Appropriation art involves the use of pre-existing works of art with little to no transformation. Works of AA fail to satisfy established criteria for originality, such as creative labour and transformative use. As such, appropriation artists are often subject to copyright lawsuits and defend their work under the fair use doctrine of US copyright law. In legal cases regarding AA and fair use, judges lack a general principle whereby they can determine whether or not the offending party has ‘transformed’ the (...) original work. Further, it is not the case that there is some antecedent fact that could determine the outcome one way or another. I diagnose debates surrounding the transformative nature of works of AA as cases of ‘metalinguistic negotiation’ over what concepts we should attach to terms like ‘copy’, ‘transformative’, and ‘work of art’. (shrink)

In this article we report the findings of a randomised control clinical trial that assessed the impact of a Philosophy for Children program and replicated a previous study conducted in Scotland by Topping and Trickey. A Cognitive Abilities Test was administered as a pretest and a posttest to randomly selected experimental groups and control groups. The students in the experimental group engaged in philosophy lessons in a setting of structured, collaborative inquiry in their language arts classes for one hour per (...) week for a number of weeks. The control group received the standard language arts curriculum in that one hour. The study found that the seventh grade students who had experienced the P4C program showed significant gains relative to those in the seventh grade control group at a high level of statistical significance, but the eighth grade students in the experimental group did not show such gains over the eighth grade control group. It was discovered that the seventh grade teachers started the program early in the school year and continued it for a period of 22 to 26 weeks, while the eighth grade teachers started much later and used the program for only 4 to 10 weeks. Our findings suggest that the P4C program must involve students in activities for a significant period of time before the program shows results, but that a meaningful impact on students’ cognitive abilities can be achieved in about 24 weeks of lessons, less than half the time evidenced by the study by Topping and Trickey. (shrink)

In this article we report the findings of a randomised control clinical trial that assessed the impact of a Philosophy for Children program and replicated a previous study conducted in Scotland by Topping and Trickey. A Cognitive Abilities Test was administered as a pretest and a posttest to randomly selected experimental groups and control groups. The students in the experimental group engaged in philosophy lessons in a setting of structured, collaborative inquiry in their language arts classes for one hour per (...) week for a number of weeks. The control group received the standard language arts curriculum in that one hour. The study found that the seventh grade students who had experienced the P4C program showed significant gains relative to those in the seventh grade control group at a high level of statistical significance, but the eighth grade students in the experimental group did not show such gains over the eighth grade control group. It was discovered that the seventh grade teachers started the program early in the school year and continued it for a period of 22 to 26 weeks, while the eighth grade teachers started much later and used the program for only 4 to 10 weeks. Our findings suggest that the P4C program must involve students in activities for a significant period of time before the program shows results, but that a meaningful impact on students’ cognitive abilities can be achieved in about 24 weeks of lessons, less than half the time evidenced by the study by Topping and Trickey. (shrink)

Can you succeed without being a terrible person? We often think not: recognizing that, as the old saying has it, "nice guys finish last." But does that mean you have to go to the other extreme and be a bully or Machiavellian to get anything done? In The Art of Fairness, bestselling author David Bodanis uses thrilling case studies to show there's a better path, leading neatly in between. He reveals how it was fairness, applied with skill, that led to (...) the speedy development of the Pfizer-BioNTech vaccine, to construction ofthe Empire State Building to be constructed in barely a year, and to a quiet English debutante becoming an acclaimed jungle guerrilla fighter in World War II. In ten vivid profiles featuring pilots, filmmakers, baseball managers, and more, we see that the path to greatness doesn't require crushing displays of power or tyrannical ego. Simple fair decency can prevail. (shrink)

Un livre pour défaire le régime esthétique de l'image, en vue d'une nouvelle pensée diagrammatique, après Deleuze et Guattari, entre art et philosophie : un ouvrage introductif et spéculatif sans équivalent qui, partant de la rupture opérée par Matisse et Duchamp avec la phénoménologie picturale de l'image esthétique, constitue une archéologie de l'art contemporain qui passe par Daniel Buren, Gordon Matta-Clark, Günter Brus et le néoconcrétisme brésilien.

