In three volumes, a distinguished group of scholars from a variety of disciplines in the natural and social sciences, the humanities and the arts contribute essays in honor of Robert S. Cohen, on the occasion of his 70th birthday. The range of the essays, as well as their originality, and their critical and historical depth, pay tribute to the extraordinary scope of Professor Cohen's intellectual interests, as a scientist-philosopher and a humanist, and also to his engagement in the world of (...) social and political practice. Science, Mind and Art, Volume III of Essays in honor of Robert S. Cohen focuses on issues in contemporary epistemology, aesthetics, and philosophy of mind as well as on the relations of science and human values in ethical and religious thought. It also has important new work in contemporary metaphysics, as well as in the history of philosophy, and on questions of multiculturalism in science education. Contributors include Paul Feyerabend, Adolf Grünbaum, Joseph Margolis, Joëlle Proust, Erazim Kohak, Elie Wiesel, Miriam Bienenstock, and John Silber, among others. (shrink)

This book describes what an “art of multiculturalism” could be and how in turn multiculturalism could be conceived as a form of art. It focuses on the early and middle work of Indian-born U.S. writer Bharati Mukherjee, in particular on her understanding of the “fusion” of literature and painting as a tool to inspire the creation of a “new global society” by empowering minorities through fostering and multiplying “differences in unity” and “unities in difference”. The book includes, in (...) condensed ways, an explanation of Mukherjee’s use of ancient Indian painting techniques for postmodern writing; and it provides a short introduction to the relation between multiculturalism, postmodernity and “imaginal politics”. The book is written in an easy to read style accessible to all interested in the topic: high school and university students and teachers; those generally interested in the interface between literature, the arts and politics; and specialists in multicultural studies and global and international studies. The book is particularly suited to use in teaching. (shrink)

"Directly following the internationally acclaimed Art & Discontent, Thomas McEvilley argues in Art & Otherness for an advanced anthropological perspective that contravenes conventional thinking in the visual arts, and leads to a concept of artistic globalization. The description of Western culture as superior and in opposition to other cultures of the world preoccupied our aesthetic philosophy for at least 200 years, whether or not explicitly stated. That argument was undertaken in various guises, especially as the historical determinism of Hegel which (...) proposed to quantify human "progress." Recently, however, the term "multiculturalism" has come to signify a post-Modern understanding of how visual arts transgress artificial boundaries, and of how there may now exist, perhaps for the first time in history, a post-colonial globalism in the arts freed of ethnocentric value judgements. In these ten crucial essays, McEvilley clarifies how the presentation of art can determine its reception, how "influence" can be bi-directional, how "otherness" serves to define "self," and how art need not necessarily lose its meaningfulness when stripped of badges of universality. Once again illustrating his argument by drawing upon an array of sources and cultures, Thomas McEvilley demonstrates that the post-Modern crisis in cultural identity demands an imaginative, integrating response."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

