The increasing availability of passively observed data has yielded a growing interest in “data fusion” methods, which involve merging data from observational and experimental sources to draw causal conclusions. Such methods often require a precarious tradeoff between the unknown bias in the observational dataset and the often-large variance in the experimental dataset. We propose an alternative approach, which avoids this tradeoff: rather than using observational data for inference, we use it to design a more efficient experiment. We consider the case (...) of a stratified experiment with a binary outcome and suppose pilot estimates for the stratum potential outcome variances can be obtained from the observational study. We extend existing results to generate confidence sets for these variances, while accounting for the possibility of unmeasured confounding. Then, we pose the experimental design problem as a regret minimization problem subject to the constraints imposed by our confidence sets. We show that this problem can be converted into a concave maximization and solved using conventional methods. Finally, we demonstrate the practical utility of our methods using data from the Women’s Health Initiative. (shrink)

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of (...) Estonian ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of (...) Estonian ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

Mobilising International Law for 'Global Justice' provides new insights into the dynamics between politics and international law and the roles played by state and civic actors in pursuing human rights, development, security and justice through mobilising international law at local and international levels. This includes attempts to hold states, corporations or individuals accountable for violations of international law. Second, this book examines how enforcing international law creates particular challenges for intergovernmental regulators seeking to manage tensions between incompatible legal systems and (...) bringing an end to harmful practices, such as foreign corruption and child abduction. Finally, it explores how international law has local resonance, whereby, for example, cities have taken it upon themselves to give effect to the spirit of international treaties that national governments fail to implement, or even may have refused to ratify. (shrink)

As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art or (...) art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

PurposeTo explore the mindfulness practice, its long-term effects, facilitators and barriers, in clinical clerkship students 2 years after participation in an 8-week mindfulness-based stress reduction training.MethodA qualitative study was performed by semi-structured in-depth interviews with 16 clinical clerkship students selected by purposive sampling. Students had participated in a MBSR training 2 years before and were asked about their current mindfulness practice, and the long-term effects of the MBSR training. Thematic analysis was conducted using the constant comparison method. Data (...) saturation was reached after 16 interviews.ResultsMost interviewees were still engaged in regular, predominantly informal, mindfulness practice, although some discontinued mindfulness practice and reported an “unchanged lifestyle.” Three main themes came forward; “focused attention and open awareness” during daily activities as core elements of long-term mindfulness practice; “changes in behavior and coping” that resulted from taking a pause, reflecting, recognizing automatic behavioral patterns and making space for a conscious response; “integration in personal and professional life” by enhanced enjoyment of daily activities, improved work-life-balance and making different career choices. Barriers and facilitators in starting and maintaining mindfulness practice were understanding and intention as “pre-conditions”; practical, personal, and professional factors of students in maintaining practice.ConclusionTwo years after participation in a MBSR training, many interviewees were still engaged in mindfulness practice contributing to both personal and professional changes. In light of the high clerkship demands, MBSR training could be a valuable addition to medical curricula, supporting medical students in developing necessary competencies to become well-balanced professionals. (shrink)

This volume presents a collection of refereed papers reflecting the state of the art in the area of over-constrained systems. Besides 11 revised full papers, selected from the 24 submissions to the OCS workshop held in conjunction with the First International Conference on Principles and Practice of Constraint Programming, CP '95, held in Marseilles in September 1995, the book includes three comprehensive background papers of central importance for the workshop papers and the whole field. Also included is an introduction (...) by one of the volume editors together with a bibliography listing 243 entries. All in all this is a very useful reference book relevant for all researchers and practitioners interested in hierarchical, partial, and over-constrained systems. (shrink)

Visual Arts Practice and Affect brings together a group of artist scholars to explore how visual arts can offer unique insights into the understanding of place, memory and affect. Each contributor highlights the crucial role the creative arts play in envisaging new perspectives on the making of meaning, ones that are grounded in the practicalities, materialities and embodied knowing of artistic practice. Art offers other ways of seeing, thinking, understanding the world. It can be very messy, very challenging, (...) but also moving, exquisite, astounding. The book opens a space for experiential appreciation by offering a writing that allows both the writer and the reader to consider those sorts of embodied sensibilities. (shrink)