Partir à la rencontre d'artisans ou observer des plasticiens contemporains à l'oeuvre ; enquêter au sein d'écoles d'art, interviewer des compositeurs et auteurs ; se plonger dans les partitions du XVIIème siècle, étudier les fonds d'archives «rock» de la Bibliothèque Nationale de France ; ou encore écumer les rayonnages «rap» d'une discothèque : comment les chercheurs en sciences sociales peuvent-ils appréhender la création artistique?

The fascination and thrill of arts festivals relates to their capacity to host the unexpected, surprising and new. The economic model of novelty bundling markets presents a rare attempt to account for the potential impact of festivals on innovation. Its cognitive conception of festivals as sites of economic evolution offers a point of departure for this paper. The economic model is criticised and further developed, especially in two respects, drawing on sociological studies on science, technology and society and on empirical (...) data from two cases of innovatively used lighting technology in festivals. First, it is argued that festivals offer a fair space for the simultaneous discovery, display and valorisation of the new that is produced by performers, curators and audiences, and by innovators, intermediaries and consumers alike. Secondly, the production and consumption of newness in festivals is linked to the specific way in which their socio-material setting facilitates what has been termed framing and overflowing of cognitive formats. Finally, the analysis sheds new light not only on the innovative impact of festivals but also on the scholarly reserve to engage with this field of research. (shrink)

Résumé Après la première exposition « du vide » d’Yves Klein, nombreux sont les artistes à avoir proposé des expositions en apparence vide. Dans les années 2000, elles sont l’objet d’un intérêt nouveau de la part de commissaires. Leur auto-réflexivité interroge sur le geste curatorial et sa dimension iconoclaste. La disparition de l’œuvre concourt à une mise en valeur du lieu institutionnel, voire à son image de marque. En offrant une nouvelle visibilité, ces expositions posent la question de la disparition (...) de l’œuvre comme corollaire de l’invention d’un véritable dispositif socio-symbolique. (shrink)

The social worker builds his working identity through his commitment to serve excluded populations with the aim to take part in their welfare improvement. This working identity acts on his attention on the world. Therefore, his personal identity is affected in his development by the art of doing. When relations with hierarchy, people or institutional environment fail, how is this professional identity perceived by the social worker and how is his own personal identity growing in time? The analysis of stories (...) of social workers’ practices, who had suffered because of working situations, reveals close links between social worker, institution and people helped. The affective nature of the links that emerge from the art of doing stands out through the three poles and then plays an important role in the social worker’s identity development. (shrink)

Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

This paper presents an intuitive explanation about why and how Rawlsian Theory of Justice (Rawls in A theory of justice, Harvard University Press, Harvard, 1971) provides the foundations to a solution for algorithmic bias. The contribution of the paper is to discuss and show why Rawlsian ideas in their original form (e.g. the veil of ignorance, original position, and allowing inequalities that serve the worst-off) are relevant to operationalize fairness for algorithmic decision making. The paper also explains how this leads (...) to a specific MinMaxfairness solution, which addresses the basic challenges of algorithmic justice. We combine substantive elements of Rawlsian perspective with an intuitive explanation in order to provide accessible and practical insights. The goal is to propose and motivate why and how the MinMaxfairness solution derived from Rawlsian principles overcomes some of the current challenges for algorithmic bias and highlight the benefits provided when compared to other approaches. The paper presents and discusses the solution by building a bridge between the qualitative theoretical aspects and the quantitative technical approach. (shrink)

This collection of writings by Jean-Luc Nancy, the renowned French critic and poet, delves into the history of philosophy to locate a fundamentally poetic modus operandi there. The book represents a daring mixture of Nancy’s philosophical essays, writings about artworks, and artwork of his own. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of “making,” and outlines the tensions inherent in the faire, the “making” that characterizes the very process of production and thereby the (...) structure of poetry in all its forms. Nancy shows that this multiplication that belongs to the notion of art makes every single work communicate with every other, all material in the artwork appeal to some other material, and art the singular plural of a praxis of the finite imparting of an infinity which is actually there in every utterance. In the collection, Nancy engages with the work of, among others, François Martin, Maurice Blanchot, and On Kawara. (shrink)

