In this paper I suggest that music and dance of an artful kind could pre-date the emergence of our species by several hundred thousand years. Our progenitor, H. heidelbergensis, had the necessary physiological resources and social capacities. And she inherited older modes of moving and vocalizing that could have laid the foundations for dance and music. Admittedly, for her, these artistic activities would have been more about sharing and expressing emotions than about symbolizing abstract ideas or conveying complex thoughts. But (...) that is something for which song and dance are ideally suited. Accordingly, the common assumption made by many paleoarchaeologists in discussions of the origins of art and of psychological modernity — that art is a distinctively sapiens attribute presupposing the kind of complex mentality that may be unique to our species — is mistaken. As well, there are some philosophical morals about the nature of art to be teased from the facts of its ancient origin. (shrink)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in (...) the more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

Greek philosophical tradition, not only the Aristotelian one, is strongly associated with proportion (Eco, 1993: 90). This principle of symmetry is generalisable; forasmuch as it is used as a normative rule in figurative arts. Nonetheless, the proportion for Ancient Greeks does not only describe a mathematical relation, but also represents a metaphysical principle. Thus, beauty is the measurement of the elements of the external form (in the case of tragedy, the meter, the symmetry of the parts, the number of (...) syllables, the number of verses) as well as the aesthetic harmony which the play transmits as total to the spectators (in the same case, the content must be neither superior nor inferior to the chosen form; otherwise the form would give the impression of grotesque or inadequate). (shrink)

Analogy, as the connection of similar things, is present in all fields of human thought. Art uses verbal (in poetry, literature, art criticism) and optical analogies(in the visual arts), aiming at an emotional perception and interpretation of the world. Philosophy and the sciences also use largely analogical applications, as ameans to construct intuitionally understandable theories. In Law the analogical application of laws is an efficient way to regulate social conflicts. The risk,however, of cognitive distortions, by transferring inadequately explanatory models to (...) other fields, created doubts about the rational appropriateness of suchmethodological tools. Applications of analogical thinking in different domains are readily comprehensible, if the role of analogies in each of them is analysed. Thedifferent aims of science, philosophy and art imply different similarity-criteria to support the transfer of linguistic and visual expressions in regions to which theydo not have a direct connection and application. (shrink)

This volume explores the conceptual terrain defined by the Greek word eikos: the probable, likely, or reasonable. A term of art in Greek rhetoric, a defining feature of literary fiction, a seminal mode of historical, scientific, and philosophical inquiry, eikos was a way of thinking about the probable and improbable, the factual and counterfactual, the hypothetical and the real. These thirteen original and provocative essays examine the plausible arguments of courtroom speakers and the 'likely stories' of philosophers, verisimilitude in art (...) and literature, the likelihood of resemblance in human reproduction, the limits of human knowledge and the possibilities of ethical and political agency. The first synthetic study of probabilistic thinking in ancient Greece, the volume illuminates a fascinating chapter in the history of Western thought. (shrink)

Warner here puts forward a much broader discussion of rationality than that which underlies today's polarization between analytic and continental philosophy. Through a series of case-studies the author explores ancient conceptions of dialectic and rhetoric in relation to the positive role given to sentiment or "the heart" by Pascal, Hume, and Nietzsche. These studies point to an understanding of philosophy which undercuts fashionable disputes and which helps to reaffirm a range of ideas long marginalized by the dominance of the (...) geometric model of philosophical argument. (shrink)

Beginning with the representation of age in extremis in the nature morte or still life, a depiction of aged artifacts and representations of vanitas, artistic representations particularly in painting associate woman and death. Looking at artistic allegories for age and ageing, raising the question of aura for Walter Benjamin along with Ivan Illich and David Hume, this essay reflects on Heidegger on history together with reflections on the ‘death of art’ as well as Arakawa and Gins and Bazon Brock, both (...) as artists ‘at your service,’ as Brock would say, contra death, and including a brief discussion of wabi sabi and kintsugi. The ‘ageing’ of art includes a review of the (ongoing) debate concerning Michelangelo’s forging of the Laocoon as well as ancient views of age together with contemporary philosophic reflections (Simone de Beauvoir and Michel de Certeau). The figure of Baubô in ancient Greek sculpture and cultic context can make it plain, as Nietzsche shows (as Sarah Kofman follows him on this), that laughter and death are connected (along with fertility cults in antiquity). Satire preserves the Greek tradition of laughing at death and the essay closes with Swinburne. (shrink)

In ancient philosophy, Logic was seen as the instrument and method of philosophy. However, sometimes detailed and profound discussions have been made about the demonstrativeness of philosophical sciences. Most philosophers have accepted that the mathematical sciences were especially demonstrative and likewise, most of the natural sciences are demonstrative for them. But can metaphysics be demonstrative or not? This is one of the fundamental issues around which the great debates were made in Islamic philosophy. While these issues are known to (...) specialists in this field, we can hardly find studies and research that deal with this issue to a sufficient degree and precise discussions in our day, I mean the issue of demonstrativeness of art of demonstration, art of dialectic, art of sophistry, art of rhetoric and art of poetry. It is clear that the peripatetic philosophers did not write a separate book or treatise on the issue of the demonstrativeness of the logical arts, but we can claim that they believed that all these arts were demonstrative and that they were extracted/abstracted using the art of demonstration. We can come across important phrases and statements that prove this claim between the lines of the books that these philosophers wrote in the science of logic. And while Aristotle is the founder of the science of logic, then how is it to be understood that there are practical particular examples and some easy rules of these arts? According to their texts, we can say that they believed that the actual performance of these arts by their actors in materials by particular and practical actions differs from extracting their universal rules by abstracting them from their materials through theoretical and analytical research. For example, the poems of the great poets; Homer and al-Mutanabbi, are particular works in the matter of the art of poetry performed by poets. The books written by Aristotle and Ibn Rushd in the art of poetry contain universal rules extracted abstractly from the materials of their particular poems. As for understanding the demonstrativeness of the remaining four arts, it is easier, but how should we understand the demonstrativeness of the art of demonstration itself? It seems that the peripatetic logicians also distinguished between applying demonstrative inferences to significant materials and extracting the universal rules of the art of demonstration from these materials. These five logical arts are not particular and practical things, but they are philosophical, demonstrative, and analytical studies for the peripatetic logicians in Islam. In this paper, we will try to draw attention to the issue of the demonstrativeness of the five arts and to open a new discussion about it based on some important sentences and phrases expressed by al-Fārābī, Ibn Zur‘a, Ibn Sīnā, Ibn Bājja and Ibn Rushd between the lines in their books, which they wrote in the field of logic and within different and multiple contexts. (shrink)

The main object of this study is to find out whether the differences between classical and medieval thinking about work, occupations and technology are so significant that we are justified in speaking of a real break between Antiquity and the Middle Ages in this connection; or whether there is a possible continuity of ideas. From a comparative perspective five themes are being researched to shed light on this ques-tion. In the first two chapters the author looks into the traditional view (...) of negative ideas about work in Antiquity. Chapter three subsequently deals with monks and their attitude towards labour. In chapter four the place of the so-called artes mechanicae in medieval classifications of knowledge is being studied. In chapter five we find an analysis of twelfth-century sermons ad status. These three chapters principally deal with the question whether Christianity brought about a change in attitude towards work. (shrink)