continent. 1.4 (2011): 253—278. A Sense of French Politics Politics itself is not the exercise of power or struggle for power. Politics is first of all the configuration of a space as political, the framing of a specific sphere of experience, the setting of objects posed as "common" and of subjects to whom the capacity is recognized to designate these objects and discuss about them.(1) On April 14, 2011, France implemented its controversial ban of the niqab and burqa , commonly (...) referred to as the Islamic veil, in public places. On the coattails of the 2004 prohibition of religious artifacts, including the less concealing hijab or Islamic headscarves, in schools, the veil ban sparked equal outrage across both political and theological spectra, and many on both sides of the debate were quick to inquire about enforcement. As Steven Erlanger reports, “The police do not have the authority under the law to remove full veils, only to fine or require citizenship lessons for those who violate the new law.”(2) While the legal and social implications of this interdiction are ripe for study, the reprisals for breaking the law, notably compulsory citizenship classes, illuminate the strategic governmentality underlying the French government's targeting of the Muslim community, particularly those elements it considers affiliated with fundamentalist factions and/or terrorist organizations, if only through fashion—an integral component of French citizenship. Indeed, in allowing the (fashion) police to mandate instructional courses in citizenship for offenders, France implies that any Muslim choosing to wear the niqab or burqa , perhaps even for those who are already citizens, must not be aware of the subtle nuances of dress indicative of the French citizenry within public space. Furthermore, the degree of instruction requisite to citizenship, which clearly can and must be updated as the state sees fit, cements the imagined relation between citizens and states within the discourses on the veil ban. As Sharma contends, “Concepts of citizenship are the ideological glue that bonds the nation to the state. Citizenship provides the legal framework through which the state performs its role as ruler for the nation.”(3) Speaking for/as the state, French President Nicolas Sarkozy declared in a 2009 presentation before members of the government and other citizens that the burqa “is not welcome on the territory of France.”(4) Although there is nothing unique, especially recently, about a nation-state taking extreme measures to guard itself against what it deems to be threats to its sovereignty, the way in which the ongoing discourses on hijab have (d)evolved, which coincide with recent pronouncements by governmental leaders in Germany, Britain, and France that policies of multiculturalism have “failed,”(5) points toward nationalist reterritorializations, which is also to say physical and ideological re-appropriations, of public space within democratic milieux, which remain predicated upon the mediation of spaces. As Panagia deduces from Rancière, “Democracy […] is not an institutional form of government […], but an appearance whose visibilities and audibilites arise out of the dissonant blur of the everyday.”(6) Ultimately, the veil ban represents a calculated move to regulate the every day, which is to say the micropolitics of, that which is visible and invisible within French society, which makes it nothing short of a struggle to manage (the sensation of) bodies. Re-situating the political within the context of sense, Rancière argues that the fundamental essence of politics lies within the distinction between consensus and dissensus , and whereas most consider politics proper as fundamentally concerned with the fluid operations of the state— consensus , Rancière actually locates the political within events that disrupt the normative sensory order of things— dissensus . He explains, “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”(7) This reformulation of politics centers on agency and, albeit perhaps unintended, representationality and offers a useful formulation for spatializing the discourses surrounding the Islamic veil, which are mired within seemingly senseless policies and practices of objectification. Instituting a normative “regime of visibility,” the French veil ban encapsulates the political economy of agency, now both mediated and representational, under the rule of nationalist governmentalities in increasingly transnational contexts.(8) Adjudicating presence within public space signals a concern with the sensory aspects of agency itself—what Rancière terms the “distribution of the sensible,” which is “a matrix that defines a set of relations between sense and sense: that is, between a form of sensory experience and an interpretation which makes sense of it.”(9) To be concerned with sense is to focus upon the body, and this somatic repositioning of the (fashionable) citizen within the territory of the state augurs the resurgence of nationalist bio-politics within Europe, since, as Hage explicates, “Nationalism, before being an explicit practice or a mode of classification, is a state of the body. It is a way of imagining one's position within the nation and what one can aspire to as a national.”(10) The French government's attempt to make (bodily) sense of public space for its citizens by and through policies aimed against a burqa-clad Muslim minority, which might only apply to “less then 400 to fewer than 2,000” women(11), reveals the necessary, yet mercurial, transmutation of public space into national space through bio-political strategies of sense-making, which, as Hage observes, denotes that “nationalists perceive themselves as spatial managers.”(12) At the center of this concern over public space is the equally contentious dimension of governing female Islamic identity, which has become one of the main critiques levied against Islam from outsiders who view the veil in its various forms as a clear sign of the religion's actual and symbolic violence against women, even if such critiques remain ensconced within nationalist discourses. As Halim and Meyers argue, “Although Western news media may focus their coverage of Muslim women on the debate over whether and the extent to which the veil may by oppressive to the women who wear it, they have exhibited little interest in the physical oppression of violence against women in Islamic countries.”(13) While it falls outside of the scope of this analysis to arbitrate all of the dimensions of this debate, understanding some of the issues related to female identity and hijab within public space are crucial to this study. As these topics are extraordinarily complex, even and perhaps especially within the Muslim community, it is necessary to provide some context concerning the value, purpose, and meaning of the Islamic veil, which has a rich and arduous history. The Art of the Veil At present, there are only two countries, Iran and Saudi Arabia, that require women to wear hijab , which is a decidedly problematic term and concept whose locus is itself caught within a struggle of sensation. Noting the strategic reterritorialization of the term, Berger explains: The choice of the name, hijab , now widely adopted to designate the “Islamic veil,” it itself interesting, although the semantic shift it operates is not directly commented upon by its users. Although the design (both the cut and the symbolic function) of the hijab and the Iranian chador are indeed the same, as opposed, for instance, to the traditional Algerian haik , the word hijab has come to replace the term chador popularized by the Iranian revolution, as a properly Arabic (hence Koranic) designation. This discursive shift points to the successful reclaiming of the national revolution in Iran by a transnational pan-Islamic movement, whose language of reference can only be Koranic Arabic.(14) While the hijab is certainly a point of contention within various countries dealing with immigrant Islamic populations (of which France has the largest in Europe as part of its colonial legacy in Algeria), it is clear that the veil is a historically contextualized artifact of Muslim identity with a variety of manifestations, even as forces outside of and within Islam seek to codify its actual and symbolic value. Ultimately, the varieties of hijab , including the full-faced burqa and niqab , are complex assemblages of meaning that speak to the multitudinous flows of Islamic identities over time and space. As Gökariksel and McLarney observe, “Wearing a certain style of veil may simultaneously be a disciplinary practice crucial to the cultivation of piety (Mahmood 2005; Gokariksel 2009) and a gendered performance of social distinction in terms of class, taste, and urbanity (White 1999; Navaro-Yashin 2002; Gokariksel and Secor 2009) or of ethnicity and race (Dwyer 1999).”(15) The ideological marketplace from which the varieties of hijab ebb and flow serves both as a reflection of the ever-present materiality and dynamic functionality of spiritual economies, which are derivative of the equally ubiquitous flows of transnational capital driving agency and representationality within our historical moment. Keeping these dual, yet deeply interconnected, capital ecologies as the site of exploration for how the veil is represented within public space, one might begin to sense what lurks behind such veiled agendas. Examining the symbolic and representational nature of the Islamic “veil” in its various forms, this project situates the decidedly political contestations of public space at stake in the French ban alongside recent condemnations of multiculturalism as calculated efforts to re-distribute the sensible so as to valorize national identity within increasingly transnational and globalized socio-economic spaces, which collapse exchange values between distinct, yet interwoven, economies of (cultural/material/spiritual) capital. As the discourses on the veil rely upon representational imag(in)ings, it seems fitting to explore the political economy and art of the veil through the phenomenon of street art, which, much like hijab , is a complex assemblage of meaning of sensation mired in representationality and capital exchange. As street artists have taken up hijab in various forms, the movement offers a lens with which to situate critical responses to the veil debate across both spiritual and material economies. Situating this street art both aesthetically and historically, Lewisohn explains, “'Street art' is a sub-genre of graffiti writing and owes much to its predecessor. Though there is a good deal of crossover between the genres, they are distinct and separate in their own right.”(16) Evolving out of the graffiti explosion of the late 1970's and 1980's, street art broke the unspoken rules of the artistic underground by challenging and re-examining one's sensory experience of art in public space by experimenting with both content and form in ways that harken back to the Situationist International, which as a collective challenged one's experience of urban space through various media and experiential phenomena. Again, Lewisohn observes, “It's important to note street art's break with the tradition of the tag, and its focus on visual symbols that embrace a much wider range of media than graffiti writers would use.”(17) From stencils to prints and murals to one-liners, street artists developed a reputation for critical social and political commentary, and while it is certainly the case that not all street art is intentionally political, in challenging the normative “regime of visibility,” as Rancière puts it, of public space, street artists—even if unconsciously—call into question the common sensory experience of the politics underlying the formation of (nationalist) space.(18) Indeed, Rancière refers to the partisan sensory managers as “police,” who ultimately forge “the rules governing the circulation of appearances, of their visibility and audibility, and the proper distribution of bodies therein.”(19) As such, one can sense that street art's relationship with the police is tenous for a variety of reasons. Writing about his own experience as a street artist, Shepard Fairey observes, “With street art, there's no committee deciding whether I can put my work up on the street, there's no censorship, and I have total freedom of expression, and that concept of freedom is expressed just by using the street as a medium.”(20) As Fairey and other street artists demonstrate, the medium, to paraphrase Marshall McLuhan, is the most glaring aspect of street art's message, and even as it now finds itself in galleries and usurped by private collectors, the ethos of the movement remains relavent to politics as it is, first and foremost, concerned with the configuration and experience of space. Just as examining the punishments for breaking the veil ban can map the terrain of French politics, a representational genealogy of street artist's deployment of hijab and female Muslim identity can assist in mining the depths of public space as a site of bio-political control and contestation in light of recent events in France and the rising tide of anti-multiculturalist rhetoric across Europe, even though the Islamic presence there is radically heterogenous. Using the work of Shepard Fairey, Princess Hijab, br1, and Banksy, this paper sets out to answer a number of key questions concerning the deployment of hijab, and female Islamic identity in particular, within street art as a movement now integral to and critical of the economies of exchange underlying global capitalism, which as a force of influence cannot be underestimated as a driver in the resurgence of nationalist biopolitical governmentalities. Although there exists a litany of artists to choose from, the aforementioned quartet of designers integrate hijab into their work in a seminal and critical fashion, and all have been working with the veil in some way prior to the French ban, which grants some additional context to their usage of it as a symbol in regards to the breakdown of multiculturalism across Europe, even if unconsciously. Although each artist depicts various amalgamations of hijab in their respective corpus, they share common tropes that raise significant questions concerning the veil debate, namely: what are the conditions of possibility for hijab to become a marker of Islamic identity within public space? How can we make sense of the representational topologies within street art's utilization of the hijab and female Islamic identity in light of the French ban? How might these aesthetic imag(in)ings simultaneously inhabit and combat normative discourses concerning hijab , multiculturalism, female Islamic identity, and public space? With these considerations as a backdrop, it is first necessary to outline more fully the hijab as a representative marker of female Islamic identity. The (Veiled) Writing on the Wall