This collection of writings by Jean-Luc Nancy, the renowned French critic and poet, delves into the history of philosophy to locate a fundamentally poetic modus operandi there. The book represents a daring mixture of Nancy's philosophical essays, writings about artworks, and artwork of his own. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of "making," and outlines the tensions inherent in the _faire_, the "making" that characterizes the very process of production and thereby the (...) structure of poetry in all its forms. Nancy shows that this multiplication that belongs to the notion of art makes every single work communicate with every other, all material in the artwork appeal to some other material, and art the singular plural of a praxis of the finite imparting of an infinity which is actually there in every utterance. In the collection, Nancy engages with the work of, among others, François Martin, Maurice Blanchot, and On Kawara. (shrink)

À travers une vingtaine de contributions de chercheurs et d'artistes, L'art tout contre la machine invite à réfléchir à la médiation de la technique dans notre rapport au monde telles que les pratiques artistiques contemporaines en esquissent le sens. Il se divise en trois parties, qui tissent de nombreux liens entre elles : « Technique et nature » ; « Interfaces relationnelles et dispositifs génératifs » et « Outils conviviaux et machines domestiques ». Les objectifs sont multiples : interroger des (...) œuvres et des procédures artistiques pour leur capacité à mettre en évidence les incidences des dispositifs machiniques sur nos environnements d'existence ; faire apparaître les filiations de dispositifs de création a priori hétérogènes en interrogeant les circulations entre différents régimes de technicité ; mettre en relief enfin la portée politique et artistique d'une compréhension conviviale des outils de création et la spécificité du rapport à la technique qui la sous-tend. (shrink)

Öz Bu çalışmada, küreselleşme olgusunun sanatla ilişkisi sorgulanmıştır. Küreselleşmenin, homojenleşme, kutuplaşma, hibritleşme gibi kültürel getirileri, sanata yeni bir kimlik kazandırmıştır. Çağdaş sanat olarak tanımlanan bu yeni kimlik, disiplinlerarası, çok kültürlülük özelliği taşıyan, zaman, mekan kavramından bağımsız, anlatım ve plastik dil açısından çok çeşitlilik içeren bir yapıya sahiptir. Sanat, ilk çağlardan beri insanların doğa karşısında güçlü olmalarını ve kendilerini ifade etmelerini sağlayan kültürel bir güçtür. İletişim Kuramcısı McLuhan’a göre kültürün belirleyici ilkesi, içeriginden cok iletildigi aracmm niteligi ile ilgilidir(Eşkinat. 1998, s.37) Günümüzde (...) kültürün iletenleri olarak dijital teknoloji ve medya çağdaş sanatın en önemli belirleyenleridir.Çağdaş sanat, iletişim, teknolojlerindeki gelişme ile hız faktörünü kazanarak zaman ve mekandan bağımsızlaşmıştır. Sanatçının kendisi de bir ileten olarak ön plana çıkmıştır. Çeşitli özellikleri ile çağdaş sanat, yaşamın içinde yer almakta ve küreselleşmenin kültürel boyutunun büyük bir bölümünü oluşturmaktadır.Küreselleşme Ekonomik, politik ve sosyo-kültürel yapıların biraraya gelmesi ve yeni iletişim teknolojilerinin küresel kullanımıyla oluşur(Erdoğan. 2013, s.76).Bu çalışmada çağdaş sanatın ekonomik sistem ile bütüncül bir yapı oluşturduğu vurgulanmıştır. Bu bütüncül yapı içinde sanatçının kendisinin de sanat üretiminin önemli bir parçası olduğu gözlemlenmiştir.Çağdaş sanat, sanatçı, küratör, çağdaş sanat fuarları ve bienaller, küreselleşme olgusu üzerinden incelenmiştir. Çalışmanın amacı; çağdaş sanatın, küreselleşmenin önemli bir dinamiği olduğunu ortaya koymaktır. Çalışma, belirlenen problem çerçevesinde literatür araştırması yapılıp, kaynak tarama modeli kullanılarak yürütülmüştür. Anahtar Kelimeler : Küreselleşme,Küreselleşmenin boyutları,Çağdaş sanat,Kültür endüstrisi,KüratörAbstract In this study, the relationship between globalization and art was examined. The cultural connotations of globalization, such as homogenization, polarization, and hybridization, have given a new identity to art. This new identity, defined as contemporary art, has a multidisciplinary structure that is independent of time, space and diverse in terms of expression and plastic language. Art is a cultural power that has enabled people to be strong against nature and to express themselves since the earliest ages. According to the Communication Theorist McLuhan, the culturally determinant principle is concerned with the quality of the means in which it is transmitted (Eskinat.1998, s. 37). Digital technology and media are important determinants of contemporary art. Contemporary art has become independent of time and space by acquiring the speed with the development of communication, technologies. The artist himself has also come to the forefront as a conductor. Contemporary art with its various features takes part in life and forms a large part of the cultural dimension of globalization. Globalization occurs with a combination of economic, political and socio-cultural structures and the global use of new communication technologies (Erdoğan. 2013, s. 76). It is emphasized that modern art forms an integrated structure with the economic system. It is observed that the artist himself is an important part of the art production in this whole structure. Contemporary art, artists, curators, contemporary art fairs and biennials have been studied through the phenomenon of globalization. Purpose of the study is to provide evidence for the fact that contemporary art is an important dynamism of globalization. The study was carried out using literature review model in the framework of the identified problem. Keywords : Globalization, Dimensions of globalization,Contemporary art, Culture industry,Curator. (shrink)

