This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not (...) always sufficient to avoid misunderstanding; the institution will sometimes need to supply auxiliary information. And even where competing considerations require mounting an inauthentic display, thoughtful museum practice can promote the audience’s ability to grasp the work. The argument will be developed with consideration of artworks by El Anatsui, Lygia Clark, and Glenn Ligon. (shrink)

The aim of this paper is to observe the evolution and evaluate the 'realness' and authenticity in Anatomy Art, an art form I define as one which incorporates accurate anatomical representations of the human body with artistic expression. I examine the art of 17th century wax anatomical models, the preservations of Frederik Ruysch, and Gunther von Hagens' Body Worlds plastinates, giving consideration to authenticity of both body and art. I give extra consideration to the works of Body Worlds since the (...) exhibit creator believes he has created anatomical specimens with more educational value and bodily authenticity than ever before. Ultimately, I argue that von Hagens fails to offer Anatomy Art 'real human bodies,' and that the lack of bodily authenticity of his plastinates results in his creations being less pedagogic than he claims. (shrink)

The article aims to frame the issue of authenticity regarding street artworks. By introducing and analyzing the concept of artification, which refers to the situation when non-art is modified by art, I argue that street art manifests its authenticity through transforming the space around particular artworks. This transformation amounts to two facts: sanctioning certain practices which change our perception of the urban environment, and creating new aesthetic objects which are art-like.

Authenticity is a formidable word, a dangerous word, a word whereby fortunes, careers, and reputations can be won or lost. But what has authenticity to do with art? The essays in this book focus on their turbulent relationship ranging across the fields of literature and the visual arts and philosophy, and covering topics as diverse as fictional biography, portraiture, copies and forgeries, war photography, letters as testimony and texts in translation. The reader encounters erasmus, Rousseau, Heidegger, Beckett, Borges, and Houellebecq; (...) engages with subjects as varied as Sir Gawain and the Green Knight, da Vinci's La Belle Ferronniere, and Million Dollar Baby. (shrink)

Early 20th century debates over the possibility of ‘metaphysics’ are grounded in a set of questions and answers whose central themes are already delineated in Kant’s critical philosophy. Wittgenstein and Carnap are sympathetic to Kant’s dismissal of transcendent metaphysics, but skeptical that there could be any substantive account of the fundamental conditions of our meaning-making. By contrast, Heidegger follows Fichte and the early German Romantics in seeing answers to the problems raised by metacritique not in science, but in the non-discursive (...) forms of understanding and expression exemplified in art. This Romantic turn to art is not taken arbitrarily; it is motivated by methodological considerations that emerge within Kant’s own critical system. I take up the Kantian considerations which lead to an understanding of art as a window into the fundamental conditions of meaning-making before turning to Heidegger’s development of this line of thought. Next, I examine Carnap and Wittgenstein’s skepticism concerning the meaning of Heidegger’s philosophical terminology, focusing on what is perhaps the most problematic case: Heidegger’s talk of ‘the nothing’. I argue that this skepticism is overblown. Heidegger’s talk of the nothing is meaningful in the way that talk about figure and ground is meaningful: it serves as an ostensive indication of intersubjectively accessible structural features of our encounters with things. I conclude by drawing out the existential ramifications of the decision to speak or be silent, drawing on Audre Lorde to illustrate the place of art in making it possible for us to lead authentic lives. (shrink)

My topic is authenticity in or perhaps as painting, not the authenticity of paintings; I know next to nothing about the problem of verifying claims of authorship. I am interested in another kind of genuineness and fraudulence, the kind at issue when we say of a person that he or she is false, not genuine, inauthentic, lacks integrity, and, especially when we say he or she is playing to the crowd, playing for effect, or is a poseur. These are not (...) quite moral distinctions (no one has a duty to be authentic), but they are robustly normative appraisals, applicable even when such falseness is not a case of straight hypocrisy but of lack of self-knowledge or of self-deceit. (A person can be quite sincere and not realize the extent of her submission to the other’s expectations and demands.) This sort of appraisal also has a long history in post-Rousseauist reflections on the dangers of uniquely modern forms of social dependence, and they are prominent worries in the modern novel. (shrink)

