Dominic McIver Lopes and Yuriko Saito claim that the Japanese tea ceremony, or chadō, is a non‐Western art form. Stephen Davies also defends that claim. In this article, I utilize the tea ceremony as a test case for pancultural definitions of art that claim to be inclusive of non‐Western cultures without relying on Western ethnocentrism to justify their status as artworks. I argue that Davies's (2015) hybrid definition is not justified in assuming a homogenous art tradition and/or a unified conception (...) of artistic practices in a non‐Western culture. Moreover, the cladistic structure of his definition fails to accommodate the spontaneous instantiation of new art traditions. Additionally, Jerrold Levinson's Intentional‐Historical definition cannot satisfactorily accommodate chadō. First, the nonart origins that were formative for the regard that is required for appreciation of the tea ceremony mean that the relational interpretation of the definition fails. Second, Rikyū’s tea ceremony does not count as art incidentally, as it is not a form of mimesis nor does the Japanese wabi aesthetic that is central to chadō have a precursor in known Western art. Third, if chadō does satisfy Levinson's extended theory, it comes at the cost of embracing Western ethnocentrism. (shrink)

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 (...) the ability to see both aspects. From the perspective of the image’s viewer, the distinction is more difficult to draw. I address this difficulty by further distinguishing between two attributes of portraits: their representational accuracy, and their ability to convey the artist’s reflection on her experience of seeing the sitter face-to-face. While artificial intelligence can mimic this latter reflective ability, it cannot exactly reproduce it. (shrink)

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. (...) Attention to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content-related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. Attention (...) to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

The Mona Lisa is probably the most celebrated example of ambiguous expression in art. Soranzo and Newberry demonstrated that a similar ambiguity can be perceived also in La Bella Principessa, another portrait credited to Leonardo da Vinci by many. The paper aims to show that an ambiguous expression can be perceived in a further painting attributed to Leonardo: The Lady with Dishevelled Hair, or La Scapigliata. An experiment was conducted whereby participants rated on a 7-point Likert scale the perceived level (...) of contentment of La Scapigliata and that of a comparable painting created by Andrea di Cione, alias Il Verrocchio. The two artworks were presented in random order to two groups of participants. One group could see the artworks from Close whilst the other group from Far from a Close or Far condition. Results show that the change of distance affected the perceived level of contentment of Leonardo’s figure but not that of Verrocchio’s. Specifically, whilst both artworks received similar ratings of contentment from the close-up condition, La Scapigliata was perceived to be more content from afar. It is concluded that La Scapigliata exhibits an ambiguous expression, and that this ambiguity is similar to the one observed in the Mona Lisa and La Bella Principessa. This result can be only partially interpreted within the spatial frequency hypothesis advanced by Livingstone and shows that a phenomenological account of Leonardo’s work might be more suited to capture the full extent of the phenomenon. Specifically, it is suggested that the principles of perceptual belongingness may need to be considered to fully capture the extent of the ambiguity depicted by Leonardo. (shrink)

In this article, presented as the Second Annual Thesis Eleven Centre Lecture in 2003, Bernard Smith discusses the practice of writing art history in, and about, Australia and Europe. Smith defends periodization, and argues for the necessity of henceforth viewing what is typically called modernism as what he calls the formalesque. Further discussion includes problems of classification, the role of theory, and the place of Aboriginal art in white art history. The article thus surveys the condition of art history in (...) Australia, its emergence and consolidation as a discipline, and its present situation as part of contemporary world culture. (shrink)

§49 of the Critique of the Power of Judgment concludes with a striking claim regarding the freedom required for artistic expression. Kant classifies Mannerism as aping, but considers manner the only valid means of artistic expression. These opposed uses of maniera echo a historical controversy, which finds reconciliation in Kant in what I call artistic autonomy. For Kant, artistic expression of genuine originality requires autonomous action, the individual manner in which an artist selects, transforms and applies given academic rules, in (...) a way that renders an aesthetic vision meaningful. His grave concern is that artists, in their aspiration to innovate, might make the freedom to modify and transform rules into the very aim of their artistic endeavor. In order to grasp the full significance of Kant’s view, I examine the contradictory attitudes towards maniera articulated by Vasari and Bellori. Kant’s account of artistic autonomy offers an understanding of artistic succession, different from that of his predecessors. (shrink)

