Philosophy of Visual Art, Misc

Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.

Review of “Gaiety is the Most Outstanding Feature of the Soviet Union: New Art from Russia,” Saatchi Gallery, London, England, and “Calder After the War,” Pace Gallery, London, England, April 2013. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 157-60.

The story of Andy Warhol is in many ways a story of an outsider breaking into the mainstream. Born into a working class immigrant family, queer, poor, and deeply self-conscious about his appearance, Warhol turned his fortunes around to become not only a wildly successful artist in the 1960s but one of the era’s arbiters of taste. His best-known dictum was that ‘in the future, everyone will be world-famous for fifteen minutes’, although this was patently untrue of his own art. (...) Celebrities came and went, but his star shone for a long time and is now firmly fixed in the firmament of art history. (shrink)

This paper aims to show that any account of how artworks lie must acknowledge (I) that artworks can lie at different levels of their content—what I call ‘surface’ and ‘deep’—and (II) that, for an artwork to lie at a given level, a norm of truthful communication such as Grice’s Maxim of Quality must apply to it. A corollary is that it’s harder than you might think for artworks to lie: Quality is not automatically ‘switched on’ during our engagement with art. (...) However, I show how a work’s curation and genre-membership can ‘switch on’ Quality, allowing artworks to lie at different levels. (shrink)

Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.

Is the celebrated elegance of Cycladic marble figurines an effect their Early Bronze Age producers intended? Can one adequately appreciate an Assyrian regal statue described by a cuneiform inscription as beautiful? What to make of the apparent aesthetic richness of the traditional cultures of Melanesia, which, however, engage in virtually no recognizable aesthetic discourse? Questions such as these have been formulated and discussed by scholars of remote cultures against the backdrop of a general scepticism about the prospects of escaping the (...) conditioning of one’s own aesthetic culture and attuning to the norms of a remote one. This book makes a radical move: it treats the remote observers’ lack of aesthetic insight not as a hindrance to aesthetic analysis, but as a condition requiring an aesthetic theory that would make room for an aesthetic analysis independent of the model of competent aesthetic judgement or appreciation. -/- Objects of Authority represents a rare effort at bringing together methods and concepts that are often addressed by separate disciplines. It will appeal to scholars and advanced students working on philosophical, art-historical, and anthropological theories of visual art and material culture. (shrink)

Cette étude présente une explication systématique des éléments clés de la théorie de l’art d’André Malraux. Se basant sur des œuvres telles que Les Voix du silence, Le Surnaturel, L’Irréel et L’Intemporel, elle aborde des sujets cruciaux comme la nature de la création artistique, la psychologie de notre réaction à l’art, la naissance de la notion d’« art » et sa transformation après Manet, la naissance et la mort de l’idée de beauté, la question cruellement négligée de la relation entre (...) l’art et le passage du temps, l’émergence de notre « premier monde de l’art universel », le rôle contemporain du musée d’art et du Musée Imaginaire, et la question épineuse du lien entre l’art et l’histoire. Contrairement aux critiques négatives parfois émises contre la pensée de Malraux, l’étude soutient qu’il nous offre une théorie de l’art mûrement réfléchie, entièrement cohérente et très éclairante. De surcroît, et malgré des allégations occasionnelles que la pensée de Malraux manque d’originalité, l’analyse montre que sa théorie de l’art est hautement originale et constitue un défi radical aux explications traditionnelles de l’art issues des Lumières qui ont dominé la pensée occidentale pendant quelque trois cents ans. En bref, l’étude dévoile une façon de comprendre la nature de l’art qui n’est rien de moins qu’une révolution intellectuelle. Le livre va être publie également en anglais. (shrink)