In all the Alien films, the environments are gloomy settings originally inspired by Gothic architecture, but it's the creature design, which leaves the most profound mark on us. The interaction between these art‐horror monsters and the sterileturned‐ grotesque environments of the Alien films can produce disgust or revulsion in the viewer. In Alien a fair amount of time is spent on the relationships between the crew members. One of the most horrific moments of the series is the cry of “kill (...) me” that emerges from the half‐conscious hosts as the space Marines explore the former colony of Hadley's Hope. Central to Carroll's theory on art‐horror is revulsion at the suggestion of physical contact with the fusion‐figures. At the end of Alien: Resurrection, Ripley lies in the middle of the Queen's huge mass. It is the most striking image in an otherwise cartoonish film. (shrink)

L’art pictural religieux non figuratif est difficile à interpréter, et encore plus à théoriser. Plusieurs au xxe siècle ont tenté de le faire selon différentes perspectives. On a élaboré des solutions crypto-réaliste, puis expressionniste et, plus récemment, minimaliste. Tous ces points de vue semblent insuffisants pour rendre compte de la dimension religieuse dans l’art non figuratif. On pourrait enfin envisager une quatrième solution, rhétorique cette fois, qui jetterait un éclairage nouveau sur ce genre d’oeuvre tout en proposant quelques clés d’interprétation (...) aux amateurs d’art ainsi qu’aux artistes qui s’y intéressent. Non figurative pictorial art is difficult to interpret and even more difficult to theorize upon. Several attempts to do so were undertaken throughout the 20th century. Crypto-realist, expressionist and minimalist explanations have been proffered. None of these perspectives, however, sufficiently accounts for the religious dimension in non-figurative art. A rhetorical approach may provide a solution which will shed light on this particular form of artistic expression at the same time that it suggests a number of hermeneutical keys that may prove useful to art-lovers and artists alike. (shrink)

L’être humain préhistorique invente, par le calcul, la notion de possibilité. Avec l’ordinateur, on peut désormais computer ces calculs. On peut ramasser les points pour en faire des mondes objectifs, des mondes subjectifs et des valeurs alternatives. Ceci implique un changement radical des idées que nous nous faisons : un abandon de la distinction entre la science, l’art et la politique en faveur de la projection.

L'espace fait partie de ces réalités quotidiennes qui, selon Georges Pérec, loin d'être des évidences, sont en fait des opacités. Opacité au sens de ce qui est toujours déjà là mais sans être jamais interrogé, sans que sa réalité ni sa nature ne soient questionnées. Pourtant l'espace est à la fois notre matière et notre forme, ce dans quoi nous vivons et ce que nous créons, ce qui nous habite et ce que nous tissons. Pour tenter d'éclairer cette réalité énigmatique, (...) nous prendrons un chemin de biais, et nous interrogerons la manière dont les différents arts (peinture, architecture, art des jardins, danse, arts plastiques) s'emparent de l'espace et nous invitent à en faire une expérience à chaque fois singulière et intrigante. (shrink)