Here I examine the potential for art-science collaborations to be the basis for deliberative discussions on research agendas and direction. Responsible Research and Innovation has become a science policy goal in synthetic biology and several other high-profile areas of scientific research. While art-science collaborations offer the potential to engage both publics and scientists and thus possess the potential to facilitate the desired “mutual responsiveness” between researchers, institutional actors, publics and various stakeholders, there are potential challenges in effectively implementing collaborations as (...) well as dangers in potentially instrumentalizing artistic work for science policy or innovation agendas when power differentials in collaborations remain unacknowledged. Art-science collaborations can be thought of as processes of exchange which require acknowledgement of and attention to artistic agendas as well as identification of and attention to aesthetic dimensions of scientific research. I suggest the advantage of specifically identifying public engagement/science communication as a distinct aspect of such projects so that aesthetic, scientific or social science/philosophical research agendas are not subsumed to the assumption that the primary or only value of art-science collaborations is as a form of public engagement or science communication to mediate biological research community public relations. Likewise, there may be potential benefits of acknowledging an art-science-RRI triangle as stepping stone to a more reflexive research agenda within the STS/science communication/science policy community. Using BrisSynBio, an EPSRC/BBSRC-funded research centre in synthetic biology, I will discuss the framing for art-science collaborations and practical implementation and make remarks on what happened there. The empirical evidence reviewed here supports the model I propose but additionally, points to the need to broaden the conception of and possible purposes, or motivations for art, for example, in the case of cross-sectoral collaboration with community engaged art. (shrink)

This study is concerned with the moral dilemma that stems from the digital manipulation of magazine ads to render models thinner. Exposure to the "thin ideal" has been linked to such damaging psychological responses as body dissatisfaction, loss of self-esteem, and ultimately to disordered eating behaviors. However, the artistic freedom of photo editors is a cherished value that conflicts with the concern for public health. Findings suggest that, although aware of the prevalence of digital editing, readers disapprove of its use (...) in rendering models thinner, and judge it to be unethical and unfair. Findings are discussed with regard to the role of education in helping readers discount manipulated images. (shrink)

Supposing that talk of a distinctively artistic type of value is warranted, what separates it from other sorts of value? Any plausible answer must explain both what is of value and what is artistic about artistically valuable properties. Flaws with extant accounts stem from neglect of one component or the other; the account offered here, based on careful attention to actual art-critical practices, brings both together. The “value” component depends on the capacity of artworks to provide subjectively valuable experiences, while (...) the “artistic” component relies on the specific norms constitutive of artworld institutions. Understanding artistic value in this way allows for progress on several persistent problems, including the ethical value of art, relativism in artistic value, and the proper boundaries of philosophical aesthetics. (shrink)

Thomas Kuhn's philosophy of science, which he developed by focusing on physics, was later applied by other authors to virtually all areas or disciplines of culture. What interests me here, however, is the movement in the opposite direction: the role that one of these disciplines, history of art, played in the conception of Kuhn'stheoryof science.In a 1969 article, his only published text concerning science and art, Kuhn makes a brief and intriguing observation about The Structure of Scientific Revolutions. He says (...) the book was a belated product of his discovery of the parallels between science and art. This is a retrospective assertion about Structure, as well as that of the... (shrink)

The interaction between the recovery of the artist’s intentions and the perception of an artwork is a classic topic for philosophy and history of art. It also frequently, albeit sometimes implicitly, comes up in everyday thought and conversation about art and artworks. Since recent work in cognitive science can help us understand how we perceive and understand the intentions of others, this discipline could fruitfully participate in a multidisciplinary investigation of the role of intention recovery in art perception. The method (...) I propose is to look for cases where recovery of the artist’s intentions interacts with perception of a work of art, and this cannot be explain by a simple top-down influence of conscious propositional knowledge on perception. I will focus on drawing and show that recovery of the draftsman’s intentional actions is handled by a psychological process shaped by the motor system of the observer. (shrink)

This article questions the role of the author in the photographical image. Undoubtedly, the invention of photography has changed our attitude towards ourselves, towards the world. The impact of photography on one’s life is growing with the development of technology, mainly the photo-technology. One cannot but trust technological tools more than oneself, because any technological device nowadays is considered to be smarter, faster, and more precise than any human being. The technology plays a special role in photography, and that is (...) why the author’s position as the creator of the image is being challenged. Hence, there is also a much wider problem, the impact of technology on a person. Therefore, the purpose of this article is to show that photography as a kind of visual art is not directly a product of human creative activity. Nevertheless, as a technical product, it tends to anonymity when the question of authorship is simply decreasing. Although each image, as a human creation, has its author, in the photography the author becomes the background. We agree with Flusser that it is worthwhile to distinguish between the functionary and the photographer as candidates for the role of the author in the photographic process; but in the process of contemplating the photographs, the name of the author of the photographical image, regardless of his or her claims, is ignored, because the photography, retaining the function of objective documentation, captures any events without any interest. It is also completely dependent on technology; claiming not only for the mediation but also for the "authorship", it introduces the mode of anonymity and accidental fixation of events. The image is deprived of subjective features and the need to have an author. One can say that in any case the photographer falls into the "shadow" created by the device. The author "dies", giving the life to the photography, and dissolves in the technicality of the image. (shrink)