This essay aims to understand the relations between Stanley Cavell’s theoretical generalities regarding the medium of film and his readings of individual films, with a particular focus on his writing on color in his book The World Viewed. I argue that a specific idea of color as connected to abstraction (as well as a correlative idea of black-and-white as connected to figuration) grounds the relations between Cavell’s general statements about color and his readings of individual color films, and that this (...) conception of color helps to bring out the level of medium specificity required for understanding Cavell’s notion of “projecting” a world. I likewise argue that this idea of color and abstraction lies behind Cavell’s claims about projecting a “unified” world in his writing on color’s connection with fantasy and futurity, in his approach to Jean-Luc Godard’s films, and even in his writing on color that follows The World Viewed. (shrink)

We aim to develop a take on the meaning of works of art that builds on Dennett’s view on the nature of intentionality, namely, that the intentionality exhibited by mental phenomena is not original, but derived. Regarding the meaning of works of art, theories that hold that the meaning is determined by the intentions of the author when creating the work are considered intentionalist. Adopting the view of derived intentionality implies that it is no longer possible to maintain that the (...) semantic content of a work of art is closely linked to the creative act that gave rise to it; accordingly, intentionalist theories should be, broadly speaking, abandoned. However, we claim that one aspect of intentionalist theories is accurate and, moreover, compatible with the perspective on intentionality we adopt: The fact that part of the meaning of a work of art is given by the interpretations that arise when it is assumed that the work was produced by an agent with the purpose of transmitting something. We call this interpretative strategy the work-of-art stance and argue that it should be understood as a subtype of the intentional stance. According to our proposal, this interpretive strategy is part of a view that tries to explain the meaning of works of art as partially indeterminate, relative to a history (and not to a foundational origin) and dependent on interpretive attribution. En este artículo elaboramos una propuesta sobre el significado de las obras de arte que se apoya en la perspectiva de Dennett acerca de la naturaleza de la intencionalidad de los fenómenos mentales. De acuerdo a ella, la intencionalidad que estos exhiben no es original, sino derivada. Adoptar la perspectiva de la intencionalidad derivada implica que ya no será posible sostener que el significado de una obra de arte esté vinculado al acto creativo que le dio origen o que esté determinado por las intenciones que tuvo su autor al crearlas, como han sostenido las teorías intencionalistas. Ahora bien, creemos que hay un aspecto de estas que no es incompatible con la perspectiva de intencionalidad derivada. Se trata del hecho de que parte del significado de la obra de arte está dado por las interpretaciones que surgen sólo cuando se asume que la misma fue producida por un agente con el propósito de transmitir algo. Llamaremos a esta estrategia interpretativa actitud de la obra de arte y defenderemos que debe ser entendida como un subtipo de la actitud intencional. Esta estrategia interpretativa forma parte de una propuesta que intenta explicar el significado de las obras de arte como siendo parcialmente indeterminado, relativo a una historia y dependiente de la atribución interpretativa. (shrink)

I argue that sometimes a group can author a work of art without the work being either co-authored or multiply-authored. Sometimes the group, itself, is an author, rather than any of its members alone or together. I argue that when a group is an author like this, it has mental properties that no individual member of the group possesses. For example, we can consider the groups that authored digital remixes based on a film titled #INTRODUCTIONS created by the artists LaBeouf, (...) Rönkkö & Turner. YouTubers posted their digital remixes online, and the question is: Who authored those remixes? I contend that many digital remixes are authored by groups that are capable of cognition. (shrink)

The necessary condition for the reception of art is aesthetic distance, which paradoxically relies on direct experience: one has to be there in front of the artwork, has to live the experience. Therefore, the current pandemic and the practice of social distancing, which attempts to slow it down, is a serious challenge for the arts. This text analyses the ways in which artists and the institutions which mediate art react to the conditions caused by the pandemic. I will present some (...) creative practices which turn the adversity of the pandemic into an asset (the White Cuib Facebook project and the series by Sándor Bartha). So, there are projects which mine the gap (social distancing) and use it creatively. Then I will analyze the practice of some museums and galleries, focusing on the positive examples (e.g., the “Stay at Home Museum”) as well as on the difficulties. The examined cases will reveal the fact that while the artists were able to react in creative ways to the constraints and to create artworks which point beyond the contextual value, art institutions generally attempted merely to get through this period, hoping that they would soon be able to get back to life as usual. (shrink)