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The article considers questions about the role and significance of art education in the context of ensuring sustainable development of society. The features of the development of art education in the postmodern era, its functions and specific features are analyzed. The interdependence of arts education and sustainable development are characterized. The exceptional importance for ensuring sustainable development of an appropriately oriented and updated arts education was emphasized. In particular, it seems possible to ensure a change in stereotypes, ways of thinking (...) and actions of people, the formation of appropriate motivation and public opinion in the context of applied nature through the influence of art. Ways to improve art education with the aim of ensuring sustainable development are proposed: integration of formal and non-formal art education, ensuring innovativeness, interdisciplinarity and multiculturalism of art education, creating an inclusive environment in higher educational institutions. We see prospects for further scientific research in the creation of a model for training specialists with certain properties and substantiation of the features of its implementation in real conditions of the educational process in higher education institutions of the artistic direction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Martin Steinmann INTRINSIC MERIT AND MULTICULTURALISM O OME proponents of multiculturalism argue as follows: There is no such thing as intrinsic merit. Therefore, the hegemony ofwestern culture in America is not due to its intrinsic merit. Therefore, it is due only to the political and economic power of white Americans of European ancestry, especially males. Therefore, it might yield to a new order in which all cultures (...) represented in America, whatever dieir origin, have equal authority, influence, and status in schools, colleges, and universities, in theaters and concert halls, in museums and galleries, and in libraries. Is this a good argument for multiculturalism? I propose to examine not only its validitybutits assumptions and what impels diese multiculturalists to make it. Is there such a thing as intrinsic merit? A famous and influential argument that there is—W K. Wimsatt and Monroe C. Beardsley's "The Affective Fallacy" (1949)—argues that the merit (or lack of merit) of literature, and by extension the other arts, is intrinsic. Actually—what comes to much the same thing—this essay attacks die belief that merit is extrinsic, in particular that it inheres in effects upon readers. The Affective Fallacy, they claim, "is a confusion between the poem [where poem is synecdoche for work of literature] and its results (what it is and Philosophy and Literature, © 1994, 18: 253-264 254Philosophy and Literature what it does).... It begins by trying to derive die standards of criticism from the psychological effects of the poem and ends in impressionism and relativism." The standards ofcriticism ought to be derived, Wimsatt and Beardsley say, from "cognitive analysis ofparadox, ambiguity, irony, and symbol"—that is, intrinsic features of the poem itself. Are Wimsatt and Beardsley right? I think not. For one tiling, the weight of opinion, of both critics and writers, is against diem. For Aristode, the point of a tragedy was to arouse pity and fear in the audience. For Horace, die point of poetry was to please and instruct readers (dulce et utile). For Dickens, die point of his novels was to make readers laugh and cry. For Henry James, every choice he made as a novelist—of characters, incidents, setting, point ofview—he made widi effects upon readers in mind. Even for Romantic poets, diough die merit of a poem did not lie in its effects upon readers, it did not lie in its intrinsic features either, but in its effects upon the poet himself (for Wordswordi, occasioning "die spontaneous overflow of powerful feelings "). Indeed, not until the advent, in the late thirties, of the school of which Wimsatt and Beardsley were die chief theoreticians—die New Criticism—did critics locate merit in intrinsic features. Critics and writers, of course, often speak of intrinsic features but only, as James does, to relate them to somediing extrinsic. Aristode, for instance, says diat a tragedy can arouse pity and fear only if its hero is a person of middling virtue who undeservedly goes from good fortune to bad in die course of the play. Books of literature are created by humans for humans, and whatever merit (or lack of merit) they may have humans confer upon them. Far from being an intrinsic merit, paradox or ambiguity or irony or symbol or any intrinsic feature of a work is no merit at all unless readers count it as a merit; readers may disagree about whether it is a merit (the relativism thatWimsatt and Beardsley deplore) ; every standard to which diey may appeal to settle disputes is a standard created by humans; and they may have various reasons for counting it as a merit (or a defect). The most common reason, of course, commits the Affective Fallacy: the feature affects readers in a way they find desirable. (As I shall note later, in section III, diere can be other reasons less direcdy related to the effect of the work.) It is not easy for readers (or theorists of literary value) to sayjust what die effect is ofan intrinsic feature or why readers count this effect as desirable or even what feature of the work causes this effect. But, though Wimsatt and Beardsley, in arguing dieir case for the Affective Fallacy, make... (shrink)

Illustrates how Marcuse's theory sheds new light on current debates in both education and society involving issues of multiculturalism, postmodernism, civic education, the "culture wars," critical thinking, and critical literacy.

The discourse on kitsch has changed tone. The concept, which in the early 20th century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity (e.g. Greenberg on Repin). The late 20th century scholars gazed at it with critical curiosity (Eco, Kulka, Calinescu). What we now have is a profound interest in and acceptance of cute mass-produced objects. It has become marginal to use the concept to criticize pseudo-art. Scholars who (...) write about kitsch are no longer against it (Anderson, Olalquiaga). And since the 2000s, art students have been telling us that they “love kitsch”. The contemporary concept is strongly attached to certain colors (pink) and materials (porcelain). In this article I aspire to find some keys on how to view the history and contemporary state of the concept. My hypothesis is that the change in the use of the concept has at least partly to do with changes in the concept of art, which has lately, this is my hypothesis, become sufficiently decentralized from its original roots and boundaries (upper class, male, ethnically Central European). (shrink)

Critical reasoning is a core element of the P4C program. Yet, the appearance of postmodernism, multiculturalism and ethnocentrism casts doubt on the Western concept of rationality and demands that its claim of universal purview be justified. In this context, the desideratum of this article is to provide a concept of rationality that has the potential to serve as the theoretical basis of reasoning in P4C. This is an important task, because if we cannot defend P4C against the postmodern criticism (...) of rationality, we cannot claim that it is a multicultural program in a true sense, nor can we defend it against the charge that this is just another attempt of western colonization. (shrink)

In this paper I will deal with some aspects of dialogue, love and multiculturalism. In the first and the second aspect I see very much important presuppositions of a multiculturalism enriching each other. If the person is not able to communicate, to love and define what goals she/he would want to achieve, the person will be not able to enrich the multicultural world! Therefore, I am pressing on the conditions and kinds of dialogue, of the art of love, (...) and in the end, I am giving some ideas about the multiculturalism. (shrink)

The end of aesthetic experience -- Don't believe the hype -- The fine art of rap -- Affect and authenticity in country musicals -- The urban aesthetics of absence : pragmatist reflections in Berlin -- Beneath interpretation -- Somaesthetics and the body/media issue -- The somatic turn : care of the body in contemporary culture -- Multiculturalism and the art of living -- Genius and the paradox of self-styling.