"Artists are trying to move away from the influence of competitive corporate culture that has increasingly defined art as an abrasive urban career. Artists are trying to replace this with the humbler notion of art as a practice, as a mindful way of life, consisting of consciously creative gestures, visible and invisible, large and small. Art practice is a private and public, selfless and generous, creative life process resulting in a conscious cultural product." "Walking Art Practice" brings (...) together the author's experiences as a monk, performance artist, social choreographer and educator. It serves as a provocation, walkers' manifesto, and teaching guide for walking as a mindful cultural activity and as mindful cultural activism. It is an inspirational text for artists, art students and anyone who loves to walk. Ernesto Pujol combines elements from an art book, field journal and walkers' manifesto. It is a text for performative artists, art students, and all who walk as cultural activism. This book is an invitation to: Rethink what it means to walk and explore different ways in which to walk as: a cultural practice; a meditative practice; a radical practice; art; healing; and social engagement; Reconsider how to attend to the inner and outer landscape whilst walking; Treat walking as a performance resource; Walk as an everyday pilgrimage; Walk slowly, walk in and with awareness, walk with and without skill, walk to regain and to lose. [Subject: Performance Art, Walking, Meditation]. (shrink)

It seems often to have been assumed by art theorists and aestheticians that concepts of art and the aesthetic are related, if not actually identical. In recent times, however, David Best has criticized this widespread assumption in the interests of marking a quite radical distinction between artistic and aesthetic concerns. But this claim may be considered problematic in turn, not only in terms of its denial of the conventional conception of art as implicated in the production of aesthetic effects, but (...) also because it obscures our understanding of the objectivity of aesthetic judgement – and hence, ultimately, of the rational basis of artistic appreciation and endeavour. In the light of some critical attention to Joseph Dunne’s recent work on practical reason in Aristotle, the following paper argues that a suitably modified notion of phronesis may provide the key to understanding the relationship of aesthetic sensibility to artistic knowledge. (shrink)

The aim of this study was to examine the role of aesthetic practice in elementary school and the consequences for children’s meaning-making in science. More specifically, we intended to scrutinise what science learning emerges within the process, to target the consequences of adopting art practice in science class and to explore these two dimensions as a whole in order to better understand how children make meaning when exploring animals’ ecology. The data, comprising audio recordings, photographs of children’s drawings (...) and field notes, were collected in one school which we visited on three occasions over a period of four consecutive days. The school is located in Sweden, and the children participating in the study were between 6 and 7 years old. In this particular study, the children were involved in exploring animals’ ecology. Data was analysed by means of practical epistemology analysis, taking its stance in Deweyan pragmatic philosophy on learning and meaning-making. The results reveal that art practice was important for children’s cognitive and aesthetic learning in science. The entanglement of science learning and art-in-the-making was shown to be of significance for broadening and deepening children’s science repertoire. In addition, children’s imagination and creativity was a vital part of their meaning-making when exploring a complex phenomenon, such as the spinneret, the “spider-thread machine”. All along the process, the young learners, in transaction with the contextual features, developed agency meaning that the children owned the problems and developed action strategies through art and speech. (shrink)

To improvise together for the pure curiosity, joy, and beauty of it constitutes a central but often neglected ability of human beings. Integrating pragmatic, practical, and technical skills with conceptual understanding, improvisation is adaptive and collaborative. It seems made to counter the challenges of living in a fleeting present, unconstrained by physical and historical boundaries, and very likely has deep evolutionary roots. I present an account of joint improvisation in the performative arts based in reviews of empirical research in the (...) cognitive sciences, phenomenology, neuroscience, and philosophy, using examples from modern dance and jazz music. The account may be used for generating cross-disciplinary hypotheses about improvisation for investigation within a multitude of fields and is meant to encourage interdisciplinary work and collaboration between practitioners and academic researchers. The major goal is to elucidate the interaction dynamics that underlies joint improvisation by considering the variety of processes that support sensorimotor, experiential, emotional, meta-cognitive, and collaborative forms of interaction and lead to the coordination and synchronization of behavior. I claim that improvisation is an intelligent cognitive skill associated with meta-awareness, open to monitoring and control. It involves both automatized and flexible behavior and can occur without conscious awareness. Improvising in principle is independent of verbal language and higher-order thought, but nevertheless profits from the presence of multiple converging processes. (shrink)