Portraits are defined in part by their aim to reveal and represent the inner ‘character’ of a person. Because landscapes are typically viewed as lacking such an ‘inner life,’ one might assume that landscapes cannot be the subject of portraiture. However, the notion of landscape character plays an important role in landscape aesthetics and preservation. In this essay, I argue that landscape artworks can thus share in portraiture’s goal of capturing character, and in doing so present us with essential tools (...) for revealing the often ineffable character of place. I explain the implications of this view for debates about scientific cognitivism in environmental aesthetics, representing the narrative dimension of landscape character and integrity, and appeals to the character of place in historic and environmental preservation. (shrink)

Diarmuid Costello has recently argued that, contra received opinion, Kant’s aesthetics can accommodate conceptual art, as well as all other art. Costello offers an interpretation of Kant’s art theory that demands from all art a minimal structure involving three basic “players” and three basic “actions” corresponding to those “players.” The article takes issue with the “action” assigned by Costello’s Kant to the artwork’s recipient, namely that her imagination generates a multitude of playful thoughts deriving from or in any other way (...) relating to the concept or idea that the artist has instilled in the artwork and that the artwork transmits to the recipient. It is argued that the “proper” recipient of conceptual art may very well have a multitude of thoughts that are all irrelevant to the concept or idea the artist has instilled in the artwork, even if the artwork has transmitted that concept or idea to the recipient. This shows that Kant’s art theory, as presented by Costello, cannot accommodate conceptual art. I conclude by suggesting that either one of two amendments to the theory’s account of the recipient’s experience could enable it to accommodate conceptual art. (shrink)

From Buñuel and Dali’s Un Chien Andalou to recent works by Danish filmmaker Nicolas Winding Refn, the cinematic destruction of the eye has become iconic due to its striking effect upon film spectators’ visceral experiences as well as its ability to influence their symbolic or fetishistic desires. By exploiting the natural discomfort and disgust produced by these types of images and then situating them within an aesthetic and psychoanalytic framework, Refn and other filmmakers provide a visual showcase for a unique (...) type of cinematic violence, one which demands that viewers reappraise the value of their own eyes as well as the values which reflect social attitudes towards law enforcement, crime, and justice. (shrink)

In this paper I focus on the topic of reproducibility (and irreproducibility) of aesthetic experience and effects, distinguishing it from the traditional subject of artifact reproducibility. The main aim is to outline a typology of the various kind of irreproducibility of aesthetic experience and to draw some implications for the aesthetic discussion concerning contemporary art. Depending on the type of artwork, we can define the difference (or the “ratio”) between aesthetic experience in the presence of the artwork and aesthetic experience (...) in its absence, that is, in the presence of its reproductions or documentations. For instance, in an easily reproducible painting the difference between experiencing the real artwork or its reproduction could be considered relatively small, while the difference between real experience and reproduction would be high in a complex roomfilling installation. This ratio could depend on ontological, material, or practical reasons and could also depend on the technological means of reproduction and documentation. In conclusion, following Groys (2017), I will suggest that the application of different "strategies of irreproducibility” testifies the urge to escape the replicability of aesthetic experience and the desire to generate forms of uniqueness and exclusivity in the fruition of art, and could therefore be seen as one of the reasons why art today is strongly based on documentations, installations or performative events. You really need to make the real effort to queue up and attend them, no substitute would be otherwise possible. (shrink)

