Art and Artworks

Edited by Nicholas Riggle (University of San Diego)
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1308 found
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  1. Heidegger'de Sanat Eserinin Yeri: Sanal Müzeler Çağında Sanat ve Mekan.Onur Karamercan - 2021 - In Aysun Gür (ed.), Sanat Eserlerine Heidegger’le Bakmak: Dünya, Yeryüzü, Zaman, Mekân. Bursa: Sentez Yayıncılık. pp. 50-76.
    Onur Karamercan, Heidegger'de Sanat Eserinin Yeri: Sanal Müzeler Çağında Sanat ve Mekân adlı yazısında, iki yıldır yaşamakta olduğumuz salgınla birlikte çok daha sık biçimde görülmeye başlayan “sanal müze” veya “elektronik müze” uygulamalarına yakından bakar. Dünyanın en meşhur müzelerinin ve sanat galerilerinin sanatsal ve kültürel etkinliklerden mahrum kalmak istemeyen ziyaretçilerine "kapılarını" elektronik ortamda açtığı ve birçok müzenin de koleksiyonlarını tamamen ya da kısmen dijitalleştirdiği bu ortamda, şu iki soruyu yanıtlamayı amaçlar: 1) Bir mekân olarak bir müzeyi uzaktan ziyaret etmek ve bir (...)
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  2. Portraits, Facial Perception, and Aspect-Seeing.Andreas Vrahimis - 2022 - British Journal of Aesthetics.
    Is there a substantial difference between a portrait depicting the sitter’s face made by an artist and an image captured by a machine able to simulate the neuro-physiology of facial perception? Drawing on the later Wittgenstein, this paper answers this question by reference to the relation between seeing a visual pattern as (i) a series of shapes and colours, and (ii) a face with expressions. In the case of the artist, and not of the machine, the portrait’s creative process involves (...)
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  3. Vasily Kandinsky: Around the Circle.Ekin Erkan - 2022 - AEQAI.
    A review of the recent exhibition of Wassily Kandinsky's artworks at the Guggenheim Museum, with interest in Kandinsky's career-wide separation of form from content.
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  4. What Is a Stand Up Special?Frank Boardman - 2021 - Aesthetic Investigations 5 (1):51-63.
    The stand-up special is growing cultural significance just as it is maturing and becoming more distinct as an art form. Philosophical treatments of the special are therefore neither frivolous nor redundant. I argue here that such inquiry can be aided by a definitional account of “special” and that an essential definition – if one is available- would serve us best. I then offer a candidate definition of this kind and reply to some likely objections to it.
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  5. The Art Model as Performer.Aurélie Debaene - 2021 - Aesthetic Investigations 5 (1):7-27.
    In this paper, I argue that modelling occupies a curious role in the art making process, and that it constitutes a hybrid art form. Modelling is intriguingly under-research in aesthetics, despite it being a cornerstone of art education and deeply involved in various art practices. It functions both within a supportive role to further the goals of art making, while also retaining the creative agency and performance of the professional model upon which the artist, photographer, or wider crew rely. This (...)
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  6. "Isn't All Art Performed?" Issue Introduction.Sue Spaid & Rossen Ventzislavov - 2021 - Aesthetic Investigations 5 (1):1-6.
    The work of artist Ron Athey has long befuddled the art historical establishment and has mostly remained under the philosophical radar. In this review of Athey’s Acephalous Monster, performed on August 28, 2021, at the Roy and Edna Disney/CalArts Theater in Los Angeles, I propose a philosophical frame- work for Athey’s radical reinvention of ethical categories like agency, mutuality and communion. I describe the performance and its critical context in order to tease out the aesthetic dimension of this reinvention and (...)
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  7. Art and Human Interaction.Rob van Gerwen - 2021 - Aesthetic Investigations 5 (1):i-vi.
    In this Editor’s column I discuss certain fruits and limits of applying the notion of ‘performance’ to works of art. Art works can be viewed as perfor- mances, the public furnishing of works’ final form. Concerts can be viewed as performances of a work scored by someone else, the composer, but not all arts are double in this sense. Moreover, art can be viewed as mirroring the psychological, phenomenological and rhetorical aspects of human interaction, which exemplify the way people scrutinise (...)
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  8. "Facciamo l'Uomo": Proposte Filosofiche Per Un Umanesimo Critico. Studi in Onore di Andrea Poma.Bertolino Luca - 2016 - In Sondra Bacharach, Jeremy Neil Booth & Siv B. Fjærestad (eds.), Collaborative Art in the Twenty-First Century. Routledge. pp. 166-178.