Siopis has always engaged in a critical and controversial way with the concepts of ‘race’ and ‘ethnicity’ in South Africa. For politically sensitive artists whose work has involved confronting the injustices of apartheid, the current post-apartheid situation has forced a reassessment of their practice and the terms on which they might engage with the fundamental changes which are now affecting all of South African society. Where mythologies of race and ethnicity have been strategically foregrounded in the art of any (...) engaged artist, to the exclusion of many other concerns, the demise of apartheid offers the possibility of exploring other dimensions of lived experience in South Africa. For feminists, this is potentially a very positive moment when questions of gender – so long subordinated to the structural issue of ‘race’ under apartheid – can now be explored. Penny Siopis’ work has long been concerned with the lived and historical relations between black and white women in South Africa. The discussion focuses on the ambivalent and dependent relationships formed between white middle-class women and black domestic labour during apartheid. Siopis’ work engages with how the appropriation of black women's time, lives, labour and bodies has shaped her ‘own’ history. (shrink)

The question of what constitutes and facilitates mental health or psychological well-being has remained of great interest to martial artists and philosophers alike, and still endures to this day. Although important questions about well-being remain, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would characteristically consist of positive emotion, engagement, relationships, meaning, and accomplishment. Other scholarship has also recently suggested that martial arts practice may positively promote psychological well-being, although (...) recent studies on martial arts have not yet been reviewed and integrated under the PERMA framework from positive psychology to further explore and explicate this possibility. This article therefore contributes to the literature by reviewing recent work on psychological well-being and martial arts to determine whether there is substantive support for the claim that practicing martial arts can positively contribute to one flourishing with greater psychological well-being. (shrink)

This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things: The unity Dewey ascribed to all intelligent practices (including artistic practice) and The observation that many aspects of the work of performing artists of Dewey’s time include features (“dramatic rehearsal,” action, interaction and habit development) that are part of Dewey’s characterization of the moral life. This does not deny the deep import that Dewey ascribed to aesthetic experience (both in (...) art and in life), but it does suggest that we might use his theory of ethical practice in conjunction with his theory of art as experience in order to create a more robust and unified Deweyan theory of what the performing artist does. (shrink)

This book is unique in both its subject matter and its approach. It focuses on the collaboration of J. Derrida, J.-F. Lyotard, J. Hillis Miller, D. Carroll, F. Jameson and others at the Critical Theory Institute at the University of California, Irvine and on the application of critical theory for the analysis of contemporary American visual art. The critical and philosophical analysis concerns the art of Bruce Nauman, Kosuth, Burden, Christo, Wodiczko, Johns, Rauschenberg, and others. The focus of the book (...) is on irony and the sublime. The book also includes the original Prologue by G. van Den Abbeele (Dean of the School of Humanities at UC Irvine 2013-2018) on the history of Critical Theory in the United States, and at UCI, in particular. The CTI's uniqueness consisted in it being one of the best centers of the Critical Theory studies in the United States. (shrink)

Through an exploratory interrelation of theory with fine art practice, this article sets out to address the role of memory in the transitions and transformations between smooth and striated states. The article constructs a striated, woven formation between virtual and acquired memory, and attentive and inattentive perception, before going on to investigate how its regularity is disrupted through disturbances, slippages and snags.

This text introduces readers to definitions and examples of arts-based educational research, presents tensions and questions in the field, and provides exercises for practice. It weaves together critical essays about arts-based research in the literary, visual, and performing arts with examples of artistic products of arts-based research (arts for scholarship's sake) that illuminate by example. Each artistic example is accompanied by a scholARTist's statement that includes reflection on how the work of art relates to the scholar's research interests and (...) practices. Arts-Based Research in Education: Foundations for Practice: helps the reader understand what arts-based research is - tracing the history of the field and providing examples; includes end-of-chapter questions to engage students in practicing arts-based inquiry and to generate class discussion about the material; features a diverse range of contributors -- very established scholars in educational and social science research as well those new to the field; represents a variety of voices - scholars of color, queer and straight orientations, different ages, experience, and nationalities; and presents beautiful illustrations of visual art, data-based poems, plays, short stories, and musical scores. First-of its kind, this volume is intended as a text for arts-based inquiry, qualitative research methods in education, and related courses, and as a resource for faculty, doctoral students, and scholars across the field of social science research methods. (shrink)

