This chapter contains sections titled: Gardens and Enchantment Dumbarton Oaks: A Fusion of Nature and Art? Dumbarton Oaks as a Site of Enchantment: Crossings, Complexity, and Circuits Cultivating Enchantment Notes.

Aesthetic experience has been relativized and marginalized by recent social and cultural theory. As less attention has been paid to understanding the nature of aesthetic experience than mapping the distributed social correlates of tastes, its transformative potential and capacity to animate actors’ imaginations and actions goes unexplored. In this paper we draw upon a large number of in-depth interviews with performing arts audiences around Australia to investigate the language and discourse used to describe aesthetic experiences. In particular, we begin (...) with theorizations of the subject-object nexus within object-relations theory to consider the transformative potential of aesthetic experience. Using these literatures, and extending them to others within sociology of the arts and materiality, our focus is on the way aesthetic experience can fuse human subjects with aesthetic objects. We examine how viewers take an aesthetic object into themselves and in turn project themselves into the aesthetic object by various visual and imaginative techniques. Our theoretical and empirical analysis bears out the constructive and productive capacity of aesthetic experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 41-50 [Access article in PDF] Encounter Between Hyper-Media and Art Education:A Retrospection of Jean-Jacques Rousseau or Memories of Art and EducationToday both art and education are experiencing profound change as a result of emerging technologies. This essay attempts to redefine art education by considering the latest media art as the culmination of change in art. Statements about art education are only viable (...) in the meta-context of art, as art education must start with the work to objectify, as well as structure, "art." Atthe same time, these meta-statements can cast light on the "foundation" of art.Attempts to view the totality of art up to the present time from the "end" of history (meta) and questioning of the "beginning" of art and mankind (foundation) are two sides of the same phenomenon.Media art is an example of this phenomenon which reflects both the meta-context and foundation of art. For example, the work of Jean-Louis Boissier boasts both a radical as well as refined image. 1 His exhibition, "Salle Rousseau" further extends the scale of his conventional work based on the texts of Jean-Jacques Rousseau. 2 This essay revises the text written for the catalogue for the exhibition and aims at analyzing the close relationship between media art and art education, sketching the phases of [End Page 41] meta-statements and foundations which emerge as a result of the interaction of art, media, and education. A Place for Retrospection Boissier's work is well-known for its references to Rousseau. Having been involved in art education, it was natural for me to develop a strong interest in Rousseau, whom I consider to be a founder of modern art and education. The fact that the Boissier's exhibition was held at the "Kyoto Art Centre" in Muromachi, Kyoto supports this belief. Kyoto was the first place in Japan where primary schools based on the school district system were introduced. The Kyoto Art Centre is located at the former Meirin Primary School which was founded at the dawn of modern Japanese education. In its turn, Meirin Primary School succeeded Shingaku-juku. 3 Thus, the location for the BoissierExhibition, dating back to the very beginning of education in Japan, is a place that encourages reflection on the past.While Boissier recollects Rousseau with his unique interactive texts, Rousseau recollects his own past. We, the spectators, are immersed in multiple layers of memories and recollections. Sometimes, however, Rousseau's recollections break through the intricacy and multiple layers and appear to achieve a rapport with the people and flowers which once existed. I have long been attracted by the fresh literal expressions particularly evident in "The Confessions" and other works. The beauty of such expressions must have been born from his affectionate view of nature as illustrated by his hobby of plant collection. View of Nature I cannot help recalling Rousseau whenever I think about the relationship between nature and mankind. Rousseau was a person who could talk beautifully about the direct relationship between nature and mankind. In his writings of "Les riveries du promeneur solitaire" and "Quoted Passage," Rousseau recollects his peaceful life on St. Pierre Island in Lake Bieler in Switzerland where he spent nearly one and a half months after being deported from France as well as his hometown, Geneva because of problems caused by the publication of The Social Contract and Emile. For me, this text is inseparable from the looped image of shallow water which forms the background of the work entitled Flora petrinsularis (1993 and 1994) by Boissier.The beautiful text by Rousseau captivates us without any external help and, at the same time, shows what nature meant to him. The relationship with nature described here is the food as well as foundation of his life. This attitude of accepting nature in the deepest part of his mind is pure agreement with nature as pointed out by Jean Starobinski and represents an experience of fusion... (shrink)

