This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social and political (...) philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

The study of the artistic heritage of neo-academicians in the context of the study of mixed techniques is quite relevant. To date, the analysis of the creativity of artists, representatives of non-academism as an artistic trend of the late twentieth century in Russia, is based on the artistic criticism of art critics, art critics who were part of this trend and considered the work of non-academicians from the perspective of the artistic life of this period in the context of the (...) socio-cultural processes of Russia during the Perestroika era. Also, the works of neo-academist artists are studied from the position of "creative rebellion" and the search for new forms in art. In this article, the works of T. Novikov, G. Guryanov, K. Goncharov, V. Mamyshev-Monroe and other representatives of NAII are studied from the position of "mixed techniques" in art objects. The main emphasis is placed on the analysis of art objects in mixed techniques in the context of overcoming formalism, embodying stylistic diversity, metamorphosis of forms and states, pictorial symbols and universal meanings. The realization of the principle of the infinity of choice and the infinity of meaning and diversity is associated with postmodernism in art, the introduction to which became decisive in Russian art of the late twentieth and early twenty-first centuries. The appeal to the study of art objects of neo-academicians made in mixed technique allows us to enrich and supplement the understanding of the term "mixed techniques" in modern art practices related to the search for new forms, compositional solutions, the formation of a unique author's language, the originality of the work. (shrink)

pt. I. Metaphysical theories.--pt. II. Factualism.--pt. III. A new approach.

Did the liberal art disciplines at American universities have the highest failure rate between the 1970s and the early 2000s? Important theoretical traditions indeed believe that the liberal arts are the most threatened disciplines in the academy, while other theories have differing views. This paper reexamines the vulnerability of academic disciplines by assessing new data. It focuses on the closing of academic departments and programs, and it uses event history analysis to show that practical arts departments and programs (...) failed at a much higher rate than liberal arts departments and programs. In doing so, this paper raises important questions about how American universities are changing during a time of budget cuts and retrenchment. (shrink)

The Library of Scottish Philosophy: Volumes 1 – 6, Exeter: Imprint Academic, 2004 James Otteson , ed. Adam Smith: Selected Philosophical Writings, 247pp. Paperback £12.95. ISBN 184540-001-1 James Harris , ed. James Beattie: Selected Philosophical Writings, 204pp. Paperback £12.95. ISBN 0907845-711 David Boucher , ed. The Scottish Idealists: Selected Philosophical Writings, 201pp. Paperback £12.95. ISBN 0907845-72X Jonathan Friday , ed. Art and Enlightenment: Scottish Aesthetics in the 18th century, 212pp. Paperback £12.95. ISBN 0907845-762 Gordon Graham , ed. Scottish Philosophy: (...) Selected Writings 1690–1960, 253pp. Paperback £12.95. ISBN 0907845-746 Esther McIntosh , ed. John Macmurray: Selected Philosophical Writings, 198pp. Paperback £12.95. ISBN 0907845-738. (shrink)

During the sixteenth and early seventeenth centuries, physics was regularly taught as part of instruction in philosophy and the arts at Central European schools and universities. However, physics did not have a special or privileged status within that instruction. Three general indicators of this lack of special status are suggested in this article. First, teachers of physics usually were paid less than teachers of most other university-level subject-matters. Second, very few Central European academics during this period appear to have made (...) a career out of teaching physics. And third, Reformation Era schools and universities in Central Europe emphasized language instruction; such instruction not only was instrumental in promoting the confessional-i.e., Calvinist, Lutheran, and Roman Catholic-agendas of those same schools and universities, but also helped to prepare students for service in nascent but growing state governments. (shrink)

