As an artist I admittedly scrutinize all of the theories related to the arts closely. I do this for a number of reasons. The obvious one is that I have a deeply felt personal relationship with the subject matter. Less obvious is my experience in general. My early research was motivated by a desire to discover the historical circumstances that led to the difficulty in fitting visual art into the discussions I encountered. Generally, it seemed that the dominant framework trivialized (...) what I considered the most important aspects of the creative process. Over time I concluded that developing an interdisciplinary approach offered the best option for expanding views, although it is not an easy task. Establishing areas of commonality across a range of disciplines must somehow accommodate the ways in which each has developed a research agenda that seems to serve its core needs. In consciousness studies, for example, we have a field that relies heavily on scientific research and humanistic methodologies when building the philosophical models scholars use to structure theories. This methodology is not only removed from the nuts and bolts of art, it is also easily manipulated in discourse on art due to the ease with which we can fit aspects of art into the philosophical framework. Clearly this approach fits nicely with philosophically defined concepts such as meaning, emotion, and other elusive modes. In addition, using the well-honed categories aids in bracketing themes such as metaphor, interpretation, subjectivity, language and history. Nonetheless, in reading through the studies, I repeatedly conclude that the voices of practitioners need to be included to a greater degree. (shrink)

The present article discusses the relation between painting and music in the work by Paul Klee, bringing it into conversation with the music by Anton Webern. It assumes, as a starting point, that the main question is not about relating painting and music but rather about the relation between moving towards painting and moving towards music, hence the relation between forming forces and not between formed forms. Since for Klee the musical structure of the pictorial is understood (...) as “active linear polyphony,” the article develops this notion in conversation with Webern’s thoughts on the polyphonic structure of twelve-tone music. The general purpose of the article is to determine what kind of thoughts emerge from the in-between of painting and music. (shrink)

Paul Klee’s sense of modern art and his own painting as the channeling of the originary movement of life leads to an insight beyond modern art, and back towards such dynamic cosmological experiences as that of the Onas people of Patagonia. In their daily life and their rituals their painted bodies expressed the living force of their cosmos, an originary energy that occurred at the limit of what one may call art and nature. In engaging Klee’s painting and (...) drawing, one is brought to such an open space of living transformative movement; one finds a place wider than our present imagination, a time-space that in our being exposed to his works and experience remains for us to inhabit. (shrink)

Like artists, important writers defy unequivocal interpretations. Gao Xingjian, winner of the Nobel Prize in literature, is a cosmopolitan writer, deeply rooted in the Chinese past while influenced by paragons of Western Modernity. The present volume is less interested in a general discussion on the multitude of aspects in Gao's works and even less in controversies concerning their aesthetic value than in obtaining a response to the crucial issues of freedom and fate from a clearly defined angle. The very nature (...) of the answer to the question of freedom and fate within Gao Xingjian's works can be called a polyphonic one: thereare affirmative as well as skeptical voices. But polyphony, as embodied by Gao, is an even more multifaceted phenomenon. Most important for our contention is the fact that Gao Xingjian's aesthetic experience embodies prose, theater, painting, and film. Taken together, they form a Gesamtkunstwerk whose diversity of voices characterizes every single one of them. (shrink)

In the realm of language a special case of mimetic illusion is the calembour, where the sound of a phrase signifies something else than what is written. At the end of the XVI century the artistic expression of this phenomenon gave birth to the paintings of Arcimboldo, who separated the contour of an object form the linear organization of the surface, in order to feature another object, through a kind of “polyphonic” dissociation between meaning and form. Strangely enough, nothing (...) has been written, in modern musicology, about the musical analogue of this phenomenon, but one can prove that it was not confined to paintings. The art of dissociating signs and meanings, was very well known by musicians not only through poetics, but also through musical mathematics, and above all by the study of the ancient Greek theory of metabolai, about the qualitative change of an harmonic form through the ambiguity created with others forms. (shrink)