Les vertus de l’écrit sur l’oîkos (l’habitation chez les grecques) ou les récits du Domus (l’habitation chez les romains) et les conditions dont ces derniers leurs favorisent l’écriture posent l’hypothèse sur la nature des relations qui existent entre l'expérience de l’habiter et sa sémantique spatiale, l’écrit des philosophes contemporains dans ce domaine est, cependant convergeant vers un savoir qui s’articule au niveau de la configuration d’un seuil interprétatif très complexe. En effet, en tant que précurseurs dans la compréhension de la (...) demeure humaine, les philosophes s’interrogent souvent dans leurs écrits sur l’existence d’un réel concept de l’habiter, est-il marqué par une rupture entre sa conception architecturale et son instanciation physique ? Où peut-on distinguer l’écart qui réside entre la synchronie de la conception et la réalisation diachronique du projet architectural de l’habiter ? (shrink)

Immanuel Kant és Marcel Duchamp munkássága egyaránt értelmezhető úgy, mint a művészet világát átrendező új kezdet, új távlatok forrása. Kant Az ítélőerő kritikája című munkájára úgy tekintek, mint a művészet modern paradigmájának forrására. E paradigma három alapja – a zseniális alkotó, a műalkotás és a múzeum mint a művészet temploma – levezethető a fogalom nélküli szépből. Mivel a szépnek nincs definíciója és nincsenek szabályai, az alkotó szükségszerűen eredeti kell, hogy legyen. Ezáltal a zseniális művész adja a szépművészetnek a szabályt, és (...) alkotására rávetül a zsenialitás fénye. Ezt az alkotást imádják a művészetek templomában, a múzeumban. A művészet modern paradigmáját mozgató zseniális alkotó ettől fogva a kísérletezésre van ítélve, és előbb-utóbb ennek a kísérletezésnek a tárgya maga a művészet paradigmája lesz. A huszadik századi művészek destabilizálják a művészet paradigmájának mindhárom pillérét, és ebben úttörő (kútfő) szerepet játszik Marcel Duchamp. Munkásságában megtaláljuk a műtárgy hagyományos fogalmának megszüntetésére, a művészeti világ intézményrendszerének szabotálására és a művész-szerep átértelmezésére irányuló kísérleteket. Duchamp úgy folytatja Kant művészetfelfogását, hogy a legtöbb ponton szakít vele. (shrink)

I argue that biographical information is akin to other non-aesthetic, social, historical, or political information. As such, artist’s biographies are always relevant and important when interpreting art. While the meaning and value of a piece of art is not determined by any single piece of contextual information, neither is its meaning and value ever entirely separated from context. In some cases, however, a piece of art that is technically magnificent may be experienced as repugnant when the artist has committed egregious (...) acts. (shrink)

Detailed review of the 2018 film. This article is concerned to define contemporary art such that the machinations of the current art market - as portrayed in the film - make sense. The central idea is that the best of contemporary art is narrative rather than merely aesthetic; and a failure to understand this leads to the confusion that currently characterizes judgements about modern artworks.

The overall aim of this paper is to defend the value of the arts as uniquely instructive regarding philosophical questions. Specifically, I aim to achieve two things: firstly, to show that through the phenomenological challenge to dualist and monist ontologies the key debate in aesthetics regarding subjective response and objective judgment is reconfigured and resolved. I argue that Merleau-Ponty’s analyses complement and complete Kant’s project. Secondly, I propose that through Merleau-Ponty’s phenomenological interrogations of the creative process the broader issue of (...) the viability of his relational nondualist ontology is defended against accusations that it has not gone beyond dualism or that it has collapsed into a monism. (shrink)

In the present article I use the terminology introduced by Svetlana Boym of restorative nostalgia and reflective nostalgia regarding works of contemporary fine art. -/- Restorative nostalgia implies an effort to revive the past – but without acknowledging that the desired and idealized past never existed, therefore it cannot be restored, either. I illustrate the application of this concept through the “new-academic” direction in today’s contemporary Hungarian fine arts. The reflective nostalgia is aware of the idealizing momentum of the desired (...) past, it reflects critically upon its own desires, and it highlights possibilities in the past regarding the present – often playfully or with irony. I illustrate the latter through the works of the Chinese Ai Wei Wei and the Romanian Mircea Cantor. I argue that reflective nostalgia is not a fruitless burial into the past, but a resource for processing the passing of time in a creative manner. (shrink)