In a thoughtful paper, Peter Martin Jaworski has written, “The debate over originals, authenticity, fakes, duplicates, and forgery got its start in the mid-60s and then continued until the ‘80s.”Peter Martin Jaworski. “In Defense of Fakes and Artistic Treason: Why Visually-Indistinguishable Duplicates Are as Good as the Originals.” Journal of Value Inquiry (2013), pp. 391–405. Quotation at p. 392. The debate, at least insofar as I participated in it, questioned whether original paintings and forgeries were sufficiently alike – sufficiently the (...) same kinds of things – that as a general rule the same qualities could be predicated of them. I and others argued they were not. To know the qualities of a painting, to make sense of the many often conflicting interpretations critics may offer of the same canvass, one must as a first step know what kind of painting it is. The relevant qualities of a painting, call them “artistic” or “aesthetic” or “stylistic” or whatever, are predicated of them i .. (shrink)

It is often suggested that artists from one culture (outsiders) cannot successfully employ styles, stories, motifs and other artistic content developed in the context of another culture. I call this suggestion the aesthetic handicap thesis and argue against it. Cultural appropriation can result in works of high aesthetic value.

Authentic Replicas: Buddhist Art in Medieval China by Hsueh-man Shen. Honolulu: University of Hawai‘i Press 2019. 352 pp.; 132 illustrations, 113 in colour. Hb $72 ISBN-13: 9780824867058.

Social justice needs a home, a place where it can be found, especially for young people growing up in fragmented and increasingly inequitable societies. Community youth arts organizations have secured a certain prominence in this context over the past three decades and are now part of the urban infrastructures that shape connected learning networks in highly industrialized nations. In this capacity, youth arts organizations regularly engage a language and aesthetics of authenticity and trust as part of how they call out, (...) represent and make a home for children and youth. This paper examines how authenticity in youth culture and youth cultural expression is negotiated by arts organizations and how organizations locate their own trustworthiness as allies of young people through the curation of online media archives. The analysis draws on the internet media archives of two youth arts organizations in Canada’s largest English-speaking cities. The Oasis Skateboard Factory in Toronto, ON is an extension program of the Toronto District School Board that enables participants to create their own brands and learn to run a skateboard or professional design business. ReelYouth started in Vancouver in 2005 as a community media empowerment project, and now delivers programs across Canada and internationally.The claims to youth authenticity articulated in each media archive reveal how authenticity and trust are negotiated ideologically by each organization and how organizations mark their ontological status, as a home from which young people can think and respond to an unjust world. I examine how youth authenticity is produced by analyzing how discourses of youth identity, connection and trust are deployed across each archive. Whilst showcasing how authenticity is negotiated by each group, I show how the production of authenticity discourses by OSF and ReelYouth simultaneously convey a deeper reality: the way youth arts groups operate as care structures that offer ontological security, and places of increasing “awareness of previously unnoticed interconnections” for youth. In this way, they operate as sites of border work, places of routing from which the work of social justice can be borne. (shrink)

The desire for authenticity now occupies a central position in contemporary culture. Whether in our search for selfhood, leisure experience, or in our material purchases, we search for the real, the genuine. These terms are not, however, descriptive, but must be situated and defined by audiences. In this analysis, I examine the development of the market for self-taught art, an artistic domain in which the authentic is a central defining feature, conferring value on objects and creators. Self-taught art is (...) a form of identity artin which the characteristics of the artists and their life stories are as important as the formal features of the created objects. The article examines the justifications for this emphasis and the battles over the construction of biography. My examination of self-taught art is grounded in five years of ethnographic observation, interviews, and analyses of texts. (shrink)