This article provides a conceptual clarification of the complementary relationship between teachers’ research literacy and their role-based agency. In many countries, teachers are increasingly expected to actively use and develop research. However, without taking account of teachers’ distinct conditions of agency, this expectation may weaken rather than strengthen the profession. Top-down mechanisms that push teachers to follow rigid evidence-based procedures diminish their professional autonomy. At the same time, conceptual research on teachers’ agency has developed new tools for promoting research literacy (...) in a way that is conducive to professional autonomy. By conceptualizing research literacy as shaped by polyphonic agency, the article clarifies this field to support future teachers in terms of teacher education and working life. The article also articulates strategies for enhancing agency, such as raising awareness of the relevant standards, responding to accountability mechanisms, and developing teacher education programs. (shrink)

This article proposes a reading of Sarah Polley’s Stories We Tell (2012) through the work of Hannah Arendt and Adriana Cavarero. Far from being a simple homage to her late mother Diane, Polley’s film is a ‘polyphonic tale’, a complex and multi-layered narrative which allows for an exploration of the many functions of (cinematic) storytelling. Highlighting the close link between relating narratives and personal identity, the film sheds light on both the innate desire for biography that characterizes us as (...) human beings and the complex and dynamic relationship between storytellers and listeners. The way we tell stories affects the narrator(s), their audience and the fabric of the story itself in a process that ensures both continuity and change. Referring to Arendt’s notion of political storytelling, I conclude by suggesting that Stories We Tell, like the Greek polis, functions as an ‘organized remembrance’, a community whose purpose is to preserve fragile human deeds and words from oblivion. (shrink)

ABSTRACT Trade unions have been the object of sustained critique coming from across the political spectrum for several decades now. Based on a discourse theoretical analysis of articles in three Dutch-speaking Belgian newspapers, published in two periods of social protest in 2014 and 2016, this article identifies six strands of critique: (1) critiques that label unions as conservative anachronisms that are out of sync with the realities of our times; (2) critiques that psychologize unions as egoistic, irresponsible and child-like actors; (...) (3) critiques that criminalize unions as vandals, hostage takers or terrorists; (4) critiques that oppose unions to a homogenized general interest; (5) metadiscursive critiques of unions’ discursive practices; and (6) metapolitical critiques that problematize unions as polarizing and ‘political’ actors. These six strands of critique get articulated through discursive logics that operate within and across texts, newspapers and voices. Together they constitute a heterogenous but relatively consonant polyphonic discourse that challenges trade unions and their right to strike. This discourse has metapolitical implications for the debate on the mode(s) of politics that can legitimately be practiced by civil society actors. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Going Polyphonic I: With Namita Goswami et al.Alyson Cole and Kyoo LeeThis time around, we go polyphonic.The articles in the next two issues, Vol. 13 and Vol. 14, explore critical questions, paradigm-shifting idseas, and fresh connections arising from the intimately networked fields of intersectional, decolonial, and trans studies today. “Polyphonia,” a term we borrowed from music, is meant to characterize ways in which each piece as in (...) a “note” remains distinctly their own while dialogically and dynamically connected to an evolving ecosystem of ideas and visions in the making. As an umbrella term, it is meant to shelter resonances from each article that speaks directly not only of, but to, theory today by doing it in their own way.In this issue, we are presenting “A Forum on Namita Goswami’s Subjects That Matter.” It consists of seven responses to Goswami’s pioneering work on intersectionality as exemplified by her recent book, Subjects That Matter: Philosophy, Feminism, and Postcolonial Theory (SUNY Press, 2019) as well as the earlier co-edited volume, Why Race and Gender Still Matter: An Intersectional Approach (Routledge, 2014, co-edited by Maeve M. O’Donovan, Namita Goswami, and Lisa Yount). What is polyphonic about this assemblage is its interlocutory structure and orientation: each scholar—Al Frankowski, Falguni Sheth, Jennifer Scuro, Lauren Guilmette, Luce deLire, Russell Ford, and Tyler M. Williams, all coming from different angles, perspectives, and positions—discusses their reading of Goswami on intersectionality while showing how and where their own scholarship meets hers. Goswami, in turn, responds to each response while providing a synthesized account of what she gleans from this choral interaction, what she finds inspiring, as well as challenging. The articles in the next issue, [End Page 1] Vol. 14, following the forum, will virtually continue the music, although not in direct response to Goswami’s work.We hope you will join us in this somewhat experimental virtual symposium that is not even on Zoom. We hope you will join us in thinking that this more literalized model of a “scholarly conversation,” actual and virtual, vitally embodies the very spirit of interdisciplinary, intergenerational, intercontinental intersectionality as a conversation, ongoing intellectual encounters among many of us in various “sub-fields,” for the lack of a better word, that, again literally, cannot be neatly contained in any disciplinary terms, boxes, or territories.The tranScripts section in this issue consists of two entries, the first of which is the fourth installment of Mieke Bal’s Moments of Meaning-Making, J–L. Then we have Margaret Carson’s translation of Juliana González on Remedios Varo.Again, this issue has been a labor of collective love. We would like to thank all the brilliant authors and extraordinarily generous and helpful peer reviewers for this issue, not to mention the ever so resourceful and skillful editorial staff at the press we constantly rely on for expert guidance and feedback, all of whom have been inspirations for us editors. [End Page 2]Copyright © 2024 State University of New York... (shrink)