Curiously, while the efficacy of the arts for the development of multicultural understandings has long been theorized, empirical studies of this effect have been lacking. This essay recounts our combined empirical and philosophical study of this issue. We explicate the philosophical considerations that shaped the development of the arts course we studied, which was grounded in rather traditional humanist educational thought, informed by Deweyan considerations for pedagogy and multiculturalism. We also provide an overview of the course and of the (...) study design: the ways in which the course worked to teach aesthetic theory through a combination of popular and canonical works, and the ways in which it sought to instill a sense of cross-cultural appreciation and solidarity among students through the inclusion of art from different cultures and generations. We then share our research findings and our return to the realm of philosophy to interpret them. Our postcolonial analysis incorporates emerging discussions of the arts as a tool for resistance and dialogue within the system of public education, and revisit and reconsider the very concept of education for pluralistic democracy. This approach problematizes traditional conceptions of pluralism, in which an attempt is made to dissolve difference in a common understanding, and instead advocates that works from among the contemporary popular arts and works drawn from the artistic “canon” alike must be considered and employed for their instrumental value to the educational process—especially for their ability to prompt an intersubjectivity that is accompanied by a heightened awareness of difference. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Artist as Professional in JapanKazuyo Nakamura and Akio OkazakiThe Artist as Professional in Japan, edited by Melinda Takeuchi. Stanford, Calif.: Stanford University Press, 2004, 262pp., $45.00 cloth.With the increase of cross-cultural academic exchange in our time, more accurate information on art from other cultures has become more easily available, and curriculum development of art education directed toward multiculturalism has been brought to realization. There is need (...) emerging among art educators for academic resources for teaching cross-cultural subject matters, and The Artist as Professional in Japan provides historical information helpful in gaining a critical understanding of the nature of Japanese art discourse. The volume is edited from a fresh sociocultural perspective by Melinda Takeuchi, professor of Japanese art at Stanford University.Takeuchi, noticing that few scholarly books on the profession of Japanese artists are available to students of art history in the United States, set about the volume in concerted efforts with her colleagues. The volume consists of individual case studies on different Japanese artists; they are well-known sculptors, painters, potters, printmakers, and architects and are recognized in Japan as representative in different eras from the seventh to the twentieth century. Running through the individual studies, there is a concern for political forces that shaped art discourse and the identity of the Japanese artist. The following questions are asked: What degree of control did the artists exercise over their métier? What were some of the dynamics operating in the production, consummation, and evaluation of art and artist? How was the image of the artist formed during various periods? Working with these questions, seven case studies address issues of canon formation of art by looking into the terrain of the meaning of a critical word, Shoku-nin; it literally means people (nin) with an occupation (shoku) and denotes the collective artisan class.Different art historians and art theorists take a unique approach for developing each case study in the volume. Donald F. McCallum's study in chapter 2 is on the Buddhist Icons of the Shaka Triad during the Asuka Period (ca.590-ca.650), and it is asked what were the political forces working on the production of the [End Page 118] icons. In contrary to orthodox view, it is argued that the icons were produced not by an individual sculptor named Tori-busshi but by the guilds of which the supervisor was Tori. Also, it is argued that the icons were produced with the patronage of soga clan, the dominant political force of the time, not by the imperial family, including Shotoku Taishi.Karen L. Brock in chapter 3 examines the case of E'nichibo Jonin (active ca.1211-ca.1243), the painter of Saint Myoe. The case shows that the ateliers of temples, such as Kozanji in Kyoto, played a central role in producing and distributing sacred images. This study makes clear that few individual painters, such as those named ebusshi, participated in the formation of the canon of Japanese painting, but collective political forces, such as Kozanji ateliers, exercised power in bringing out sacred objects.In chapter 4 Melinda Takeuchi takes up the case of Tosa Mitsunobu (1434-ca.1523), an artisan painter active in Kyoto court circles. It shows a historical fact particular to Japanese art discourse—that later artists manipulated the names of earlier ones for professional or cultural merits. Taking notice of the fact that Mitsunobu's name late became synonymous with a production unit that shares secret techniques of products, Takeuchi concludes, "In the end, the name of an artist transcends time, space, materiality, and ultimately discourse itself" (101).The study of Louise Allison Cort in chapter 5 is on the case of Morita Kyuemon in the seventeenth century, a warrior trained as a potter and running the Odo pottery in the Tosa domain. By exploring the motivations of the Tosa domain in trying to transform local products into refined and stylish pottery worthy of formal presentation to other domain rulers (daimyo), to government officials, and to the shogun in Edo, this chapter demonstrates how both the potter and the ruler actively sought to join the aesthetic mainstream of their own day.In... (shrink)

Much of the literature on public space focuses on physical inclusion and exclusion rather than social inclusion or exclusion. In this paper, the implications of this are considered in the context of two monuments, The Volunteers/Les Bénévoles, and The Emigrant, located outside the Canadian Museum of Immigration at Pier 21 in Halifax, Nova Scotia. These monuments, while perhaps designed to celebrate Canadian multiculturalism, can be read instead as signaling Canada’s enduring commitment to white supremacy, Eurocentricity and colonization, when viewed (...) through the eyes of racialized immigrants. Thus the “public space” becomes exclusionary. In the context in which the monuments are situated, the racial subtext cannot be ignored. This article purports that images, text and placement, regardless of intention, have significant implications on public space and public demeanor. (shrink)

This article discusses Stuart Hall and Homi Bhabha’s theories on multiculturalism and diaspora as alternative epistemological references to confront racist revivals across Europe. Edward Said’ s defence of inclusive academic curricula is equally revisited as a parallel strategy to deconstruct Eurocentric ideas. These three thinkers also represent nationalism as an obsolete paradigm, inadequate to perceive a globalized world. The point of this article is to revisit established postcolonial thinkers and see how their discourses have been reinterpreted by committed artists/writers (...) whose works seem to share with the invoked thinkers the aim of challenging their audiences to think differently about race, cultural difference, invisibility of oppression and right of ‘belonging’. The invoked theoretical discourse is used as a platform to discuss four artistic interventions – a poem by Eunice de Souza, Raimi Gabdamosi’s performance in Cadiz, the collective installation Return to Hansala at MUSAC museum and a sculpture by Portuguese visual artist Ana Vieira. Two of the selected works address gender issues in articulation with domesticity and patriarchal genealogies while the other two pieces address race and marginalization without any particular gender inflection. The choice is deliberate. Feminist discussions cannot be isolated from other discourses that expose related forms of oppression and marginalization even if they are not primarily formed by feminist awareness. (shrink)