Unlike in Western countries, scholars and the Chinese government pay less attention to the role of extracurricular activities in fostering children’s cognitive and non-cognitive well-being. Accordingly, essential ECAs such as visual arts programs are serviced by expensive privately owned schools, creating social injustice. The primary aim of the current study is to examine whether children benefit from ECAs if parental support and guidance for managing time spent on ECAs and academics exist based on the threshold model. The study comprised over (...) 2,400 primary school students in one Chinese province and considered the SES of the area. Surprisingly, the present study’s findings illustrate that contemporary Chinese parents differ from traditionally aggressive and overbearing parents who do not value their children’s interests. However, the current study finding suggested that children’s participation in out-of-school visual art activities doesn’t have a substantial value in promoting children’s academic performance in the face of genuine interest and supportive parenting, which negates the threshold model. (shrink)

Integration of music in an academic university teaching setting is an example of how artistic practice and competences have potentials to resonate beyond the immediate discipline. The article explo...

ABSTRACTWhen encountering something unfamiliar, it is natural to describe and understand it by reference to what is familiar. Commentary on Chinese landscape painting usually relies heavily upon analogies with Western art. James Elkins, concerned to understand the implications of this procedure, asks whether in seeing and writing about this art we ever can escape our Western perspectives. His problem is not just that he himself does not know Chinese. Even bilingual specialists or native Chinese speakers employ this vocabulary, for the (...) vocabulary of contemporary art history, developed in the West, now is the language of academic art history everywhere. We know that we are distorting our descriptions of this Chinese art, even though we don't know how to “get it right.” In the history of European painting from Cimabue to the present, it would be hard to find any Western paintings that could be confused with any art made in China, so the frequent reliance of scholars upon such comparisons seems problematic. Of course, in the near future this situation might change. Perhaps in fifty years, as China becomes more prosperous, art history will become a hybrid discipline. At that point, the situation, which Elkins analyzes, will be reversed. But such a change is a long way in the future. (shrink)

The essays in this collection, which were written by European and North American specialists, position intermediality as a praxis of interpretative analysis in order to show how intermediality challenges our notion of art. The writers examine the various intermedial relations between the arts, which may take the form of reference to another form of art, a combination of two or more forms of art or a generic transformation from one form of art to another. In such cases, an intermedial approach (...) helps us to grasp the changing relationship between the arts, which affects our reception of experience. Intermediality has profoundly changed our understanding of interdisciplinary relations, formerly examined in the field of interart studies. By introducing a medial aspect, intermediality has succeeded in making a "leap" from past practices of artistic interrelatedness to our contemporary medial age, in which literature along with other arts may be understood as a medium. This ambitious undertaking has contributed to the liberation of literature and other arts from an isolated position in the established scholarly landscape with its clear-cut borderlines between disciplines. The essays in this collection are a valuable contribution to this on-going discussion about the relationships between the arts. The variety of essays published in this collection makes it an excellent introduction to academics and university students in such disciplines as literature, music, theatre, art history and media studies. Due to its clarity - which does not sacrifice philosophical depth concerning the role of intermedial studies for several forms of art - this book will also be of interest to academics and students who are currently working at advanced level art schools. (shrink)

Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let us explore (...) the differences between the arts. He presents five case studies, three from literature, two from music. With its combination of historical and analytic approaches this is a book for a wide range of readers in philosophy, literary studies, music, and non-academic readers with interests in the arts. (shrink)

Contract cheating services are marketing to students at discipline level, using increasingly sophisticated techniques. The discipline level reach of these services has not been widely considered in the academic integrity literature. Much of the academic understanding of contract cheating is not discipline specific, but the necessary solutions to this problem may need to vary by discipline. This paper reviews current knowledge about contract cheating services at the discipline level, including summarising four studies that rank the relative volume of (...) contract cheating within different academic disciplines. The reviewed studies show high volumes of contract cheating transactions in the disciplines of Business and Computing. Examples of discipline level contract cheating research and service advertising are provided. The main contribution of the paper is an analysis of the discipline level reach by contract cheating services as seen through an analysis of Google search results from the United Kingdom. This analysis of 19 discipline groups uses measures of organic search engine results, paid results and competition. Three discipline groups are shown as currently being heavily exploited by essay mills; these are: Architecture, Building and Planning, Computer Science and Law. In addition, the discipline group of Creative Arts and Design is shown to be at risk of future exploitation. The paper recommends that academics are made aware about continual change in the contract cheating industry including the involved marketing taking place at discipline level. The paper concludes with a call to action for academia to develop discipline specific solutions to contract cheating. (shrink)