Heinrich Rickert was one of the leading neo-Kantian philosophers in Germany and a crucial figure in the discussions of the foundations of the social sciences in the first quarter of the twentieth century. His views were extremely influential, most significantly on Max Weber. The Limits of Concept Formation in Natural Science is Rickert's most important work, and it is here translated into English for the first time. It presents his systematic theory of knowledge and philosophy of science, and deals particularly (...) with historical knowledge and the problem of demarcating the natural from the human sciences. The theory Rickert develops is carefully argued and of great intrinsic interest. It departs from both positivism and neo-Hegelian idealism and is worked out by contrast to the views of others, particularly Dilthey and the early phenomenologists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Elvira Panaiotidi, “The Nature of Paradigms and Paradigm Shifts in Music Education”Wenyi W. KurkulAt the beginning, I would like to congratulate Elvira Panaiotidi on her interesting paper and on her proposal to move beyond the long-running debates that began in the mid-1990s between Bennett Reimer and David Elliott and their respective supporters. I also applaud her affirmation that, beyond the numerous debates within the music-education philosophy (...) community, the ultimate goal is to put the theories to work in schools or, in other words, to convert theories into operative paradigms.Echoing her affirmation, I shared her article with a class of my graduate students after I received the invitation to respond to this paper. All of my graduate students are current schoolteachers in the greater Washington, DC metropolitan area in the United States. Some of them are young teachers; others have decades [End Page 114] of teaching experience. As a university professor, I have always been thrilled by how much my thoughts are inspired by my students—by their stories, writing, discussions, dialogues, and sometimes very challenging questions in class. Their concern for their daily jobs and their students constantly remind me of our responsibilities to the children in the schools. However, with our schools and students in mind, I have to ask the music education philosophy community a question: Is "producing a unified concept of music," or "searching for a unified approach," or even aiming to "develop a unified approach in music education" as proposed by Panaiotidi what we truly need?In her paper, Panaiotidi discusses the debate over the approaches in music education by Reimer and Elliott in the context of paradigm shifts. The term, "paradigm shift," was introduced by Thomas Kuhn in 1962 in his highly influential book, The Structure of Scientific Revolutions. Kuhn proposes that almost every significant break-through in the field of scientific endeavor is first a break with tradition, with old ways of thinking, with old paradigms. For example, until the germ theory was developed, there was a high percentage of deaths during childbirth and scientists were not sure why. Likewise, in military settings, more people were dying from small wounds and diseases than from the major traumas experienced on the frontlines. But as soon as the germ theory was developed, a whole new paradigm—a better, improved way of understanding what was happening—made dramatic and significant improvements in the practice of medicine possible.The United States today is the setting for another fruitful and powerful example of a dramatic paradigm shift. The traditional concept of government had been monarchical, based on the divine right of kings. It was not until centuries later that a significant break-through paradigm was developed: government of the people, by the people, and for the people. A constitutional democracy was born that unleashed tremendous human energy and ingenuity. This new paradigm, over time, generated personal empowerment, free enterprise, a higher standard of living, freedom and liberty, and influence and hope unequaled in the history of the world.Stephen R. Covey, the author of a popular book in the late 1980s, The Seven Habits of Highly Effective People, cites Kuhn's conception of paradigm shift to illustrate his own ideas. He describes an experiment at the Harvard Business School in which an instructor passed out a picture of a young woman to half of the class and a picture of an old woman to the other half. The students were asked to look briefly at the picture and pass it back. The professor then asked the class to describe the woman as he projected on a screen a picture of a woman that was a combined image of the "old" and "young" women. Needless to say, the students debated the age of the woman. If they had seen the "young" version, [End Page 115] they could see only a young woman now, and vice-versa. Each student was adamant about his or her position. They did not see the image in another way until the lines were pointed out to demonstrate the features of the old and young woman. Covey cites this exercise to prove the powerful conditioning effects of one... (shrink)

It is discerned what light can bring the recent historical reconstructions of maxwellian optics and electromagnetism unification on the following philosophical/methodological questions. I. Why should one believe that Nature is ultimately simple and that unified theories are more likely to be true? II. What does it mean to say that a theory is unified? III. Why theory unification should be an epistemic virtue? To answer the questions posed genesis and development of Maxwellian electrodynamics are elucidated. It is enunciated that (...) the Maxwellian Revolution is a far more complicated phenomenon than it may be seen in the light of Kuhnian and Lakatosian epistemological models. Correspondingly it is maintained that maxwellian electrodynamics was elaborated in the course of the old pre-maxwellian programmes’ reconciliation: the electrodynamics of Ampére-Weber, the wave theory of Young-Fresnel and Faraday’s programme. To compare the different theoretical schemes springing from the different language games James Maxwell had constructed a peculiar neutral language. Initially it had encompassed the incompressible fluid models; eventually – the vortices ones. The three programmes’ encounter engendered the construction of the hybrid theory at first with an irregular set of theoretical schemes. However, step by step, on revealing and gradual eliminating the contradictions between the programmes involved, the hybrid set is “put into order” (Maxwell’s term). A hierarchy of theoretical schemes starting from ingenious crossbreeds (the displacement current) and up to usual hybrids is set up. After the displacement current construction the interpenetration of the pre-maxwellian programmes begins that marks the commencement of theoretical schemes of optics, electricity and magnetism real unification. Maxwell’s programme surpassed that of Ampére-Weber because it did absorb the ideas of the Ampére-Weber programme, as well as the presuppositions of the programmes of Young-Fresnel and Faraday properly co-ordinating them with each other. But the opposite statement is not true. The Ampére-Weber programme did not assimilate the propositions of the Maxwellian programme. Maxwell’s victory over his rivals became possible because the gist of Maxwell’s unification strategy was formed by Kantian epistemology looked in the light of William Whewell and such representatives of Scottish Enlightenment as Thomas Reid and Sir William Hamilton. Maxwell did put forward as basic synthetic principles the ideas that radically differed from that of Ampére-Weber approach by their open, flexible and contra-ontological, genuinly epistemological, Kantian character. For Maxwell, ether was not the ultimate building block of physical reality, from which all the charges and fields should be constructed. “Action at a distance”, “incompressible fluid”, “molecular vortices”, etc. were contrived analogies for Maxwell, capable only to direct the researcher at the “right” mathematical relations. Key words: J.C. Maxwell, unification of optics and electromagnetism, I. Kant, T. Reid, W. Hamilton . (shrink)