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  9. Disintegrating the Linear: Time in Simon Finn’s Instability.Marilyn Stendera - 2018 - In Exhibition Catalogue - Simon Finn's Instability.
    The art of Simon Finn has always had a markedly temporal dynamic. Vast structures built and annihilated again and again across different media, their fragmentation across space and time simultaneously methodical and darkly chaotic. Roiling waters and eldritch surfaces held captive in their unrest. Finn’s works render cycles of construction and disintegration, of stasis and motion, in ways that shed light upon the underlying structures of our experience of time while shattering simplistic notions of linearity. This is nowhere more apparent (...)
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  10. My First Philosophy Book.M. A. Parks - 2020
    'My First Philosophy Book' is an illustrated A to Z introductory philosophy book. Edited by I-Sen Chen.
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  11. Art Clusters: The Importance of Similarities in Aesthetic Research and Education.Aaron Meskin - 2021 - Journal of Aesthetic Education 55 (4):40-50.
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  12. Art, Authenticity, and Understanding.David Suarez - forthcoming - In Jens Pier & Aron Schwertner (eds.), Limits of Intelligibility: Issues from Kant and Wittgenstein. Routledge.
    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 (...)
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  13. Elgin on Science, Art and Understanding.Jochen Briesen - forthcoming - Erkenntnis:1-21.
    Is art epistemically valuable? Catherine Z. Elgin answers this question in the affirmative. She argues for the epistemic value of art on the basis of her innovative epistemological theory, in which the focus is shifted from knowledge and truth to a non-factive account of understanding. After an exposition and critique of her view, as she develops it in her most recent book “True Enough”, I will build on some of her ideas in order to strengthen her account.
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  14. Why is That Art?Richard Kamber & Taylor Enoch - 2019 - In Florian Cova & Sébastien Réhault (eds.), Advances in experimental philosophy of aesthetics. Bloomsbury. pp. 79-102.
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  15. Heidegger's Revolutionary (Anti-/Counter-/Post-)Modernism.Jussi M. Backman - 2021 - Gatherings: The Heidegger Circle Annual 11:93-101.
    A rejoinder to Harri Mäcklin, "A Heideggerian Critique of Immersive Art".
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  16. Elämästä luopuminen -Biofilosofiasta, epä/elämisestä, toksisesta ruumiillistumisesta ja etiikan uudelleenmuotoilusta.Marietta Radomska & Cecilia Åsberg - 2020 - Niin and Näin 1:39-46.
    Elämä tavataan nähdä kuoleman vastakohtana. Tällaisen kahtiajaon ulkopuolelle mahtuu kuitenkin paljon ontologisia ja eettisiä kysymyksiä, joita on lähdettävä purkamaan toisesta suunnasta. Marietta Radomska ja Cecilia Åsberg ehdottavat suunnaksi biofilosofiaa, jossa elämistä ja kuolemista tarkastellaan yhteen kietoutuneina ja yhdessä muuttuvina.
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  17. Doing Away with Life: On Biophilosophy, the Non/Living, Toxic Embodiment, and Reimagining Ethics.Marietta Radomska & Cecilia Åsberg - 2020 - In Erich Berger, Kasperi Mäki-Reinikka, Kira O'Reilly & Helena Sederholm (eds.), Art As We Don’t Know It. Helsinki, Finland: pp. 54-63.
    In this chapter we argue for biophilosophy as a queerfeminist and posthumanities methodology that attends to the question of life by focusing on multiple differences and transformations, materiality and processuality, as well as relations, intra-actions, and disconnections. By combining both the ontological and ethical concerns that go beyond what is conventionally seen as “life”, biophilosophy offers a critical and innovative approach to the issues of death, extinction, (un) liveability, terminality, and toxicity, among others, which all form the backbone of the (...)
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  18. Non/Living Matter, Bioscientific Imaginaries and Feminist Techno-Ecologies of Bioart.Marietta Radomska - 2017 - Australian Feminist Studies 32 (94):377-394.
    Bioart is a form of hybrid artistico-scientific practices in contemporary art that involve the use of bio-materials (such as living cells, tissues, organisms) and scientific techniques, protocols, and tools. Bioart-works embody vulnerability (intrinsic to all beings) and depend on (bio)technologies that allow these creations to come into being, endure and flourish but also discipline them. This article focuses on ‘semi-living’ sculptures by The Tissue Culture and Art Project (TC&A). TC&A’s artworks consist of bioengineered mammal tissues grown over biopolymer scaffoldings of (...)
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  19. Promises of Non/Living Monsters and Uncontainable Life.Marietta Radomska - 2018 - Somatechnics 8 (2):215-231.