The number of people in immediate need of anti‐retroviral treatment (ART) in the southern African region continues to significantly exceed the capacity of health systems there to provide it. Approaches to this complex rationing dilemma have evolved in different directions. The ethical concepts of fairness and equity have been suggested as a basis to guide the development of approaches to select patients for ART. This article reports the results of a case study on patient selection at a rural ART clinic (...) in Lesotho. The purpose of the study was to examine whether or not such concepts had relevance or operative value for a treatment team providing ART in rural Lesotho. The study found that while concepts of fairness and equity were relevant to the work of the treatment team, patient selection practices did not necessarily reflect what these concepts entail. The idea of fairness as a structured, formalized selection process did not figure in the approach to ART provision at the site. A less formal, ‘first‐come‐first‐served’ approach was adopted. While there was knowledge among some team members that social, economic or geographic conditions inhibit individuals and groups from gaining access to ART and that this was inequitable, it was felt that there was little they could do to try to mediate the impact of these conditions. The study's findings pose importance questions about the approach to ART programming in resource constrained settings. The findings also question the relevance of trying to achieve fairness and equity when the gap between need for care and capacity to provide it remains so large. (shrink)

It is about analyzing the connection between just memory, narration and art, using an approach that mixes philosophy and visual arts. We will start from the perspective of the French philosopher Paul Ricoeur on fair memory, presented in his work Memory, History, Oblivion (2000), according to which there is an institutionalized ideologization of memory in which narrations are silenced or distorted by the so-called official history. In the process of recovering fair memory, these narratives need to be heard, recognized and (...) valued, deconstructing abusive mechanisms that silence them with the aim of producing oblivion or that manipulate them involve distorting the facts to benefit hegemonic discourses. Next, we will discuss how the myth of Brazilian racial democracy is an example of institutionalized ideologization of memory, considering mainly the reflections of Brazilian philosophy Sueli Carneiro in Device of raciality (2023). Finally, we will show how Elian Almeida's pictorial counter-narratives, especially the Vogue series (2020), work to strengthen and disseminate unofficial narratives about Brazil that have been suffocated by official history. (shrink)

The data science era is characterized by data-driven automated decision systems (ADS) enabling, through data analytics and machine learning, automated decisions in many contexts, deeply impacting our lives. As such, their downsides and potential risks are becoming more and more evident: technical solutions, alone, are not sufficient and an interdisciplinary approach is needed. Consequently, ADS should evolve into data-informed ADS, which take humans in the loop in all the data processing steps. Data-informed ADS should deal with data responsibly, guaranteeing nondiscrimination (...) with respect to protected groups of individuals. Nondiscrimination can be characterized in terms of different types of properties, like fairness and diversity. While fairness, i.e., absence of bias against minorities, has been widely investigated in machine learning, only more recently this issue has been tackled by considering all the steps of data processing pipelines at the basis of ADS, from data acquisition to analysis. Additionally, fairness is just one point of view of nondiscrimination to be considered for guaranteeing equity: other issues, like diversity, are raising interest from the scientific community due to their relevance in society. This paper aims at critically surveying how nondiscrimination has been investigated in the context of complex data science pipelines at the basis of data-informed ADS, by focusing on the specific data processing tasks for which nondiscrimination solutions have been proposed. (shrink)