Die alphabetische Reihung der Autorennamen erweckt ein irreführendes Bild der einzelnen Kontributionen, zumal da ja auch kein Vorwort erscheint. Die wissenschaftliche Leitung und Letztverantwortung für den Band lag weiterhin bei N. Oikonomides, der nicht nur das Manuskript abschloss, sondern auch noch die Stellungnahmen der Begutachter auswerten konnte, Fahnen aber leider nicht mehr erleben durfte. Den größten Zeitaufwand investierte sicherlich J. Nesbitt, der ja für dieses Projekt in Dumbarton Oaks angestellt ist. E. McGeer dagegen ist zwar ein sigillographischer Hoffnungsträger (...) in Amerika, sein Beitrag zu diesem Band war aber noch eher bescheiden. (shrink)

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

It is now taken for granted in many circles that substantial psychological variability exists across human populations; we do not merely differ in the ways we behave, but in the ways we think, as well. Versions of this view have been around since early interest in ‘cultural relativism’ in cultural psychology and anthropology, but Joe Henrich, Steven Heine, and Ara Norenzayan’s 2010 paper, ‘The Weirdest People in the World?’ has had an exciting and catalyzing impact on the field, getting researchers (...) involved in discussions of human nature to take cross-cultural cognitive diversity seriously. Reviewing a broad selection of comparative studies from across the behavioral sciences, in social psychology, cognitive... (shrink)

Nature and Mortality is a challenging look at some of the major public issues of our time through the eyes of one of our most influential and probing liberal humanists. It is a frank account on where we stand today on such controversial matters as human embryology, genetic engineering, euthanasia and abortion. Warnock's views may seem like a red rag to a bull to some, but her contribution to the debate is always stimulating. Enlivened by autobiographical anecdote and some (...) delicious side-swipes, Nature and Mortality is Mary Warnock at her most perceptive, wise and entertaining. (shrink)

The fast-developing field of neuroscience has given philosophy, as well as other disciplines and the public broadly, many new tools and perspectives for investigating one of our most pressing challenges: addressing the health and well-being of our mental lives. In some cases, neuroscientific innovation has led to clearer understanding of the mechanisms of mental illness and precise new modes of treatment. In other cases, features of neuroscience itself, such as the enticing nature of the data it produces compared to (...) previous behavioral methods, together with its costliness and “coldness” have complicated understanding of mental illness and decision making about mental illness. Taking neuroscientific information into account can leave practitioners in psychiatry and law with difficult questions, stemming not only from the complexity of these fields, but also from our rapidly evolving understanding of and facility with neuroscience. In this chapter, we will review several examples of the insights and dilemmas that have unfolded as mental illness has been examined through the lens of neuroscience, covering diagnoses such as obsessive-compulsive disorder (OCD), schizophrenia, addiction, and severe mood disorders. (shrink)

Many students find themselves caught in an antinomy between “Rationalism”, a view of the world as open to objective, complete, and intellectual comprehension, and “Anti-realism”, the view that the Rationalist vision is façade since there is no objective perspective and any “truth” is relative to the individual. This paper offers a description of an introductory course that provides conceptual resources (through the use of Descartes, Hume, and Kant) for resolving the Rationalism-Antirealism debate. Such conceptual resources include: the representation/reality distinction, the (...) fact/evidence disparity, the nature of skepticism, Kant’s distinction between Transcendental Idealism and Transcendental Realism, and the subject/object dichotomy. (shrink)

