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

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

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

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

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

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

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

In this Volume, published in1998, Fifteen scholars reveal the ways of preserving, conceiving and creating beauty were as diverse as the cultural influenced at work at the time, deriving from antique, medieval and more recent literature and philosophy, and from contemporary notions of morality and courtly behaviour. Approaches include discussion of contemporary critical terms and how these determined writers' appreciation of paintings, sculpture, architecture and costume; studies of the quest to create beauty in the work of artists such as Botticeli, (...) Leonardo, Raphael, Parmigianino and Vasari; and the investigation of changes functioning of the eye and brain, or to technical innovations like those found in Venetian glass. (shrink)

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

What is the relationship between the philosophical concept of the “autonomy of art” and the cultural policy-notion of “artistic freedom”? This article seeks to answer this question by taking the Swedish governmental report This Is How Free Art Is (Så fri är konsten 2021) and its reception in the Swedish main stream media as an emblematic example and by reading it symptomatically. Firstly, it traces the critical history of “artistic freedom” and the interrelated term “arm’s length distance”, primarily in the (...) context of Great Britain. Secondly, it critically reconstructs the concept of the “autonomy of art” in the history of Western philosophy by making a critique of a fetishized notion of art’s autonomy in the name of l’art pour l’art. The main argument is that the idea about art’s autonomy, on which the Swedish report leans, resembles such philosophical and art historical idea of art’s autonomy. The claim is also that such an understanding of art does not tie up, either philosophically or historically, with the arm’s length principle, since they ultimately rely on different conceptions of art’s freedom. (shrink)

We criticize a view of maternity that equates the natural with the genetic and biological and show how such a practice overdetermines the maternal body and the maternal experience for women who are mothers through adoption and ART . As an alternative, we propose a new framework designed to rethink maternal bodies through the lens of feminist embodiment. Feminist embodied maternity, as we call it, stresses the particularity of experience through subjective embodiment. A feminist embodied maternity emphasizes the physical relations (...) of the subjective lived-body rather than the genetic or biological connections. Instead of universalizing claims about the maternal body, embodied maternity looks to communicable experiences and empathetic understanding. (shrink)

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

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

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

This volume of the Thinker’s Guide Library addresses the vital role of questions in every area of life. As readers develop a questioning mind, they also come to a better understanding of the world and of themselves. This book illustrates how well developed questions lead to deeper knowledge and counteract dangerous ignorance.

Discussion by a leading Australian philosopher of the fundamental issues in the arts in its broadest sense, exploring such themes as art and morality, aesthetics, and art as the source of truth. The author is Emeritus Professor of the History of Ideas at ANU, Canberra, and wrote '100 Years of Philosophy'. Includes an index of names and key terms.

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

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

Schopenhauer peut apparaître comme un précurseur de l’esthétique contemporaine. C’est par un détour par Wölfflin que le lien se fait, et donc à partir d’une conception de l’architecture. Celle-ci définie par Schopenhauer autour des notions de force et d’équilibre devient un axe de référence pour toute philosophie de l’art. Ce socle peut être intégré à la lecture philosophique de l’art de notre époque en quête de références.

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

Concepts are traditionally pictured as discrete containers that bring together objects or qualities based on the possession of shared, uniform properties. This paper focuses on a contrasting notion of the concept which holds that concepts are defined by their capacity to reach out and connect with other concepts. Two theories in recent continental philosophy maintain this view: one from Ricoeur, the other from Deleuze and Guattari. Both are offered as attempts to bring art and philosophy into relation, but they differ (...) over how the process of connection is theorized. With Ricoeur, a concept is only a concept if it is inherently predisposed to connect with others, and open to being misapplied through metaphor, whereas, with Deleuze and Guattari, connection is left as the general notion of each and every concept being mutually consistent with other concepts, with the consistency attributed to the external action of “bridging.” The author demonstrates the impact of this difference on how the philosophers perceive the art–philosophy relation, and argues that Ricoeur is better placed to provide a theory of philosophical discourse that is open to the aesthetic. Ricoeur can show it through metaphor, while Deleuze and Guattari can only assert or state an art–philosophy relation through a series of technical claims. The significance of the showing–saying distinction is that it can demonstrate the depth with which conceptual connectivity is located within the philosophers’ respective ontologies, and can help to reveal the value of conceptual connectivity for that ontology. (shrink)