Curiously, while the efficacy of the arts for the development of multicultural understandings has long been theorized, empirical studies of this effect have been lacking. This essay recounts our combined empirical and philosophical study of this issue. We explicate the philosophical considerations that shaped the development of the arts course we studied, which was grounded in rather traditional humanist educational thought, informed by Deweyan considerations for pedagogy and multiculturalism. We also provide an overview of the course and of the (...) study design: the ways in which the course worked to teach aesthetic theory through a combination of popular and canonical works, and the ways in which it sought to instill a sense of cross-cultural appreciation and solidarity among students through the inclusion of art from different cultures and generations. We then share our research findings and our return to the realm of philosophy to interpret them. Our postcolonial analysis incorporates emerging discussions of the arts as a tool for resistance and dialogue within the system of public education, and revisit and reconsider the very concept of education for pluralistic democracy. This approach problematizes traditional conceptions of pluralism, in which an attempt is made to dissolve difference in a common understanding, and instead advocates that works from among the contemporary popular arts and works drawn from the artistic “canon” alike must be considered and employed for their instrumental value to the educational process—especially for their ability to prompt an intersubjectivity that is accompanied by a heightened awareness of difference. (shrink)

Globalization trends of culture, the idea of multiculturalism, bringing and acceptance of foreign elements into the culture, open coquetry of the "West" with culture and arts of the "East", eclecticism, but also paradoxical what happened to be the fate of modern art after postmodern deconstruction of the meaning and the reduction of his function to ability to serve in variable updating roles towards individual and society, is 46 years after the release of books Asphyxiating Culture repeatedly bringing me to (...) read and review it. The topic, therefore, is to examine the validity of Dubuffet appeal, its insertion into the broader context of the forms of "dehumanization" of art, but also review of the reference just in the context of relations culture - art. New search respectively the determination of periphery in arts and culture should besides unfinished theme energizing academic debate of last years, if not decades, thus defining theme of Art, can and should briefly look at the issue of the institutionalization of art; the relationship of artistic production and its cultural context, which is not transferable; "foucaultian" power of discourse established by culture; extremely interesting affinity of art and advertising; aestheticism of culture; enforcement of discontinuity issues and pluralism as in the thought also within the artistic creation, namely for topics that Dubuffet advises and argumentations plays. Nearly half a century after his call and its final words -"therefore, our artistic production, which is not subjected to a thorough critique of culture and effectively not reveals the futility and absurdity, is no refuge for us" - we need to talk about our accountability. Dubuffet today. (shrink)

Kant criticizes Plato for his interest in positing ideas that are entirely purified from any sensible elements, but which, nonetheless, exist in some supra-sensible reality. I argue that Kant’s criticism can be repositioned and even countered if, in our assessment of Plato, we assign a wider scope of significance and greater value to the senses. In order to lend focus to my article, I analyze Socrates’ presentation of what I translate as the “look of the Good” (τοῦ ἀγαθοῦ ἰδέαν, 508e) (...) in the Republic so as to show the proximity between Plato and Kant on the question of sensibility. I also draw on the Phaedo and extant literature that goes against the traditional view regarding the status of Ideas or Forms, including the Idea of the Good. I further discuss an affinity between the Good that is “beyond being” (ἐπέκεινα τῆς οὐσίας, 509c) in the Republic and Kant’s view of God as an Ideal of Reason. Given my articulation of the importance of the sensible dimension in Plato, there is a continuity between Kant and Plato on the question of the illegitimacy of certain ideas. In other words, in my reading (and contrary to Kant’s view of Plato), Kant does not so much overturn Plato’s metaphysics, but develops further the view that is already inscribed in Plato. (shrink)

This book is about multiculturalism, broadly defined as the recognition, respect and accommodation of cultural differences. Teo proposes a framework of multicultural denizenship that includes group-specific rights and intercultural dialogue, by problematising three issues: a) the unacknowledged misrecognition of non-citizens within the scholarship of multiculturalism; b) uncritical treatment of citizens and non-citizens as binary categories and; c) problematic parcelling of group-specific rights with citizenship rights. Drawing on the case of Singapore as an illustrative example, where temporary labour migrants (...) are culturally stereotyped, socioeconomically disenfranchised and denied access to rights accorded only to citizens, Teo argues that understandings of multiculturalism need to be expanded and adjusted to include a fluidity of identities, spectrum of rights and shared experiences of marginalisation among citizens and non-citizens. Civic Multiculturalism in Singapore will be of interest to students and scholars of multiculturalism, critical citizenship studies, migration studies, political theory and postcolonial studies. (shrink)

For Malraux, modernity in art is not only about modern art; it is also about the birth of what he aptly terms “the first universal world of art.” This event was a consequence of the process of metamorphosis which is central to Malraux’s account of the relationship between art and time. The article explains this event, noting also that modern aesthetics has not provided an explanation. (This is the English version of the final which will be in French.).

A great challenge of the twenty-first century is the danger of conflict between persons, peoples, and cultures, among and within societies. In _A Common Human Ground_, Claes Ryn explores the nature of this problem and sets forth a theory about what is necessary for peaceful relations to be possible. Many in the Western world trust in “democracy,” “capitalism,” “liberal tolerance,” “scientific progress,” or “general enlightenment” to handle this problem. Although each of these, properly defined, may contribute toward alleviating disputes, Ryn (...) argues that the problem is much more complex and demanding than is usually recognized. He reasons that, most fundamentally, good relations among individuals and nations have moral and cultural preconditions. What can predispose them to mutual respect and peace? One Western philosophical tradition, for which Plato set the pattern, maintains that the only way to genuine unity is for historical diversity to yield to universality. The implication of this view for a multicultural world would be a peace that requires that cultural distinctiveness be effaced as far as possible and replaced with a universal culture. A very different Western philosophical tradition denies the existence of universality altogether. It is represented today by postmodernist multiculturalism—a view that leaves unanswered the question as to how conflict between diverse groups might be averted. Ryn questions both of these traditions, arguing for the potential union of universality and particularity. He contends that the two need not be enemies, but in fact need each other. Cultivating individual and national particularities is potentially compatible with strengthening and enriching our common humanity. This volume embraces the notion of universality, while at the same time historicizing it. Using wide-ranging examples, Ryn presents a firmly sustained and systematic argument centering on this central issue. His approach is interdisciplinary, discussing not only political ideas, but also fiction, drama, and other arts. Scholarly and philosophical, but not specialized, this book will appeal to general readers as well as intellectuals. (shrink)