Public reason liberalism is the political theory which holds that coercive laws and policies are justified when and only when they are grounded in reasons of the public. The standard interpretation of public reason liberalism, consensus accounts, claim that the reasons persons share or that persons can derive from shared values determine which policies can be justified. In this paper, I argue that consensus approaches cannot justify fair educational policies and preserving cultural goods. Consensus approaches can resolve some controversies about (...) teaching values in the educational system, such as curriculum choice. But they cannot determine which culture goods, e.g., architecture, artwork, or language ought to be preserved in the education system. Consensus approaches cannot fairly resolve competing claims about these kinds of disputes. -/- I propose that convergence accounts of public reason, which allow individuals to draw on their own comprehensive doctrines in limited ways, can remedy these weaknesses in the mainline public reason tradition. The convergence approach can justify a pluralist state that can advance valuable community goods. John Henry Newman’s advocacy of liberal arts education finds resonance in other cultures, notably among Confucians, illustrating that there can be a shared moral vision and inquiry into the good life across deep substantive disagreements about educational values and policies, once we expand our notion of justification to be more inclusive. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 101-107 [Access article in PDF] Art Education in Lower Secondary Schools in Japan and the United Kingdom This essay compares the system and practice of art education in Japan and the United Kingdom at the lower secondary school level. Three surveys on how art is taught form the basis of this research. I conducted the first survey in 1992, distributed to 156 (...) art teachers in Japan on their "real" curricula and compared them with syllabus samplers of nationally authorized textbooks. From 1993 to 1994, I studied in the United Kingdom the newly introduced National Curriculum and performed a survey on its impact on classroomteaching in 49 art departments in secondary schools, mostly in England. Since 1994, I have participated in a joint study project on craft education in secondary schools in Japan and Britain, in which 717 Japanese schools are cooperating via a questionnaire survey. The issues common to these surveys are how art teachers respond to the national standards in their own teaching practice, and what these responses suggest for the future development of this subject. This essay identifies survey findings in both countries, together with overviews on the systems and cultural factors affecting the state of Art and its implementation in curricula. Japan and the United Kingdom: An Overview Let us look briefly at the historical background of the national curricula in Japan and the United Kingdom. The education system in Japan was established by the central government and has maintained its unity. After World War II, a new national Course of Study was recommended but was not compulsory. But in the legislation of 1958, this Course of Study became binding and a new subject called "Technology and Home Economics" was introduced. A new term, "design" was adopted in Art, "craft" was removed, and the time allocated to Art was drastically reduced. In the 1969 revision, five main areas of Art study were established: drawing (painting), sculpture, design, craft, and art appreciation. In 1977, a recommended time allocation for each area in Art was eliminated, and the five areas were reorganized into two fields: "expression" and "appreciation." Between 1969 and 1977, lower secondary schools in Japan allotted two compulsory hours per week for Art in grades 7 and 8, one compulsory hour and one non-compulsory hour in grade 9. However, after the revisions of 1989 and 1998, the time allotted for Art has gradually decreased. [End Page 101]In the United Kingdom, different educational systems developed concurrently, and through political and ideological conflicts, the involvement of central government gradually grew until an integrated school system was established. 1 The National Curriculum, first introduced through the Education Act of 1988, clearly indicates Art as compulsory from Years 1 to 9 in state schools. 2 The Courses of Study in Japan are separated into primary, lower, and upper secondary levels, however, the consistency of Art as a subject is not as clear. 3 In England, the content is not differentiated into the areas of art, craft, and design, but is organized as a series of processes common to these areas including investigation, creation, and evaluation, based upon knowledge and understanding.The United Kingdom has no national system for authorizing textbooks, but the examination board syllabus for the General Certificate ofSecondary Education (GCSE), for example, has influenced the school curriculum. Art departments of each secondary school function as fairly independent entities, taking responsibility for curriculum and study resources. In Japan, in most cases, lower and upper secondary schools are separated, with only about one art teacher per school, which means improving the curriculum is determined by the efforts of the individual teacher in a limited environment.We also need to consider the cultural background. The United Kingdom has made a notable effort to incorporate a multicultural perspective, based upon the urgent recognition that the country has become a multi-ethnic society. There is also a growing awareness in Western societies that individual expression should be approved in relation to the culture of a given social group. In Japan, it has... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 101-107 [Access article in PDF] Art Education in Lower Secondary Schools in Japan and the United Kingdom This essay compares the system and practice of art education in Japan and the United Kingdom at the lower secondary school level. Three surveys on how art is taught form the basis of this research. I conducted the first survey in 1992, distributed to 156 (...) art teachers in Japan on their "real" curricula and compared them with syllabus samplers of nationally authorized textbooks. From 1993 to 1994, I studied in the United Kingdom the newly introduced National Curriculum and performed a survey on its impact on classroomteaching in 49 art departments in secondary schools, mostly in England. Since 1994, I have participated in a joint study project on craft education in secondary schools in Japan and Britain, in which 717 Japanese schools are cooperating via a questionnaire survey. The issues common to these surveys are how art teachers respond to the national standards in their own teaching practice, and what these responses suggest for the future development of this subject. This essay identifies survey findings in both countries, together with overviews on the systems and cultural factors affecting the state of Art and its implementation in curricula. Japan and the United Kingdom: An Overview Let us look briefly at the historical background of the national curricula in Japan and the United Kingdom. The education system in Japan was established by the central government and has maintained its unity. After World War II, a new national Course of Study was recommended but was not compulsory. But in the legislation of 1958, this Course of Study became binding and a new subject called "Technology and Home Economics" was introduced. A new term, "design" was adopted in Art, "craft" was removed, and the time allocated to Art was drastically reduced. In the 1969 revision, five main areas of Art study were established: drawing (painting), sculpture, design, craft, and art appreciation. In 1977, a recommended time allocation for each area in Art was eliminated, and the five areas were reorganized into two fields: "expression" and "appreciation." Between 1969 and 1977, lower secondary schools in Japan allotted two compulsory hours per week for Art in grades 7 and 8, one compulsory hour and one non-compulsory hour in grade 9. However, after the revisions of 1989 and 1998, the time allotted for Art has gradually decreased. [End Page 101]In the United Kingdom, different educational systems developed concurrently, and through political and ideological conflicts, the involvement of central government gradually grew until an integrated school system was established. 1 The National Curriculum, first introduced through the Education Act of 1988, clearly indicates Art as compulsory from Years 1 to 9 in state schools. 2 The Courses of Study in Japan are separated into primary, lower, and upper secondary levels, however, the consistency of Art as a subject is not as clear. 3 In England, the content is not differentiated into the areas of art, craft, and design, but is organized as a series of processes common to these areas including investigation, creation, and evaluation, based upon knowledge and understanding.The United Kingdom has no national system for authorizing textbooks, but the examination board syllabus for the General Certificate ofSecondary Education (GCSE), for example, has influenced the school curriculum. Art departments of each secondary school function as fairly independent entities, taking responsibility for curriculum and study resources. In Japan, in most cases, lower and upper secondary schools are separated, with only about one art teacher per school, which means improving the curriculum is determined by the efforts of the individual teacher in a limited environment.We also need to consider the cultural background. The United Kingdom has made a notable effort to incorporate a multicultural perspective, based upon the urgent recognition that the country has become a multi-ethnic society. There is also a growing awareness in Western societies that individual expression should be approved in relation to the culture of a given social group. In Japan, it has... (shrink)