The article is devoted to the analysis of the influence of the ancient Chinese philosophy of Taiji on artistic creativity and the development of the internal evolution of artistic culture. Taoist philosophy of nature and Confucian ethics synthesized the philosophical core of the traditional Chinese worldview with its emphasis on the simplicity and naturalness of the world order, and formed the fundamental principles of Taiji. Fundamental to Taiji, the concept of Yin and Yang emphasizes the dual nature of the (...) existence of movement and variability as a balance of opposing forces of development. The Taiji philosophy of dialectical development is supplemented by the idea of ​​the genesis of renewal energy - Qi. The main research method is the method of revitalizing traditional systems on a new intellectual basis. The method of diachronic analysis of the social situation that influenced the development of Chinese neorealism in art was used. As a result of the study, the functional significance of the influence of the principles and philosophical ideas of taiji on the evolution of neorealism is described. Using the example of the work of Chinese neorealist artists Xin Dongwan and Zheng Yi, the authors come to the conclusion that there are three driving factors of artistic motivation for creativity: internal, external and subjective. The basic principles of Taiji philosophy and ethics, such as: the naturalness of change without the use of force (Wu Wei), change as the only constant in the existence of the world and its stability, gentleness - help develop the creative power of renewal. The idea is shown that in the ancient Chinese philosophical heritage, Confucianism and Taoism became two full-fledged directions, functionally complementing each other in explaining differences in cultural, political, philosophical and social environments. (shrink)

Teun Tieleman surveys the history of the philosophical notion of the ‘art of life’, starting from its originator Socrates and his ancient successors down to its role among present-day philosophers. Apart from Socrates, special attention is given to the Stoics, Nietzsche and Foucault. The way in which the notion was defined and functioned throughout the history of philosophy reveals an exceptionally fruitful interplay between continuity and originality.

Saturn and Melancholy remains an iconic text in art history, intellectual history, and the study of culture, despite being long out of print in English. Rooted in the tradition established by Aby Warburg and the Warburg Library, this book has deeply influenced understandings of the interrelations between the humanities disciplines since its first publication in English in 1964. This new edition makes the original English text available for the first time in decades. Saturn and Melancholy offers an unparalleled inquiry into (...) the origin and development of the philosophical and medical theories on which the ancient conception of the temperaments was based and discusses their connections to astrological and religious ideas. It also traces representations of melancholy in literature and the arts up to the sixteenth century, culminating in a landmark analysis of Dürer's most famous engraving, Melencolia I. This edition features Raymond Klibansky's additional introduction and bibliographical amendments for the German edition, as well as translations of source material and 155 original illustrations. An essay on the complex publication history of this pathbreaking project - which almost did not see the light of day - covers more than eighty years, including its more recent heritage. Making new a classic book that has been out of print for over four decades, this expanded edition presents fresh insights about Saturn and Melancholy and its legacy as a precursor to modern interdisciplinary studies. (shrink)

“Ancient DNA Research” is the practice of extracting, sequencing, and analyzing degraded DNA from dead organisms that are hundreds to thousands of years old. Today, many researchers are interested in adapting state-of-the-art molecular biological techniques and high-throughput sequencing technologies to optimize the recovery of DNA from fossils, then use it for studying evolutionary history. However, the recovery of DNA from fossils has also fueled the idea of resurrecting extinct species, especially as its emergence corresponded with the book and movie (...) Jurassic Park in the 1990s. In this paper, I use historical material, interviews with scientists, and philosophical literature to argue that the search for DNA from fossils can be characterized as a data-driven and celebrity-driven practice. Philosophers have recently argued the need to seriously consider the role of data-driven inquiry in the sciences, and likewise, this history highlights the need to seriously consider the role of celebrity in shaping the kind of research that gets pursued, funded, and ultimately completed. On this point, this history highlights that the traditional philosophical and scientific distinctions between data-driven and hypothesis-driven research are not always useful for understanding the process and practice of science. Consequently, I argue that the celebrity status of a particular research practice can be considered as a “serious epistemic strategy” that researchers, as well as editors and funders, employ when making choices about their research and publication processes. This interplay between celebrity and methodology matters for the epistemology of science. (shrink)

What good is art? What is the point of a university education? Can philosophers contribute anything to social liberation? Such questions, both ancient and urgent, are the pulse of reformational philosophy. Inspired by the vision of the Dutch religious and political leader Abraham Kuyper, reformational philosophy pursues social transformation for the common good. In this companion volume to Religion, Truth, and Social Transformation, Lambert Zuidervaart presents a socially engaged philosophy of the arts and higher education. Interacting with the ideas (...) of leading Kuyperian thinkers such as Calvin Seerveld and Nicholas Wolterstorff, Zuidervaart shows why renewal in the arts needs to coincide with political and economic transformation. He also calls for education and research that serve the common good. Deeply rooted in reformational philosophy, his book brings a fresh and inspiring voice to current discussions of religious aesthetics and Christian scholarship. Art, Education, and Cultural Renewal is a testament to the practical and intellectual richness of a unique religious tradition, compelling in its call for social solidarity and cultural critique. (shrink)

In this paper I discuss in some detail my experience teaching women philosophers in the context of a survey course in ancient Greek philosophy at a small liberal arts college. My aim is to share the peculiar difficulties one may encounter when teaching this topic in a lower-level undergraduate course, difficulties stemming from a multiplicity of methodological hurdles that do not arise when teaching women philosophers in other periods, such as the modern era. In the first section, I briefly (...) review some of what we know about ancient Greek women philosophers, which is not only very little but frustratingly uncertain and highly debated. I devote the second section to some of the scholarly debates surrounding these philosophers’ doctrines, the details of their biographies, and their very existence. The third section is about the corresponding pedagogical challenges, and the fourth and final section describes the strategies I implemented to face those challenges. (shrink)