The arts provide openings for symbolic expression by engaging the sensory experience in the body they become a source of insight through embodied cognition and emotion, enabling meaning-making, and acting as a catalyst for change. This synthesis of sensation and enactive, embodied expression through movement and the arts is capitalized on in The BodyMind Approach®. It is integral to this biopsychosocial, innovative, unique intervention for people suffering medically unexplained symptoms applied in primary healthcare. The relevance of embodiment and arts practices (...) in TBMA are discussed in relation to the views of participants in the pursuit of self-management. If widely employed TBMA could have an enormous impact, reach, and significance for patients and global health services. This original pre-clinical trial of qualitative research reports on the perceptions of participant patients with generic MUS, a world-wide issue usually treated by either psychological therapy or physiotherapy. TBMA is not a therapy but a health education program founded upon the concept of an integration of psychological elements with physiological, bodily, and sensory experiences. Thematic analysis of qualitative data sets from open-ended questions in semi-structured interviews and a written questionnaire post intervention is presented. Five aspects which appear to be key to learning self-management were derived from analyzing the data: body with mind connections; importance of facilitation; potential benefits; preparedness for change; self-acceptance/compassion. This article advances the discourse on the nature of self-management for MUS through changing the mind-set and the relationship participants have with their bodily symptom/s through employing embodied methods and arts practices, challenging current, and solely verbal, psychological conceptual frameworks. Rigor lies in the method of data analysis using cross verification of credibility between reported findings and scrutiny by stakeholders. We conclude that facilitated TBMA groups employing embodied methods and arts practices can act as a method for developing the self-management of MUS and improving wellbeing. (shrink)

As a speculative and abstract discipline, philosophy is traditionally considered to be in dialectical tension with physical experience and daily practice. In contrast to this conventional and idealistic perspective, and in line with aesthetics as embodied knowledge, this article attempts to show that not only do we constantly think via gestures, movements, and physical experiences but also that there is no need to disconnect a concept from practice. Passing from Wittgenstein’s idea of “form of life” to the pragmatist (...) aesthetics initiated by Dewey’s idea of “art as experience,” I propose an analysis of the philosophical framework of postmodern dance (Yvonne Rainer) and of Happenings (Allan Kaprow), in order to underline the theoretical and conceptual research that is already at work in the field of contemporary art practice, the latter being understood as a sensorial dimension intrinsically linked to ordinary life. My general argument is that gestures, which are an inescapable and vital part of everyday life, can be foregrounded by certain artistic practices without corrupting or theatricalizing their ordinariness. (shrink)

This short article discusses the nature of research and art practice and makes a case for the necessary intermingling of these activities. It does not attempt to define a space for art to operate as research, quite the opposite: research is an operating structure for the process and production of, among other things, art. It is regarded as integral to the processes of thinking, making, and reflecting, and it is important to note that curiosity, creative enquiry, and critical reflection (...) underpin much that is considered research in various fields. The author asserts that these processes are not necessarily discipline-specific although particular disciplines have specific procedures and goals. It is argued that "provisionality" is central to what art can offer other disciplines; it can make a virtue of incompleteness. The author suggests that art open itself up to quizzical scrutiny and help others to recognise that research has long been, and will continue to be, a driving force within its makeup. The article posits an expanded notion of the artwork that is essentially provisional and reliant on spectatorial involvement. (shrink)

This article attends to Deleuze and Guattari's idea of a ‘minor literature’ as well as to Deleuze's concepts of the figural, probe-heads and the diagram in relation to Bacon's paintings. The paper asks specifically what might be usefully taken from this Deleuze–Bacon encounter for the expanded field of contemporary art practice.

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

This paper engages with the artistic practice and work of Vanessa Dion Fletcher from my perspective as a non-Indigenous academic and curator. Dion Fletcher and I have worked together over the past several years through discussions about her work, studio visits, and various events. In her art practice, Dion Fletcher uses porcupine quills and menstrual blood to inquire into a range of issues and concepts including Indigenous language revitalization, feminist Indigenous corporeality, Land as pedagogy, decolonization, and neurodiversity. In (...) particular her work confronts the ways that Indigeneity, the queer and gendered body, and disability are rendered expendable. In this paper I engage with Dylan Robinson’s “sovereign sense”: a transcorporeal mode of perception that is affective, land-based, and formed through relations between human and non-humans. Dion Fletcher’s work makes palpable this sense of sovereignty through its unruly and mutating feltness. Further, her work makes visible feminist Indigenous artistic acts of resurgence alongside the frictions at the intersections of settler colonialism and disability. Following Karyn Recollet, I contend that Dion Fletcher’s work activates an Indigenous affective experience of futurity and creative intimacy that in turn imagines disability and Indigeneity as sites through which new pedagogical relations can be formed. (shrink)