Fairness is one of the most prominent values in the Ethics and Artificial Intelligence (AI) debate and, specifically, in the discussion on algorithmic decision-making (ADM). However, while the need for fairness in ADM is widely acknowledged, the very concept of fairness has not been sufficiently explored so far. Our paper aims to fill this gap and claims that an ethically informed re-definition of fairness is needed to adequately investigate fairness in ADM. To achieve our goal, after an introductory section aimed (...) at clarifying the aim and structure of the paper, in section “Fairness in algorithmic decision-making” we provide an overview of the state of the art of the discussion on fairness in ADM and show its shortcomings; in section “Fairness as an ethical value”, we pursue an ethical inquiry into the concept of fairness, drawing insights from accounts of fairness developed in moral philosophy, and define fairness as an ethical value. In particular, we argue that fairness is articulated in a distributive and socio-relational dimension; it comprises three main components: fair equality of opportunity, equal right to justification, and fair equality of relationship; these components are grounded in the need to respect persons both as persons and as particular individuals. In section “Fairness in algorithmic decision-making revised”, we analyze the implications of our redefinition of fairness as an ethical value on the discussion of fairness in ADM and show that each component of fairness has profound effects on the criteria that ADM ought to meet. Finally, in section “Concluding remarks”, we sketch some broader implications and conclude. (shrink)