The article is the first exploration of Mārganāṭyam, a new tradition in the performing arts of modern India, created from the beginning of the XXI century by an outstanding researcher of musical, theatrical and dance culture, Kalamandalam Piyal Bhattacharya and his students. It is based on the many years of the author’s personal observations, interaction, interviews and discussions with the participants of “Chidakash Kalalay. Centre of Art and Divinity”, an artistic community based on the direct transfer of knowledge and skills (...) from teacher to students, which has developed around Piyal. The features of the method of reconstruction of the ancient Indian theater, the flexible application of the legacy of the past in modern conditions are under study. Particular attention is paid to the artistic interpretation and comprehension of the Indian philosophical heritage, and above all the concepts and worldview of Nyaya and Vedanta systems, transferring them to the space of scenic images. The presented material demonstrates that an integrated approach to the artistic heritage, a metatheater, combined with individual pedagogical unfold of the personality of the artists, creates the possibility of recreating the long-vanished tradition and complex philosophical issues in a way that is well understood today, relevant and reflects the essential needs of modern creators and viewers of the Indian theater at large. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Method in Ancient PhilosophyDavid K. GliddenJyl Gentzler, editor. Method in Ancient Philosophy. Oxford: Clarendon Press, 1998. Pp. viii + 398. Cloth, $72.00.The fifteen papers in this collection constitute revisions of conference proceedings and reflect the varied interests of participants. The ensemble exhibits a thoroughly modern methodology. Whatever and however various ancient methods of philosophy may have been, in Anglo-American scholarship it is standard practice to (...) first address established scholarly interpretations as the primary entry point to critical discussionóoften displacing antiquity with a critical vocabulary of philosophical modernity. Scholars may come to understand each other better, but at the risk of asking the wrong questions or sacrificing ancient texts themselves as mere means of producing papers.Most scholars are progressives. They believe philosophy has advanced past the comparatively primitive wisdom of antiquity, and so such scholars feel perfectly entitled to make better sense of ancient texts, by patiently explaining what the ancients would have meant had they only been able to get it right. There are, of course, exceptions. And some papers in this collection suggest deeper faith in our philosophic fathers. So, the battle between the ancients and the moderns is joined once more, between those who would adorn their papers with footnotes for their peers and those who would attempt more anthropological an inquiry into ancient philosophic practices.Ian Mueller and Robert Bolton each address the same passage in Plato's Phaedo, both beginning with an article from Vlastos, first published in 1969. Mueller thoughtfully explores three different yet related accounts of what we might call scientific method in explaining Plato's views on natural change. Bolton wonders whether scholars are asking the wrong questions. Patricia Curd attempts a progressivist account of Eleatic thought, notwithstanding her recognition of the paucity of ancient sources. Complete with elaborately numbered sentences, Gail Fine focuses primarily on Burnyeat (1976) on Plato on Protagoras. Constance Meinwald presents a rather near-sighted account of two passages in the Philebus that employ the peras-apeiron distinction, with a view toward Plato's allegedly modernist mathematization of understanding. Lesley Brown revisits five pages of the Sophist that were hotly debated in the 1960s. With charity and elegance, she offers several plausible solutions to puzzles posed by previous scholars. Sometimes time smoothes over differences.A. A. Long's essay on Plato's presentation of Socrates in the Theaetetus might appear more philosophically anthropological. Yet Long reveals progressive sympathies, suggesting that Plato dispatches Socrates in the Theaetetus, so as to prepare the way for a more rigorously academic form of philosophizing, such as that exhibited in the Sophist. [End Page 111] In this way, Long speculates, Plato abandoned practical ethics for the academic life of research, so familiar to university professors and conference participants. It might be hard to square such speculation with Plato's Laws and the reception of Plato's writings among his own contemporaries. Still, Socrates' shifting role in Plato's dialogues is well worth pondering.By comparison, T. H. Irwin's contribution is wonderfully old-fashioned. His paper addresses the background knowledge to be presumed by ancient readers of Plato's dialogues and how that knowledge is artfully put to use in Plato's depiction of Socrates' reflections on the unity of virtue. By speculating on Plato's relation to his ancient readers, Irwin displaces many modernist preoccupations, though not without himself falling victim to that peculiar scholarly obsession of dating Plato's dialogues by their doctrines.With characteristic conservatism, Gisela Striker cautions scholars not to over-read Aristotle's Prior Analytics. While that extraordinary work may have deep implications for the history of formal logic, it probably was instead intended to be part of a general account of argument. In a similar vein, Charlotte Witt attempts to rescue Aristotle from scholars who would delimit Aristotle's multifarious uses of the "for the sake of" explanation, which altogether pervade his metaphysics, physics, biology and ethics. Yet, Witt soon finds herself competing in a contest over interpretive distinctions, a sport that will certainly never capture Aristotle's own authorial intentions.Facing another mass of scholarship, in this case on Aristotle's dialectic, C. D. C. Reeve sensibly attempts to... (shrink)

The article examines the influence of ancient Chinese philosophical concepts on the formation of modern piano art in China. Ancient Chinese materialistic philosophy is based on such teachings as Wu-xing and Yin-Yang, the Great Limit (Tai Chi), the eight trigrams and others. With the passage of time and the rapid development of science, these philosophical concepts not only did not lose their significance, but also had a powerful influence on the formation of modern Chinese piano creativity, deeply influenced (...) the form and cultural connotation of Chinese music, and also became the theoretical basis for the works of many modern composers. The philosophical and aesthetic Taiji system presented by composer Zhao Xiaosheng, integrated into the modern piano composition system, marked the beginning of a revolution in the field of piano art, combining the theoretical foundations of traditional Chinese philosophy and the principles of modern composition methods. The research methodology is based on philosophical and cultural analysis, musicological analysis, and semantic analysis. Of particular interest is the comparative analysis of the musical and philosophical "Tai chi composition system" by Zhao Xiaoshen, the dodecaphony of A. Schoenberg and the set theory of M. Babbitt and A. Fort, which the Chinese composer considers the sources of his creativity. The novelty of the research lies in the fact that a correlation is proposed between the key categories of ancient Chinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence of Chinese philosophy on music, to clearly show that the basic postulates of ancient Chinese philosophy have been encoded in the basis of traditional Chinese music since ancient times, and in the twentieth century they were the basis of modern Chinese theory of composition, while playing a colossal role in identifying the common foundations of modern composition of the West and East, while preservation of local features of the diverse sphere of these cultures. The emergence and formation of a philosophical and theoretical system of musical composition, based on the concepts of classical Chinese philosophy, organically refracted in the latest achievements of Western music composition, emphasizes the ontological significance of these concepts for both Eastern and Western culture. And the creation of appropriate musical works undoubtedly leads to positive trends in the development of modern Chinese music and classical Chinese philosophy. (shrink)