This paper returns to the juncture of race, culture, and aesthetics in the context of visual-arts education, especially regarding the failure of higher art discourse to be inclusive and comprehensive of others. Though pedagogical curricula in the United States require that K–12 art teachers be trained to promote multiculturalism in their discipline, their training is affected by art history and studio teaching in which Eurocentrism generally persists. Instructors in studio and art history programs seldom identify as "art educators," most (...) likely because art education is regarded as a hybrid, impure discipline. And, as will be shown, hybridity is a problem for notions of purity. Multiculturalism, if part of studio... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Reviewing: A Response to Mary Ann StankiewiczRalph A. Smith, Professor EmeritusI very much appreciate the positive comments made by Mary Ann Stankiewicz in her review published in Studies in Art Education of my Readings in Discipline-Based Art Education: A Literature of Educational Reform.1 I was gratified to read that she believes the volume is a comprehensive and valuable guide that all art educators should own as a reference (...) source for the intellectual history of American art education in the late-twentieth century. Stankiewicz further notes my steadfastness in holding to a vision ofaesthetic education that is firmly rooted in the humanities and my forthrightness in acknowledging that a different choice of selections might well convey a somewhat different picture of Discipline-Based Art Education (DBAE). Between encomia, however, Stankiewicz raises questions about my editorial politics (that is, opportunities editors have to make selections they think are important) and my views about art education.The format of Stankiewicz's review was patterned after an essay in the volume by Frances Schoonmaker who discusses the professional preparation of teachers in terms of autobiography, school contexts, and scholarship. Accordingly, Stankiewicz recalls in some detail her own extensive participation in the Getty's educational venture in art education. And instead of referring to the Introduction's discussion of historical antecedents of DBAE she provides her own account of events that were contemporaneous with Getty's period of operation and refers to some currents of contemporary thinking. In other words, she does not give the kind of space to the book's contents that reviewers usually do.2 This prompted me to recall some material from the book's Introduction, which is followed by a sketch of the DBAE literature project that furnished the impetus for the volume and rejoinders to some of Stankiewicz's concerns.DBAE RememberedThe Getty Center for Education in the Arts (later renamed the Getty Education Institute for the Arts and eventually discontinued) flourished mainly in the 1980s and 1990s and proceeded under the banner of DBAE. The Getty's notion of DBAE supported a major trend that had been growing in the field since the mid-1950s. In this respect the Getty initiative was neither novel nor revolutionary. Yet by correcting an error of certain reform movements, namely those whose tendency was to bypass professionals in the field, it did constitute a significant venture. Getty officers perceived the field to be [End Page 93] moving in the direction of strengthening the content of art education with additional content that was believed requisite for an intelligent and sensitive engagement with works of art. In effect the Getty position argued that a well-developed sense of art is composed not just of the rudiments of artistic creation art but also those of a number of other relevant disciplines, for example the interrelated disciplines of art making, art history, art criticism, and aesthetics (usually understood as the philosophy of art). It was acknowledged that these were not the only disciplines relevant to art education, but they were considered to be basic. Nor was it believed that these disciplines should be taught as separate subjects; rather, they were meant to suggest content and useful modes of inquiry. As Stankiewicz notes, DBAE endorsed both the substantive and procedural dimensions of the cognitive revolution that was occurring in thinking about mind and learning. Indeed, mind building emerged as one of the major themes in the theory underlying the Getty approach.3Not surprisingly, the Getty approach had its critics. As pointed out in my "Afterthoughts,"the Getty initiative was contemporaneous with the increasing politicization of cultural and educational life.4 The critical literature produced in this climate — subscribing variously to postmodernism, multiculturalism, feminism, cultural studies, social reconstructionism, and deconstruction — was often by turns extreme, dense, and intimidating. It further tended to be skeptical of Western cultural values and traditions. I think it is fair to say that many in the field of art education were ill prepared to digest these writings or to be alert to some of their potential negative consequences. I mention just a few of these.For example, although developing an appreciation for hitherto unfamiliar cultures is... (shrink)

Resumo: A fotografia, como ferramenta, apresenta principalmente a relação entre pessoas e objetos, por meio do uso de elementos artísticos, como luz, sombra e cor, nas imagens. A criação de fotografias é uma atividade que requer inspiração e habilidades. Isso exige que os fotógrafos observem e pensem cuidadosa e profundamente sobre a estrutura geral do trabalho, a fim de tirar boas fotos que sejam artísticas e bem pensadas. O desenvolvimento e a popularização da fotografia, na sociedade atual, não podem ser (...) subestimados por seu impacto na estética pública e no pensamento humanístico. Este artigo tem, como objetivo, analisar a conotação estética da fotografia chinesa e explorar seus padrões e valores estéticos. Os pensamentos filosóficos da fotografia chinesa são explorados, e suas reflexões e perspectivas sobre a vida e a sociedade são analisadas. A relação e a influência mútua, entre as conotações estéticas e os pensamentos filosóficos na fotografia chinesa, são exploradas, e sua importância e influência nos trabalhos fotográficos são analisadas, para que se possa entender e apreciar melhor a singularidade da fotografia chinesa. A fotografia chinesa é uma forma única e diversificada de expressão artística que reflete o rico patrimônio cultural e o desenvolvimento social da China. Ao enfatizar a harmonia, a integração de elementos de pintura, a narração de histórias e a apreciação da natureza, a fotografia chinesa proporciona uma experiência estética profunda e transmite significados mais profundos de unidade, tranquilidade e a relação entre as pessoas e o meio ambiente. (shrink)

The problem of teaching and learning of Russian language and literature in schools with native language of teaching related to the implementation of the principle of dialogue between cultures. The article draws on the results of the survey of graduates of the two high schools of Kazan: School #2 with teaching in Tatar language and school #37 with teaching in Russian-language. The results of the survey are associated with the problems of bilingualism, multiculturalism and bimentality. Graduates from Tatar language (...) gymnasium are bilingual and fluent in Russian and Tatar languages. 97% of graduates of Tatar gymnasium speak, read and write free in their native language and 96% in Russian. Bilingualism acts in this case like one of the manifestations of inter-ethnic interaction, a particular manifestation of biculturalism. In the National School dialogue of cultures passes through a system of parallel study of both Russian and Tatar languages and literatures: the formation of a bicultural, bilingual, bimental personality able to perceive not only the native culture, but also other culture as the native is taking place. (shrink)

Museums are key cultural loci of our times. They are symbols and sites for the playing out of social relations of identity and difference, knowledge and power, theory and representation. These are issues at the heart of contemporary anthropology, sociology and cultural studies. This volume brings together original contributions from international scholars to show how social and cultural theory can bring new insight to debate about museums. Analytical perspectives on the museum are drawn from the anthropology and sociology of globalization, (...) time, space and consumption, as well as from feminism, psychoanalysis, experimental ethnography and literary theory. These perspectives are brought to bear on questions of museums' changing role and position in the representation of the nation-state, of community, and of gender, class and ethnicity. The examples in this book are drawn from different kinds of museum around the world, and include significant controversial and experimental exhibitions; the Enola Gay at the Smithsonian; feminist exhibitions in Scandinavia; the National Museum of Sri Lanka; Victorian art at the Tate; the representation of race at Colonial Williamsburg and of colonialism and identity in Canada. (shrink)