In this paper, I am trying to reconstruct Shaftesbury’s views on natural beauty, writing and painting. Thus, the term ‘aesthetics’ I am using refers to both aesthetic experience and artistic creativity, to both natural and artistic beauty. As, however, in Shaftesbury’s work aesthetics cannot be considered irrespective of his overall philosophy, I am obliged to examine in parallel with aesthetics Shaftesbury’s ontology and moral theory. It is the concern for this last one that gave the occasion for the emergence of (...) an aesthetic theory in Shaftesbury’s work. My argument is that Shaftesbury’s view on natural beauty and his deep appreciation of natural scenery opened extremely fertile prospects for aesthetics, prospects that were meant to give their seeds both in enlightenment and in romanticism The concepts of disinterestedness, of natural sublimity and genius, for example, are some of Shaftesbury’s main contributions to the newborn discipline of aesthetics that were to have great future in the relevant conversation. In the case of writing, while the paradigm Shaftesbury uses comes undoubtedly from Horace and his advice to the poets to study philosophy, the place reserved for the true poet, his apotheosis indeed, anticipated the romantic appreciation of artists. The analysis of painting, finally, retains the strong link between art and morality and is based mainly on the Aristotelian concepts of unity and probability. It is thus undoubtedly a typical example of neoclassical analysis. It remains, however, a strong testimony of Shaftesbury’s pertinent commitment to empiric reality against those views that would present him as a high-flown Neoplatonist metaphysician. (shrink)

This volume explores moral and legal issues relating to sovereignty by addressing foundational questions about its nature, examining state sovereignty between states, and dealing with post 9/11 developments in the U.S., potentially destabilizing received views of democratic sovereignty. With essays addressing foundational, state and international sovereignty, the book focuses on Post 9/11 developments including the profusion of secret national security programs, including those pertaining to the interrogation, rendition, and detention of terror suspects; signal intercepts and meta-data analysis; and targeted (...) killing of irregular militants; prompting questions regarding the legitimacy of executive power in this arena. (shrink)

This paper develops a theory of analog representation. We first argue that the mark of the analog is to be found in the nature of a representational system’s interpretation function, rather than in its vehicles or contents alone. We then develop the rulebound structure theory of analog representation, according to which analog systems are those that use interpretive rules to map syntactic structural features onto semantic structural features. The theory involves three degree-theoretic measures that capture three independent ways in (...) which a system can be more or less analog. We explain how our theory improves upon prior accounts of analog representation, provides plausible diagnoses for novel challenge cases, extends to hybrid systems that are partially analog and partially symbolic, and accounts for some of the advantages and disadvantages of representing analogically versus symbolically. (shrink)

What constitutes an event? Propelled by this question, Sounding the Event encounters a variety of theories and a host of issues that have implications for not only conceptions of nature and becoming, subject and substance but also practices of time, art and photography. This book explores dialogue in its writing and as it encounters the philosophical utterances of Michel Serres, Isabelle Stengers, Alfred North Whitehead, Jean-Franbliogçois Lyotard, Maurice Blanchot, Gilles Deleuze and Fbliogelix Guattari, and Alain Badiou.

In lieu of an abstract, here is a brief excerpt of the content:Response to Elvira Panaiotidi, “The Nature of Paradigms and Paradigm Shifts in Music Education”Wenyi W. KurkulAt the beginning, I would like to congratulate Elvira Panaiotidi on her interesting paper and on her proposal to move beyond the long-running debates that began in the mid-1990s between Bennett Reimer and David Elliott and their respective supporters. I also applaud her affirmation that, beyond the numerous debates within the music-education philosophy (...) community, the ultimate goal is to put the theories to work in schools or, in other words, to convert theories into operative paradigms.Echoing her affirmation, I shared her article with a class of my graduate students after I received the invitation to respond to this paper. All of my graduate students are current schoolteachers in the greater Washington, DC metropolitan area in the United States. Some of them are young teachers; others have decades [End Page 114] of teaching experience. As a university professor, I have always been thrilled by how much my thoughts are inspired by my students—by their stories, writing, discussions, dialogues, and sometimes very challenging questions in class. Their concern for their daily jobs and their students constantly remind me of our responsibilities to the children in the schools. However, with our schools and students in mind, I have to ask the music education philosophy community a question: Is "producing a unified concept of music," or "searching for a unified approach," or even aiming to "develop a unified approach in music education" as proposed by Panaiotidi what we truly need?In her paper, Panaiotidi discusses the debate over the approaches in music education by Reimer and Elliott in the context of paradigm shifts. The term, "paradigm shift," was introduced by Thomas Kuhn in 1962 in his highly influential book, The Structure of Scientific Revolutions. Kuhn proposes that almost every significant break-through in the field of scientific endeavor is first a break with tradition, with old ways of thinking, with old paradigms. For example, until the germ theory was developed, there was a high percentage of deaths during childbirth and scientists were not sure why. Likewise, in military settings, more people were dying from small wounds and diseases than from the major traumas experienced on the frontlines. But as soon as the germ theory was developed, a whole new paradigm—a better, improved way of understanding what was happening—made dramatic and significant improvements in the practice of medicine possible.The United States today is the setting for another fruitful and powerful example of a dramatic paradigm shift. The traditional concept of government had been monarchical, based on the divine right of kings. It was not until centuries later that a significant break-through paradigm was developed: government of the people, by the people, and for the people. A constitutional democracy was born that unleashed tremendous human energy and ingenuity. This new paradigm, over time, generated personal empowerment, free enterprise, a higher standard of living, freedom and liberty, and influence and hope unequaled in the history of the world.Stephen R. Covey, the author of a popular book in the late 1980s, The Seven Habits of Highly Effective People, cites Kuhn's conception of paradigm shift to illustrate his own ideas. He describes an experiment at the Harvard Business School in which an instructor passed out a picture of a young woman to half of the class and a picture of an old woman to the other half. The students were asked to look briefly at the picture and pass it back. The professor then asked the class to describe the woman as he projected on a screen a picture of a woman that was a combined image of the "old" and "young" women. Needless to say, the students debated the age of the woman. If they had seen the "young" version, [End Page 115] they could see only a young woman now, and vice-versa. Each student was adamant about his or her position. They did not see the image in another way until the lines were pointed out to demonstrate the features of the old and young woman. Covey cites this exercise to prove the powerful conditioning effects of one... (shrink)