Context: A tension exists between the needs and desires of the institutions providing the funding for academics to attend conferences and the potential for transforming the knowledge and understanding of conference participants - than in advancing their own careers and celebrity. Approaches to the problem can recognize the importance of funding and career-building in the current society, while still experimenting in ways that could generate new ideas. Method: Ideas from second-order cybernetics are used to derive design principles that might alleviate (...) the tension and encourage deep conversations, idea generation and experimentation. The author draws on experiences with designing, organizing and participating in cybernetics conferences over a period of 34 years. Results: An academic conference designed to a set of broad, second-order cybernetic principles, where participants are informed of the design intent before they decide to attend, can open an opportunity for learning, understanding and the creation of new ideas in ways that would not otherwise be available. Although there are no guarantees, such designs can attenuate the tension, often experienced at traditionally designed conferences, between advancing individual careers/celebrity and building new knowledge together. Implications: The design principles derived, already exhibited in some conferences, could be useful to organizers wishing to foster incompatible and opposing ideas and facilitate dialogue among conference participants. These same principles have implications for the design of other social systems and point to the possibility of a new and more humane society. Constructivist content: A feature of second-order cybernetics is that knowledge is continually changing as our desires change, and we must take responsibility for the consequences of the ideas we construct and use to satisfy our desires. Key Words: Design by constraint, dynamics of interaction, asynchronicity, tyranny of the clock, times of truth, moments of art. (shrink)

Journal of Philosophy of Education, EarlyView.

This volume deals with philosophically grounded theories of animal generation as found in two different traditions: one, deriving primarily from Aristotelian natural philosophy and specifically from his Generation of Animals; and another, deriving from two related medical traditions, the Hippocratic and the Galenic. The book contains a classification and critique of works that touch on the history of embryology and animal generation written before 1980. It also contains translations of key sections of the works on which it is focused. It (...) looks at two different scholarly communities: the physicians and philosophers, that share a set of textual resources and philosophical lineages, as well as a shared problem, but that nevertheless have different concerns and commitments. The book demonstrates how those working in these two traditions not only shared a common philosophical background in the arts curricula of the universities, but were in constant intercourse with each other. This book presents a test case of how scholarly communities differentiate themselves from each other through methods of argument, empirical investigation, and textual interpretations. It is all the more interesting because the two communities under investigation have so much in common and yet, in the end, are distinct in a number of important ways. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 129-131, Winter 2020.

This article explores the relationships between several notions: the `creative economy'; New Growth Theory and the primacy of ideas; academic entrepreneurship; and the new paradigm of cultural production. Broadly conceptualized, the creative economy links the primacy of ideas in both arts and sciences in a more embedded and social framework of entrepreneurship which positions education as central, since its institutions are the primary knowledge institutions that provide the conditions for the transmission and development of new ideas. Entrepreneurship develops within (...) networks that use new information and communication technologies. The role of the arts, humanities and social sciences becomes re-profiled as crucial in the generation of new ideas within the creative economy, moving discussion and analysis away from a single focus on Science, Technology, Engineering and Mathematics (STEM) and the hard sciences such that the redesign of institutional/academic environments is necessary in order to capitalize on ideas and move from creativity to systems of innovation. (shrink)

Over the last decade, aesthetic and art theory has played an increasingly significant role in the way work and its organization has come to be understood. Bringing together the work of an international spectrum of academics, this collection contributes, in an overall more critical vein, to such emerging debates. Combining both empirical and theoretical material, each chapter re-evaluates the emerging relationship between art, aesthetics, and work, exploring its potential as both a medium of critical analysis, and as a site of (...) conflict and resistance. (shrink)

