind. Rimbaud's poetry delves deeply into the realm of personal experience, exploring themes of identity, perception, and self-discovery. His work often blurs the line between reality and imagination, reflecting the modernist interest in the unconscious and the fluidity of human consciousness. In "A Season in Hell," Rimbaud's introspective journey becomes a vehicle for examining the complexities of the self and the elusive nature of truth. -/- Exploration of Identity and Self-Discovery -/- Rimbaud's poetry is marked by a profound introspection and a quest for self-discovery. In works such as "A Season in Hell" ("Une Saison en Enfer"), Rimbaud embarks on a journey of inner exploration, grappling with questions of identity and the nature of existence. The poem is a confessional and autobiographical narrative that delves into the poet's inner turmoil and existential angst. Through vivid and often surreal imagery, Rimbaud articulates the fragmented and fluid nature of the self, reflecting the modernist emphasis on the subjective experience of the individual. The theme of self-discovery is also evident in Rimbaud's famous assertion, "I is another" ("Je est un autre"), which encapsulates his belief in the multiplicity and fluidity of identity. This notion challenges the conventional understanding of a stable and coherent self, suggesting instead that identity is constantly shifting and evolving. Rimbaud's exploration of identity resonates with the modernist preoccupation with the inner life of the individual and the complexities of human consciousness. -/- Perception and the Unconscious Mind -/- Rimbaud's poetry often blurs the line between reality and imagination, reflecting his interest in the workings of the unconscious mind. His use of rich and evocative imagery invites readers to engage with his work on a deeply emotional and intuitive level. In "Illuminations," Rimbaud's prose poems are filled with dreamlike visions and hallucinatory landscapes that evoke the fluid and elusive nature of perception. The modernist fascination with the unconscious is evident in Rimbaud's exploration of altered states of consciousness. His poetry frequently delves into themes of intoxication, madness, and visionary experience, suggesting a desire to transcend the limitations of ordinary perception and access deeper layers of the mind. This exploration of the unconscious reflects the modernist belief in the power of art to reveal hidden truths and to illuminate the mysteries of the human psyche. -/- 3. Symbolism and Imagery -/- Rimbaud's use of rich, often surreal symbolism and imagery is a defining feature of his modernist sensibility. His poems are filled with metaphors and symbols that invite multiple interpretations and resonate on an emotional level. The imagery in "The Drunken Boat" is particularly striking, as Rimbaud conjures a kaleidoscopic vision of the natural world that transcends ordinary perception. This reliance on symbolism reflects the modernist belief in the power of art to evoke profound, often ineffable experiences. -/- Innovative Use of Imagery -/- Rimbaud's poetry is renowned for its striking and unconventional imagery, which often challenges readers to see the world in new and unexpected ways. In "The Drunken Boat" ("Le Bateau Ivre"), Rimbaud presents a series of vivid and hallucinatory images that evoke the disorienting experience of a boat adrift on the sea. The poem's imagery is rich and evocative, capturing the tumultuous and ever-changing nature of the protagonist's journey. For example, Rimbaud writes: > "I have seen the low-hanging sun spotted with mystic horrors, > Lighting up long violet coagulations > Like performers in very ancient dramas! > Waves rolling back the horizons and breaking forth in light." Through this kaleidoscopic vision, Rimbaud creates a sense of both wonder and disorientation, reflecting the fluid and unstable nature of reality. The imagery in "The Drunken Boat" serves to transport readers into a world of heightened perception, where ordinary experiences are transformed into extraordinary and often surreal visions. -/- Symbolism and Emotional Resonance -/- Rimbaud's use of symbolism is central to his poetic vision, allowing him to convey deep emotional and psychological truths through metaphor and allegory. In "A Season in Hell" ("Une Saison en Enfer"), Rimbaud employs a range of symbols to explore themes of suffering, redemption, and self-discovery. The poem's title itself is symbolic, suggesting a period of intense inner turmoil and transformation. -/- Throughout "A Season in Hell," Rimbaud uses symbolic imagery to represent his emotional state and spiritual journey. For example, the recurring motif of fire serves as a symbol of both destruction and purification. Rimbaud writes: > "I firmly intend to possess the truth and to behold the justice of victory! That will, is a ray of light! – Pride is the flame that devours me." Here, fire symbolizes the intense passion and inner conflict that drive the poet's quest for truth and self-understanding. The symbolic imagery in Rimbaud's poetry resonates on an emotional level, inviting readers to connect with the poet's inner experience and to reflect on their own journey of self-discovery. -/- . (shrink)