In recent years, the research field of the evolution of art has witnessed contributions from a wide range of disciplines across the "three cultures". In this thesis, I make both a critical review of existing explanations, and try to do elucidate the evolution of art by employing insights, methods and concepts from different disciplines. First, I critically evaluate the evidentiary criteria from standard evolutionary psychology some accounts employ to demonstrate that art qualifies as a human biological adaptation. I argue that (...) these criteria do not suffice to make that claim. Furthermore, I make the case for a cultural evolutionary approach to the arts. One commonly used evidentiary criterion for art as adaptation is the “tight fit” between artnbsp;human cognition, which is interpreted as suggesting that cognition has undergone selection to produce and appreciate art. However, disentangling cultural and genetic evolution allows formulating thenbsp;hypothesis that art has evolved culturally to match human cognition. Second, I observe that in ancient and modern hunter gatherer societies, artistic activities are virtually alwaysnbsp;with ritual. I discuss what this implies for the adaptive significance of art. Specifically, if the arts have culturally evolved in function of ritualistic purposes, their adaptive value has depended on the adaptiveness of ritual. Third, because architecture is characterized by the combination of utilitarian and aesthetic aspects, it is particularly interesting from an evolutionary perspective and therefore I devote special attention to it. Employing the cross-species comparative approach, I investigate two main purposes human architecture has in common with nonhuman animal constructions: protection andnbsp;Based on the phylogenetic approach I establish that protection may have been the primary function of building aptitudes in humannbsp;and that building was later co-opted for signaling purposes. Subsequently, I comparatively evaluate thenbsp;of signaling models in the cultural evolution of architectural aesthetics. Furthermore I combine insights from environmental psychology, niche construction and cultural evolution theory to develop the hypothesis that a function of religious monumental architecture may have been to support nbsp;or even to galvanize nbsp;social learning. Finally, I connect the account I developed to the cognitive science of religion. I complement the frequently held view that religious monumental architecture is a costly signal with the mechanism of sensory exploitation. I attempt to demonstrate that by exploiting thenbsp;response of awe in religious followers, religious monumental architecture promotes and regulates prosocial behavior and creates in them an openness to adopt supernatural beliefs. Fourth, I dealnbsp;the evolution of visual art, paying again special attention to cultural evolution andnbsp;explanatory value of sensory exploitation. I assert that the relatively late appearance of figurative art in the course of human evolution may be attributed to an increase in the number of social learning opportunities within and between human populations at that time. I support this assertion with archaeological data that indicate overall population growth and increased population densities at that time. These demographic changes, I argue, have allowed the retention and accumulation of innovations required for figurative art making. Contrary to previous accounts, I furthermore aim to show that this process doesnbsp;require figurative art to have served adaptive purposes. Employing sensory exploitation, I establish that figurative art could have evolved by exploiting pre-existing biases of evolved psychology. The dominant themes of upper Paleolithic and late stone age figurative art, animals and humans, seem to support this contention. Fifth, I present a number of experimental studies I conducted to verify whether contemporary art experts would have socially learned to resist exploitation of evolved psychology. One aspect ofrsquo;s exploitative power may be that it elicits aesthetic pleasure by pushing “pleasure buttons” that evolved for other purposes. Consequently, spectators may trade-off rewards from indulging in art and biological activities, resulting in less effort being allocated to reproduction. I contend that, while the generalnbsp; may indeed be exploited, experts, who are typically being exposed to high doses of art, may have socially learned to resist exploitation by selectively preferring art from prestigious art contexts. The latter would be in line with the claim that prestige bias may trump content biases of evolved psychology. The results of three experimental studies supportnbsp;contention. I find that laypeople's art appreciation is positively affected by a content bias for attractive faces, mediated by aesthetic pleasure, whereas experts' appreciation is positively affected by prestige and mediated by admiration for the artist. Moreover, experts confer lower appreciation to attractive compared to moderately attractive content, which is consistentnbsp;the contention that expertise and the use of prestige are associatednbsp;resistance against beautiful content that exploits evolved preferences. This research thus suggests that expertise moderates content and context biases, which may be of relevance to an ongoing debate about their relative importance as drivers of cultural evolution. In addition, this study provides a tentative but novel explanation for the fact, famously established by philosopher Arthur Danto, that beauty lost its central position in Western art during the 20th century. However my findings cannot exclude alternative explanations for the fact that art expert appreciation deviates from evolved aesthetic preferences. Further research may experimentally assess the role of prestige bias and resistance as drivers of this deviation versus other, previously suggested, potential processes. For example, preferences of experts may deviate on account of the fact that art serves as a badge of elite group membership and thus expert art appreciation as a means to distinguish oneself from the masses. Alternatively, art experts may seek intellectual challenges instead of pushing pleasure buttons. Future research may experimentally verify the respective roles of these different hypothesized mechanisms. In addition, it may be investigated how insights from sexual selection research may help elucidating the different processes at play in cultural evolution and particularly in the cultural evolution of art appreciation, given the commonalities between sexual selection and cultural selection models. (shrink)

Purpose. The article is devoted to the analysis of corporality as an attribute of plastic art in the Ancient art, the Middle Ages, the Renaissance, the modernism and the postmodernism. Theoretical basis. The authors consider historical development of the art as a change of paradigms. Within each paradigm a special understanding of art is created, which is characterized both by the act of creativity itself and by the evaluation of its results. Particularly urgent is the task to identify the (...) origins of these changes, to indicate their stages, the direction of the evolution of artistic creativity. In this context, corporality as a paradigm of European plastic art is considered in the article in the concrete historical dimension from the classics to the postmodernism. Originality. Postmodern experiments stimulate blurring the borders between the traditional forms and genres of art. Review of canonical ideas about the creation and destruction, order and chaos in art illustrates conscious reorientation from the classical understanding of artistic creativity to the construction of artifacts-simulacra, which is a characteristic feature in the oeuvre of contemporary artists, ranging from the pop art to the present day. Conclusions. The ideas of postmodern philosophers found their visual embodiment in modern artistic practices. Reconstruction of the body, re-switching of its elements according to the principle of chaotic collage, the interpretation of the human body as a separate substance isolated from the individual him/herself, which is presented as a phenomenon of mass culture, became the basis of the creative method of contemporary plastic art. The ideas of postmodern philosophers have found their visual embodiment in the contemporary artistic practices. (shrink)

How did the ancient Greeks and Romans conceptualise order? This book answers that question by analysing the formative concept of kosmos in ancient literature, philosophy, science, art, and religion. This concept encouraged the Greeks and Romans to develop theories to explain core aspects of human life, including nature, beauty, society, politics, the individual, and what lies beyond human experience. Hence, Greek kosmos, and its Latin correlate mundus, are subjects of profound reflection by a wide range of important (...) class='Hi'>ancient figures, including philosophers, poets and playwrights, intellectuals, and religious exegetes. By revealing kosmos in its many ancient manifestations, this book asks us to rethink our own sense of 'order', and to reflect on our place within a broader cosmic history. (shrink)

The subject of the study is the epistemological specificity of art through the «prism» of the Paleolithic and modern eras. The focus of the research is aimed at analyzing the phenomenon of «eidetism», which is a link between modern and primitive art. The purpose of the article is to comprehend the epistemological specifics of art, which began with the «psychophysiology» of the primitive world and developed into forms of «practical philosophizing» of the modern era. The research methodology includes a review (...) of literary sources, a dialectical approach to historical and art historical reconstruction, analysis of paleopsychological data, comparative analysis, elements of systems psychology and sociology. An element of novelty is the author's position that already in the lower, early layers of its evolution, the status of art «as one of the most ancient forms of human activity» is enriched by the status of «a form of practical philosophizing». The generalization is made that the art of the XX-XXI centuries, on the one hand, abandoned both mimesis and humanism, on the other – it continued the path of «practical philosophizing» begun in ancient times, based on the perceptual-empirical method of cognition of reality. The evolution of art from its primitive origins through archaic, classical to its modern state is, at the same time, the transformation of human consciousness, and the comprehension through artistic and creative activity of one's being and place in the universe, etc. - the development of its «depth» (the content of art). This is the development of art «in breadth» (the development of artistic form): the proliferation of its types and genres, the growth of stylistic and technological polyphony, etc. As a result, «art has come a long way from its purely psychophysiological hypostasis to «practical philosophizing». Artistic and creative activity itself as a whole continues to be the most important component of the global «mechanism» of mastering reality. (shrink)