Context: The main aim in organizing academic conferences is to share and develop knowledge in the focus area of the conference. Most conferences, however, are organized in a traditional way: two or three keynote presentations and a series of parallel sessions where participants present their research work, mainly using PowerPoint or Prezi presentations, with little interaction between participants. Problem: Each year, a huge number of academic events and conferences is organized. Yet their typical design is mainly based on (...) a passive way of sharing knowledge. No models for an adequate conference design and an appropriate learning environment are available. The overall conference design, however, is a crucial aspect in the learning of the participants and deserves special attention from conference organizers. Method: I have organized around 15 carefully designed conferences and on the way knowledge sharing and knowledge development was stimulated at these events. These conferences included less traditional conference designs, collective learning and explicit sharing of understanding between participants. Results: Collaboration in small groups and joint plenary discussions, plenty of time for interaction and generous feedback to presenters turn out to be very valuable for consolidating knowledge and envisioning future developments in a discipline. Also, it is our experience that the presence of design objects as a trigger and catalyst for discussing and learning makes a huge difference in sharing and developing new knowledge. This paper aims to highlight the importance and raise awareness of different methods of stimulating the construction of knowledge by conference participants. I hope it will inspire future conference organizers and help them to induce more deliberate knowledge construction amongst participants. Implications: Insights from this paper are relevant for all conference organizers, especially those in the domain of architecture, arts and design. It has become clear that it is beneficial to have exhibit-type presentations as well as moments of collective learning. Organizers are recommended to adopt an explicit conference design. Constructivist content: Following a constructivist approach to learning environments, this paper stresses the importance of scheduling moments of active and collective learning and knowledge construction explicitly during academic conferences. (shrink)

The editors of the JRE collected short essays from scholars of religion in response to a recent incident at Hamline University that made national headlines. Last fall, Hamline University administrators refused to extend a contract to an adjunct professor of art history after a Muslim student accused her of Islamophobia for showing a 14th‐century image of Mohammad in an online class. The event provoked intense conversations about issues of academic freedom, religious diversity, the status of contingent faculty, and race. (...) These essays bring together scholarly and personal reflections about the incident at Hamline and what it means for the pedagogy of religious studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and SelectionBrian BoydArt Instinct: Beauty, Pleasure, and Human Evolution, by Denis Dutton; 279 pp. New York: Bloomsbury Press, 2009, $25.00. Oxford: Oxford University Press, £16.99.In the interests of full disclosure: Denis Dutton, the author of The Art Instinct: Beauty, Pleasure, and Human Evolution, not only edits this journal but has also published here a number of my essays. We share enthusiasms and aversions, but we also now and (...) again disagree. And we both enjoy spirited discussion, which is why I asked him if I might review his book for this journal. Now