This article argues that Macmurray’s work on education is deserving of serious consideration, because it offers an account of the person that highlights the significance of the emotions and the arts. In particular, the article examines and teases out the areas of Macmurray’s concept of the person that are pertinent to the philosophy of education, which includes the contention that the emotions can and should be educated. Furthermore, on the basis of Macmurray’s work, this article argues that emotional competency is (...) bound up with an education in the creative arts. Consequently engagement with the arts, which is often considered to be a luxury and a hobby, becomes an essential component in the development of human nature and the ability to live well. Finally, by analysing Macmurray’s description of a work of art and bringing Macmurray into conversation with contemporary views regarding the arts and the education of the emotions, in both a critical and a supportive manner, this article concludes that education in the emotions and the arts are key aspects of human well-being. (shrink)

“Public” is here treated by its three extensions: most broadly, from the merely extrasomatic, where users of representations are initially distinguished from makers, through ‘published’ or for the general public, to the governmental, official—where the discussion begins, before turning in its second half to the more common, middle meaning. What is public in these ways, “spatial representation”, also has the different meanings of representation of space or representation by spatial means, and there are several kinds of space to be considered. (...) The styles of the two halves contrast, that of the first being an inductive mapping of neglected conceptual terrain of directive representations, that of the second linear: a continuous argument in answer to a question regarding descriptive spatial representation in the digital age. The common thread is the public as users of all such cognitive artifacts, and this use as interactive, with a range of implications for social collectivity. (shrink)

The representation of reality is a fundamental concept in the perception of theworld. Its historical consideration leads to an understanding of historical andcontemporary culture. In this paper we specifically investigate theanthropometric stage of cultural development as a historical world view. Wedefine this stage on the basis of René Girard's hypotheses on the origin ofculture, and we isolate its principles. Next, we consider the function of art asthe representation of cultural values. We investigate the three major motivesof artistic representation in the (...) anthropometric stage, i.e. beauty, dramatizationand mimesis. We show how and why these motives play an essential partin the obfuscation and explanation of the origin of culture. Finally, we showhow these developments are dealt with in the aesthetics of Plato and Aristotle. (shrink)

Chris Hom argued that slurs and pejoratives semantically express complex negative prescriptive properties, which are determined in virtue of standing in external causal relations to social ideologies and practices. He called this view Combinatorial Externalism. Additionally, he argued that Combinatorial Externalism entailed that slurs and pejoratives have null extensions. In this paper, I raise an objection that has not been raised in the literature so far. I argue that semantic theories like Hom’s are forced to choose between two alternatives: either (...) they endorse an externalist semantics that determines prescriptive properties, or they endorse the null extensionality thesis, but they can’t have both. (shrink)

This communication sought to redress the loss of the skill of making marks while reading by reporting a consolidated and reflective summation that drew on over four decades' worth of experience with approximately 500 undergraduate and 200 graduate students of Production Engineering at the Federal University of Rio de Janeiro. It identified the fundamentals and rationale of making marginalia while reading, with particular attention to their role in the preservation of insights and in furthering discovery, pointing to the need to (...) develop emotional as well as intellectual signifiers to allow readers to capture and recall their understanding of the texts they read and the significance of their marks. This supported the framing of relevant issues in the passage from reading and marking on paper to digital books, pointing towards approaches that would allow better understanding of the shortcomings of this medium for making marks while reading. (shrink)

Arthur Danto’s Transfiguration of the Commonplace is a new theory of art, seeking to catch the flavour and essence of its contemporary phenomenology. It is obliged, however, to pit itself in toto against aesthetic philosophy, leaning on the derivatives from deuteropraxis and institutional definition while committing itself to a concept of arthood extracted from exoteric ideas, which are held to comprise the artworks’ individuation and identity. This paper examines the principal notions in support of his contentions and contrasts them to (...) the chief principles of aesthetic philosophy. In this juxtaposition, it transpires that conviction eludes Danto, as his suppression of aesthetic criteria yields unsuspected aporias from a disconjugate amalgam of inherence, ontology, epistemology and concept integration. Thus the leap from “mere real things” to the plateau of arthood is never accomplished, as it falters at the step where a perceiving subject has a stake in, and the power of authorisation, of this co... (shrink)

Angelaki, Volume 17, Issue 1, Page 3-12, March 2012.