Philosophy of religion is a highly diversified field. An apt description of it is “zoo.” It conjures imagery of a species-wide cacophony of sights and sounds. While some bemoan what this description implies, contributors to this volume appreciate it. There is no reason why a zoo should intimate a den of confusion rather than an important condition of emergence and novelty. “Polyphonic” is the catchall term to capture this sentiment. It signals a way of thinking that resists the desire (...) to siphon insight into manageable packets of information in the name of historicality and finitude. A polyphonic, then, is a variegated and discontinuous study that breaks with a tradition that desires continuity and unification, without being erratic. This volume is an exercise in polyphonic thinking. Each contributing scholar develops ideas in connection with his or her research interests. Despite the fluctuation of themes, symmetry exists as each piece sounds off a core melody of religion and the divine. The book contributes to the advancement of current research in contemporary Continental philosophy of religion. By juxtaposing articles by cultural theorists and philosophers of religion, religionists and theologians, the book emphasizes the importance of interdisciplinary and polyphonic conversation to the development of matters of topical interest and issues related to method and ethics in religious studies, and theology. (shrink)

Trade unions have been the object of sustained critique coming from across the political spectrum for several decades now. Based on a discourse theoretical analysis of articles in three Dutch-speaking Belgian newspapers, published in two periods of social protest in 2014 and 2016, this article identifies six strands of critique: (1) critiques that label unions as conservative anachronisms that are out of sync with the realities of our times; (2) critiques that psychologize unions as egoistic, irresponsible and child-like actors; (3) (...) critiques that criminalize unions as vandals, hostage takers or terrorists; (4) critiques that oppose unions to a homogenized general interest; (5) metadiscursive critiques of unions’ discursive practices; and (6) metapolitical critiques that problematize unions as polarizing and ‘political’ actors. These six strands of critique get articulated through discursive logics that operate within and across texts, newspapers and voices. Together they constitute a heterogenous but relatively consonant polyphonic discourse that challenges trade unions and their right to strike. This discourse has metapolitical implications for the debate on the mode(s) of politics that can legitimately be practiced by civil society actors. (shrink)

A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...) hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