can we begin?Ellen Dissanayake, the first to take a modern evolutionary approach to art, in her What Is Art For? (1988), doubts that sexual selection can explain much about art. After all, she notes, men can compete about anything, even about who can pee the highest.1 Denis Dutton, the first philosopher to take a sustained evolutionary approach to the arts, suggests that much in art arises from sexual selection—and he spends a good deal of time discussing and dismissing the kind of philosophy of art that orients itself around the urinal that Marcel Duchamp christened Fountain.Dutton begins by reporting recent research into the universality of human landscape preferences. Although these preferences explain little about art in the round, they vividly demonstrate the link between human emotions and preferences across cultures now and human survival [End Page 204] needs thousands of generations ago. In chapter 2, Dutton shows that although recent philosophers of art have not sought to ground art in human nature, that has been an aim of their predecessors from Aristotle to Hume and Kant.But Dutton really starts with the intuitions that art seems a fundamentally similar pursuit around the world, and that artworks like Duchamp's Fountain or Andy Warhol's Brillo Boxes should not be central to our thinking about art, even if they have been central for prominent philosophers of art like George Dickie and Arthur Danto. Dutton stresses that we can appreciate art across cultures. He did so himself when he lived in India while in the Peace Corps, and, an accomplished pianist, learned the sitar from a student of Ravi Shankar, or later, when he lived by the Sepik River in northern Papua New Guinea to ascertain whether "local criteria for beautiful art agree with what Western aficionados and connoisseurs of Sepik art call beautiful. My conclusion was unequivocal: Sepik standards of beauty closely match the opinions of Western experts, including curators and collectors who enjoy a wide experience with Sepik museum collections but who have never set foot in the country" (p. 11).As this passage makes clear, Dutton is not your average armchair academic analytical aesthetician—thank goodness. Unlike the typical professional philosopher of art, he does not hide behind the porcupine quills of philosophese, good for defense and a certain kind of bristly display but utterly rebarbative. Like that other maverick philosopher, Daniel Dennett, he instead engages with work, the world, and readers outside his discipline.Dutton argues convincingly for the need to focus first on indisputable examples of art rather than on problematic cases, just as discussions of murder should not begin with assisted suicide, abortion or capital punishment (p. 50). One of his best chapters offers a cluster concept of art, a dozen features shared by the most unequivocal art. Doubtful cases will satisfy fewer than the full checklist, but there is no fixed threshold, no necessary and sufficient number of criteria. And no criterion by itself distinguishes art from non-art. Indeed one of the most fascinating aspects of his cluster concept is that, for each criterion, he parenthetically notes examples elsewhere in human life that would satisfy that criterion but that nobody would consider art. Skill and virtuosity, for instance, he insists on as features of the indisputably artful, but he adds also: "High skill is a source of pleasure and admiration in every area of human activity beyond art, perhaps most notably today in sports. [End Page 205] Almost every regularized human activity can be turned competitive in order to emphasize the development and admiration of its technical, skill aspect. Guinness World Records... (shrink)