This paper suggests looking at cuisines of poverty as practical and political systems practiced by urban and rural Palestinian citizens of Israel. It is an important and interesting case study within which political and economical considerations govern and enhance the development, change, and acceptance of culinary knowledge. Cuisines of poverty operate in two simultaneous arenas. As systems of practical knowledge, they repeatedly center on the ability to maintain the traditional kitchen, turning it into a tool-kit out of which information is (...) recruited upon need. Simultaneously, cuisines of poverty reveal the inter-connection between the culinary discourse and the political one. It is where issues such as access to land, national and ethnic identity, and means to participation in the dominant culture are of major concern. The analysis of cuisines as operating on two complementary discourses contributes to the understanding of the relationship between food and the arena of power. (shrink)

Modernist Objects is a unique mix of cultural studies, literature, and visual arts applied to the discrete materiality of modernist objects. Contributors explore the many tensions surrounding the modernist relationship to objects, things, products and artIfacts through the prism of poetry, prose, visual arts, culture and crafts.

This book explores how Modernist movements all across the Mediterranean basin differed from those of other regions. The chapters show how the political and economic turmoil of a period marked by world war, revolution, decolonization, nationalism, and the rapid advance of new technologies compelled artists, writers, and other intellectuals to create a new hybrid Mediterranean Modernist aesthetic which sought to balance the tensions between local and foreign, tradition and innovation, and colonial and postcolonial.

Despite growing interest in examining the role of religion in business ethics, there is little consensus concerning the basis or standards of “good” or ethical behavior and the reasons behind them. This limits our ability to enhance ethical behavior in the workplace. We address this issue by examining worldviews as it relates to ethics research and practice. Our worldview forms the context within which we organize and build our understanding of reality. Given that much of our academic work as well (...) as business practice operate from a modern worldview, we examine how modernism shapes our beliefs and approaches to ethics in business and academia. We identify important limitations of modernism in addressing moral issues and religion. We then introduce the Christian worldview as an alternative approach to examining ethical issues in business. (shrink)

. Against modernist illusions: why we need more democratic and constructivist alternatives to debunking conspiracy theories. Journal for Cultural Research: Vol. 25, What should academics do about conspiracy theories? Moving beyond debunking to better deal with conspiratorial movements, misinformation and post-truth., pp. 104-122.

The evolution of human diet is the product of both biological and cultural adaptations to various plants and animals in the environment. This paper develops a new theory for the evolution of cuisine practices which attempts to account for how food processing provided a critical link in enhancing the nutrient balance of major domesticated plants.

Modernism in British arts, literature and philosophy is manifest as a unique thing around and after 1900. This paradigm shift in all arts and modern science made traditional beliefs, norms, and social patterns obsolete. Forerunners were 19th century intellectuals, who favoured a new and lively spiritual culture. A new concept of reality changed the view of nature (atomic physics) but also structure and gist of literature. As the belief in the visible world declined, consciousness and symbolism (surface and depth structures) (...) occupied the focus of attention. Literature became an autonomous field. From artistic subjectivity modernism led the way to crystallizing creation of complex imaginative structures. Simultaneously, neorealism in philosophy and relativity in physics substituted a worn-out mechanistic world picture by a scientific reality reaching far beyond the visible world. (shrink)

This paper looks at the themes of nature, humanity, and military and industrial development in the nineteenth century American painter Winslow Homer through the lens of the Hegelian theory of art. Robert Pippin's After the Beautiful has recently put the Hegelian framework to very fruitful use in understanding pictorial modernism. This study of Homer follows a similar approach but argues that Homer's canvases represent a development in the modern spirt which, in many ways, goes beyond the canvases of Manet – (...) a very tight modernist contemporary of Homer's. Homer communicates a presentment of the immense and, in certain profound respects, horrifying power of humanity's growing industrialization. I trace the development of this idea over the course of his career, from this early Civil War canvases to his final seascapes and argue that an understanding of Homer's work is important for understanding the modern spirit of the nineteenth and twentieth centuries. (shrink)