Central to Spinozism is the thesis that the immanence of the Divine Substance in the cosmos (in natural objects) is – like the immanence of the dancer in the dance –maximal or total. Just as the dance consists entirely of the dancer in aesthetically‐stylized motion, so the domain of nature is nothing in addition to God in cosmic guise. Accordingly, natural objects constitute modes of God. Hence, Spinozism and (traditional) theism are obviously irreconcilable. For it is indispensable to theism (...) that the immanence of God in the cosmos is not maximal; rather, that natural objects are distinct from the Divine Substance. Now it has standardly been presupposed by theists (and many others) that natural objects could not be distinct from God without being ontologically exterior to God; thus, that theism would readily collapse into Spinozism if the cosmos was interior to the Divine Substance. It seems to me that this is a long‐standing mistake. After demonstrating that there is probative warrant for maintaining that theism requires the interiority of natural objects to God, there is shown to be more than adequate justification for denying that this necessitates the collapse of theism into Spinozism. (shrink)

The 'Illuminating Modernity' series examines the great but lesser known thinkers in the 'Romantic Thomist' tradition such as Erich Przywara and Fernand Ulrich and shows how outstanding 20th century theologians like Ratzinger and von Balthasar have depended on classical Thomist thought, and how they radically reinterpreted this thought. The chapters in this volume are dedicated to the encounter between the presuppositions and claims of modern intellectual culture and the Christian confession that the crucified and resurrected Jesus is the power and (...) wisdom of God and is the lord of history and of his church. The scholars contributing to this discussion do not assume that Christianity and modernity are two discrete entities which can be readily defined, nor do they presume that Christian wisdom and modernity meet each other only in conflict or by coincidence. They engage with a variety of great figures – Kierkegaard, Heidegger, Rahner, Przywara, Guardini, Karl Barth, and Karol Wojtyla – to illustrate the connection between modernism and Christian wisdom. The volume concludes with a programmatic statement for the renewal of Christian philosophy that has been able to retain the cosmo-theological vision as outlined by Mezei in the final chapter. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art in Nature and Schools:Nils-UdoYoung Imm Kang Song (bio)IntroductionThe arts are an integral part of our culture, and they invite us to investigate, express ideas, and create aesthetically pleasing works. Of interest to educators is clear scholarship that links the arts to cognitive and intellectual development. The processes of creating art and viewing and interpreting art promote cognitive and skill development.1 Elliot Eisner, who has written extensively on (...) this topic, argues that "Artistic activity is a form of inquiry that depends on qualitative forms of intelligence."2 Eisner suggests that children can use art to question and reflect on sensory information from their daily lives, and from this reflection develop insight, awareness, and critical thinking skills.3 Expanding on this idea, many scholars suggest that sensory perceptions promote learning through reflection, thus affirming the link between sensory perception and cognitive processing.4 Greene also posits that the arts provide a reflective type of learning, in which students learn "new ways of seeing, hearing, feeling and moving."5 This expressiveness develops from the creative nature of art and its ability to encourage students to "[learn] to learn."6This article focuses on how the arts heighten cognitive experience through the use of natural materials and sites and the engagement with the natural world. The arts expose viewers to new ways of seeing, feeling, and thinking about nature; this can lead to greater awareness of and motivation to act on behalf of nature. Arts-based experiences "encourage contemplative, reflective thought, which can extend environmental awareness, an essential basis for environmental understanding."7 Sharpening sensory and perceptive [End Page 96] skills through observation and creation can offer children insights into the mystery and metaphor of nature.8 Such a powerful experience often fosters aesthetic sensitivity and can also motivate students to act. To assist in this process, teachers can offer a context of factual information, creative idea exploration, interdisciplinary tools, and a sense of social awareness.9Eisner notes that simple natural components, such as those encountered in viewing or creating ecological art, can be enormously powerful when considered from an aesthetic perspective.10 He writes,A tree, for example, can be viewed as an investment in the value of one's property, as a species of flora, as a source of shade, or an expressive form that provides a certain quality of experience when one looks through its leaves just before sunset. The tree's aesthetic features become salient when we choose to perceive the expressive features of the tree.11Greene reinforces the idea that aesthetic understanding can be deeply engaging to learners and can highlight things that had previously gone unnoticed, thus providing new insights in the life of the viewer.12 Viewers experience new connections, identify new patterns, and think in entirely different ways that break from a more constricted viewpoint. It is this kind of fresh thinking that is needed in the field of environmental education, and which ecological art may in fact provide. Click for larger view View full resolutionFigure 1.Nils-Udo, Circle of Calumet Bamboo, Calumet bamboo; 1990, Reunion, Indian Ocean. Photo by Nils-Udo.[End Page 97]In light of these ideas about aesthetics, ecology, and education, several questions are raised. How can an aesthetic experience with the works of an environmental artist lead children to take in more through their senses and to apply such radical openness in any subject that comes up for them? What really makes ecological artworks unique, not only as aesthetic experiences but as learning experiences? How can ecological art in educational settings inform, inspire, and engage students around environmental issues? In this article, I examine the artworks of Nils-Udo, a German artist, by looking at his art-making processes, intentions, and themes. Using illustrations of several of his major works situated in various natural environments, I consider how these artworks could initiate discussions and foster connections to classrooms while providing elementary and middle school students with the opportunities to view and ponder existing artworks, create their own natural artworks, and heighten their ecological awareness.The ArtistIn order to more deeply understand Nils-Udo's life and work, I interviewed... (shrink)