While in agreement with Miranda Fricker’s context-sensitive approach to hermeneutical injustice, this paper argues that this contextualist approach has to be pluralized and rendered relational in more complex ways. In the first place, I argue that the normative assessment of social silences and the epistemic harms they generate cannot be properly carried out without a pluralistic analysis of the different interpretative communities and expressive practices that coexist in the social context in question. Social silences and hermeneutical gaps are misrepresented if (...) they are uniformly predicated of an entire social context, instead of being predicated of particular ways of inhabiting that context by particular people in relation to particular others. I contend that a more nuanced—polyphonic—contextualization offers a more adequate picture of what it means to break social silences and to repair the hermeneutical injustices associated with them. In the second place, I argue that the particular obligations with respect to hermeneutical justice that differently situated subjects and groups have are interactive and need to be determined relationally. That is, whether individuals and groups live up to their hermeneutical responsibilities has to be assessed by taking into account the forms of mutual positionality, relationality, and responsivity (or lack thereof) that these subjects and groups display with respect to one another. The central argument is developed through an examination of what in race theory and in contemporary epistemologies of ignorance has been termed “white ignorance”; that is, the kind of hermeneutical inability of privileged white subjects to recognize and make sense of their racial identities, experiences, and social positionality. (shrink)

Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.

Explains the difference between pictorial and linguistic meaning, examines the works of Titian, Poussin, Ingres, Manet, Picasso, and de Kooning, and discusses art's psychological impact.

The ‘musca depicta’ trope is well known to art historians, with a history going back to Pliny. It flourished in the Renaissance, but in eighteenth-century England the meaning of the trope was altered greatly when employed in popular culture, both in live theatrical presentations (by George Alexander Stevens) and in published poetry (by James Robertson, comedian of York). Originally, the trope signalled the virtuosity of the painter, who was able to fool the eye by depicting flies so real that the (...) viewer attempted to shoo them off the picture. However, in the hands of Stevens and Robertson, that bit of theatre was turned on its head, as the supposed connoisseur engaged in a harsh criticism of a painting is startled when a fly that he thinks poorly depicted suddenly flies off the canvas, thereby rendering the connoisseur a satiric target. (shrink)

The greatest chasm in the philosophy of mind--maybe even all of philosophy-- divides two perspectives on consciousness. The two perspectives differ on whether there is anything in the phenomenal character of conscious experience that goes beyond the intentional, the cognitive and the functional. A convenient terminological handle on the dispute is whether there are.

This question does not mean: what has a philosopher to learn from paintings? Rather it is: what metaphysical implications can be derived from the consideration of the art of painting? Since, however, this consideration is not a contemplation but a theorizing, we must understand Gilson's question to be: what metaphysical implications can be suggested by a theory about the creative activity of painters and about the kind of entity a painting is?

Connecting research and production, art research represents a breaking of the barrier between creation and academia. However, there is also a contradiction contained in this kind of research deriving from its methods, since the process of art-based practice must, by its very nature, involve the subjectivity of the artist. I use my own studies as the research object to discuss this issue, and this article presents the problems I encountered during my artistic practice and research of ambiguous roles. This paper (...) has two main points of focus. First, I explore how the fallacy of self-referentiality is presented in paintings and films, and, second, I draw on my short film practice during my master’s study period to explain how the shots present a continuum in relation to the “absent one” and produce interface effects. However, the second point is not necessarily the result of the first one. This kind of connection and contradiction between practice and cognition in the process of art research is that I will analyse and discuss here. (shrink)

Can one publish a bioethics case ethically? I suspect that most in bioethics would feel comfortable publishing a case if the subject—the patient—gave explicit permission, the amount of biographical information revealed was under the control of the subject, and the subject fully understood the benefits and risks of publishing the case. Some might add that the subject should have a chance to approve the final representation. I think that the ethics of publishing cases needs to be rethought. And this rethinking (...) needs to be focused not on the way publishing a case might harm a patient (that is, nonmaleficence) but, rather, on how a case presentation does not convey the patient’s own voice in the narrative (that is, respect for autonomy). Bioethics needs a new model of case presentation: the polyphonic case, which demands that the subject be a part of the case’s construction. (shrink)