A hagyományos felfogásban a művészet a szellem dolga, a test csak reprezentációként lehet jelen a képzőművészetekben. Ahogyan sok minden más szempontból, az utóbbi évszázadban ebben az irányban is megtörtént a határok átlépése: megjelent a képzőművészetben a művész és a befogadó teste. A művész már nem igyekszik eltüntetni keze nyomát. Az absztrakt expresszionizmusban a kép már nem puszta reprezentáció, hanem a művész testi mozgásának lenyomata. A huszadik század második felében elburjánzanak azok a művészi formák, amelyek nélkülözhetetlen alkotóteleme a művész teste: a (...) happeningek, az eventek, a body-art, a performansz, az installációk, a land-art, a relációesztétika szituációi. Ha a klasszikus felfogásban a befogadó teste látássá szublimálódott, ezzel szemben a happeningek és a relációművészet számítanak a befogadó teljes testi jelenlétére. Addig, amíg a művészet a szellem dolga volt, és a műalkotást a kontempláció számára alkották, nyilvánvaló volt a különbség művészet és nem művészet között. Vajon a művész és vagy a befogadó testének betolakodása a művészet terébe nem fenyeget azzal a veszéllyel, hogy a művészet teste tényleg a boncasztalra kerül? Véleményen szerint kísérleteivel a művészet nem számolja fel magát, hanem időt és teret biztosít az ember (művész, befogadó) számára ahhoz, hogy saját testét ne eszközként használja, hanem szabadon élje meg és reflektáljon rá, mint lehetőségre. (shrink)

In this paper, I discuss cases of replication in the visual arts, with particular focus on paintings. In the first part, I focus on painted copies, that is, manual reproductions of paintings created by artists. Painted copies are sometimes used for the purpose of aesthetic education on the original. I explore the relation between the creation of painted copies and their use as aesthetic surrogates of the original artwork and draw a positive conclusion on the aesthetic benefits of replica production (...) by artists. A skeptical conclusion follows regarding the use of such replicas as surrogates for the original painting. The second part of the paper concerns mechanically produced replicas, such as photographs and 3-D prints. On the basis of some of the claims made in the first part, I set conditions that mechanically produced replicas need to meet in order to function as aesthetic surrogates of an original. I argue that perfect aesthetic surrogates are either already available or at least possible. I conclude by considering two possible objections. (shrink)

This is the first coherent monography about the life and work of the important Bauhaus master Josef Albers. It aims to discover Albers as a teacher and an artist anew. Thus, 40 years after his death an artist shall be honored, who has had till now not enough attention within the Bauhaus masters. It fall too short to introduce him solely as the teacher and idea provider of the basic course at the Bauhaus. After his emigration to the US he (...) achieved his breakout as an international artist and revolutionized the art world with his oeuvre and his doing. (shrink)