_Rediscovering Aesthetics_ brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because (...) it provides a selection of significant but divergent positions. The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge. Contributors include: Claire Bishop, Diarmuid Costello, Paul Crowther, Arthur Danto, Nicholas Davey, Thierry de Duve, James Elkins, Francis Halsall, Michael Ann Holly, Julia Jansen, Michael Kelly, Robert Morris, Tony O'Connor, Peter Osborne, Adrian Piper, David Raskin, Carolee Schneemann, Richard Shiff, Wolfgang Welsch, and Richard Woodfield. (shrink)

From new practices emerge new domains. And from new domains emerge new competencies and roles. This article investigates some of the new competencies and roles emerging from the trans-disciplinary practice of curators, artists, scientists, programmers etc., which are involved in media art practice. Our hypothesis is that these new domains have a more general existence and profile in the paradigm of media art even though the following is based on the process of creating the MAP Media Art Platform (...) at the Museum of Contemporary Art (MFSK) in Roskilde, Denmark, between 2005 and 2008, a process in which we both were involved as media artist and media art curator, respectively. Our focus in this article is to investigate further the status of these new competencies and roles, and to ask: what are these new domains that emerge with regard to the artist, the software developer, the academic, the scientist and the curator. (shrink)

The historical context of body and tissue donation is deeply problematic, with patriarchal and colonial narratives. The contemporary context of molecular and genetic biology further complicates issues of bodily donation through narratives of abstraction and extraction. As practitioners working outside the conventional boundaries of scientific study learn the tools and techniques to extract and use bodily materials, they are also learning and challenging the procedures and processes. This article approaches questions of bodily donation through the edited transcript of a conversation (...) between artists who regularly use body fluids and cellular bodily materials in their practice, moderated by Louise Mackenzie and Ilke Turkmendag as part of the Taboo–Transgression–Transcendence in Art & Science Conference held online with the support of the University of Applied Arts, Vienna, 2020. The panel challenged the ethical and conceptual assumptions made in biotechnological research and reconsidered where the boundaries of the body lie, what ‘authority’ research carries and what choices researchers make when using the bodies of others. The transcribed conversation addresses taboos of the female body, specifically menstruation, the commodification of tissue from female human bodies, human milk politics and questions biopolitical treatment of the female body. The full, unedited panel conversation, including questions from the audience, and an accompanying video of edited interviews with panellists, is available online at https://www.loumackenzie.com/offering-the-body. (shrink)

This paper sets out to reimagine education through a cultural perspective and explores education as a performative practice that establishes certain borders of ‘public’ belonging. Wide-spread debates about the public dimension of schools and universities have focused on how economic rationales need to be replaced with alternative visions of education. This paper seeks to contribute to this revisioning of the public in education by reclaiming education as a specifically cultural endeavour, one tied to practices that are at once both (...) performative and aesthetic. To this end, I draw on theoretical notions of publicity that highlight its performative character. I then offer a reading of a socially engaged art project in order to suggest ways in which this performative character of publicity can be seen to be educational. This paper argues that education itself emerges through various cultural enactments that delineate the contours of who counts as a public and who does not. (shrink)

Starting out from the ontology of human work set out by Marx in Das Kapital, the paper seeks to analyse the relations between the artist and his actions and aims, the work of art he produces, and the audience for this work. The paper concludes with a discussion of the problem of creativity in the arts, drawing on ideas of Roman Ingarden and other phenomenologists.

This article provides a comprehensive synthesis of state-of-the-art approaches used by industry to improve human, social, and environmental sustainability. Currently available methods such as product stewardship, industrial eco-park design, industrial ecology, Design for Environment (DfE), and others areexplained and their contribution summarized. Particular attention is paid to practices that make the material flows of a society more circular, as in natural ecosystems, and to the idea of companies selling services rather than products. It is concluded that the widespread implementation of (...) these frontier practices are a necessary but not sufficient condition for achieving human, social, and environmental sustainability. Nevertheless, the methods synthesized in this paper reveal a largely untapped potential for improving industrial practices. (shrink)