The analysis concerns the interpretation of the story about Helen of Troy in the Goethe tragedy “Faust” and in the Hofmannsthal mythological opera “The Egyptian Helen” in terms of succession and development of philosophical and aesthetic conception of image. For the first time the work on the opera “The Egyptian Helen” is considered as a fruitful period of the combined creation of Hugo von Hofmannsthal and Richard Strauss on the basis of Nietzsche’s antiquity reception. It is proved, that in the (...) Hofmannsthal’s philosophical and aesthetic views the conception of the opera “Helen” is the symbol of synthesis of opposite view points on antique perception of the world and the basic sources of the ancient Greek art. The light Olympic Greece of Winckelmann and Goethe and the spontaneous titanism, Dionysus’s ecstasy and Nietzsche’s, Burckhardt’s, Bachofen’s archaic mysticism merged in Helen’s “Mystic wedding”. The basis for such unification serves an invincible life instinct of an ancient Greek, who becomes apparent in ability to moral transformation and revival by force of overcoming inevitable things in human existence of suffering. (shrink)

The essays in this volume treat a wide variety of fundamental topics and problems in ancient Greek philosophy. The scope of the section on pre-Socratic thought ranges over the views which these thinkers have on such areas of concern as religion, natural philosophy and science, cosmic periods, the nature of elements, theory of names, the concept of plurality, and the philosophy of mind. The essays dealing with the Platonic dialogues examine with unusual care a great number of central themes (...) and discuss them in considerable depth: problems in language and logic, myth, reason, hypothesis, eros, friendship, reason, morality, society, art, the nature of soul, and immortality. In addition, they offer fresh discussions on a number of basic morphological, methodological, and philological issues related to philosophical arguments and introduce new aspects for a critical reexamination of controversies surrounding the doctrines and the authenticity of certain Platonic works. The essays on the philosophy of Aristotle are closely reasoned analyses of such basic themes as the universality of the sensible, the nature of kinesis, the problem of future contingencies, the meaning of qualitative change, the doctrine of phantasia, the essence of intelligence, and the metaphysical foundations for the ethical life. The essays on post-Aristotelian developments in ancient philosophy offer challenging and well-documented discussions on topics in the history of ancient logic, categorical thought, the ethical doctrines of ancient Scepticism, epistemological issues in the physical theory of the Epicureans, and basic concepts in the metaphysics of the neo-platonists. (shrink)

This work investigates how ancient philosophers understood productive knowledge or technê and used it to explain ethics, rhetoric, politics and cosmology. In eleven chapters leading scholars set out the ancient debates about technê from the Presocratic and Hippocratic writers, through Plato and Aristotle and the Hellenistic age, ending in the Neoplatonism of Plotinus and Proclus. Amongst the many themes that come into focus are: the model status of ancient medicine in defining the political art, the similarities between (...) the Platonic and Aristotelian conceptions of technê, the use of technê as a paradigm for virtue and practical rationality, technê´s determining role in Platonic conceptions of cosmology, technê´s relationship to experience and theoretical knowledge, virtue as an 'art of living', the adaptability of the criteria of technê to suit different skills, including philosophy itself, the use in productive knowledge of models, deliberation, conjecture and imagination. (shrink)

1. A new wave of subjectivism in the theory of pictorial art began around forty years ago; and since then it has gathered pace in tandem with changing fashions in the philosophy of mind. The initial impetus was provided by the publication of Ernst Gombrich’s 1956 Mellon Lectures, Art and Illusion.1 In this book, and in many subsequent articles and lectures which elaborate its theme, Gombrich argues that the development of Western art – essentially the art of ancient Greece (...) and the art of Western Europe from Giotto to Cezanne – consists in a series of discoveries about the nature of visual perception, and the means by which the effect of visible objects on our senses can be simulated. ‘What may make a painting like a distant view through a window’ he writes, ‘is not the fact that the two can be as indistinguishable as is a facsimile from the original: it is the similarity between the mental activities both can arouse.’ And in another place: ‘The goal which the artist seeks with such self-critical persistence is … a psychological effect.’2 These remarks are concerned with a specific artistic tradition, and with specific pictorial devices, such as foreshortening and shading, which I shall not write about here. But Gombrich’s work launched a search for a general theory of depiction based on the same approach. The search intensified in the wake of Nelson Goodman’s Languages of Art, which persuaded most of its readers that the resemblance theory of depiction could not be made to work, but did not provide a plausible alternative to it. Today there is broad agreement among philosophers that the nature of pictorial art cannot be explained by analysing the relationship between the marks on the surface of a picture and the kinds of objects that they represent. The consensus is that it can only be explained by defining the psychological effect that these marks produce.3 Today, the two most influential theories of depiction that are guided by this general idea are Richard Wollheim’s and Christopher Peacocke’s.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedThe Ambitions of Curiosity: Understanding the World in Ancient Greece and China. By G.E.R. Lloyd. Cambridge: Cambridge University Press, 2002. Pp. xvi + 175. Price not given.The Art of the Han Essay: Wang Fu's Ch'ien-Fu Lun. By Anne Behnke Kinney. Tempe: Center for Asian Studies, Arizona State University, 1990. Pp. xi + 154. Paper $10.00.The Autobiography of Jamgön Kongtrul: A Gem of Many Colors. By Jamgön Kongtrul (...) Lodrön Thayé and translated by Richard Barron (Chökyi Nyima). Ithaca, New York: Snow Lion Publications, 2003. Pp. xxii + 549. Price not given.Awesome Nightfall: The Life, Times, and Poetry of Saigyō. By William R. LaFleur. Boston: Wisdom Publications, 2003. Pp. xiii + 173. Paper $14.95.Becoming the Compassion Buddha: Tantric Mahamudra for Everyday Life. By Lama Thubten Yeshe, edited by Robina Courtin, and foreword by Geshe Lhundub Sopa. Boston: Wisdom Publications, 2003. Pp. xi + 194. Paper $14.95.Between Two Worlds East and West: An Autobiography. By J. N. Mohanty. New Delhi: Oxford University Press, 2002. Pp. ix + 134. Hardcover RS 525.00.The Chinese Face of Jesus Christ. Edited by Roman Malek, S.V.D. Sankt Augustin, Germany: Institut Monumenta Serica and China-Zentrum; and Nettetal, Germany: Steyler Verlag, 2002. Pp. 391. EUR 40.00.Chinese Medicine in Contemporary China: Plurality and Synthesis. By Volker Scheid. Durham and London: Duke University Press, 2002. Pp. xiv + 407. Hardcover $69.95. Paper $23.95.Confucian Feminist: Memoirs of Zeng Baosun (1893-1978). Translated and adapted by Thomas L. Kennedy. Philadelphia: American Philosophical Society, 2002. Pp. xxi + 170. Price not given.Consciousness Studies: Cross-Cultural Perspectives. By K. Ramakrishna Rao. Jefferson (North Carolina) and London: McFarland and Company, 2002. Pp. 367. Hardcover $65.00.Constituting Communities: Theravāda Buddhism and the Religious Cultures of South and Southeast Asia. Edited by John Clifford Holt, Jacob N. Kinnard, and Jonathan S. Walters. Albany: State University of New York Press, 2003. Pp. viii + 224. Hardcover $65.50. Paper $21.95.Developments in Indian Philosophy from Eighteenth Century Onwards: Classical and Western. By Daya Krishna. Volume X Part 1 of History of Science, Philosophy and Culture in Indian Civilization, edited by D. P. Chattopadhyaya. New [End Page 110] Delhi: Centre for Studies in Civilizations, 2001. Pp. xxiii + 417. Hardcover RS 1200.East and West: Identità e dialogo interculturale. By Giangiorgio Pasqualotto. Venezia: Marsilo Editori, 2003. Pp. 210. EUR 16.00.Effortless Action: Wu-wei as Conceptual Metaphor and Spiritual Ideal in Early China. By Edward Slingerland. New York: Oxford University Press, 2003. Pp. xii + 352. Price not given.Encountering Kā lī: In the Margins, at the Center, in the West. Edited by Rachel Fell McDermott and Jeffrey J. Kripal. Berkeley and Los Angeles: University of California Press, 2003. Pp. xviii + 321. Hardcover $55.00, £37.95. Paper $21.95, £15.95.Encyclopedia of Chinese Philosophy. Edited by Antonio S. Cua. New York and London: Routledge, 2003. Pp. xx + 1020. Hardcover $150.00.Essays on Indian Philosophy. By J. N. Mohanty and edited by Purushottama Bilimoria. New Delhi: Oxford University Press, 2002. Pp. xxxvii + 347. Paper RS 525.00.Faith, Humor, and Paradox. By Ignacio L. Götz. Westport, Connecticut: Praeger Publishers, 2002. Pp. 136. Hardcover $61.95.Four Illusions: Candrakīrti's Advice for Travelers on the Bodhisattva Path. Translated by Karen C. Lang. New York: Oxford University Press, 2003. Pp. xv + 240. Price not given.The Great Awakening: A Buddhist Social Theory. By David R. Loy. Boston: Wisdom Publications, 2003. Pp. 223. Paper $16.95.The Hidden History of The Tibetan Book of the Dead. By Bryan J. Cuevas. New York: Oxford University Press, 2003. Pp. xi + 328. Price not given.Huang Di nei jing su wen: Nature, Knowledge, Imagery in an Ancient Chinese Medical Text. By Paul U. Unschuld. Berkeley and Los Angeles: University of California Press, 2003. Pp. xii + 520. Hardcover $75.00, £52.00.In Dewey's Wake: Unfinished Work of Pragmatic Reconstruction. Edited by William J. Gavin. Albany: State University of New York Press, 2003. Pp. vi + 249. Hardcover $71.50. Paper $23.95.Knowledge and Freedom in Indian Philosophy. By Tara Chatterjea. Lanham, Maryland: Lexington Books, 2002. Pp. xvi + 159. Hardcover... (shrink)