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

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

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

: We criticize a view of maternity that equates the natural with the genetic and biological and show how such a practice overdetermines the maternal body and the maternal experience for women who are mothers through adoption and ART (Assisted Reproductive Technologies). As an alternative, we propose a new framework designed to rethink maternal bodies through the lens of feminist embodiment. Feminist embodied maternity, as we call it, stresses the particularity of experience through subjective embodiment. A feminist embodied maternity emphasizes (...) the physical relations of the subjective lived-body rather than the genetic or biological connections. Instead of universalizing claims about the maternal body, embodied maternity looks to communicable experiences and empathetic understanding. (shrink)

Seeks to replace the dominant approaches to the question of the nature of art in contemporary English-speaking (analytic) philosophy with a historicist approach that emphasizes localized, cultural-historical narratives.

In this paper, I will look at the relationship between Weitz’s claim that art is an “open” concept and Dickie’s institutional theory of art, in its most recent form. Dickie’s theory has been extensively discussed, and often criticized, in the literature on aesthetics, yet it has rarely been observed – to my knowledge at least – that the fact that his theory actually incorporates, at least to some extent, Weitz’s claim about the “openness” of the concept of art, precisely accounts (...) for what I take to be the main flaws in the theory. In what follows I present arguments for that claim, looking briefly at the position of both authors with respect to the concept of art, then showing how they relate to each other, and what implications this has for Dickie’s institutional theory, and more generally for the traditional project of characterising art. (shrink)

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

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

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

Much has been written about Schopenhauer’s use of Kant’s aesthetics as well as Schopenhauer’s adherence to and departures from Kant’s theoretical philosophy, not least by Schopenhauer himself. The hypothesis I propose in this paper combines these two research trajectories in a novel way: I wish to argue that Schopenhauer’s main theoretical innovation, the doctrine of the will, can be regarded as the development of an aspect of Kant’s aesthetic theory, specifically that the intransitive, goalless striving of the will in Schopenhauer (...) is the intellectual air to Kant's understanding of the mental processes required for the appreciation of beauty as 'conforming to law without a law'. (shrink)

Winckelmann’s work inhabits an ambivalent place in the history of historiography. His Geschichte der Kunst des Alterthums (1764) is often referred to as the foundational document of art history, but almost never without the obligatory mention of its rather unhistorical dimension. The aim of the following discussion is to evaluate Winckelmann’s position in the history of eighteenth-century European historiography, especially with regard to the early phase of his career as a historian, i.e. the decisive period between his studies in Halle (...) and his stay in Nöthnitz (1738–1754). During these years, Winckelmann carefully excerpted historiographical literature and dealt intensively with the model of universal history, whose structural patterns deeply influenced his reflection on art historiography. (shrink)

A great deal of work in analytic philosophy of art is related to defining what counts as art. So far, cognitive approaches to art have almost entirely ignored this literature. In this paper I discuss the role of intuition in analytic philosophy of art, to show how an empirical research program on art could take advantage of existing work in analytic philosophy. I suggest that the first step of this research program should be to understand how people intuitively categorize something (...) as art. Drawing on results from cognitive science and analytic philosophy, I show that the intuitive categorization of an artifact as art rests on the intentions attributed (frequently implicitly) to the creator of the artifact based both on its appearance and on background knowledge. I discuss how the issue of categorization is related to other empirical issues concerning our relationship to works of art, such as perception, appreciation, interpretation and evaluation. (shrink)