    In the Western cultural imaginaries the monstrous is defined – following Aristotelian categorisations – by its excess, deficiency or displacement of organic matter. These characteristics come to the fore in the field of bioart: a current in contemporary art that involves the use of biological materials (various kinds of soma: cells, tissues, organisms), and scientific procedures, technologies, protocols, and tools. Bioartistic projects and objects not only challenge the conventional ideas of embodiment and bodily boundaries, but also explore the relation between (...)
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  20. Non/Living Queerings, Undoing Certainties, and Braiding Vulnerabilities: A Collective Reflection.Marietta Radomska, Mayra Citlalli Rojo Gomez, Margherita Pevere & Terike Haapoja - 2021 - Artnodes 27:1-10.
    The ongoing global pandemic of Covid-19 has exposed SARS-CoV-2 as a potent non-human actant that resists the joint scientific, public health and socio-political efforts to contain and understand both the virus and the illness. Yet, such a narrative appears to conceal more than it reveals. The seeming agentiality of the novel coronavirus is itself but one manifestation of the continuous destruction of biodiversity, climate change, socio-economic inequalities, neocolonialism, overconsumption and the anthropogenic degradation of nature. Furthermore, focusing on the virus – (...)
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  21. Puy on ‘Nested Types’.David Davies - 2021 - Journal of Aesthetics and Art Criticism 79 (2):251-255.
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  22. Empathy in Appreciation: An Axiological Account.Íngrid Vendrell Ferran - 2021 - Journal of Aesthetics and Art Criticism 79 (2):233-238.
    This paper argues that certain literary works can only be fully appreciated if the reader is able to experience through empathy the character’s values. I call it "the axiological account" because it makes the grasping of aesthetic values dependent on the experience of other values embodied in the work. I develop my argument in three stages. First, I argue that in empathy we not only apprehend but also experience something similar to what the target is going through. Next, I show (...)
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  23. Disjecta Membra: Althusser’s Aestethics Reconsidered.William S. Lewis & Bargu Banu - 2021 - Filozofski Vestnik 1 (41):7-59.
    This essay takes a synthetic and critical approach to the scattered pieces of art criticism and aesthetic theory authored by Louis Althusser. Connecting these texts to his larger philosophical and political project, we argue that these reflections make an independent contribution to its worth and that they offer different perspectives on lingering theoretical problems. We piece together the insights that form the core of the Althusserian approach to aesthetics and show how these are formulated (in connection with the work of (...)
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  24. Ecos de 60: Impossibilidade macroestrutural, possibilidades microestruturais. Com Júlia M. Rebouças.Gustavo Ruiz da Silva & Mariana Slerca - 2020 - Revista Avesso: Pensamento, Memória E Sociedade 1 (1):160-171.
    Entrevista com Júlia Rebouças, curadora, pesquisadora e crítica de arte.
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  25. Games: Agency as Art. By C. THI NGUYEN. (New York: Oxford University Press, 2020. Pp. Viii + 244. Price £22.99, US $35.00.). [REVIEW]Trystan S. Goetze - 2022 - The Philosophical Quarterly 72 (1):240-243.
  26. Artistic Objectivity: From Ruskin’s ‘Pathetic Fallacy’ to Creative Receptivity.Eli I. Lichtenstein - 2021 - British Journal of Aesthetics 61 (4):505-526.
    While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...)
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  27. Hugo, Hegel, and Architecture.Jose Luis Fernandez - 2021 - Journal of Comparative Literature and Aesthetics 44 (1):153-163.
    This essay aims to contribute comparative points of contact between two influential figures of nineteenth century aesthetic reflection; namely, Victor Hugo’s artful considerations on architecture in his novel Notre-Dame de Paris and G.W.F. Hegel’s philosophical appraisal of the artform in his Lectures on Fine Art. Although their individual views on architecture are widely recognized, there is scant comparative commentary on these two thinkers, which seems odd because of the relative convergence of their historically situated observations. Owing to this shortage, I (...)
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  28. Fysis в работите на Хайдегер за Хьолдерлин.Vasil Penchev - 2004 - Философия 13 (3):14-18.
    Хайдегер има цикъл статии, посветени на немския поет Хьолдерлин и обсъждащи отношението на философия и поезия. Една често срещана "дума" в тях е 'природа'. Нейни рзлични конотации в произведения на философа за поета са предмет на изследване.
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  29. "Опит за летене": гравитация и възторженост.Vasil Penchev - 2004 - Philosophical Alternatives 13 (3):80-96.