ABSTRACT In theater, stage directions function as a particular genre in which the author’s voice is inscribed in the text to indicate the paths of representation. In Werewere-Liking Gnepo’s La veuve diyilèm, they play a broader role. There is a narrative function, sometimes author’s, sometimes character’s that, in a dialogic movement of reception/understanding, triggers multiple independent and polyphonic voices and consciences. To verify this statement, we will discuss the Bakhtinian reflections that will be essential for this study. RESUMO No (...) teatro, as didascálias funcionam como um gênero particular em que há a inscrição da voz do autor no texto para indicar os caminhos da representação. Na obra La veuve diyilèm, de Werewere-Liking Gnepo, elas desempenham um papel mais amplo. Há uma função narrativa ora autora, ora personagem que, em um movimento dialógico de recepção/compreensão, desencadeia múltiplas vozes e consciências independentes e polifônicas. Para constatação dessa afirmação, discorreremos sobre as reflexões bakhtinianas que serão imprescindíveis para este estudo. (shrink)

We humans continuously reshape the environment to alter, enhance, and sustain our affective lives. This two-way modification has been discussed in recent philosophy of mind as affective scaffolding, wherein scaffolding quite literally means that our affective states are enabled and supported by environmental resources such as material objects, other people, and physical spaces. In this article, I will argue that under certain conditions paintings function as noteworthy affective scaffolds to their creators. To expound this idea, I will begin with a (...) theoretical overview of affective niche construction and affective scaffolding. Then, based on the criteria of robustness, concreteness, and dependability, I will specify a solid type of affective scaffolding and propound paintings as a cogent case of such. In support of my argument, I will highlight two feelings typical to painterly creativity: the feeling of aesthetic resonance and the feeling of fusion. To conclude, I will discuss the overall contributions and limitations of my account. (shrink)

The description for this book, Painting and Reality, will be forthcoming.

growing up in new mexico, I was passionate about geology, specifically paleontology. It led, in one adventure, to me being arrested by monks. While on a picnic with my parents at Jemez Springs, I had followed a beautiful Permian stratum, rich with crinoids and brachiopod shells, onto private land owned by The Servants of the Paraclete, a retreat for "whiskey priests."1 I was detained while one brother admonished me, kindly, and let me go, and even let me keep my specimens. (...) But the passion for the history of the earth and natural history in general remained. I was one of those kids who came late to the idea that what was taught at school and what I found of interest had any points of intersection, but I did come to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:AngloModern: Painting and Modernity in Britain and the United StatesJane DuranAngloModern: Painting and Modernity in Britain and the United States, by Janet Wolff. Ithaca: Cornell University Press, 2003, 172 pp.AngloModern, Janet Wolff's scintillating attempt to limn the construction of modernity in the visual arts, is more than worth reading for a number of reasons. In this work, she details how modernity positioned itself against a number (...) of strands of development, and then, by a process of exclusion, formulated its own stance. As poststructuralist theory has taught us, the procedures of building an excluded body against a center, when closely examined, frequently tell us more about a rubric or label than we could otherwise have imagined.Wolff is primarily concerned with three areas of exclusion/construction for the turn in the visual arts, painting in particular, that began at the opening of the twentieth century. Toward the beginning of the work, she notes that there was always a continuous realist and figurative genre at work even in modernist circles, but it seldom achieved anything like the recognition that the more typically abstract works we associate with the rise of modernism gained. She associates this area of nonrecognition with the work of women in particular, and these two areas alone — the realist/figurative and any work done by a woman artist — constitute two of her most important foci in AngloModern. In addition, and with some difficulty, since it adds a layer of complication, she is concerned about the exclusion and marginalization of Jewish artists during thisperiod — both in galleries and in thecommentary generated by the art world — although it is clear that many of the major "abstract" works associated with modernism were, in fact, produced by Jewish artists.Wolff is at her best in laying out in precise detail how it is that the culture of the art world throws up nearly insurmountable barriers against those deemed unworthy at a fairly early point in the construction of any new movement. The single strongest chapter in the work may well be the second, "Questions of Discovery: the Art of Kathleen McEnery," in which Wolff shows how various processes of categorization kept the work of this extremely talented woman from receiving anything like the recognition it deserved for a long period of time. Wolff sums up her overall project, and how it will relate to an artist such as McEnery, in her Introduction, when she writes:The story of modern art that is challenged [in her book] is the narrative tracing the development of Western painting from France to the United States, in a lineage more or less running from Manet and Post-Impressionism, by way of Cubism and Surrealism, to Abstract Expressionism. It is a story produced and reinforced by critics, academics, curators, and museum directors.(p. 3)Women artists, for example, were frequently excluded not only becausethey were women, but because they may have tended to engage in painting that was more realist, which itself [End Page 118] became coded as "feminine," and so forth. McEnery's intriguing portraits of the early two decades of the twentieth century were "discovered," as Wolff notes for the l987 inaugural exhibition of the National Museum of Women in the Arts, despite the fact that McEnery had at one point been fairly well-known (pp. 41-42). A woman at work in a figurative tradition, and working in suburban circles far away from the geographical centers of the art world, she was quickly at the mercy of the canonical forces of art historical construction.As we attempt to educate our students about rubrics, social movements, and the relationship of the arts to the political events of an era, we can do little better than to cite, for illustrative purposes, a number of interesting cases, and Wolff does just that. In sharp and incisive prose, she not only investigates McEnery's disappearance from the approved version of the early American modernist scene, but she also examines the construction of the early group displayed at the Whitney, the notion of the "feminine" in the work of Simmel and Benjamin, and, finally, the notion of the "Jewish artist." As her exemplar for the... (shrink)