In this paper, Andrea Fiore sketches the notion of familiarity in Dewey's thought, particularly in its relations with education, aesthetics, and art. The importance of that notion emerges in Dewey's well-known writings such as How We Think, The School and Society, and Art as Experience, where he shows that not only does familiarity play a fundamental role in our lives, but it also constitutes a helpful tool to make our experience deeper and richer. This is particularly evident in two aspects (...) or functions related to familiarity: recognition and interpretation. For Dewey, especially the latter has an educational value through aesthetics and art, because it allows us to activate the peculiar capacity of human beings to transform the quality of experience. (shrink)

This essay brings psychoanalytic theory on trauma together with film and television criticism on rape narrative in an analysis of Michael Coel’s 2020 series I May Destroy You. Beyond the limited carceral framework of the police procedural, which dislocates the act of violence from the survivor’s history and context, Coel’s polyvalent, looping narrative metabolizes rape television’s forms and genres in order to stage and restage both trauma and genre again and anew. Contesting common conceptions of vulnerability and susceptibility that prefigure (...) a violent breach of autonomy, Coel’s series and her interviews about it invite an ethics of looking that embraces a curiosity in the unknowable and untreatable kernel of subjective experience and defies and resists a policing of the survivor’s thoughts and emotions. By emphasizing and exploring what psychoanalysis calls the “afterwardness” of trauma, Coel foregrounds her main character’s subjectivity prior to her victimization, widens the sphere of consequence beyond the victim and criminal justice system to the survivor’s larger community, and entreats that community to preserve a space for her to look and look again at everything, without judgment. (shrink)

This article explores whether artificial intelligence (AI) can engage in the practice of law as an art of good and justice. It examines the historical and philosophical foundations of law as the art of promoting societal harmony and resolving moral dilemmas. The research employs critical and philosophical analysis methods integrating insights from legal scholars, ethicists, technologists, and policymakers. The study identifies AI’s potential to streamline legal processes, enhance access to justice, and reduce bias in decision-making. However, it also highlights ethical (...) challenges such as transparency, accountability, and the impact on the legal workforce. The article emphasises the importance of striking a balance between technological innovation and human values, advocating for proactive regulation and interdisciplinary cooperation to ensure the ethical development and implementation of AI in law. The results of the study highlight the transformative potential of AI in revolutionising legal practice, emphasising its capacity to streamline processes, improve access to justice, and mitigate bias. However, ethical considerations such as transparency, accountability, and the preservation of human judgment are crucial to ensuring that AI integration in law upholds fundamental principles of justice and fairness. (shrink)

This paper examines a general political problem of how to balance the need for concentrated power in the hands of the state—which is needed for effective governance—against the egalitarian desire to equalize power. It distinguishes between ‘positive’ political power appropriately wielded by the state, and ‘negative’ power that individuals may use to protect their own activities and interests from excessive or illegitimate state action and argue for institutions and practices designed to equalize power by ‘leveling up’ the powerless to match (...) the strong. (shrink)

Over the last 25 years, there has been an increasing fascination with the “dark” side of leadership. The term “destructive leadership” has been used as an overarching expression to describe various “bad” leader behaviors believed to be associated with harmful consequences for followers and organizations. Yet, there is a general consensus and appreciation in the broader leadership literature that leadership represents much more than the behaviors of those in positions of influence. It is a dynamic, cocreational process between leaders, followers, (...) and environments, the product of which contributes to group and organizational outcomes. In this paper, we argue that, despite this more holistic recognition of leadership processes within the broader leadership literature, current conceptualizations and analyses of destructive leadership continue to focus too heavily on behaviors and characteristics of “bad” leaders. In our view, to achieve a more balanced understanding of destructive leadership, it is important to adopt more integrative approaches that are based in the contemporary leadership discourse and that recognize flawed or toxic leaders, susceptible followers, and conducive environments as interdependent elements of a broader destructive leadership process. To this end, we offer a critique of the destructive leadership literature, propose a broader definition of destructive leadership, and highlight gaps in our understanding of leaders, followers, and environments in contributing to destructive leadership processes. Finally, we conclude by discussing strategies for examining destructive leadership in a broader, more holistic fashion. (shrink)

The world is awash in bullshit, and we're drowning in it. Politicians are unconstrained by facts. Science is conducted by press release. Startup culture elevates bullshit to high art. These days, calling bullshit is a noble act. Based on Carl Bergstrom and Jevin West's popular course at the University of Washington, Calling Bullshit is a modern handbook to the art of skepticism. Bergstrom, a computational biologist, and West, an information scientist, catalogue bullshit in its many forms, explaining and offering readers (...) the tools to see through the obfuscations, deliberate and careless, that dominate every realm of our lives. They instruct readers to ask: Who is saying it? How do they know? What do they have to gain by persuading me? Are the numbers or results too good or too dramatic to be true? Is the claim comparing like with like or apples and oranges? Is it confirming your personal bias? In this lively guide to everything from misleading statistics to "fake news," Bergstrom and West help you recognize bullshit whenever and wherever you encounter it--in data, in conversation, even within yourself--and explain it to your crystal-loving aunt or casually racist uncle. Now more than ever, calling bullshit is crucial to a properly functioning community, whether it be a circle of friends, a network of academics, or the citizenry of a nation. (shrink)

The historical context of body and tissue donation is deeply problematic, with patriarchal and colonial narratives. The contemporary context of molecular and genetic biology further complicates issues of bodily donation through narratives of abstraction and extraction. As practitioners working outside the conventional boundaries of scientific study learn the tools and techniques to extract and use bodily materials, they are also learning and challenging the procedures and processes. This article approaches questions of bodily donation through the edited transcript of a conversation (...) between artists who regularly use body fluids and cellular bodily materials in their practice, moderated by Louise Mackenzie and Ilke Turkmendag as part of the Taboo–Transgression–Transcendence in Art & Science Conference held online with the support of the University of Applied Arts, Vienna, 2020. The panel challenged the ethical and conceptual assumptions made in biotechnological research and reconsidered where the boundaries of the body lie, what ‘authority’ research carries and what choices researchers make when using the bodies of others. The transcribed conversation addresses taboos of the female body, specifically menstruation, the commodification of tissue from female human bodies, human milk politics and questions biopolitical treatment of the female body. The full, unedited panel conversation, including questions from the audience, and an accompanying video of edited interviews with panellists, is available online at https://www.loumackenzie.com/offering-the-body. (shrink)

This article explores the changing parameters of sensibility in the context of a postan­thropocentric paradigm in art. In particular, we address the mechanism of the construc­tion of affects building on the idea of their external autonomy in art. The fundamental disconnectedness of the realm of sensuality is described in the context of object ontolo­gies, via the modes of connectedness and conditionality that exist beyond the limits of individual experience. A generalized description of the procedures of the postanthro­pocentric paradigm of distributed (...) aesthetics is provided. The article discusses the shift in the understanding of the function and autonomy of art associated with the emergence of object forms of art. The current situation in object art, in particular in total installa­tions, suggests a different paradigm of aesthetics. The specific workings of such a para­digm are clarified on the basis of the distinction between affect and emotion proposed by Brian Massumi in his conception of the autonomy of affect. The authors conclude that in deanthropologized environments sensuality operates as a chain of distributed af­fects associated with the effects of increasing intensity and inhibition of intensity through forms of appropriation of affect into a chain of successive instances of sensual­ity. The article’s general theoretical task is to describe the operation of affect structures under conditions of object deanthropologization. The applied task of the article is to de­scribe the mechanisms of understanding and perception of object forms of art, in partic­ular such a form as total installation. (shrink)