    Thc articlе is devoted to onе of thе grеatest Bulgarian writers: Yordan Radichkov (1929-2004). Thc choice of Radichckov's work "Attеmpt of flying" is eligiЬie to an philosophical interpretation Ьccause of the following reasons. Radichkov has won public recognition in Bulgaria. Не is а classic of the Bulgarian literature and, to а great cxtent, its fасе abroad. Не has а considcraЬle effect on the Bulgarian culture: from theatre to linguistics and philosophy. His works themselves ring true and eminently philosophically; simultaneously, they (...)
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  30. Хайдегер за картината "Сикстинската мадона".Vasil Penchev - 2005 - Философия 14 (5):42-46.
    «Сикстинската мадона» основава и завършва зданието на църквата , казва Хайдегер . Тя е първото и последното и тя е , която придава зъвършеност. Сред сградата на съществуващото откритост и събраност може да й придаде възможност да се мисли цялостност, смисъл , облик и завършеност.
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  31. The Authority of Pleasure.Keren Gorodeisky - 2019 - Noûs 55 (1):199-220.
    The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...)
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  32. Empathie in der Kunst.Íngrid Vendrell-Ferran - forthcoming - In Siegmund Judith (ed.), Handbuch Kunstphilosophie.
    Dieses Kapitel handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...)
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  33. Are Some Perfumes Works of Art?Brozzo.Chiara Brozzo - 2020 - Journal of Aesthetics and Art Criticism 78 (1):21-32.
    What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. (...)
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  34. Are Some Perfumes Works of Art?Brozzo.Chiara Brozzo - 2020 - Journal of Aesthetics and Art Criticism 78 (1):21-32.
    What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. (...)
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  35. Elizabeth Bartlett and Paul Alexander Bartlett: Two Portraits.Steven James Bartlett - 2021 - Willamette University Faculty Research Website.
    The author shares philosophical and biographical reflections, accompanied by photographs, on the lives of his well-known literary parents, poet Elizabeth Bartlett and writer/artist Paul Alexander Bartlett.
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  36. Where Is the Money? The Intersectionality of the Spirit World and the Acquisition of Wealth.Suleman Lazarus - 2019 - Religions 10 (146):1-20.
    This article is a theoretical treatment of the ways in which local worldviews on wealth acquisition give rise to contemporary manifestations of spirituality in cyberspace. It unpacks spiritual (occult) economies and wealth generation through a historical perspective. The article ‘devil advocates’ the ‘sainthood’ of claimed law-abiding citizens, by highlighting that the line dividing them and the Nigerian cybercriminals (Yahoo-Boys) is blurred with regards to the use of magical means for material ends. By doing so, the article also illustrates that the (...)
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  37. Is Stand‐Up Comedy Art?Ian Brodie - 2020 - Journal of Aesthetics and Art Criticism 78 (4):401-418.
    ABSTRACT Stand-up so closely resembles-and is meant to resemble-the styles and expectations of everyday speech that the idea of technique and technical mastery we typically associate with art is almost rendered invisible. Technique and technical mastery is as much about the understanding and development of audiences as collaborators as it is the generation of material. Doing so requires encountering audiences in places that by custom or design encourage ludic and vernacular talk-social spaces and third spaces such as bars, coffee houses, (...)
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  38. Materiality and Sublimation in Dan Flavin's Luminous Minimalism.Vangelis Giannakakis - 2021 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft (Special issue / Sonderheft 19):313-330.
    Modern aesthetic Minimalism is neither a flight to abstract spirituality, nor an extracting process of a primordial essence. It is concerned, rather, with the aesthetic object as pure refiguration and the production of “concrete universality”, of form as content and possibility of itself. This becomes especially apparent in the Minimalism of the 1960s. The main focus of this paper will be on Dan Flavin’s luminous minimalism. The latter is characterised by a style that, though simple in appearance, introduced a higher (...)
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  39. An analysis of Kafka’s Penal Colony and Duchamp’s The Large Glass Through the Concepts of Abstract- Machines and Energeia.Atilla Akalın - 2017 - Medeniyet Art, IMU Art, Design and Architecture Faculty Journal, 3 (1):29-44.
    This study aims to grasp the two distinct artworks one is from the literary field: Penal Colony, written by F. Kafka and the other one is from painting: The Large Glass, designed by M. Duchamp. This text tries to unravel the similarities betwe- en these artworks in terms of two main significations around “The Officer” from Penal Colony and “The Bachelors” from The Large Glass. Because of their vital role on the re-production of status-quo, this text asserts that there is (...)
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  40. The Art of Tattoos.Laura Sizer - 2020 - British Journal of Aesthetics 60 (4):419-433.