Braiding together strands of literary, phenomenological and art historical reflection, Modernism and Phenomenology explores the ways in which modernist writers and artists return us to wonder before the world. Taking such wonder as the motive for phenomenology itself, and challenging extant views of modernism that uphold a mind-world opposition rooted in Cartesian thought, the book considers the work of modernists who, far from presenting perfect, finished models for life and the self, embrace raw and semi-chaotic experience. Close readings of (...) works by Paul Cézanne, Gertrude Stein, Franz Kafka, Gerard Manley Hopkins, Wallace Stevens, Paul Klee, and Virginia Woolf explore how modernist texts and artworks display a deep-rooted openness to the world that turns us into "perpetual beginners." Pushing back against ideas of modernism as fragmentation or groundlessness, Mildenberg argues that this openness is less a sign of powerlessness and deferred meaning than of the very provisionality of experience. (shrink)

CAROLE BOURNE-TAYLOR AND ARIANE MILDENBERG Introduction: Phenomenology, Modernism and Beyond Etat Present It was at the Eleventh Virginia Woolf Conference ...

This book locates the paradoxical process of collecting (as an activity that necessarily involves displacement and dispersal) in the ways nineteenth- and twentieth-century German-language literature (and in one case, cinema) attempts to represent ephemeral, discarded, and trivial things.

L’esthétique et la bonne table ont beaucoup de choses en commun. Le xviii e siècle hésite entre besoins physiques et raffinements du goût, entre la faim et l’appétit. Les théories de Dubos, de Voltaire et de Diderot sont ici examinées à la lumière des traités français de la « nouvelle cuisine » du siècle des Lumières, qui doivent beaucoup aux principes du bon goût. La cuisine bourgeoise qui s’est progressivement imposée est moins raffinée que que la cuisine (...) aristocratique, mais le cuisinier y est considéré à la fois comme un artiste qui joue avec les saveurs et comme un savant qui sait mélanger les éléments chimiques pour obtenir des mélanges nouveaux et surprenants. Un voyage de la philosophie à la table et retour. (shrink)

The role and influence of Modernism is the focus of this article. Modernism’s lasting and unforeseeable influence is due to its key importance to the development of the general conditions of art within modernity. Along with Modernism, the implications of the modern system of art became visible for real. Modernism produced the necessity of rethinking the distinction between “art” and “the aesthetic,” based on their original foundations in the 18th century, respectively – a call for a “divorce” after the long-lived (...) marriage between the two, installed by Romanticism. Furthermore so-called postmodernism and today’s contemporary art have in fact not, as often assumed, really broken with high Modernism. What we see is rather a transformation of a time-based modus into a more spatially defined approach. The interpretations of Modernism itself are thus being altered, when regarded with a postmodern awareness of its surrounding enunciative space. The interrelationship between the modernisms, and what followed, is therefore achieving the character of an entanglement rather than that of a straight and clear development. Modernism’s influence, it is finally asserted, is seemingly not at its conclusion, but rather at its reoccurring beginning. (shrink)

Madness and Modernism provides a phenomenological study of schizophrenic disorders, criticizing some standard conceptions of these disorders. Sass argues that many aspects of this group of disorders can actually involve more sophisticated (albeit dysfunctional) forms of mind and experience.

In Algerian Kabyle families, the intersection of tradition and modernity creates a dilemma for family-based eldercare. As daughters-in-law choose to live independently from their in-laws’ home, some unmarried daughters may be left to fill the care gap. Given the shift from traditional to modern caregiving arrangements, how can elders and the members of their family survive and thrive? Choosing an empirical case study that is analyzed using key concepts from care ethics and gender justice, we develop a notion of “caring (...) with the heart” for aging family members in need of long-term care. We offer seven possible solutions and policy options for the modern Kabyle context. (shrink)