O analiză a principalelor aspecte psihologice și filosofice desprinse din filmul Solaris regizat de Andrei Tarkovski, precum și tehnicile cinematografice utilizate de regizor pentru a-și transmite mesajele spectatorului. După o prezentare a cărții, filmului și regizorului Andrei Tarkovsky, se evidențiază ritmul specific al scenelor, mișcarea radicală declanșată de Tarkovsky în cinematografia modernă, rolul elementelor simbolice și iconice, și afinitățile cu zona fantastică a literaturii ruse. În aspecte psihologice se analizează problema comunicării într-o societate umană a viitorului considerată de Tarkovsky ca (...) rigidă, obsesia casei, și evoluția personală a lui Kris, Hari, și a relațiilor dintre ei. Iar din punct de vedere filosofic se analizează filmul prin prisma filosofiei minții (dualismul cartezian, reducționismul și funcționalismul), a teoriei spațiilor heterotopice dezvoltată de Michel Foucault, și intepretările semantice care se pot deduce din film. De asemenea, se analizează problema identității personale prin prisma filosofiei lui Locke. Andrei Tarkovsky pune accent în film pe ideea că tentativele omului de a clasifica și de a păstra forme de interacțiune cu entități necunoscute vor fi întotdeauna condamnate la eșec și vor reflecta o greșeală majoră în lumea panoptică în care trăim. În acest cadru de analiză a filosofiei minții, funcționalismul pare a fi cel mai intuitiv. Solaris este, totuși, un film care începe ca o căutare a răspunsurilor și ajunge să ofere aceste răspunsuri împreună cu o serie de întrebări cu totul diferite. -/- CUPRINS: -/- Cartea - Rezumatul - Personaje - Adaptări cinematografice - Critici și interpretări Filmul - Povestea - Producția - - Scenariu - - Distribuția - - Filmare - - Muzica - Recepție și versiuni Andrei Tarkovsky - Viaţa - - Copilăria și tinerețea - - Student la școala de film - Carieră - - Cariera de film în Uniunea Sovietică - - Cariera în afara Uniunii Sovietice - Moartea - Filmografie - Bibliografie - Premii - Influențe - Stilul cinematografic - - Bergman despre Tarkovsky - - Vadim Yusov - - Sven Nykvist Tehnica cinematografică Aspecte psihologice Aspecte filosofice Răspunsuri puține, multe întrebări Referințe Despre autor - Nicolae Sfetcu - - De același autor - - Contact Editura - MultiMedia Publishing Note. (shrink)

У статті розглянуто концепцію «білого куба», специфічного галерейного та музейного простору для демонстрації і споглядання мистецтва. Проаналізовано, як тривалі експерименти з формою демонстрації робіт у музейних приміщеннях були зумовлені потребою створити особливий простір, де кожний експонат був би максимально ізольованим і самодостатнім. Так виник «білий куб», який фактично був легітимізований Альфредом Барром, першим директором музею сучасного мистецтва в Нью-Йорку. Починаючи з Брайана О’Догерті, дослідники вказують, що галерейний простір, яке нібито є максимально нейтральним, насправді є глибоко ідеологізованим. Уваго було приділено і (...) рефлексії художників щодо функції, діяльності та організації простору галереї. (shrink)

In their Anachronic Renaissance, Alexander Nagel and Christopher Wood identify two principles upon which, in fifteenth-century Europe, a work of art might establish its validity or authority: substitution and performance. It has become established wisdom that the dual schema of substitution and performance follows Hans Belting's dualism of the medieval cult of the image and the modern aesthetic system of art. This, I submit, is not just a mistake, but also prevents from evaluating one of the book's most ambitious contributions (...) to art-historical theory on its own merits. An analysis of the structure of the claims made by Nagel and Wood brings to light that the two concepts—substitution and performance—do not play the same role as the conceptual pair of Bild and Kunst in Belting's influential work. (shrink)

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 (...) than in Instability, through which Finn allows us to explore the intertwining of personal and historical time, ancestral memory and radical futurity, artefactual form and temporal function. (shrink)

The traditional conception of art is about sensual beauty and refined taste; modern art on the other hand has introduced an entirely unexpected dimension to the visual arts, namely that of ‘revelatory narrative’. Classical art aspires to present works which can be appreciated as sensually beautiful; modern art, when it succeeds, presents us instead with the unsettling narrative. This radical difference in artistic purpose is something relatively new, and not yet fully appreciated or understood.