Posthumanism has come to synthesize philosophical, literary, and artistic responses to the pressures of technology, globalization, and mass extinction in the Anthropocene. It asks what it can mean to be human in an increasingly more-than-human world that has lost faith in the ideal of humanism, the autonomous, rational subject, and it models generative alternatives cognizant of the demands of social and ecological justice. Posthumanism in Art and Science is an anthology of indispensable statements and artworks that provide an unprecedented mapping (...) of this intellectual and aesthetic shift in a global context. It extends across a broad range of fields such as art theory, media studies, continental philosophy, natural science, literary studies, aesthetics, psychoanalysis, environmental humanities, social and political theory, and animal studies. The reader features a diverse sampling of major thinkers including Donna Haraway, Rosi Braidotti, Michael Marder, Karen Barad, Alexander Weheliye, Jay Prosser, Anna Tsing, Graham Harman, Timothy Morton, N. Katherine Hayles, Jane Bennett, Bruno Latour, Francesca Ferrando, and Cary Wolfe, as well as innovative, acclaimed artists and curators such as Yvonne Rainer, Chus Martínez, William Wegman, Nandipha Mntambo, Cassils, Pauline Oliveros, Doo-sung Yoo, and Gavin Steingo. Their provocative and compelling works, including previously unpublished interviews and essays, speak to the ongoing conceptual and political challenge of posthuman theories in a time of unprecedented cultural and environmental crises. An essential primer and reference for educators, students, artists, and art enthusiasts, this volume offers a powerful framework for rethinking anthropocentric certitudes and reenvisioning equitable and sustainable futures. (shrink)

Multiculturalism is often thought to be defined by its commitment to diversity, inclusivity, sensitivity, and tolerance, but these established values sometimes require contrary practices of homogenization, exclusion, insensitivity, and intolerance. Multiculturalism in Canada clarifies what multiculturalism is by relating it to more basic principles of equality, freedom, recognition, authenticity, and openness. Forbes places both official Canadian multiculturalism and Quebec's semi-official interculturalism in their historical and constitutional setting, examines their relations to liberal democratic core values, and outlines (...) a variety of practical measures that would make Canada a more open country and a better illustration of what a commitment to egalitarian cultural pluralism now means. Consisting of a series of connected essays-including careful considerations of the works of Will Kymlicka and Charles Taylor-this book provides the first comprehensive account of multiculturalism in Canada. (shrink)

The fragility of democracy and the political aesthetics of public art -- Voices and places: the space of public art and Wodiczko's the homeless projection -- Democracy's "empty place": Rawls's political liberalism and Derrida's democracy to come -- Public art's "plain tablet": the political aesthetics of contemporary art -- Democracy and public art: Badiou and Ranciere -- The political aesthetics of Chicago's Millennium Park -- The political aesthetics of New York's National 9/11 Memorial -- Public art as an act of (...) citizenship -- Badiou on "being and the void.". (shrink)

In contrast to mainstream accounts which explain the aesthetic experience of people with autism spectrum disorder (ASD) in terms of cognitive abilities, this paper suggests as an alternative explanation the “emotional abilities approach”. We present an example of a person with ASD who is able to exercise a variety of emotional abilities in aesthetic contexts but who has difficulties exhibiting their equivalents in interpersonal relations. Using an autobiographical account, we demonstrate first that there is at least one precedent where a (...) person with ASD can exercise a series of emotional abilities when engaging with art works. Second, we offer also an explanation about why aesthetic contexts might enable this person to exercise emotional abilities which in interpersonal contexts seem to be blocked. (shrink)

Abstract:The idea of risk, of the willingness to be exposed to the possibility of total failure, is a core value of Adorno's philosophical and aesthetic modernism. This willingness to be exposed to risk is also a quality that Adorno associates most strongly, in aesthetics, with Deweyan pragmatism. Against tendencies to assume an irreconcilability of critical theory and pragmatism, this essay ventures that an appreciation of Adorno's acknowledgement of Dewey in his Aesthetic Theory would mean considering that it is in Dewey (...) that Adorno might have found the closest exemplar of the dialectical, experimental freedom that he desired for his aesthetics. (shrink)

This volume assembles a group of leading regional experts to formulate the first rigorous and comprehensive consideration of multiculturalism debates in South and East Asia. Through close examination of pre-colonial traditions, colonial legacies, and post-colonial ideologies, this volume sheds new light on religious and ethnic conflict in the area, and presents a ground-breaking assessment of what role - if any - the international community should play in promoting multiculturalism.

World leaders from the United States, the United Kingdom, and beyond have declared that multiculturalism has failed. They agree that multicultural pluralism promotes division and undermines the solidarity required by any community for long-term cohesion. They are wrong, but the problem of securing cohesion is real. Hegel’s Philosophy of Right offers crucial insights into how the alienation endemic in modernity can be overcome through reconciliation and stakeholding. This analysis shows how multicultural pluralism can be achieved and promoted without sacrificing (...) solidarity. (shrink)

This contribution focuses on three aspects of Nietzsche’s art of living that have become relevant today especially in the United States (but not only here): first, regarding some facets of the economic-political conditions of any contemporary art of living; second, the widespread adoption of Nietzsche’s notion of self-overcoming and artistic self-design in entrepreneurship and individual’s lives; and third, how his notion of ‘incorporation’ has been further developed in current approaches to habit design. Eventually I will show via the example of (...) Anthony Robbins that some notions of Nietzsche’s art of living have become most popular outside of academia, namely in the commercial industries of what has been called ‘self-growth’ or ‘self-development.’. (shrink)

This paper reconstructs Margaret Cavendish’s theory of the metaphysics of artifacts. It situates her anti-mechanist account of artifactual production and the art-nature distinction against a background of Aristotelian, Scholastic, and mechanist theories. Within this broad context, it considers what Cavendish thinks artisans can actually do, grounding her terminological stipulation that there is no genuine generation in nature in a commitment to natural and artistic production as the mere rearrangement of bodies. Bodies themselves are identified, in a conceptually Ockhamist manner, with (...) their figures, so that the resulting theory of mere rearrangement is Scholastically respectable. The paper also offers literal interpretations, focused narrowly on the philosophical content of her theories of art and artifacts, of her claims that art concerns only “nature’s sporting or playing actions”, that its products are “deformed and defective”, and that they are “at best …mixt or hermaphroditical.". (shrink)