How do you tell what’s right from what’s wrong? Can you always? What’s the difference between deduction, induction, and abduction? What are the best techniques for making an argument logically sound? In this fascinating little book, the smallest on its subject ever produced, philosopher Earl Fontainelle explores the ancient art of discursive Logic and demonstrates some of the techniques that have long been used to triumph over the debates and deceptions that assail us every day. Filled with helpful examples (...) of good and bad reasoning, Logic is an invaluable introduction to a defining human characteristic. (shrink)

This collection illustrates the centrality of skill within ancient ethics, including ancient Chinese ethics, showing how skill or techne has been a touchstone from the beginning of philosophical thought. Covering Socrates' search for expertise in virtue, the Republic's 'craft of justice', Aristotle's delineation of the politike techne and the Stoics' 'art of life'. Divided into four sections on Plato, Aristotle, the Stoics and Chinese ethics, it brings together world-leading philosophers working across this broad topic. Yet it is not (...) limited to traditional figures and traditions, featuring essays on the importance of skill in lesser-known philosophers, such as Carneades and Antipater, and texts, such as the Zhuangzi. In doing so, it illustrates how skill, expertise and 'know how' are important in ethics, epistemology, philosophy of mind, philosophy of action and cognitive science. This collection of specially-commissioned chapters is the first to foreground skill as central to Ancient and Chinese ethics specifically making it an essential for anyone interested in the value of cross-cultural philosophy today. (shrink)

Spanning thirty years of intensive research, this book proves what many scholars could not explain: that today’s Western world must be considered the product of both Greek and Indian thought—Western and Eastern philosophies. Thomas McEvilley explores how trade, imperialism, and migration currents allowed cultural philosophies to intermingle freely throughout India, Egypt, Greece, and the ancient Near East. This groundbreaking reference will stir relentless debate among philosophers, art historians, and students.

The study of Greco-Roman civilisation is as exciting and innovative today as it has ever been. This intriguing collection of essays by contemporary classicists reveals new discoveries, new interpretations and new ways of exploring the experiences of the ancient world. Through one and a half millennia of literature, politics, philosophy, law, religion and art, the classical world formed the origin of western culture and thought. This book emphasises the many ways in which it continues to engage with contemporary life. (...) Offering a wide variety of authorial style, the chapters range in subject matter from contemporary poets' exploitation of Greek and Latin authors, via newly discovered literary texts and art works, to modern arguments about ancient democracy and slavery, and close readings of the great poets and philosophers of antiquity. This engaging book reflects the current rejuvenation of classical studies and will fascinate anyone with an interest in western history. (shrink)

The article is devoted to the transformation of traditional folk culture archetypes of wood, stone, thread in modern decorative and applied art, as well as ways of using threads, wood and stone as materials for the manufacture of objects of modern art. The research does not aim to repeat classical ethnographic studies or to refer monographs on the history of culture. The article is an attempt at a comprehensive analysis of the modern practice of decorative and applied art from the (...) point of view of the philosophy of culture and practical aesthetics. This approach is a unique experience in the analysis of jewelry and decorative practices of processing heterogeneous materials of natural origin. The cluster of masters of decorative and applied art in Russia is expanding, there are more and more opportunities and materials for creativity, but the authors of the products themselves are not engaged in stylistic, art criticism or philosophical understanding of their activities. Nevertheless, their works, according to researchers, reflect the oldest mythological images that are the cornerstones of Russian culture and represent the heritage of world culture, transformed by post-culture and man-made trends that have penetrated, among other things, into art. Archetypes of wood, stone, thread, preserved since ancient times, acquire new meanings and new forms of embodiment in the works of modern authors. (shrink)

My thesis addresses a puzzle concerning Hegel's notion of the value of beauty. On the one hand, the contemplation of beauty, in particular artistic beauty, has the same status for Hegel as philosophical knowledge, since through both, we come to grasp the absolute truth: the unity of spirit and nature, or of the human individual and the world it lives in. On the other hand, Hegel thinks that the aesthetic unity of spirit and nature is in some way deficient, when (...) compared to the unity we come to grasp through philosophical knowledge. Thus Hegel claims that philosophy and art have the same content, while philosophy is higher than art. I suggest that this puzzle can be dissolved if we consider that beautiful art, for Hegel, is associated with a form of life, in which the aesthetic unity of spirit and nature becomes social and political reality: the ancient Greek polis. Since the social and political structure of the polis inevitably leads to tragic collisions, Hegel concludes that the value of beauty provides no ground for establishing an ultimate unity of the human individual and the world it lives in. In Hegel's view, it is only philosophical reflection, and the social and political institutions which emerge from such reflection, which can provide an adequate ground for ultimate reconciliation. Nevertheless, I argue, the contemplation of beauty remains a perfectly adequate way of grasping, if not establishing, this unity. Hence according to the interpretation I propose, philosophy is higher than art in a twofold sense for Hegel. On the one hand, it serves a critical function with respect to the value of beauty: it points out the limits of beauty, in particular the fact that beauty is incapable of making the unity of spirit and nature concrete and real, by turning it into social and political reality. On the other hand, philosophy redeems the promise which is left unfulfilled by beauty: to establish an ultimate unity of spirit and nature, of human individual and the world it lives in. (shrink)