In the twentieth century, science and art had a grand paradigmatic shift each other. This study aims at comparing the epistemologies of surrealism and quantum mechanics that emerged in the 1930s and interpreting the paintings from a physical viewpoint, with a focus on the Copenhagen interpretation. In terms of epistemologies, the arbitrary relationship between an object and an image advocated by Magritte may correspond to the indeterminacy between physical entities and measurement. This study analysed the paintings of Magritte from the (...) point of view of the features of the Copenhagen interpretation categories of wave–particle duality, indeterminacy, probabilistic interpretation and quantum hypothesis. Based on such discussions, this study gives some implications for enhancing creativity through an interdisciplinary approach. (shrink)

This article explores the place of truth and truthfulness in painting and drawing, and criticises logocentrism in the theory of truth.

The role of the arts has become crucial to understanding the origins of “modern human behavior,” but continues to be highly controversial as it is not always clear why the arts evolved and persisted. This issue is often addressed by appealing to adaptive biological explanations. However, we will argue that the arts have evolved culturally rather than biologically, exploiting biological adaptations rather than extending them. In order to support this line of inquiry, evidence from a number of disciplines will be (...) presented showing how the relationship between the arts, evolution, and adaptation can be better understood by regarding cultural transmission as an important second inheritance system. This will allow an alternative proposal to be formulated as to the proper place of the arts in human evolution. However, in order for the role of the arts to be fully addressed, the relationship of culture to genes and adaptation will be explored. Based on an assessment of the cognitive, biological, and cultural aspects of the arts, and their close relationship with ritual and associated activities, we will conclude with the null hypothesis that the arts evolved as a necessary but nonfunctional concomitant of other traits that cannot currently be refuted. (shrink)

In this essay I want to show that while the concept of autonomy can hardly make a meaningful contribution to the understanding of contemporary artworks, the concept of the dignity of artwork can make such a contribution.

The first part of this paper briefly reviews current theories as to the origins of the Classical style, and proposes an alternative approach. The second part, making use of some rather neglected pieces of literary evidence, attempts to reconstruct the circumstances in which this distinctive sculptural style was created, and presents it in a new light: as the ingenious solution to a specific artistic problem which confronted fifth-century Greek sculptors as a result of their final rejection of archaic stylization.

Art shows something of reality as a whole, a reality that exists above or below the directly perceptible world. There is a first reality, or empirical reality, which can be mapped and captured through sense perception and is characterized by immediacy; and then there is a second or imagined reality that unfolds beyond direct empirical and experiential observation. While the animal intellect is attracted to the surface, to mere appearances, the human intellect is drawn to what lies beyond the surface. (...) The ability to imagine is a condition of human intellect, being characterized, in Schopenhauer’s terms, by a power of “seeing in things not what nature has actually formed but what she endeavored to form, yet did not bring about”. For Schopenhauer, this capacity can be fully engaged not by the “ordinary man, that manufactured article of nature”, but by the man of genius. In contrast, John Ruskin holds that the power of art consists precisely in allowing us to regain what can be called the innocence of the eye, in other words, a kind of childlike perception which remains blind to the meaning of perceived things. This paper seeks a possible answer to the question of how art ties us to reality. (shrink)

Michel Foucault showed by his genealogical method that history is random. It comprises sites of disarray and dispersal. In those sites, Simone de Beauvoir wrote philosophy through lived experience of woman as Other in relation to man as the Absolute. Here lies a fecund site for revisionist analysis of female cultural production and its relevance to a philosophy of education. The paper works with a feminist approach to the politics of knowledge, examining textual and political strategies in the recording of (...) history and the ‘othering’ of women through dominant cultural discourses. Infusing this discussion is a feminist politics of interrogation on cultural change for women. The paper investigates contributions of women to fields of art, politics, education and philosophy, and to the ways their contributions have been considered, received, positioned. Different approaches to feminism become apparent in the different conditions of knowledge under discussion. This leads to a final consideration of femi... (shrink)

Arthur Danto is one of the best Anglophone philosophers of art of the second half of the 20th century. His unique methodology of indiscernibility and provocative claim about the end of art have bee...