Medieval Arabic algebra is a good example of an artificial language.Yet despite its abstract, formal structure, its utility was restricted to problem solving. Geometry was the branch of mathematics used for expressing theories. While algebra was an art concerned with finding specific unknown numbers, geometry dealtwith generalmagnitudes.Algebra did possess the generosity needed to raise it to a more theoretical level—in the ninth century Abū Kāmil reinterpreted the algebraic unknown “thing” to prove a general result. But mathematicians had no motive to (...) rework their theories in algebraic form. Because it offered no advantage over geometry, algebra remained a practical art in both the Islamic world and in Europe until the scientific uphevals of the 17th–18th centuries. (shrink)

Numinous Fields has its roots in a phenomenological understanding of perception. It seeks to understand what, beyond the mere sensory data they provide, landscape, nature, and art, both separately and jointly, may mean when we experience them. It focuses on actual or potential experiences of the numinous, or sacred, that such encounters may give rise to. This volume is multi-disciplinary in scope. It examines perceptions of place, space, nature, and art as well as perceptions of place, space, (...) and nature in art. It includes chapters written by art curators, and historians and scholars in the fields of landscape, architecture, cultural geography, religious studies, philosophy, and art. Its chapters examine ideas, objects, and practices from the ancient time of Aboriginal Australians' Dreaming through to the present. The volume is also multi-cultural in scope and includes chapters focussed on manifestations of the sacred in indigenous culture, in cultures influenced by each of the world's major religions, and in the secular, contemporary world. Contributors: Samer Akkach, James Bennett, Veronica della Dora, Alasdair Forbes, Virginia Hooker, Philip Jones, Russell Kelty, Muchammadun,Tracey Lock, Ellen Philpott-Teo, John Powell, Rebekah Pryor, Wendy Shaw. (shrink)

Soccer, paintball, camping, hiking, rafting, body building, martial arts training and other forms of physically stimulating and intimate group action create a bunch of buddies, which becomes a “band of brothers” in a simple heroic cause. It's usually enough that a few of these action buddies identify with a cause, and its heroic path to glory and esteem in the eyes of peers, for the rest to follow even unto death. Humans need to socially organize, to lead and be led; (...) however, notions of “charismatic leaders” and Svengali-like “recruiters” that “brainwash” unwitting minds into joining well-structured organizations with command and control is exaggerated. Viewed from the field, notions of “cells” and “recruitment” - and to a degree even “leadership” – may reflect more the psychology and organization of those analyzing terrorist groups than terrorist groups themselves. (shrink)