Despite increasing interest in the figure of Socrates and in love in ancient Greece, no recent monograph studies these topics in all four of Plato's dialogues on love and friendship. This book provides important new insights into these subjects by examining Plato's characterization of Socrates in Symposium, Phaedrus, Lysis and the often neglected Alcibiades I. It focuses on the specific ways in which the philosopher searches for wisdom together with his young interlocutors, using an art that is 'erotic', not (...) in a narrowly sexual sense, but because it shares characteristics attributed to the daimon Eros in Symposium. In all four dialogues, Socrates' art enables him, like Eros, to search for the beauty and wisdom he recognizes that he lacks and to help others seek these same objects of erôs. Belfiore examines the dialogues as both philosophical and dramatic works, and considers many connections with Greek culture, including poetry and theater. (shrink)

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. (...) John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

The symposion was a key cultural phenomenon in ancient Greece. This book investigates its place in ancient Greek society and thought by exploring the rhetorical dynamics of its representations in literature and art. Across genres, individual Greeks constructed visions of the party and its performances that offered persuasive understandings of the event and its participants. Sympotic representations thus communicated ideas which, set within broader cultural conversations, could possess a discursive edge. Hence, at the symposion, sympotic styles and identities (...) might be promoted, critiqued and challenged. In the public imagination, the ethics of Greeks and foreigners might be interrogated and political attitudes intimated. Symposia might be suborned into historical narratives about struggles for power. And for philosophers, writing a Symposium was itself a rhetorical act. Investigating the symposion's discursive potential enhances understanding of how the Greeks experienced and conceptualized the symposion and demonstrates its contribution to the Greek thought world. (shrink)

In his different analyses of ancient Egypt, Hegel underscores the marked absence of writings by the Egyptians. Unlike the Chinese with the I Ching or the Shoo king, the Indians with the Ramayana and the Mahabharata, the Persians with the Avesta, the Jews with the Old Testament, and the Greeks with the poems of Homer and Hesiod, the Egyptians, despite their developed system of hieroglyphic writing, left behind no great canonical text. Instead, he claims, they left their mark by (...) means of the architecture and art. This paper explores Hegel’s analysis of the Egyptians’ obelisks, pyramids, sphinxes, etc. in order to understand why he believes that these are so important for understanding the Egyptian spirit. This analysis illustrates Hegel’s use of history and culture in the service of philosophical anthropology. (shrink)

While visiting original sites provides a clear benefit to study in ancient history, art, and archaeology, this benefit of such an activity for philosophy is less conclusive. In addition to describing a series of classes on Socrates, Plato, and Aristotle that used seven sites in Greece in a study abroad program, this paper draws on student surveys to argue that on-site sessions have two kinds of benefits. First, visiting sites can enhance understanding by providing important contextual information that greater (...) illustrates certain philosophical points. Second, visual aids available at on-site sessions also bring the reading of texts to life and increase a student's motivation to understand the material. (shrink)

Retrieved from unpublished manuscript remains, Arthur Schopenhauer’s Eristic Dialectics (1830–1831) has been largely ignored both by philosophers and rhetoricians. The work is highly enigmatic in that its intended meaning vacillates between playful irony and Machiavellian seriousness. Adopting an esoteric perspective, this article argues that the tract can be read as simultaneously operating on two levels: an exoteric, cynical one, according to which Schopenhauer accepts that people are going to argue irrespective of the truth and as a result provides tools for (...) defeating one’s opponents, and a deeper, esoteric level, which functions not cynically but, in Peter Sloterdijk’s language, kynically, as a satirical unmasking of the cynical impulses animating the study and practice of argumentation, especially as evinced in the rhetorical-humanist tradition. Such an interpretation reveals that, while a minor work, Eristic Dialectics offers a sophisticated philosophical critique of “the art of persuasion.”. (shrink)

Xenocrates of Athens was a sculptor and theoretician of the 3rd cen. B.C., whose now lost writings were used as basic sources by Pliny the Elder in his 34th and 35th Books of Natural History, about Sculpture and Painting respectively. It is strongly believed that the progressive model of the development of art in both books has Xenocratian origins: influenced by the tradition of Democritus, Xenocrates had explained the evolution of art as a process of resolution of artistic problems. His (...) narrative was, though, a descriptive one without a theoretical or philosophical background. A similar case had prevailed in the Historiography of Art for many centuries, up to the beginnings of the 20th cen., when the rise of Philosophical Hermeneutics changed the picture. Art Historians began to create theories and methods trying for the first time to explain at a theoretical level the phenomena both of the development of art and of the capability of later perceivers to understand previous artworks and their changes through time. Ernst Gombrich’s theory that combines modern and postmodern ideas is to be understood as influenced both by the Xenocratian idea that there is always an innovative person who first overcomes traditional methods triggering the progress of art’s development and by the Popperian notion of “trial and error” as the main schema for the development of science. (shrink)

This work contains a full, critical translation of Huai Nan Tzu, Book 9, Chu-shu, which is part of "an important compendium of knowledge and philosophical speculation... presented to the Chinese court of Wu Ti during the first century of the Former Han ". Preceding the translation is a dense philosophical analysis of the treatise, and of its place in a painstakingly reconstructed history of ideas, particular to the development of China up to that date. China had already gone through nearly (...) two millennia of history. (shrink)

Nature has been a recurrent theme in arts and philosophy for several decades. Nature is experienced in variety of contexts; artists have been enacting with nature as phenomena, material, space, environment, or simply as a place or an idea. In philosophy this is evidenced by an increasing interest in environmental ethics and aesthetics, as well as in philosophy of biology and metaphysics. In the 1960s, new affinities between art and nature developed and became among the characteristics of contemporary art. Environmental (...) approaches became essential and artists were engaging the public closely with social and physical spaces. Generating processes rather than creating objects, both in nature as well as in the urban landscape, artists reintroduced art into nature and nature into art and opened up new ways of engaging environment, creating non-permanent artworks which produced a new understanding of creativity that following generations are still exploring. The distinction between art and nature became increasingly blurred at the same time as the ancient dichotomy of culture and nature became controversial. With the rise of environmental ethics in the 1970s, philosophers began discussing nature as an independent source of moral values, rather than a mere stage for moral life deriving its value from relations among humans. It has both been suggested that nature might have independent moral value, much like persons are thought to have such value, or that nature can be an active participant in a morally virtuous life. Both aesthetics of nature and environmental ethics have become established fields in contemporary philosophy with their distinct bibliography to draw on. But even if distinct, and properly so, these two new fields might be more closely related than often suggested. The aim of this collection is to bring together different trends in thinking about nature and value that are distinctive of these changing moods in art and philosophy and to juxtapose them with some other ways of thinking about these issues, such as economics and religion. The authors include Holmes Rolston III, Antje von Graevenitz, Roger Pouivet, Eric Palazzo and Emily Brady. The essays and artworks in this volume derive from the conference Nature in the Kingdom of Ends held in Selfoss, Iceland, on June 11th and 12th 2005. (shrink)

