This paper provides an account of improvisational artistry in live dance performance that construes the contribution of the dance performer as a kind of agency. Andy Clark’s theory of the embodied and extended mind is used in order to consider how this account is supported by research on how a thinking-while-doing person navigates the world. I claim here that while a dance performer’s improvisational artistry does include embodied and extended features that occur outside of the brain and nervous (...) system that this can be construed as “agency” rather than “thought.” Further I claim that trained and individual style accounts for how this agency acquires its artistic nature. This account thus contributes to the philosophy of improvisation in dance performance in a way that includes motor as well as cognized intentions. (shrink)

This paper uses detailed art criticism to ground a distinctive take on debates about the interaction of moral and aesthetic value. Immoralists claim that moral flaws can make artworks aesthetically better than they would otherwise be. I argue that whether or not immoralism is true, immoralists have not provided compelling characterizations of strategies that might constitute this kind of “immoral artistry.” The main exception is found in the work of A. W. Eaton. I critique Eaton’s perspective by way of (...) sustained interpretive-philosophical discussion of The Wire and especially The Sopranos. The discussion has implications for value interaction debates, conceptualizations of the “rough hero” genre, theories of appropriate response to fictions, and more applied debates about the moral criticism of film and television. (shrink)

These 12 essays by Belgian philosopher and theorist Bart Verschaffel - many translated into English for the first time - explore the meaning and relevance of art today. They cover a rich and inventive range of topics, from mockery and laughter to the artwork as a 'gift', and from caricature to splendour.

This article provides an analysis of the way in which contemporary forms of intelligence discourse, in similar fashion to political art, function by delimiting critical thought. The intelligence discourse critiqued is extolled through things such as progressive intelligence acquisition and the supposed indispensability of Democratic reason, amongst other qualities. In support of its argument, the article focusses specifically on Baudrillard’s analysis of the notion of the intelligence of evil, as well as on the Frankfurt School’s critique of massification. However, the (...) article also notes limitations in these thinkers’ recovery and defence of critical thought in response to the delimitation posed by intelligence and massification, and argues for Rosi Braidotti’s evaluation of thought as nomadic as a necessary corrective. (shrink)

In contemporary art, a growing number of artists experiment with non-humans in their actual artworks. This paper examines the issues related to such practices with reference to Jakob von Uexküll’s analyses of the configuration of meaningful worlds by non-human animals, as well as Merleau-Ponty’s and Deleuze-Guattari’s interpretations of Uexküll’s ideas. Uexküll maintained that every living being lives in a world with meaning; Merleau-Ponty understood this claim as situating the beginning of culture in the creativity of non-humans; Deleuze and Guattari emphasized (...) the melodic and rhythmic dimension of this creativity, mainly interpreted as territorialization processes. These elements are paramount to understanding what is at stake with artworks featuring non-humans: considering projects proposals from Agnes Meyer-Brandis, Tomas Saraceno, Ana Maria Lopez Gomez and other contemporary artists, the conclusion is that an artwork featuring an encounter between two territorializing movements has the potential to transform the human range of perception. (shrink)

Your artistry involves you intimately with the world around and beyond you. So your artistry involves profound but simple philosophical matters. As a human person, you are artful and philosophical, at the core of your being. Doorway to Artistry offers a playful, everyday philosophical approach necessary for life, integration, healing, and thriving in artistry. It reflects on the real and how we are involved with it, especially in our creative effort. In short, the real hospitably welcomes (...) us, and in our artistry we reciprocate in noble courtesy. Human persons were made for this communion with the real. Find in this book a hospitable welcome to belong at home beyond where you are. (shrink)

Both scienticity and artistry have been listed in cluster concept definitions for both science and art. However, these clusters have not been considered together before. I contrast and combine these different clusters for the first time, and I argue that doing so better elucidates the properties of the natural sciences, humanities and fine arts than the science and art cluster concepts do separately. This is because all disciplines have varying levels of scienticity and artistry, but this is not (...) captured fully by the science or art cluster concepts separately. An integrated scienticity and artistry cluster provides a new way of describing the commonly argued notion that the sciences and arts share qualities, methods and practices, but the integrated scienticity-artistry cluster shows how, when and where these qualities blend into each other across disciplines. (shrink)