This book brings together a distinguished group of scholars from music, drama, poetry, performance art, religion, classics and philosophy to investigate the complex and developing interaction between performance and authenticity in the arts. The volume begins with a perspective on traditional understandings of that relation, examining the crucial role of performance in the Poetics, the marriage of art with religion, the experiences of religious and aesthetic authenticity, and modernist conceptions of authenticity. Several essays then consider music as a performative art. (...) The final essays discuss the link of authenticity to sincerity and truth in poetry, explain how performance, as an authentic feature of poetry, embodies a collective effort, and culminate in a discussion of the dark side of performance - its constant susceptibility to inauthenticity. Together the essays suggest how issues of performance and authenticity enter into consideration of a wide range of the arts. (shrink)

The Death of Authentic Primitive Art and Other Tales of Progress. Shelly Errington. Berkeley. University of California Press, 1998. 309 pages. $48.00 (cloth); $19.95 (paper).

The postmodern human lives in a quest condition. Poetry and philosophy, as forms that integrate, shape, and deposit the sacred, are part of the instruments used by postmoderns to fulfill their need for communication and personal accomplishment. Although they use different means to construe reality, poetry and philosophy may serve a common end goal – to disclose philosophy as the art of living. As communication practice, philosophy and poetry are based on an expanded rationality involving the rational extended to the (...) sphere of the significance and hidden sense of existence. In other words, expanded rationality presupposes cultivating a symbolic consciousness that is adequate to the daily reality of human needs. To showcase the intimate relationship between philosophical reflection and poetic creation, I provide a short presentation of the poetry belonging to a Romanian poet, Rodica Dragomir. Her poems are an example of the quest for authenticity by means of the metaphysical stirring of existence. (shrink)

"In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including ...

The goal or criterion of "authenticity" for judging a change in art or ethics or culture is notoriously vague and can be dangerous. This essay proposes a version of authenticity based on a quasi-Hegelian version of the process of development rather than on any specific patrimony to be preserved. Oddly enough, the proposed criterion has many similarities with one proposed by a staunch anti-Hegelian, Gilles Deleuze.

Research on authentic learning has been predominantly focussed on skills-based training: there is a paucity of research on models of authentic learning available for adaptation in the humanities undergraduate classroom. In this article, I will seek to address this gap by proposing that legal trials are ideal models for designing authentic learning scenarios in undergraduate teaching and learning contexts, with a specific focus on the humanities. First, I discuss why and how the structure of legal trials can (...) produce authentic learning environments. Second, I present an undergraduate classroom project that combined two disciplinary fields – Shakespearean drama and criminal law – in an effort to enhance student learning and engagement. I outline how the authentic learning scenario was implemented and evaluated and, finally, reflect on the barriers, challenges and potentially transformative effect of authentic learning environments on students and educators. This new intervention combines legal studies... (shrink)

Pashmina is one of the most luxurious and finest fibres in the world. It is a special kind of wool obtained from Cashmere goats. Counterfeiting Pashmina is becoming a prevalent malpractice because of limited supply, expensive pricing and high demand in western markets. Presently, there is a lack of a low-cost and easily available approach for distinguishing authentic Pashmina apparels from other similar-looking products. Because of technological advances and cost reductions in digital image processing, we have been able to (...) implement a variety of image recognition systems on a practical level. In this study, we propose a deep learning model PashmNet for identification of Pashmina fabric using transfer learning. The technique proposed herein classifies Pashmina and non-Pashmina images accurately with classification accuracy of 97.4%. (shrink)

Although body alterations, including body art, sexual alteration, technological enhancements, and cosmetic surgery, usually are evaluated separately, they also can be approached by identifying common cultural trends. Because a person’s conception of identity lies at the core of many body alterations, any change to the body must pursue sincere authenticity, the virtue that fulfills one’s true identity.