The Spirit of Secular Art: A History of the Sacramental Roots of Contemporary Artistic Values explains the spiritual prestige of art. Various theorists have discussed how art has an aura or indefinable magic. This book explains how, when and why it gained its spiritual properties. The idea that all art is somehow spiritual (even though not religious) is often assumed; this book, while narrating the historical trajectory of art in the most accessible language, reveals how the mysteries of religious practice (...) are abstracted and saved through all stages of secularisation in European culture. The Spirit of Secular Art presents a coherent theory defining the sacred basis of Western aesthetics. It evocatively describes the afterlife of the holy from Ancient Greece to the present, and outlines how the mysterious institution of art can be explained in material terms. Unlike other books in the genre, The Spirit of Secular Art radically deconstructs traditional art history in terms of 'prestige' and the value of the non-material. The book functions as: an alternative critical history of art, integrated with the histories of literature and belief; a philosophical essay on the fundamental values of art and religion; and a critique of the spiritual conceits of contemporary aesthetics and art appreciation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Erotic Art and Pornographic PicturesJerrold LevinsonOnly in primitive art, with its urgent need to evoke the sources of fertility, are the phallus and the vulva emphasized, as it were innocently. By ancient Greek and Roman times there already existed the special category of the pornographic—graphic art or writing supposed, like a harlot, or porne, to sexually stimulate.1IAS REGARDS PHILOSOPHICAL ANALYSIS of the opposition between the erotic and the (...) pornographic, there are a number of reasonable goals one might have: to preserve as many considered intuitions about the opposition as possible; to present the opposition in a clearer light than it enjoys when casually invoked; to modestly "sharpen" the standard opposition that either accounts for our experience in this domain more fully, or allows us to organize our thinking about the domain more perspicuously. I hope in this paper to make progress toward some of those goals. Though the scope of the erotic/pornographic opposition goes beyond the visual, my focus here will be the opposition as it exists in the visual sphere, and even more narrowly, in the sphere of images. In addition to preserving and clarifying a distinction between erotic art and pornography, I hope also to make an intelligible place for erotica, as something intermediate between the other two.Here, then, are some intuitions on the erotic and the pornographic: [End Page 228]1. the erotic and the pornographic are both concerned with sexual stimulation or arousal.2. while the term "erotic" is neutral or even approving, the term "pornographic" is pejorative or disapproving.3. while "erotic art" is a familiar, if somewhat problematic, notion, "pornographic art" seems an almost oxymoronic one.4. whereas pornography has a paramount aim, namely, the sexual satisfaction of the viewer, erotic art, even if it also aims at sexual satisfaction on some level, includes other aims of significance.5. whereas we appreciate (or relish) erotic art, we consume (or use) pornography. In other words, our interactions with erotic art and pornography are fundamentally different in character, as reflected in the verbs most appropriate to the respective engagements.In what follows I try to accommodate all of those intuitions. As I will need a distinction invoked in the first of them (between sexual stimulation and sexual arousal) let me spell that out before proceeding. By sexual stimulation I will mean the inducing of sexual thoughts, feelings, imaginings, or desires that would generally be regarded as pleasant in themselves. By sexual arousal I mean the physiological state that is prelude and prerequisite to sexual release, involving in the male, at least, some degree of erection. And by sexual release I mean something that I take it needs no spelling out.How to differentiate erotic art from pornography, and from erotica as well, is of course not the only important philosophical question about erotic art. Here are two others: 1) How is the erotic aspect of erotic art compatible with the disinterested or distanced frame of mind that seems required for aesthetic engagement with or appreciation of a work of visual art? 2) How is the degree of eroticness of a work of erotic art related to its artistic value? I will briefly address those two questions toward the end of the paper, but most of my effort will be devoted to the prior question, that of the differentiation of erotic art, erotica, and pornography.IIHow, then, to effect that differentiation in the domain of visual images to which I have restricted my inquiry? One possibility would [End Page 229] concern the specific kind of response aimed at. Thus, erotic art might be said to involve images intended to sexually stimulate, but also to reward artistic interest; erotica to involve images intended to sexually stimulate but not to reward artistic interest; pornography to involve images intended to sexually arouse in the interests of sexual release. Another possibility would be by the character of the sexual representation involved, so that pornography would involve sexually explicit images, erotic art would involve sexually inexplicit images, and erotica images would be intermediate in their explicitness, irrespective of the ends for which the images were fashioned. A third possibility would be by... (shrink)

It is commonly known that Nietzsche is one of Plato's primary philosophical antagonists, yet there is no full-length treatment in English of their ideas in dialogue and debate. Plato and Nietzsche is an advanced introduction to these two thinkers, with original insights and arguments interspersed throughout the text. Through a rigorous exploration of their ideas on art, metaphysics, ethics, and the nature of philosophy, and by explaining and analyzing each man's distinctive approach, Mark Anderson demonstrates the many and varied ways (...) they play off against one another. This book provides the background necessary to understanding the principle matters at issue between these two philosophers and to developing an awareness that Nietzsche's engagement with Plato is deeper and more nuanced than it is often presented as being. (shrink)

The text was originally a conference speech. In principle, it was prepared for teachers of philosophy and people interested in philosophy, therefore it has the character of an essay and only to a small extent refers to the literature of the subject. However, I am deeply convinced of the validity of the thesis that I propose in it, even if they may seem only to a small extent supported by references to the state of research. -/- Synthetical studies take a (...) special place in the research on the history of ancient philosophy. They demonstrate the existing perspective by performing a selection and arrangement of the material, presenting the periodisation, accentuating and determining what is “philosophically significant.” This article points out that despite the great progress made in detailed research that has taken place over the last few decades, the general framework of development of philosophy, derived from Hegel’s thought, has remained unchanged for two centuries. Hegel’s perspective has instilled a certain pattern that encompasses a whole series of debatable solutions. These include (1) development of a certain understanding of what “philosophy” is and thus separating it from a wide spectrum of literature, rhetoric, medicine, and religion; (2) introduction of a dubious periodisation (e.g. the distinction between the Presocratic period and Socrates’ breakthrough in the form of a departure from the philosophy of nature and return to ethical considerations; (3) adoption of philosophy of Plato and Aristotle as the apex of thought. The author highlights the need to change the approach to the history of ancient philosophy and modify the existing paradigm. He calls for paying greater attention to the intertextual element and to the fact that the assessment of originality and relevance of preserved works is falsified due to the disappearance of comparative material. The proposal to establish a new reconstructive paradigm is based on the belief that during further research on ancient philosophy it would be advisable (1) to expand the research perspective and enrich it with the fields of education, medicine, the great sphere of literature, the spheres of fine arts and music, (2) to focus more on the issue of transmission and reception of texts thanks to which it is possible to deepen and extend the reconstructed context of philosophical discussions, (3) to come to the realisation that the abstract character of description, connected with all the syntheses of the philosophical thought in antiquity lead to its oversimplification and impoverishment by presenting it out of the context and depriving of what is individual and specific for a particular thinker. (shrink)