The history of twentieth-century visual arts can no longer be written as a succession of avant-garde movements, contends eminent art historian Bernard Smith in this stimulating book. He argues that a return to the concept of period style is inevitable and that modernism--the dominant "style" of art that emerged at the end of the nineteenth century and continued through the 1960s--deserves recognition as a period style. Smith renames this period Formalesque since it is no longer modern and since it emphasizes (...) the formal values of art more than any previous period does. In a wide-ranging reformulation of art history in the twentieth century, the author defines the nature and development of Formalesque--an avant-garde style that arose between 1890 and the First World War, was institutionalized between the world wars, and flourished anew between 1945 and 1960. Identifying the Formalesque period, says Smith, makes it possible also to identify dialectical adversaries, such true oppositional avant-garde styles of the twentieth century as Dada, Surrealism, and the Neue Sachlichkeit. These constitute the formative elements of the modernism--now called postmodernism--that became increasingly dominant after 1960. The author locates twentieth-century artistic movements and developments in a broad cultural context and concludes with a thought-provoking examination of the relation between the Formalesque and European and American cultural imperialism. (shrink)

Cette contribution présente un programme d’investigation en cours sur l’art et le territoire dans l’optique d’une alimentation durable. Les chercheurs et les artistes engagés ont mené des enquêtes auprès des habitants du territoire de Plaine Commune pour explorer leurs recettes, qu’elles renvoient à des récits d’enfance, du temps présent ou nous projettent dans l’avenir. Ces récits-recettes mettent en exergue le mélange des traditions culinaires et la diversité de leurs hybridations selon les univers de sens des personnes.

Cooking and earthenware pots in Byzantium. This study presents in a synoptic manner the utensiles for culinary use, the pots for preserves, the jars for storage, and other small kitchen equipment utilized at the hearth and in the storeroom in an urban and rural framework during the Macedonian, Comnenian, and Paleologian periods. The joint examination of ceramics discovered at sites in Greece, in Thrace, and in Anatolia, and various written sources in which pots and jars are mentioned, allows, on the (...) one hand, establishing an inventory of the diverse types of utensiles employed in the Byzantine empire, and, one the other, replacing the objects in their functional context. (shrink)

This essay asks why modernist art history has been unable to account for the career of the African American painter Rose Piper. One of the most gifted painters of her generation, Piper was also amo...

The European Legacy, Volume 17, Issue 4, Page 564-566, July 2012.

Bringing together works by writers from sub-Saharan Africa, Turkey, central Europe, the Muslim world, Asia, South America and Australia – many translated into English for the first time – this is the first collection of statements on modernism by writers, artists and practitioners from across the world. Annotated throughout, the texts are supported by critical essays from leading modernist scholars exploring major issues in the contemporary study of global modernism. Global Modernists on Modernism is an essential resource for students (...) and scholars of modernism and world literature and one that opens up a dazzling new array of perspectives on the field. (shrink)

In this groundbreaking new study, Ben Ware carries out a bold reassessment of the relationship between modernism and ethics, arguing that modernist literature and philosophy offer more than simply a snapshot of the moral conflicts of the past: they provide a crucial point of reference for today's emancipatory struggles. Modernism in this assessment is characterized not only by a concern with language and aesthetic creativity, but also by a preoccupation with the question of how to live. Investigating ethical ideas (...) in Wittgenstein, Beckett, Kierkegaard, Kant, Cavell, Marx, Henry James and Lacan, Ware demonstrates how these thinkers can bring us to a new understanding of a constellation of issues which contemporary radical thought must re-visit: utopia, repetition, perfectionism, subtraction, negativity, critique, absence, duty, revolution and political love. The result is a timely and provocative intervention, which re-draws the boundaries for future debates on the ethics and politics of modernism. (shrink)

Jennifer Radden argues that delusions play an important role in modernist epistemology, which is preoccupied with the justification and evaluation of beliefs. Another theme running through the book is the importance of culture for attribution of delusion. Beliefs that look delusional will not be treated as pathological if they are expressions of religious views or other culturally acceptable forms of life. It is hard to see why cultural acceptability should play a role in the modernist project of justification. (...) I suggest that we think less about a philosophical project of justification and turn our attention instead to commonsense judgements of the circumstances in which we see a belief as evidence of underlying pathology. I discuss cases in which unjustified beliefs are nonetheless treated as phenomena that are consistent with our views of how healthy human beings act, and suggest that alongside folk psychology we should acknowledge a folk epistemology that embraces such instances. I suggest that delusions are beliefs that folk epistemology treats as inexplicable, and that this approach solves some of the puzzles that Radden identifies as growing out of the modernist epistemic project. (shrink)