Recent discussions of culinary authenticity have focused on the problematic sociopolitical implications of Euro‐Americans seeking authenticity in food perceived as ethnic. This article seeks to rehabilitate the concept of culinary authenticity. First, the author relates the issue of culinary authenticity to other philosophical debates concerning authenticity, arguing that the concept of authenticity is value‐neutral. Second, a general theory of culinary authenticity making use of the theoretical apparatus of Kendall Walton's “Categories of Art” is developed and defended against objections. Third, a (...) variety of reasons that authenticity is valued are discussed, with an emphasis on aesthetic reasons. Ultimately, the author acknowledges that some ways of valuing culinary authenticity are objectionable but argues that this should not lead us to abandon our interest in authenticity altogether. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Authenticity, Antiquity, and Authority: Dares Phrygius in Early Modern EuropeFrederic ClarkDares Phrygius, “First Pagan Historiographer”In his Etymologies, Isidore of Seville—the seventh-century compiler whose cataloguing of classical erudition helped lay the groundwork for medieval and early modern encyclopedism—offered a seemingly straightforward definition of historiography, with clear antecedents in Cicero, Quintilian, and Servius.1 Before identifying historical writing as a component of the grammatical arts, and distinguishing histories from poetic fables, Isidore (...) confirmed that “history is a narration of deeds [narratio rei gestae], through which things done in the past are discerned.”2 Thereafter, he equated historical writing with eyewitness observation, insisting that “among the [End Page 183] ancients, no one wrote history unless he had been present and seen those things to be recorded.”3 But Isidore’s further treatment of historiography grew more perplexing. Upon affirming that “among us, Moses first composed a history, on the beginning of the world,” he unexpectedly declared that “among the pagans, Dares Phrygius first composed a history, concerning Greeks and Trojans.”4 Only later did the encyclopedist mention more well-known Greek historians (to modern audiences at least) like Herodotus. 5Isidore’s invocation of his “first pagan historiographer” referred most likely to the De excidio Troiae historia (henceforth DET), a fifth- or sixth-century Latin pseudo-history billed as an eyewitness account of the Trojan War. Conveyed in sparse, dry, and inelegant language, the DET was long thought to have been the war diary of one Dares Phrygius, purportedly a Trojan participant in the conflict.6 In reality, the Latin DET was a two-part forgery, as its spurious dedicatory epistle—supposedly from the Augustan-era biographer Cornelius Nepos to the historian Sallust—claimed that “Nepos” had discovered the work in an Athenian archive and rendered it “truly and simply” (vere et simpliciter) from Greek into Latin.7 While potentially derived from a Greek antecedent, perhaps composed as an anti-Homeric jeu d’esprit during the Second Sophistic, the Latin Dares was assuredly not an accurate and verbatim translation of any lost Greek original. 8Notwithstanding its uncertain origins, Isidore’s pagan counterpart to Moses would go on to achieve canonical status in the medieval Latin West, and survives today in approximately 200 manuscripts. Moreover, Dares’s authority was extended through practices of compilation integral to medieval [End Page 184] textual culture.9 This compilatory impulse—which spawned countless multi-text anthologized codices and similarly animated Isidore’s encyclopedism—encouraged the Phrygian’s codicological pairing with numerous sources both ancient and medieval. Not only did the DET serve, codicologically, as a prologue to Trojan origin narratives like Geoffrey of Monmouth’s Historia regum Britanniae, but it was also integrated into the structure of universal history, utilized as a means of augmenting the Chronicon of Eusebius-Jerome.10 Throughout the Middle Ages, Dares served not only as a name to invoke, but also as a source to appropriate and rework: to insert into universal chronicles, append to Trojan genealogies, or render into epic verse. Moreover, the pseudo-author’s status as “first pagan historiographer” was hardly lost on medieval sources: for instance, when William of Malmesbury inserted the DET into his anthology of ancient Roman histories, he made sure to include Isidore’s endorsement directly before the text’s incipit.11 For nearly a millennium, Dares’s fabricated claims of antiquity and autopsy constituted airtight guarantors of textual auctoritas.Between Criticism and Credulity: Dares in Early Modern ScholarshipBut Dares did not remain undisturbed in the canon. Instead, the DET saw its first recorded challenge with the advent of the early Renaissance. Writing in 1400 in his De tyranno, the Florentine Chancellor Coluccio Salutati turned to the Phrygian when debating a favored subject of nascent Italian humanism—the history of early Rome. Here Salutati sought to counter the long-held claim, attested in the DET, that Aeneas was not a pious hero driven from Troy, but rather a duplicitous traitor who had himself betrayed the city to the Greeks.12 The Florentine Chancellor correctly acknowledged that Aeneas’s treason was alleged by “the most ancient historians Dares [End Page 185] Phrygius and Dictys Cretensis” (Dictys, another late antique... (shrink)