The academic databases such as Scopus or Web of Science are commonly used to measure performance of universities, departments, and even single researchers. However, to what extent such databases can represent real outcomes of aforementioned units especially in the field of art and humanities where local languages and cultural phenomena play an important role is not clear. This article focuses on understanding how research in this field, as seen through the case of aesthetics in non-English speaking countries, Finland in (...) particular, is represented through major academic databases. This question is tackled by applying a data mining approach. First, we identify major academic databases, and afterwards test what is the proportion of Finnish aesthetics presented in those databases. Our approach allows us to critically look into representation of local art or humanities related research in general academic databases, and understand to what extent we can trust those sources in representing real pictures of the field. Results strengthen the well-known fact that most common academic databases draw a rather poor picture. In more particular this article shows that there are certain factors that influence analysis of the field: spread data, multilingual content, non-standard categorization, variability of venues, different publishing patterns, and unsuitable impact metrics. However, our results propose that alternative databases can be formed from university or meta-data databases. We also provide further directions for designing of such databases. (shrink)

Much of Arnold Hauser’s work on the social history of art and the philosophy of art history is informed by a concern for the cognitive dimension of art. The present paper offers a reconstruction of this aspect of Hauser’s project and identifies areas of overlap with the sociology of knowledge—where the latter is to be understood as both a separate discipline and a going intellectual concern. Following a discussion of Hauser’s personal and intellectual background, as well as of the shifting (...) political and academic setting of his work, the paper addresses one of Hauser’s central questions, viz. how best to square a thoroughgoing commitment to the social nature of art with the reality of successive artistic styles, given that the latter seem to be characterizable on purely formal grounds. This is followed by a discussion of Hauser’s conflicted views on the relation between art, science, and technology. This injects a tension into Hauser’s work, due to his initial reluctance to explain just how the aesthetic and the cognitive realms relate. The final part of the paper, through a closer examination of the analogies and disanalogies that Hauser sees between art history and the history of science, attempts to give a positive answer—“on Hauser’s behalf”, as it were—to the question of whether art may be credited with a specific cognitive dimension of its own, and if so, what its contribution to our cognitive enterprise may consist in. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Art of Interpreting Art PAUL BAROLSKY “The quality of the prose is just as important in nonfiction as in fiction.” —Robert Caro If as Horace famously wrote in the Ars poetica the aim of poetry is to instruct and delight, why shouldn’t the goal of all writing be the same? Why should all readers not enjoy as well as learn from what they read? In the realm of (...) academe, however, although much writing instructs, far too little delights. This is so because the goal of academic writing is primarily that of conveying information and knowledge or of developing new ideas. Delight or pleasure are not of primary academic concern. Too few scholars care sufficiently about how they write. Too many academics write in unreadable prose. Often their writing is ponderous, indeed pompous, because they are insecure in the face of theoretical, philosophical or scientific writing. The outcome can be quite hideous. Sometimes, dare I say often, their writing is dreadfully dry and dull. In the Humanities, the arts, by which I mean those that have been called the spatial arts, that is, architecture, sculpture, and painting, can be studied from a wide variety of perspectives. As some observers have noted, however, frequently in the academic study of art and its history, art as such recedes from view and drops out of the discussion. Art becomes primarily the illustration of something else, something other than itself. It comes to be the illustration of the global, colonial, sexual, political, theological, social, economic, religious, anthropological, philosophical, technological, scientific, or theoretical. It is too often not sufficiently appreciated for its own sake as art. Do I sound as if I am writing about the much-scorned notion of “art for art’s sake?” Yes, but not exactly. Since the arion 28.1 spring/summer 2020 102 the art of interpreting art nineteenth century, when Gautier wrote, l’art pour l’art meant just that, the celebration of art for its own sake. Eventually, however, that notion came to be disparaged as too limited, since it supposedly failed to address the various kinds of associations between art and the other phenomena listed above. The notion of art for its own sake unfortunately came to be seen as a manifestation of aestheticism or formalism— both often regrettably terms of opprobrium. Not long ago a graduate teaching fellow in a prestigious art history program had her students read my essay on the role of writing about art which was published in the spring/ summer 2018 issue of this journal. The first part of that essay concerned atrocious writing, which, our teaching fellow said, made her students laugh—yes, laugh! They presumably laughed because the prose of scholars was so very bad—ridiculous in the root sense of the word, laughable. One example of pompous diction that I have cited often because it is so laughably absurd, is the definition one art historical scholar has given of sex as “inter-corporeal relationality.” No wonder the students laughed! With considerable amusement, the graduate teaching fellow to whom I have just referred told me that she rather doubted her students bothered to read the second part of the essay she assigned, even though it included some exemplary writing about art. Why should they have bothered to read examples of excellent writing? After all, their teachers, who too often do not themselves write well, do not encourage students to think sufficiently about their prose. Let me add to the cluster of grotesque writing illustrated in the Arion article to which I have referred one more example of how bad academic writing about art can be in order to remind the reader of the kind of absurd nonsense or blather that one encounters throughout the Humanities. It comes from a highly esteemed author who “describes influence as a notion which provides a support—of too magical a kind to be very amenable to analysis—for the facts of transmission and com- Paul Barolsky 103 munication; which refers to an apparently causal process (but with neither rigorous delineation nor theoretical definition) the phenomena of resemblance or repetition; which links, at a distance and through time—as if through the mediation of... (shrink)