In an essay entitled ‘The Nobility of Sight’, Hans Jonas argues that ‘[s] ince the days of Greek philosophy sight has been recognized as the most excellent of senses’ (Jonas, 1954, p.507). Seeking to account for the historical elevation of vision over other forms of sensory engagement with the world, Jonas contends that ‘[t]he unique distinction of sight consists in what we may call the image performance, where “image” implies three characteristics: (1) simultaneity in the presentation of a manifold; (2) (...) neutralization of the causality of sense-affection; (3) distance in the spatial and mental senses’ (ibid.). In the case of (1), what distinguishes sight from other senses is the fact that it can give us both dynamic and static reality: our eyes can survey a whole field of possible percepts as well as focus directly upon a fixed object (ibid., pp.508–9). In the case of (2), what further marks out vision is that it does not require the perceiver and the object of perception to be directly engaged — the ‘dynamic’ relation between the two is, in Jonas’ words, ‘neutralized’ (ibid., p.514). And in the case of (3), seeing’s inimitability is also guaranteed by its being ‘the only sense in which the advantage lies not in proximity but in distance: the best view is by no means the closest view’ (ibid., pp.517–8). (shrink)

This article uses the post-modern Nietzsche affirmation as a criterion for an analysis of the philosophical concept of the Constitution for the Earth (Šmajs, 2015) and other texts by Josef Šmajs, the principal author of the theory of evolutionary ontology. The author draws the attention of the group of authors of the Constitution for the Earth to the risk of the modernist and nihilist application of evolutionary ontology and proposes that the theory be extended to include new criteria and (...) methods to enable it to be applied in a more acceptable manner. The author places efforts aimed at the biophilic transformation of culture into the value-based and ethical framework of moderate anthropocentrism instead of the ecocentric approach preferred by the creators of evolutionary ontology. The author also underlines the risk of the application of an ecocentric approach through the application of recent analysis of media presentations of those who support and deny climate change in the work entitled Environmental Ethics and Behavioural Change (Franks, Hanscomb & Johnston, 2018). (shrink)

In this article, Annie Schultz argues that there are messages to be found in mediums. As an addition to media literacy education in the digital information era, Schultz joins in conversation with philosophers of education who have turned to aesthetics and visual culture studies as a way of interpreting digital misinformation. She suggests that themes in art and issues raised in art criticism provide tools for understanding critically how digital media impacts us aesthetically and affectively. Modernism, in particular, is a (...) movement in art that offers interpretive tools for understanding how all the mediums of our information-fueled world impinge on our lived experience. By attending to mediums, we can develop the self-awareness necessary to understand critically how digital mediums influence how we make meaning. (shrink)

In Victorian Modernism: Pragmatism and the Varieties of Aesthetic Experience Jessica Feldman sheds a pragmatist light on the relation between the Victorian age and Modernism by dislodging truistic notions of Modernism as an art of crisis, rupture, elitism and loss. She examines aesthetic sites of Victorian Modernism - including workrooms, parlours, friendships, and family relations as well as printed texts and paintings - as they develop through interminglings and continuities as well as gaps and breaks. Examining the works of John (...) Ruskin (art critic and social thinker), Dante Gabriel Rossetti (poet and painter), Augusta Evans (best-selling domestic novelist,) and William James (philosopher and psychologist), Feldman relates them to selected twentieth-century creations. She reveals these sentimental, domestic and sublime works to be pragmatist explorations of aesthetic realms. This study, which leads Modernism back into the Victorian age, will be of interest to scholars of literature, art history, and philosophy. (shrink)

Modernism in the arts commenced during the second half of the 19th century and extended into most of the 20th. A significant feature of this period is that each type of art gave principal attention to dimensions of itself. This was a type of self-analysis. I consider those art forms consisting of an image on a flat two-dimensional surface. I give particular attention to painting, a familiar example of this type of image. Explanations of Modernism are philosophically relevant not only (...) for aesthetics but also for epistemology. The reason is that an analysis of our perceptions as a result of seeing a painted image can contribute to philosophy's analysis of the process by which we obtain knowledge through perception. I argue that we should interpret Modernism as contributing to this investigation. (shrink)