Obstructing our engagement with Computer-Generative art is an Authenticity Problem. This is where our engagement with Computer-Generative art is either seen through the prism of fantasy, such as romanticisation, or our engagement is defined by superficial inattentiveness. My aim is to show how a more fulfilling engagement is possible. This is my demonstration of the connection between Computer-Generative art and Authentic Expression. This is done by reorientating our focus away from artwork as primary and towards the artistic-process itself. I (...) do this by conceptualising the CG-artistic-process as expressing a Cyborg Relation. My argument is that the Computer-Generative artistic-process, through the Cyborg Relation, authentically expresses our relationships with technology. (shrink)

In her book Things, Carolyn Korsmeyer argues that authenticity or what she often calls “genuineness” is “an aesthetically salient property” (2019, 34), a proper.

The Impossibility of Poetry Adorno's aesthetic theory bears the profound scars of his personal experience of fascism. Even after Auschwitz, he feared that modern bourgeois society is a breeding ground for new forms of fascist terror. It was said that, after Auschwitz, one could no longer write poems. But Adorno insisted that postwar art is an indispensable means for telling the truth about how the social order was fundamentally changed by that catastrophe.1 Not to tell the truth is to be (...) guilty of complicitous silence; yet, the unbearable truth is that society is pervasively and radically evil. As long as…. (shrink)

Stand‐up comedy is often viewed in two contrary ways. In one view, comedians are hailed as providing genuine social insight and telling truths. In the other, comedians are seen as merely trying to entertain and not to be taken seriously. This tension raises a foundational question for the aesthetics of stand‐up: Do stand‐up comedians perform genuine assertions in their performances? This article considers this question in the light of several theories of assertion. We conclude that comedians on stage do not (...) count as making genuine assertions—rather, much like actors on a stage, they merely pretend to perform speech acts. However, due to norms of authenticity that govern stand‐up comedy, performers can nonetheless succeed in conveying genuine insights. Thus, our account accommodates both the seemingly incompatible aspects of our ordinary appreciation of stand‐up comedy and points toward deeper philosophical understanding of stand‐up comedy as a unique art form. (shrink)

Art is saturated with cultural significance. Considering the full spectrum of ways in which art is colored by cultural associations raises a variety of difficult and fascinating philosophical questions. This curriculum guide focuses in particular on questions that arise when we consider art as a form of cultural heritage. Organized into four modules, readings explore core questions about art and ethics, aesthetic value, museum practice, and art practice. They are designed to be suitable for use in an introduction to philosophy (...) of art, as well as in more topically focused courses, particularly on topics concerning the ethics and politics of art. (shrink)

This thesis aims to explain why art is the ideal agent for overcoming the absurdity and the meaninglessness of existence. The focus is Camus’ Rebellion in conjunction with Sartre’s notion of Authenticity. Together they provide an adequate answer to the fundamental questions of human existence. Together Camus’ rebellion and Sartre’s authenticity provide the necessary foundations for the overall authenticity of art, facilitating the emergence of purpose from the abyss of absurdity.