This essay aims at neutralizing the contextualist challenge against traditional semantics. According to contextualism, utterances of non-elliptical, non-ambiguous, and non-indexical sentences may be associated with contrasting truth-conditions. In this essay, I grant the contextualist analysis of the sentences in question, and the contextualist assessment of the truth-conditions for the corresponding utterances. I then argue that the resulting situation is by no means incompatible with the traditional approach to semantics, and that the evidence put forth by the contextualists may easily be (...) taken into account by the customary treatment of natural languages. (shrink)

My thesis is that certain non-verbal paintings such as Picasso’s GUERNICA make (simple) arguments. If this is correct and the arguments are reasonably good, it would indicate one way that non-literary art can be cognitively valuable, since argument can provide the justification needed for knowledge or understanding. The focus is on painting, but my findings seem applicable to comparable visual art forms (a sculpture is also considered). My approach largely consists of identifying pertinent features of viable literary cognitivism and (...) then showing how they or close analogues can be applied to non-verbal painting. The two main features are the requirements, first, that the relevant knowledge is provided significantly in virtue of the distinctive essential feature of literary fictions, i.e., their fictionality, and second, that the knowledge stems primarily from the content of the work, not from what the auditor brings to the work. Some ways that literary fiction has been taken to be argumentative are explained, and striking similarities are found between argumentative literary fiction and argumentative painting. Potential objections are addressed, and I examine a proposed way to express, in a schematized format, both the power of an argumentative painting and its relatively simple associated propositional content. (shrink)