This collection of essays on anthropological approaches to art and aesthetics is the first in its field to be published for some time. In recent years a number of new galleries of non-Western art have been opened, many exhibitions of non-Western art held, and new courses in the anthropology of art established. This collection is part of and complements these developments, contributing to the general resurgence of interest in what has been until recently a comparatively neglected field of academic (...) study and intellectual debate. Unlike many previous collections, the focus of this volume is resolutely anthropological. The contributors draw on contemporary anthropological theory and exchange, to deepen our understanding of particular aesthetic traditions in their socio-cultural and historical contexts. In addition, the cross-cultural applicability of the very concepts 'art' and 'aesthetics' is assessed. Each essay illustrates a specific approach and develops a particular argument. Many present new ethnography based on recent field research among Australian Aborigines, in New Guinea, Indonesia, Mexico, and elsewhere. Others draw on classic anthropological accounts of, for example, the Trobriand Islanders of Melanesia and the Nuer of the Southern Sudan, putting this material to new uses. Sir Raymond Firth's introductory overview of the history of the anthropological study of art makes this volume particularly useful for the non-specialist interested in learning what anthropology has to contribute to our understanding of art and aesthetics in general. With its wide geographical and cultural coverage and plentiful illustrations, many of which are in colour, Anthropology, Art, and Aesthetics will be a valuable resource for all serious students of the subject. (shrink)

This book examines sustainability learning with children, art and water in the new material, posthuman turn. A query into how we might sustain (our) childhood natures, the spaces between bodies and places are examined ontologically in daily conversations. Regarding philosophy, art, water and her children, the author asks, how can I sustain waterways if I am not sustaining myself? Theoretically disruptive and playful, the book introduces a new philosophy that combines existing philosophies of the new material and posthuman kind. The (...) ecological sciences, and the arts, are drawn together / apart to help recognize sustainability in its emergent, relational form. All the while this book, as art, engages and flows over the reader - as such, reading it becomes a transformative, meditative experience. Daily rhythms of 'being-with' art, water and children take the reader beyond orientations of environmental education that focus on notions of lack and reduction. New possibilities for sustaining childhood natures - for what is becoming, and unbecoming - emerge here in the making processes of an academic, everyday life in early motherhood. (shrink)

Sketched in somewhat general terms, there are two basic ways of going about teaching ethics: the moral indoctrination approach, which is essentially a rote learning exercise; and the moral engagement approach, which emphasizes listening to others in an open-minded manner and coming to carefully considered conclusions only after thoughtful reflection about differing views concerning matters of controversy. For reasons both practical and philosophical, the second approach, which emphasizes the development of critical thinking skills, is vastly preferable. If the moral engagement (...) approach is to work, however, it is essential that academic freedom for students in the classroom be ensured, for developing critical thinking skills is not possible if there is not freedom to think.The professor has the primary responsibility for maintaining a classroom environment in which students are comfortable giving expression to their views and for assisting students in the development of their critical thinking skills. (shrink)

What does it mean to get hooked by a work, whether a bestseller or a classic, a TV series or a painting in a museum? What is this aesthetic experience that makes us feel captivated? What do works of art do, and how, in particular, do they bind us to them? In "Hooked," Rita Felski builds an aesthetics premised on our attachments rather than our free agency and challenges the ethos of critical aloofness that is so much a part of (...) modern intellectuals' self-image. The result is sure to be as widely read, and as controversial, as Felski's 2015 book, "The Limits of Critique." Felski looks at several "attachment devices." One of these is "attunement"--those affinities and stirrings that often fall below the threshold of consciousness. Why, for example, are we drawn to a painting or piece of music in ways we struggle to explain, while being left cold by others whose merits we duly acknowledge? Another attachment device is "identification"--a widespread response to fiction that is often invoked by critics but usually treated as synonymous with either identity or empathy. But Felski shows that identifying has no neat fit with identity categories, and it can trigger ethical, political, or intellectual affinities that have little to do with co-feeling. What people most commonly identify with, Felski argues, are characters who are alluring, arresting, or alive, not in spite of their aesthetic qualities but because of them. This kind of identification is not limited to naïve readers or over-invested viewers, but is also a defining aspect of what scholars in the humanities do. Relatedly, academic "interpretation" emerges here as another circuit of connection: critics forge ties to the works they explicate, the methods they use, the disciplinary identities they inhabit. "Hooked" returns us to the fundamentals of aesthetic experience, showing that the social meanings of artworks do not lie encrypted in their depths, within reach only of expert critics, but are generated within the embrace of captivated audiences. (shrink)