In this paper, we demonstrate how the language and reasonings that academics, developers, consumers, marketers, and journalists deploy to accept or reject AI as authentic intelligence has far-reaching bearing on how we understand our human intelligence and condition. The discourse on AI is part of what we call the “authenticity negotiation process” through which AI’s “intelligence” is given a particular meaning and value. This has implications for scientific theory, research directions, ethical guidelines, design principles, funding, media attention, and the (...) way people relate to and act upon AI. It also has great impact on humanity’s self-image and the way we negotiate what it means to be human, existentially, culturally, politically, and legally. We use a discourse analysis of academic papers, AI education programs, and online discussions to demonstrate how AI itself, as well as the products, services, and decisions delivered by AI systems are negotiated as authentic or inauthentic intelligence. In this negotiation process, AI stakeholders indirectly define and essentialize what being human(like) means. The main argument we will develop is that this process of indirectly defining and essentializing humans results in an elimination of the space for humans to be indeterminate. By eliminating this space and, hence, denying indeterminacy, the existential condition of the human being is jeopardized. Rather than re-creating humanity in AI, the AI discourse is re-defining what it means to be human and how humanity is valued and should be treated. (shrink)

The article argues that the contentious and complex concept of ‘authenticity’, which Agamben develops from Heidegger, forms a central continuity between Agamben’s earlier work, which focuses more on language and art, and his later work, which focuses more on politics. Moreover, I suggest that although this concept is often unquestioned and elided in his work, it plays a crucial role in the deep structures of his thought. Moreover, the ‘unthought concept’ of ‘authenticity’ is of concern because, while authenticity might possibly (...) have a role to play in the sphere of how we come to understand and relate to artworks, there are reasons to be suspicious of this concept in the political realm if, indeed, these two ‘realms’ can be understood separately. If these two spheres cannot be clearly separated, as seems more likely, then it is even more important to explore and question the terms and cluster of concepts around ‘authenticity’. (shrink)

This lively, well-written book is an account of Nietzsche's philosophy of education, an interpretation of Nietzsche's philosophy as a whole, a critique of the view that education should primarily be devoted to initiating students into the liberal arts and sciences as forms of knowledge, and an attack upon "the technological and vocational obsessions of those who manage our school system". Cooper argues that the goal of authenticity is central to Nietzsche's philosophy of education and thus attempts to spell out the (...) goal and show how education might realize it. (shrink)

This book takes an interdisciplinary, transnational and cross-cultural approach to reflect on, critically examine, and challenge the surprisingly robust practice of making art after death in an artist's name, through the lenses of scholars from the fields of art history, economics and law, as well as practicing artists. Works of art conceived as multiples, such as sculptures, etchings, prints, photographs and conceptual art, can be - and often are - remade from original models and plans long after the artist has (...) passed. Recent sales have suggested a growing market embrace of posthumous works, contemporaneous with questioning on the part of art history. Legal norms seem unready for this surge in posthumous production and are beset by conflict across jurisdictions. Non-Western approaches to posthumous art, from Chinese emulations of non-living artists to Native American performances, take into account rituals of generational passage and emotional aspects foreign to Western ideas. The book will be of interest to scholars working in art history, the art market, art law, art management, museum studies, and economics. (shrink)

Over the past few decades debates in the field of conservation have called into question the suppositions underpinning contemporary restoration theory and practice. Restorers seem to base their choices on implicit ideas about the authenticity, identity and value of works of art, ideas that need to undergo a more systematic theoretical evaluation. I begin by focusing on the question of whether authenticity is fully established in the process of the creation of an artwork: namely, at its initial point of existence. (...) One’s interpretation of what makes an artwork authentic will indeed greatly influence how to go about preserving or restoring it. If the answer to the question is affirmative, one commits to the idea that authenticity is determined by the work’s creator; thus, it is considered a given, exempt from historical flux. If the answer is negative, one takes authenticity to be a combination of initial creation and temporal change; in this sense the work is considered a ‘historical being’. These two conceptions, in turn, come from opposite ontological perspectives on the identity of artworks. Neither of them, however, proves to be truly convincing. I argue that from the point of view of conservation theory we need to consider artworks neither like physical objects nor like living beings, but rather like social objects in Searle’s sense. To this extent, safeguarding authenticity in conservation goes hand in hand with preserving a work’s continuity through enhancing what I call its structural and aesthetic readability. Restoration is thus in its essence a critical act of interpretation which has more to do with the various meanings of an artwork than with its hypothetical original conditions. Rather than just being a win-or-lose affair, authenticity turns out to be the result of a complex set of mutually interacting variables. (shrink)