I argue that if we read E. H. Gombrich's Art and Illusion with the charity that it deserves, we will find a much subtler theory of depiction than the illusion theory that is usually attributed to Gombrich. Instead of suggesting that pictures are illusory because they cause us to have experiences as of seeing the depicted objects face to face, I argue that Art and Illusion is better read as making the point that naturalistic pictures are illusory because they cause (...) us to see qualities and properties that the pictures themselves do not possess. Once we appreciate this point, we will be in a better position to appraise the value and limits of naturalistic art. (shrink)

WHAT is art? Classificatory disputes.. Classificatory disputes about what is art Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes about how to define art. By its original and broadest definition, art (...) (from the Latin ars, meaning “skill” or “craft”) is the product or process of the effective application of a body of knowledge, most often using a set of skills; this meaning is preserved in such phrases as “liberal arts” and “martial arts”. However, in the modern use of the word, which rose to prominence after 1750, “art” is commonly understood to be skill used to produce an aesthetic result (Hatcher, 1999). (shrink)

Visual arguments can seem to require unique, autonomous evaluative norms, since their content seems irreducible to, and incommensurable with, that of verbal arguments. Yet, assertions of the ineffability of the visual, or of visual-verbal incommensurability, seem to preclude counting putatively irreducible visual content as functioning argumentatively. By distinguishing two notions of content, informational and argumentative, I contend that arguments differing in informational content can have equivalent argumentative content, allowing the same argumentative norms to be rightly applied in their evaluation.

У статті обговорено принципи кількісного дослідження в культурології, а саме можливості статистики та структурно-семіотичного методу в аналізі явищ традиційної культури. Метод застосовано до композиції українського рушника. Структурно-семіотичний аналіз композиції на рушнику може допомогти відрізнити обов’язкові елементи зображення від декоративних і встановити зв’язок між частинами. Нині вважають, що всі контури композиції мають однакову семантику. Але проведений аналіз показав, що однакову семантику мають орнаментальна смуга і рослинний орнамент. Інші елементи потрібні для того, щоб відділити їх від верхнього поля зображення і світового дерева. (...) Це змушує нас переглянути прийняту на сьогодні трактовку семантики цих елементів. Викладений у статті метод може е бути застосовано для аналізу інших зображень та різних явищ традиційної та масової культури. (shrink)

This paper addresses the question of whether a general method is capable of accommodating the vast array of contexts in which art objects are studied. I propose a framework for such a general method, which is, however, limited to a specific research task: reconstructing the circumstances under which a culturally and/or temporally distant or “exotic” art object becomes interesting (or menacing) to look at. The proposed framework is applied to evaluate Anthony Forge’s essays on the visual art of the Abelam. (...) The essays played a central role in the rekindling of anthropological interest in visual art, but they have also been subject to criticism for forcing on Abelam art Western categories that distort the role art objects play in the Abelam world. Assessing the corpus in terms of the proposed framework allows me to exemplify the main differences between a pragmatic and a semantic approach to gaining access to the efficacy of culturally or temporally distant art. (shrink)

Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of his times. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a much deeper significance. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the humanist artistic tradition that began with the Renaissance - a tradition founded on the (...) pursuit of a transcendent world of nobility, harmony and beauty. Following an illness that left him deaf for life, Goya developed an art of a fundamentally different kind - an art, Malraux writes, ruled by ‘the unity of the prison house’ which replaced transcendence with a pervasive feeling of dependence and from which all trace of humanism has been erased. Foreshadowing modern art's abandonment of the Renaissance ideal, the etchings and black paintings are the first announcement of the death of beauty in Western art. (shrink)

In this paper, I critically discuss Riggle’s definition of street art. I argue that his definition has important limitations, and is therefore unsuccessful. I show that his view obscures a defining feature of street art, that is, its subversive power. As a significant consequence of ignoring that essential aspect, Riggle is incapable of fully understanding how street art transforms public space by turning one corner of the city at the time into contested ground. I also suggest that, when appreciating street (...) art's subversiveness, its challenge against the Modern separation of art and life appears more radical than Riggle foresees. (shrink)

