This volume consists of papers given to the Royal Institute of Philos ophy Conference on 'Philosophy and the Visual Arts: Seeing and Abstracting' given at the University of Bristol in September 1985. The contributors here come about equally from the disciplines of Philosophy and Art History and for that reason the Conference was hosted jointly by the Bristol University Departments of Philosophy and History of Art. Other conferences sponsored by the Royal Institute of Philosophy have been concerned with links between (...) Philosophy and related disciplines, but here, with the generous support of South West Arts and with the enthusiastic co-operation of the staff of the Arnolfini Gallery in Bristol we were able to attempt even more in the way of bridge building; not only were we able to hold some of our meetings in as possible to the general the Gallery, thus making them as accessible public, but we were also privileged in having our discussions supported by two exhibitions of contemporary painting that together presented contrasting aspects of the abstracting enterprise. One, featuring works by Ian McKeever, and drawings and painting by Frank Auerbach, some of which are discussed and illustrated in the present volume, was about the painterly exploration of 'abstracting from' images in nature and in painting itself. The other, curated by Waldemar Januszczak, while showing some figurative works, was concerned with the 'pure' power of colour perceived 'abstractly, in its own right. (shrink)

This article uses behavioral theories to develop an ethical decision-making model that describes how psychological factors affect the development of unethical intentions to commit fraud. We evaluate the effects of the dark triad of personality traits on fraud intentions and behaviors. We use a combination of survey results, an experiment, and structural equation modeling to empirically test our model. The theoretical insights demonstrate that psychopathy, Machiavellianism, and narcissism affect different parts of the unethical decision-making process. Narcissism motivates individuals to act (...) unethically for their personal benefit and changes their perceptions of their abilities to successfully commit fraud. Machiavellianism motivates individuals not only to act unethically, but also alters perceptions about the opportunities that exist to deceive others. Psychopathy has a prominent effect on how individuals rationalize their fraudulent behaviors. Accordingly, we find that the dark triad elements act in concert as powerful psychological antecedents to fraud behaviors. (shrink)

Andrew Harrison; VI—Works of Art and Other Cultural Objects, Proceedings of the Aristotelian Society, Volume 68, Issue 1, 1 June 1968, Pages 105–128, https://do.

How can pictorial and narrative arts be compared? What in principle can or cannot be communicated in such different media? Why does it seem that, at its best, artistic communication goes beyond the limitations of its own medium - seeming to think and to communicate the uncommunicatable? In Philosophy and the Arts Andrew Harrison explores these questions. He finds that an understanding of art leads to a richer understanding of what it is to be human. Much of what misleads or (...) baffles us in the arts is what puzzles us about ourselves - the issues raised by art are thus central to philosophy. (shrink)

This paper suffers from a disconcerting generality. I need an excuse for wandering from Wittgenstein's Tractatus to Picasso's drawing of a Weeping Woman, via the philosophy of science and the theory of sense data. The thesis of the paper is that I have such an excuse. These are all areas where the concept of representation either exists in its own right, or has been found to be illuminating by philosophers. An important question is whether it could be the same concept (...) in all these cases. I wish to claim that there is an illuminating common concept, even though to find it may require some fairly drastic modifications of some of the philosophical theses that are involved. (shrink)

This paper suffers from a disconcerting generality. I need an excuse for wandering from Wittgenstein's Tractatus to Picasso's drawing of a Weeping Woman, via the philosophy of science and the theory of sense data. The thesis of the paper is that I have such an excuse. These are all areas where the concept of representation either exists in its own right, or has been found to be illuminating by philosophers. An important question is whether it could be the same concept (...) in all these cases. I wish to claim that there is an illuminating common concept, even though to find it may require some fairly drastic modifications of some of the philosophical theses that are involved. (shrink)