Anthropocentrism, in its original connotation in environmental ethics, is the belief that value is human-centred and that all other beings are means to human ends. Environmentally -concerned authors have argued that anthropocentrism is ethically wrong and at the root of ecological crises. Some environmental ethicists argue, however, that critics of anthropocentrism are misguided or even misanthropic. They contend: first that criticism of anthropocentrism can be counterproductive and misleading by failing to distinguish between legitimate and illegitimate human interests. Second, that humans (...) differ greatly in their environmental impacts, and consequently, addressing human inequalities should be a precondition for environmental protection. Third, since ecosystems constitute the “life-support system” for humans, anthropocentrism can and should be a powerful motivation for environmental protection. Fourth, human self-love is not only natural but helpful as a starting point for loving others, including nonhumans. Herein we analyze such arguments, agreeing with parts of them while advancing four counter-arguments. First, redefining the term anthropocentrism seems to be an attempt to ignore behavior in which humans focus on themselves at the risk of the planet. Second, if addressing human inequalities is a precondition for environmental protection, biodiversity protection will remain out of the scope of ethical consideration for an indefinite period of time. Third, anthropocentric motivations can only make a positive contribution to the environment in situations where humans are conscious of a direct benefit to themselves. Fourth, ‘self-love’ alone is an inadequate basis for environmental concern and action. We also explore the question of agency, shared responsibility, and a fair attribution of blame for our environmental predicaments. (shrink)

The aesthetic appreciation of both art and nature is often, in fact, judged to be more – and less – serious. For instance, both natural objects and art objects can be hastily and unthinkingly perceived, and they can be perceived with full and thoughtful attention. In the case of art, we are better equipped to sift the trivial from the serious appreciation; for the existence of a corpus, and a continuing practice, of criticism of the arts – for all (...) their internal disputatiousness – furnishes us with relevant criteria. In the case of nature, we have far less guidance. Yet it must matter, there too, to distinguish trivial from serious encounters. When we seek to defend areas of “outstanding natural beauty” against depredations, it matters greatly what account we can give of the appreciation of that beauty: how its value can be set alongside competing and vociferously promoted values involved in industry, commerce and urban expansion. If we wish to attach very high value to the appreciation of natural beauty, we must be able to show that more is involved in such appreciation than the pleasant, unfocused enjoyment of a picnic place, or a fleeting and distanced impression of countryside through a touring-coach window, or obligatory visits to standard viewpoints or snapshot-points.That there is much work to be done on this subject is of course due to the comparative neglect of natural beauty in recent and fairly recent aesthetics. (shrink)

Speaking of truth inescapably confronts us with paradoxes, i.e., correct deductive propositions like a Cretan claiming that all Cretans lie which (due to negative systemic self-reference) end up as circular contradictions, indeterminable questions, or dilemmas. Faced with the numerous paradoxical statements (apparently 82) found in the Bible, the German Protestant reformer Sebastian Franck (14991542), for example, conceded that any truth of God cannot be found in language but only in the immediate silent experience of God. Likewise, believers in an uncompromising (...) search for true facts about this world would certainly agree with (though arguably misappropriate) Wittgenstein in claiming that Whereof one cannot speak, thereof one must be silent. Paradoxes this article claims must neither be feared, nor avoided, nor become subject to hopeless attempts in searching for logic solutions. Paradoxes lead the way to truth in demonstrating that questions of truth, or truth claims, cannot be adequately addressed within the same system of communication (ortho-system) in which they are raised. The encounter with paradoxes (e.g., a God who creates but is uncreated) elevates language and communication onto a meta-level (or system) of communication in which new means (like for instance Gdel's numbering) are needed to speak of what is real but apparently cannot be true. These means, however, will turn out to be likewise paradoxes that furthermore call for new and creative ways of speaking of such truths that previously could not be communicated. The creative admission of paradoxes into communication philosophy will not solve age-old problems or dilemmas; however, it will playfully open up the conversation of science with religion to the creative means of the arts were truth is not argued but performed in paradoxes. (shrink)

In a recent and most compelling paper, Professor Edward Madden has argued, in effect, that it is high time for the removal of the Hume-colored glasses on causality through which too many philosophers have been seeing “nomic” necessity for too long. Rather, it is Madden’s contention that the Humean view on causality contains far more “ontological looseness” than is justified and needs to be supplanted by a view of causality as “natural necessity that carries with it an internal warrant of (...) inductive inference”. However, while there can be little doubt that the view proposed by Madden is ontologically “tighter” than the Humean view, he makes it clear at the outset that his correction of Hume is not to be identified “with the familiar entailment view of causality”. Now this, I believe, raises a very interesting point, namely, while Madden says that his view is not to be identified with the entailment position, he never gets down to telling us precisely how it differs from the latter. In this regard, then, it shall be my contention that there is no substantive difference whatsoever between Madden’s view and the entailment view. Hence, while I agree with virtually everything Madden has said on causality and agree with it largely because I do take it to be a much needed and cogent correction of the Humean position, I hope to show that, ironically enough, the view for which Madden argues necessarily commits him to the very entailment view he is so obviously anxious to avoid. That is, I am convinced that the view proposed and defended by Madden is—from start to finish—identical with the view that the causal relation is a relation of entailment. (shrink)