Although aesthetics has been to some extent marginalized in western philosophy, within the Chinese philosophical tradition aesthetics plays a key role. This article explores Chinese aesthetics as a site of valuable resources for rethinking the ways in which we conceptualize philosophical activity. After introducing a few distinct features of the Chinese aesthetic tradition, the article examines aesthetic distance in terms of guan, he, and ying, Chinese conceptions of artists and participants, and aesthetic suggestiveness or the inexhaustibility of a work of (...) art, in order to suggest that the Chinese philosophical tradition might contribute its sense of connection between style or method of doing philosophy and aesthetics to a contemporary metaphor of philosophy as aesthetic experience. (shrink)

Despite the attention paid to the artistic and literary dimensions of Nietzsche’s writings, the literary structure of On the Genealogy of Morality has received little attention. In this article I examine the literary structure of GM’s first treatise. This study shows that Nietzsche structured the treatise simultaneously as a descent to the depths of ressentiment-fueled hatred, and as an ascent bringing its readers from self-ignorance to the beginnings of self-knowledge. The treatise’s structure responds to the preface’s twofold genealogical question on (...) the historical origins of modern moral values, and on their real worth. In GM I:1–8 Nietzsche addresses the first part of the question, while in GM I:10–17 he addresses its second part. The free spirit’s objection in GM I:9, I argue, is the hinge upon which GM I turns, and which brings the treatise to the question of the real worth of moral values. (shrink)

Aetiological poetry tends to be mature poetry in both a literary and a political sense. Interest in antiquarian lore belongs in general to a poet's middle and later years when youthful and audacious quests for what is avant-garde and anti-establishment have yielded to conservatism and a desire to preserve the past. Propertius and Ovid both turned to aetiological poetry after a long apprenticeship in amatory ‘nugae’ which enabled them, like their predecessor, Callimachus, to embellish their work with a diversity of (...) artistic devices founded on considerable poetic skill and literary experience. With this, a vital ploy to engage the sympathy of a sophisticated audience, went the poise and urbanity with which the aetiological poet found humour in the pose of earnest researcher, in the naivety of primitive cult and in clever literary adaptations. Moreover, dedication to a form of writing essentially nationalist and conservative encouraged a tone of patriotic pride and allusions, even compliments, to the ruling powers. In the light of such considerations we may examine Ovid's account of the ‘Ludi Megalenses’. The ‘Megalensia’ furnished Ovid with a goddess who had enjoyed fame and even notoriety in the pages of Roman literature. In addition to showing a poetic and neoteric interest in the orgiastic elements of her cult and the alien music of her retinue Roman poetry could reflect too the awe and reverence inspired of old by the Great Mother and expressed in the Greek poets, whom Lucretius claimed as his sources in his powerfully beautiful excursus on Cybele worship. Again, Cybele's importance in Rome had been augmented by her Trojan origins, concerning which a canonical Augustan theology had been established by Vergil in the Aeneid. (shrink)

In the half-century since Kenneth Sisam characterized the Middle English Sir Orfeo as a Greek myth “almost lost in a tale of fairyland,” scholars have struggled to synthesize these two apparently disparate elements into a unified reading of the poem. The narrator has seemingly transformed the ancient legend of Orpheus and Eurydice into a contemporary romance of a king Orfeo and his queen Heurodis. The Greek harper becomes an English minstrel, and some readers have explored the meaning of this transformation (...) through the traditions of medieval mythography and the music theory of Boethius. In Orfeo's loss of his wife and kingdom, his wandering in the wilderness, and his final successful return, other readers have seen the outlines of a specifically Christian allegory. Many of these scholars have explored the exegetical resonances between Orpheus and David and Orpheus and Christ, and, in spite of differences in emphasis and technique, they share a view of Orfeo's journey as a kind of penance or pilgrimage of the soul. Unlike his classical counterpart, however, Orfeo finds his wife not in Hell but in fairyland, and in defining the precise nature of this other world, suggestions range from a version of the Celtic world of “the dead and the taken” to associations between fairyland and the architecture of Revelation. (shrink)

A Fashionable Century: Textile Artistry and Commerce in the Late Qing. By Rachel Silberstein. Seattle: University of Washington Press, 2020. Pp. xvii + 276. $65.