    In this paper I make the case that at least some tattoos are artworks. I go on to propose a definition of tattoo art that distinguishes it from other uses of tattooing, and from other forms of visual art. I argue that tattoo art is an art form that creates artworks in living skin, and that the living body is an essential component of and contributor to the artwork. This gives rise to several other distinctive features of tattoo art, in (...)
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  41. Post- i transhumanizm w kontekście wybranych zjawisk artystycznych technokultury.Przemysław Zawadzki & Agnieszka K. Adamczyk - 2019 - Avant: Trends in Interdisciplinary Studies 10 (3).
    Creations of many contemporary artists indicate the emergence of technoculture. Although artistic manifestations of technoculture may appear to be a provocation, they encourage fundamental ontological questions, such as whether a person has unchanging nature; what was and is our relationship to the Other, and what it should be; to what extent can body and mind be altered before they stop being “human”; what is the future of our species. To properly understand the works of technoculture artists, it appears necessary to (...)
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  42. "¿Qué son las obras de arte? Las propuestas de los teóricos de la acción".Elisa Caldarola - 2021 - In Leopoldo La Rubia, Nemesio García Carril Puy & Francisco Larubia Y. Prado (eds.), Teorías contemporáneas del arte y la literatura. Madrid: Tecnos.
    Este capítulo presenta dos versiones de la teoría según la cual deberíamos centrarnos en ciertas acciones realizadas por los artistas para comprender qué tipo de objetos son las obras de arte: la propuesta de Gregory Currie (An Ontology of Art, 1989) y la de David Davies (Art as Performance, 2004). Si bien estas teorías no están exentas de problemas, es cierto que estas proporcionan una guía completa de algunos de los temas en los que uno debería meditar al evaluar y (...)
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  43. “Improvisation and Installation Art”.Elisa Caldarola - 2021 - In Alessandro Bertinetto & Marcello Ruta (eds.), The Routledge Handbook of Philosophy and Improvisation in The Arts. New York, Stati Uniti: Routledge.
    This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. Not only (...)
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  44. Methodology in the Ontology of Artworks: Exploring Hermeneutic Fictionalism.Elisa Caldarola - 2020 - In Concha Martinez Vidal & José Luis Falguera Lopez (ed.), Abstract Objects: For and Against.
    There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views that have (...)
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  45. Affect in Artistic Creativity: Painting to Feel.Jussi A. Saarinen - 2020 - Lontoo, Yhdistynyt kuningaskunta: Routledge.
    Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. -/- Painters paint to feel. -/- They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the (...)
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  46. Dilema (ne)definovateľnosti umenia [The Dilemma of (Un)definability of Art].Lukáš Makky - 2019 - Espes 9 (1):7-19.
    The current form and transformation of artistic practice in the 20th and 21st century caused some estrangement of the recipient and the art. The current discourse is therefore dominated by some distrust in defining the criteria of contemporary art, or even the dilemma of whether or not art has to be defined at all, mostly under the influence of Morris Weitz. Arthur Danto very aptly reminds that there is currently no way to distinguish art from objects that are not art, (...)
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  47. Od definice ke kritice [From Definition to Criticism].David Skalický - 2019 - Espes 9 (1):20-26.
    What is the sense of the question “What is art?” It may seem that the only adequate answer will be the effort to define the notion of art, that is, the exclusive purpose of this question is the classification of art, encompassing all artifacts regarded as works of art and distinguishing them from those do not belong to art. The study points to the connection between our classification of artifacts and our evaluation and understanding of them. It also recalls reflections (...)
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  48. The Standard of Correctness and the Ontology of Depiction.Enrico Terrone - 2021 - American Philosophical Quarterly 58 (4):399-412.
    This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals (...)
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  49. Teatro y Estética del Oprimido. Homenaje a Augusto Boal.José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.) - 2016 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Este libro inaugura la serie Homenaje de la Colección La Fuente. Con él se busca reconocer, de manera particular, al pensador, dramaturgo y director brasileño Augusto Boal (1931-2009), creador del teatro y la estética del oprimido, genuina aportación cultural latinoamericana que mucho tiene que ver con ese particular lugar de enunciación que es Nuestra América y sus siempre actuales expectativas emancipadoras. El libro fue precedido y nutrido por un Coloquio que en mayo de 2014 reunió a importantes especialistas y seguidores (...)
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  50. Pornography and Melancholy.Hans Maes - forthcoming - Apa Newsletter on Feminism and Philosophy.
    Section 1 proposes a new philosophical account of melancholy. Section 2 examines the reasons why one might think that pornography and melancholy are incompatible. Section 3 discusses some successful examples of melancholic pornography and makes the case that feminist pornographers are particularly well-placed to produce such material.
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