This book seeks to fill a void in contemporary aesthetics scholarship by considering the cognitive features that make the aesthetic and artistic worthy of philosophical study. Aesthetic cognition has been largely abandoned by analytical philosophy, which instead tends to focus its attention on the ‘non-exhibited’ properties of artwork or issues concerning semantic and syntactic structure. The Cognitive Basis of Aesthetics innovatively seeks to correct the marginalization of aesthetics in analytical philosophy by reinterpreting aesthetic cognition through an integration of Ernst Cassirer’s (...) philosophy of symbolic forms with Paul Crowther’s theory of imagination and philosophy of art. This integration has three important outcomes: 1) it explains why the aesthetic and artistic constitute a unique form of knowledge; 2) it shows the role this plays in the formation of aesthetics as a discipline; and 3) it describes why aesthetic cognition is so deeply engaging. This book’s unique theoretical approach engages with important works of visual, conceptual, and digital art, as well as literature, music, and theatre. (shrink)

I defend the view that it is not impossible to see the impossible. I provide two examples in which one sees the impossible and defend these examples from potential objections. Theories of depiction should make room for impossible depictions.

The aim of this paper is to challenge Fred Beiser’s interpretation of Hegel’s meta-aesthetical position on the future of art. According to Beiser, Hegel’s comments about the ‘pastness’ of art commit Hegel to viewing postromantic art as merely a form of individual self-expression. I both defend and extend to other territory Robert Pippin’s interpretation of Hegel as a proto-modernist, where such modernism involves (i) his rejection of both classicism and Kantian aesthetics, and (ii) his espousal of what one may call (...) reflective aesthetics. By ‘reflective aesthetics’, I mean an aesthetic framework which sees art as a form of enquiry, one whose aim is to not merely excite the imagination but to principally focus attention on social and cultural norms. The meta-aesthetical consequences of reflective aesthetics and their Hegelian heritage have both an interpretive and philosophic value: under my account, Beiser’s reading of Hegel is challenged, and my interpretation of how Hegel envisaged the future of art offers a new and engaging way of understanding one of the most notorious claims in the philosophy of art, namely that art has ended. (shrink)

The notion of “relational aesthetics” was created by Nicolas Bourriaud in 1995 to describe the new artistic phenomena of the nineties. According to Bourriaud the manifestations of relational art create temporary communities, thus turning art into a social laboratory. This paper investigates the communities arising through these artistic endeavors. My hypothesis is that the empty communities motivated solely by the artistic event are not more consistent than the audience of a play or a performance, furthermore, they do not transcend the (...) elite public of galleries and exhibitions. On the other hand, when the artistic endeavor expresses a social message in addition to the artistic purpose, the possibility of real – though, also temporary – communities arises. (shrink)

What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper question: (...) what is realism, if these are all to count as species of it? In answer, I articulate a sort of picture we have of realism, not just in film but in representations in general. I then ask how far each of the candidate realisms fares, when compared with that image. (shrink)

Is there something morally wrong with cultural appropriation in the arts? I argue that the little philosophical work on this topic has been overly dismissive of moral objections to cultural appropriation. Nevertheless, I argue that philosophers working on epistemic injustice have developed powerful conceptual tools that can aid in our understanding of objections that have been levied by other scholars and artists. I then consider the relationship between these objections and the harms of cultural essentialism. I argue that focusing on (...) the systematic nature of appropriative harms may allow us to sidestep the problem of essentialism, but not without cost. (shrink)

I reply to Andrea Baldini's critical discussion of my "Street Art: The Transfiguration of the Commonplaces" (2010) by taking up the question: what is "the street" in street art? I argue that the relevant notion of the street is a space whose function it is to facilitate self-expression. I show how this clarifies and extends the theory developed in Riggle (2010). I then argue, contra Baldini, that street art is not always subversive, and when it is, it is not always (...) in virtue of its challenging the co-opting of public space by commercial art. (shrink)