In a recent and most compelling paper, Professor Edward Madden has argued, in effect, that it is high time for the removal of the Hume-colored glasses on causality through which too many philosophers have been seeing “nomic” necessity for too long. Rather, it is Madden’s contention that the Humean view on causality contains far more “ontological looseness” than is justified and needs to be supplanted by a view of causality as “natural necessity that carries with it an internal warrant of (...) inductive inference”. However, while there can be little doubt that the view proposed by Madden is ontologically “tighter” than the Humean view, he makes it clear at the outset that his correction of Hume is not to be identified “with the familiar entailment view of causality”. Now this, I believe, raises a very interesting point, namely, while Madden says that his view is not to be identified with the entailment position, he never gets down to telling us precisely how it differs from the latter. In this regard, then, it shall be my contention that there is no substantive difference whatsoever between Madden’s view and the entailment view. Hence, while I agree with virtually everything Madden has said on causality and agree with it largely because I do take it to be a much needed and cogent correction of the Humean position, I hope to show that, ironically enough, the view for which Madden argues necessarily commits him to the very entailment view he is so obviously anxious to avoid. That is, I am convinced that the view proposed and defended by Madden is—from start to finish—identical with the view that the causal relation is a relation of entailment. (shrink)

This case study of Central American migration to Washington, DC closely examines how gender is related to the decision to migrate, as well as the choice of destination. The study investigates the social and economic conditions in sending Central American countries as well as those in a receiving city in the United States to determine why women predominate in certain labor migrations. A macrostructural analysis accounts for the conditions that delimit the flow of international migrants, but a concept termed (...) gendered labor recruitment provides the link between macro- and microlevels of analysis. Results of the research indicate that approximately seventy percent of the initial Central American migrants to the nation's capital in the 1960s and 1970s were women and that their migration may be attributed partly to informal labor recruitment. Over the years, Washington's government, diplomatic and professional workforce “recruited,” made arrangements for, or returned to the nation's capital with foreign workers who could provide basic services, primarily as domestics and child-care providers. (shrink)

From David Brat, the college professor who made political headlines when he unseated Majority Leader Eric Cantor, comes his plan for restoring fiscal liberty for America. Congressman David Brat's odds-defying win against Eric Cantor--a triumph of a modest $200,000 campaign fund against a $5 million war chest--immediately brought David Brat, heretofore a liberal arts college economics professor, into the political limelight. Now, in his first book, AMERICAN UNDERDOG, Brat examines how we brought down the status quo by tapping into moral (...) and economic lessons as old as our civilization and discusses how Washington can learn from history instead of ignoring it. A fighter for children, he illuminates how our current fiscal policies are selling their future, and outlines new ways to move forward with a conservative agenda that provides fairer treatment for all. (shrink)

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

THE NATURE OF ART is a collection of 29 seminal, historically-organized readings that are focused on a basic philosophical question: What is Art? Including writings from the Western tradition'both Continental and Analytic traditions'as well as non-Western, minority, and feminist writings, this volume provides students with a rich set of resources to explore this matter both broadly and deeply. Introductions to each reading situate the selection amidst each respective thinker's body of work and the greater philosophical context in which the (...) remarks arose. Reading questions accompany each selection, drawing students' attention to key points to be encountered. Hailed by reviewers and adopters for its clarity and rigor, Wartenberg's THE NATURE OF ART offers a lively and engaging introduction to the philosophy of art. (shrink)

Literature has been philosophically understood as a practice in the last thirty years, which involves “modes of utterance” and stances, not intrinsic textual properties. Thus, the place for semantics in philosophical inquiry has clearly diminished. Literary aesthetic appreciation has shifted its focus from aesthetic realism, based on the study of textual features, to ways of reading. Peter Lamarque’s concept of narrative opacity is a clear example of this shift. According to the philosophy of literature, literature, like any other art form, (...) does not compel us to engage realistically with it. Against this trend, this paper argues for the distinction between two kinds of opacity, defending textual opacity as a necessary condition for literary opacity. In this sense, examples in literary criticism properly illustrate not a peripheral role of meaning in literary appreciation, but arbitrariness in interpretation, which involves semantic concerns. So the assumed interest in the specific ways in which literature embeds meaning in fictional narrative works. (shrink)

From the moment Mary Poppins arrives at Number Seventeen Cherry-Tree Lane, everyday life at the Banks house is forever changed. This classic series tells the story of the world's most beloved nanny, who brings enchantment and excitement with her everywhere she goes. Featuring the charming original cover art by Mary Shepard, these new editions are sure to delight readers of all ages. Mary Poppins reappears just in time! According to her tape measure, Jane and Michael have grown "Worse and Worse" (...) since she went away. But the children won't have time to be naughty with all that Mary has planned for them. A visit to Mr. Twigley’s music box-filled attic, an encounter with the Marble Boy, and a ride on Miss Calico’s enchanted candy canes are all part of an average day out with everyone's favorite nanny. (shrink)