Production and comprehension have long been viewed as inseparable components of language. The study of vision, by contrast, has centered almost exclusively on comprehension. Here we investigate drawing—the most basic form of visual production. How do we convey concepts in visual form, and how does refining this skill, in turn, affect recognition? We developed an online platform for collecting large amounts of drawing and recognition data, and applied a deep convolutional neural network model of visual cortex trained only on natural (...) images to explore the hypothesis that drawing recruits the same abstract feature representations that support natural visual object recognition. Consistent with this hypothesis, higher layers of this model captured the abstract features of both drawings and natural images most important for recognition, and people learning to produce more recognizable drawings of objects exhibited enhanced recognition of those objects. These findings could explain why drawing is so effective for communicating visual concepts, they suggest novel approaches for evaluating and refining conceptual knowledge, and they highlight the potential of deep networks for understanding human learning. (shrink)

Production and comprehension have long been viewed as inseparable components of language. The study of vision, by contrast, has centered almost exclusively on comprehension. Here we investigate drawing—the most basic form of visual production. How do we convey concepts in visual form, and how does refining this skill, in turn, affect recognition? We developed an online platform for collecting large amounts of drawing and recognition data, and applied a deep convolutional neural network model of visual cortex trained only on natural (...) images to explore the hypothesis that drawing recruits the same abstract feature representations that support natural visual object recognition. Consistent with this hypothesis, higher layers of this model captured the abstract features of both drawings and natural images most important for recognition, and people learning to produce more recognizable drawings of objects exhibited enhanced recognition of those objects. These findings could explain why drawing is so effective for communicating visual concepts, they suggest novel approaches for evaluating and refining conceptual knowledge, and they highlight the potential of deep networks for understanding human learning. (shrink)

This article begins from the assumption that what was once an integral dimension of progress—the development of literature and of art more generally—now lies outside its scope. The essay falls into three parts that juxtapose French with German intellectual history. The first part examines the notion of literary progress developed by Charles Perrault and Fontenelle, as well as the opposition to it by Boileau and other antiquarians, during the querelle des Anciens et des Modernes in the later seventeenth century. The (...) second part treats the reception of those arguments during the eighteenth century by J. C. Gottsched, J. J. Bodmer, and J. J. Breitinger. Special attention is given to the paradox that Gottsched, the leader of the German antiquarians, and Bodmer, the leader of the German progressives, were equally devoted to the Leibnizian-Wolffian philosophical system and thus that German Romanticism, heavily indebted to Bodmer's poetics, had roots in rationalist philosophy. The essay's third part discusses ideas of literary progress in the writings of the early Romantics J. G. Herder and Friedrich Schlegel. As these discussions show, the conception of general progress was formed in a field that has since dissociated itself from progress's march. (shrink)

To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...) science are codependent phenomena. Specifically, we explore the codependence of art and science in the context of a historical analysis of their interactions and in the context of contemporary debates on the cognitive science of art. (shrink)

Existen muchas definiciones posibles de “tecnología” y discutiré algunas de estas en este libro. Sin embargo, en esta introducción, usaré una definición intuitiva de tecnología: "aquellas actividades, dirigidas hacia la satisfacción de las necesidades humanas, "que producen cambios en el mundo material". En consecuencia, desde esta perspectiva, una tecnología "rota" podría definirse como aquellas actividades, dirigidas hacia la satisfacción de los deseos humanos destinados a producir cambios en el mundo material que no logran satisfacer estos deseos o no producen cambios (...) en el mundo material, o ambos. Cualquier definición de tecnología implica el uso de términos como "actividad" y expresiones como "dirigidas hacia" que son muy difíciles de definir sin entrar en consideraciones filosóficas profundas. Veremos que una discusión filosófica será cada vez más necesaria a medida que pasemos por los diferentes aspectos de las tecnologías rotas. (shrink)

When investigating the nature of culinary works, it is easy to take for granted that they all share the same ontology. This paper argues that, on the contrary, the ontology of culinary works is really threefold. Some culinary works are edible concrete particulars, or dishes, as many of us may first assume. But others are types, or multiply realisable abstract entities. And, while some of these types are determined by one recipe, others are rather chased after by their indefinitely many (...) recipes. So, there are really three kinds of culinary works; only those belonging to one of the three are edible per se; and, each kind has a very different relationship to recipes. Indeed, it is very doubtful that culinary works consisting in edible concrete particulars are suitable to have one or more recipes: by exploring what are the requirements for being a recipe, the paper also examines under what necessary conditions there is a recipe for preparing a culinary work qua concrete particular. (shrink)