Beziehungen sind nicht gegeben, sie werden gemeinsam gemacht. Der Band untersucht Relationalitäten als prozessuale Aushandlungen zwischen Künsten und Wissenschaften, zwischen gebautem Raum und sozialem Körper, zwischen theoretischem und poetisch-künstlerischem Schreiben und Sprechen, zwischen Form, Material und Handlung. Plädiert wird für eine Wissenspolitik der Künste, die von einer radikalen Verstricktheit theoretischer, ästhetischer, medialer und gesellschaftlicher Praktiken und Techniken ausgeht. Mit Beiträgen von / with contributions by Bini Adamczak, Emily Apter, Alice Chauchat, Beatriz Colomina, Gradinger / Schubot, Annika Haas, Maximilian Haas, Orit (...) Halpern, Tom Holert, Amy Lien & Enzo Camacho, Maurício Liesen, Hanna Magauer, Michaela Ott, Sibylle Peters, Dennis Pohl, Possible Bodies (Helen Pritchard, Jara Rocha, Femke Snelting), Ghassan Salhab, Mirjam Schaub, Melanie Sehgal, Nora Sternfeld, Kathrin Thiele, Jeremy Wade, Brigitte Weingart. (shrink)

This is the first collection in English devoted exclusively to pragmatist aesthetics. Its main aim is to employ the resources of that rich and exciting tradition in studying artistic phenomena such as film, sculpture, bio-art, poetry, the novel, cuisine, and various body arts. But it also attempts to provide a wider background for such studies by sketching the history of pragmatist reflection on the aesthetic and by discussing some of the main positions that this history has produced: the aesthetic conceptions (...) of C.S. Peirce, William James, John Dewey, Joseph Margolis, Richard Shusterman (somaesthetics in particular), and others. (shrink)

Dying serves so often within the narratives of Western popular culture, as an exercise in self-improvement both to the individual dying and to those looking on. It enlightens, ennobles and renders exceptional all those affected by it. Though mainstream cinema's “grammar of dying” is mired in similar myths, film has the potential to do dying differently: it can, instead, connect us, ethically, to the vulnerability of others. The aim of this article is to pursue this potential of film. Using the (...) mainstream grammar of dying as a starting point, I will consider how the moving image, and this ethical potential, is harnessed within two hybrid-media pieces about a loved-one's decline and death: George Saxon's art installation, “A Record of Undying” (2014) and photographer Briony Campbell's short film The Dad Project (2009). While these works will be located within the traditions and transformations of moving image practice, the primary concern here is with how such emotionally resonant pieces navigate our relation to, and responsibility for, our own and others' harsh realities. In this way, the question of ethics is grounded not in the solipsistic circuits of affective modes – whether as the catharsis or betterment of mainstream myths, or what Jane Stadler privileges as the ethical effects of empathy – but in something more inherently, more inevitably, political. (shrink)

How is art both distinct and different from the rest of human life, while also mattering in and for it? This central yet overlooked question in contemporary philosophy of art is at the heart of Georg Bertram's new aesthetic. Drawing on the resources of diverse philosophical traditions – analytic philosophy, French philosophy, and German post-Kantian philosophy – his book offers a systematic account of art as a human practice. One that remains connected to the whole of life.

In the last decade, nurse scholars have focused extensively on the nature of nursing and its relationship to art and science. This emphasis has also been accompanied by an increasing literature on nursing ethics. In spite of this growing interest, the relationship of nursing art and nursing ethics has been left unclear. This paper proposes that nursing must be considered as a practical art because this conception explicates the relationship of nursing art and nursing ethics. It is based on the (...) thesis that nursing art is subordinated to nursing ethics and as such is a moral art. Different conceptions of nursing art (craft and fine art) will be explored to show their limits. This will be followed by the conception of nursing art as a practical art. (shrink)