This essay draws on Kenneth George's ethnographic study of the Indonesian painter Abdul Djalil Pirous and his art, as well as Pirous's own characterizations of his paintings as “spiritual notes,” to theorize and examine how paintings serve as ethical media. The essay offers a provisional definition of and methodology for “visual ethics” and considers how pictures and language can function quite differently as sites for ethical reflection. The particular painting analyzed here is a large temple mural of the death (...) of the Buddha located at Wat Unnalom, a prominent Buddhist monastery in Phnom Penh, painted in the 1980s by Cambodian artist Sum Pon. After discussing the lifeworld of Pon's Mahāparinibbāna and varied Khmer Buddhist interpretations of the painting, I suggest that the painting's rendering of “moral vision” helps us understand Buddhist ways of seeing more generally. I conclude by returning to George's question about how our understanding of ethics would change if we took pictures as the “fulcrum of moral relationships,” arguing that pictures can embody certain kinds of tensions or paradoxes that are difficult to explain and grasp discursively, such as paradoxes that arise from the inevitability and yet inexplicability of death as well as the tensions between Buddhist aims of cultivating “boundless” love and the particularities of our own individual experiences of love. (shrink)

In this paper, I discuss cases of replication in the visual arts, with particular focus on paintings. In the first part, I focus on painted copies, that is, manual reproductions of paintings created by artists. Painted copies are sometimes used for the purpose of aesthetic education on the original. I explore the relation between the creation of painted copies and their use as aesthetic surrogates of the original artwork and draw a positive conclusion on the aesthetic benefits of replica production (...) by artists. A skeptical conclusion follows regarding the use of such replicas as surrogates for the original painting. The second part of the paper concerns mechanically produced replicas, such as photographs and 3-D prints. On the basis of some of the claims made in the first part, I set conditions that mechanically produced replicas need to meet in order to function as aesthetic surrogates of an original. I argue that perfect aesthetic surrogates are either already available or at least possible. I conclude by considering two possible objections. (shrink)

The aim of the following paper is to show that it is not possible to penetrate into the depths of Nikolay Raynov's universe and to comprehend its wholeness, without posing and investigating the question about the origin or the foundation of his various creative occupations, i.e his novels, philosophic and theosophic writings, art history and critique, paintings, decorative design etc. This question is far too complex to be answered briefly without being simplified, and therefore two main directions will be articulated: (...) the recption of Orphism developed in Plotinus' and Porphyry's Neoplatonism – which is the basis of modern Theosophy –, and the synthetic understanding of art, which puts Raynov's views in close proximity to Wassily Kandinsky and Nicholas Roerich. (shrink)

Manuscripts and notes by Michel Foucault on the visual arts recently deposited at the Bibliothèque Nationale reveal a reliance on canonical oil paintings by the ‘old masters’; a respect for the primary sources in the history of European art; an understanding of the necessity of research in both literary and visual sources, particularly self-portraits; and a sense of the value that a certain philosophical milieu – beginning with Sade and Nietzsche and expanding to his near contemporaries, Bataille, Blanchot, and Klossowski (...) – could offer to an understanding of paintings. The essay argues that Pierre Klossowski’s monumental drawing La Nef des fous (1990) provides an essential key for understanding the place of Hieronymus Bosch’s painting of the same title in History of Madness and the centrality of theories of similitude to Foucault’s thinking about visuality ca. 1960–74. The later significance of the figure of the artist for Foucault can be traced to these earlier writings on painting and madness. (shrink)

This article is primarily concerned with the philosophical problems that arise out of a consideration of painting. By painting I mean of course not any kind of application of paint to a surface – house painting for instance – but painting as an art, to use Richard Wollheim's phrase. Since Plato, philosophy has intermittently been concerned with these problems, and over the past 30 years, painting has come under a new focus as philosophy of art (...) has increasingly turned its attention to the issues that arise from particular art forms. I will also draw on some ideas developed in art history and theory, which have a suitably philosophical, that is, general or foundational, character. There are many philosophical issues that arise equally from painting and other art forms, but for just this reason, they are best addressed in a broader cross-art-form context, and I will mostly avoid dealing with them here. Instead, I will focus on issues that arise solely or with a special force from a consideration of painting. It will be helpful to roughly arrange these in two categories. The first is representation; the second is form. We shall see that these categories are difficult to keep separate with regard to painting and overlap at various points. (shrink)