Farah Nayeri addresses the difficult questions plaguing the art world, from the bad habits of Old Masters, to the current grappling with identity politics. For centuries, art censorship has been a top-down phenomenon--kings, popes, and one-party states decided what was considered obscene, blasphemous, or politically deviant in art. Today, censorship can also happen from the bottom-up, thanks to calls to action from organizers and social media campaigns. Artists and artworks are routinely taken to task for their insensitivity. In this new (...) world order, artists, critics, philanthropists, galleries and museums alike are recalibrating their efforts to increase the visibility of marginalized voices and respond to the people's demands for better ethics in art. But what should we, the people, do with this newfound power? With exclusive interviews with Nan Goldin, Sam Durant, Faith Ringgold, and others, Nayeri tackles wide-ranging issues including sex, religion, gender, ethics, animal rights, and race. By asking and answering questions such as: Who gets to make art and who owns it? How do we correct the inequities of the past? What does authenticity, exploitation, and appropriation mean in art?, Takedown provides the necessary tools to navigate the art world"--Publisher's description. (shrink)

This paper provides an explanation for Gadamer’s inconsistent ideas of the symbol in his works, arguing that his concept of the symbol has evolved from a less-authentic experience to an authentic experience. In Truth and Method, the symbol is defined as having an instituted meaning and substitution function, and is devalued as a pure appearance of the real, which is less authentic than the artistic presentation that occasions the coming-into-existence events of the real. Later, in “The Relevance (...) of the Beautiful”, Gadamer elevates the symbol to the same status as the work of art, and uses it to defend the work of art’s inexhaustibility and irreplaceability in communicating meanings and revealing truth. Gadamer’s changed concept of the symbol also serves to justify the universality of philosophical hermeneutics in addressing modern art-related issues, particularly those involving the speechlessness, definition, and technological reproductions of art. (shrink)

One of the central worries raised in relation to ecological restoration concerns the problem of authenticity. Robert Elliot, for example, has argued that restoration “fakes nature.” On this view, restoration is like art forgery: it deceptively suggests that its product was produced in a certain way, when in fact, it was not. Restored landscapes present themselves as the product of “natural processes,” when in actuality, they have been significantly shaped by human intervention. For Elliott, there seem to be two sources (...) of inauthenticity in ecological restoration: first, the restored landscape is inauthentic because its natural genealogy has been disrupted by the intervention of humans: it has lost its authentic natural identity; second, the restored landscape is inauthentic because it pretends to be something it is not: it obscures its own history. We argue that the first sense of authenticity is problematic; however, the second concern—about obscuring history—is important. Case studies involving the naturalization of former military lands can be used to tease out more fully the ways in which landscapes can be “inauthentic” by misleading observers about their genealogy. In such landscapes, it is not departure from “the original” per se that is the source of inauthenticity; rather, restored landscapes fail to be authentic when they deceptively obscure critical elements of their past. (shrink)

This study offers a close reading of China’s Van Goghs, a documentary that tells the personal story of Zhao Xiaoyong, a painter-worker making his living by replicating masterpieces in a Chinese art village. Taking the cinematic representation of Zhao’s pilgrimage as a starting point, this study explores how the meaning of authenticity is negotiated through the interplay between aesthetic value and market value in the global flow of cultural products. Through a cross-disciplinary exchange between film, tourism, urban studies and creative (...) labor studies, this study investigates the on-screen portrayal of places, people and power relations as a means to investigate the spatial, social and political implications of Zhao’s journey. Situating the protagonist’s quest for authenticity in Shenzhen’s transition from a labor-intensive economy to a knowledge-based economy, this study sheds light on the intersection between identity, mobility, and creativity at the time of capitalization, urbanization and globalization. (shrink)

Drawing on insights from Søren Kierkegaard, Art and Selfhood: A Kierkegaardian Account defends the idea that art matters in our society today because it can play a pivotal role in helping us become better and more authentic versions of ourselves.