본 논문은 여성주의적 실천의 한 방식으로서 장소 특정적 예술이 가질 수 있는 가능성을 미학적 관점에서 탐구하는 것을 목표로 한다. 현대예술의 일반적인 형식중의 하나로서 자리잡은 장소특정적 예술은, 장소라는 요소가 비판적 예술 실천(수행)에서 어떻게 문제적이 되는지 장소적 실천 일반에 대해서 시사하는 바가 크다. 그 중에서도 본 논문은 장소와 여성주의적 실천의 관계를 다루며, 이를 위해, 2000년대 이후 한국 여성예술가의 네 개의 장소특정적 예술들 - 예술가의 서사와 담론이 중심이 되어 장소화나 특정 장소 선정이 이루어지는 두 가지 경우, 특정 지역 관련 기획전시의 경우, 특정 지역연구 (...) 프로젝트의 경우-을 대표 사례로 고려하였다.BR 모더니즘 예술의 매체 특정성과 대조적으로, 장소 특정성은 예술이 놓여있는 사회제도적 장소에 대한 의식과 질문이 주요동기가 되기 때문에, 비판적 문화실천으로서 여성주의적 실천의 가능성이 탐색될 수 있다. 예술에서의 장소특정성이 여성주의적 실천으로 기능하기 위해서 우선적으로 선행되어야 할 것은 장소 혹은 장소정체성이라는 개념에 대한 재해석이다. 장소란 특정 지리적 입지에 교차하는 다양한 사회적 관계라는 비판지리학자 매시Massey의 주장에 따른다면, 장소를 재구성하고 재해석하는 행위는 모두 정치적 행위이며, 예술에서 지역적 정체성이라는 요소의 활용 역시 젠더나 인종, 지역 문제에 대한 진보적 실천의 방식이 될 수 있다. 여성주의적으로 의미있는 장소적 예술실천에서 중요한 것은 이처럼, 우선적으로는 관계적 장소개념에 의해 기존의 지역정체성이 역사적으로 어떻게 구성되었는지의 해체와 재해석, 즉 특정 장소 정체성에 대한 여성주의적 관점에서의 적극적 재해석이다. 또한 장소특정적 예술의 많은 형태가 특정 장소나 지역 연구프로젝트라는 특수한 예술 형식과 관련된다. 이같은 지역연구 프로젝트는 여성예술가(집단)가 그 지역 정체성을 재해석하는 것 뿐 아니라, 그 지역에 살고 있는 여성 공동체의 삶에 개입하게 된다. 따라서 장소특정적 실천이 여성주의적으로서 유의미하게 위해 중요한 두 번째 요소는, 타자로서의 예술가가 지역 공동체와 관계함에 있어 어떤 위치를 취하고 어떤 방식을 택할 것인가에 대한 미학적, 윤리학적 성찰이라고 할 수 있다. (shrink)

Human beings engage works of the arts in many different ways: they sing songs while working, they kiss icons, they create and dedicate memorials. Yet almost all philosophers of art of the modern period have ignored this variety and focused entirely on just one mode of engagement, namely, disinterested attention. Nicholas Wolterstorff asks why this might be, and proposes that almost all philosophers have accepted the grand narrative concerning art in the modern world. It is generally agreed that in the (...) early modern period, members of the middle class in Western Europe increasingly engaged works of the arts as objects of disinterested attention. The grand narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. Wolterstorff rejects this claim, and offers an alternative framework for thinking about the arts. Central to his alternative framework are the idea of the arts as social practices and the idea of works of the arts as having different meaning in different practices. (shrink)

In Rethinking Language Arts: Passion and Practice, Second Edition , author Nina Zaragoza uses the form of letters to her students to engage pre-service teachers in reevaluating teaching practices. Zaragoza discusses and explains the need for teachers to be decision-makers, reflective thinkers, political beings, and agents of social change in order to create a positive and inclusive classroom setting. This book is both a critical text that deconstructs the way language arts are traditionally taught in our schools as well (...) as a visionary text with clear, no-nonsense directions on how to provide much needed change in our schools. (shrink)

This is the first collection in English devoted exclusively to pragmatist aesthetics. Its main aim is to employ the resources of that rich and exciting tradition in studying artistic phenomena such as film, sculpture, bio-art, poetry, the novel, cuisine, and various body arts. But it also attempts to provide a wider background for such studies by sketching the history of pragmatist reflection on the aesthetic and by discussing some of the main positions that this history has produced: the aesthetic conceptions (...) of C.S. Peirce, William James, John Dewey, Joseph Margolis, Richard Shusterman (somaesthetics in particular), and others. (shrink)

The paper considers two main cases of how the creative arts can inform a greater appreciation of human dignity. The first case explores a form of theater, Commedia dell’Arte that has deep roots in Italian culture. The second recounts a set of theater exercises done with very minimal direction or self-direction in executive education and MBA courses at the Darden School, University of Virginia, in the United States. In both cases we highlight how the creative arts can be important for (...) promoting human dignity in organizations, and how they can lead to a more authentic conversation about values, ethics, and meaning. (shrink)