Passant du cinéma d’animation pour enfants (en suivant les exemples de films comme Chicken Run et Le monde de Nemo ) aux artistes queer contemporaines qui ont embrassé l’échec comme un style à part entière, Jack Halberstam part à la recherche de modèles de parentés, d’alliances et de communautés pour faire alternative au monde néo-libéral et à l’idéologie du succès qui en façonne les subjectivités. Cette idéologie se déploie notamment au travers des multiples injonctions à « réussir » dans les (...) différents aspects de la vie sociale : il faut produire, accumuler et se reproduire – autant de maillons dans la chaîne de (re)production du capital. Dans The Queer Art of Failure, Halberstam propose une méthode de déviance joyeuse par rapport à cette idéologie du succès : « d’abord, résister à la maîtrise » ; « ensuite, privilégier la naïveté et l’absurdité (la stupidité) ». (shrink)

In this paper the author revisits selected scenes of love and war from the Old French Partonopeus de Blois. He focuses on the rhetoric of these passages and by a close textual reading highlights the dynamics of the romance and the game of echoes between the two spheres. He underlines the symmetry of the discourse of love and war and the constant dialogue which is established by the anonymous author. Epic and courtly motifs are knowingly intertwined to create meaning and (...) to renew the art of writing. He concludes that in this story, love is the way to redeem not only the knight but also the narrator of the romance. (shrink)

The problem of algorithmic fairness is typically framed as the problem of finding a unique formal criterion that guarantees that a given algorithmic decision-making procedure is morally permissible. In this paper, I argue that this is conceptually misguided and that we should replace the problem with two sub-problems. If we examine how most state-of-the-art machine learning systems work, we notice that there are two distinct stages in the decision-making process. First, a prediction of a relevant property is made. Secondly, a (...) decision is taken based (at least partly) on this prediction. These two stages have different aims: the prediction is aimed at accuracy, while the decision is aimed at allocating a given good in a way that maximizes some context-relative utility measure. Correspondingly, two different fairness issues can arise. First, predictions could be biased in discriminatory ways. This means that the predictions contain systematic errors for a specific group of individuals. Secondly, the system’s decisions could result in an allocation of goods that is in tension with the principles of distributive justice. These two fairness issues are distinct problems that require different types of solutions. I here provide a formal framework to address both issues and argue that this way of conceptualizing them resolves some of the paradoxes present in the discussion of algorithmic fairness. (shrink)

The discussion in this paper begins with some observations regarding a number of structural similarities between art and morality as it involves human agency. On the basis of these observations we may ask whether or not incompatibilist worries about free will are relevant to both art and morality. One approach is to claim that libertarian free will is essential to our evaluations of merit and desert in both spheres. An alternative approach, is to claim that free will is required only (...) in the sphere of morality—and that to this extent the art/morality analogy breaks down. I argue that both these incompatibilist approaches encounter significant problems and difficulties—and that incompatibilist have paid insufficient attention to these issues. However, although the analogy between art and morality may be welcomed by compatibilists, it does not pave the way for an easy or facile optimism on this subject. On the contrary, while the art/morality analogy may lend support to compatibilism it also serves to show that some worries of incompatibilism relating to the role of luck in human life cannot be easily set aside, which denies compatibilism any basis for complacent optimism on this subject. (shrink)

There are passages in Nietzsche that can be read as contributions to the free will/determinism debate. When read in that way, they reveal a fairly amateurish metaphysician with little of real substance or novelty to contribute; and if these readings were apt or perspicuous, it seems to me, they would show that Nietzsche's thoughts about freedom were barely worth pausing over. They would simply confirm the impression—amply bolstered from other quarters—that Nietzsche was not at his best when addressing the staple (...) questions of philosophy. But these readings sell Nietzsche short. He had next to no systematic interest in metaphysics, and his concern with the question of freedom was not motivated by metaphysical considerations. Rather—and as with all of Nietzsche's concerns—his motivations were ethical. He was interested, not in the relation of the human will to the causal order of nature, but in the relation between freedom and the good life, between the will and exemplary human living. Read from this perspective, Nietzsche's remarks about freedom actually add up to something. And what they add up to is one aspect of his attempt to understand life after the model of art. Beauty, for Kant, was an image of the moral.1 For Nietzsche, by contrast—and the contrast can be hard to spell out—art was an image of the ethical.2 My hope here is to begin to explain why Nietzsche might have thought that the issue of freedom was relevant to that. In sections 1–3, I attempt to show why Nietzsche is not best read as a participant in the standard free will/determinism debate; in sections 4–6, I try to spell out the ethical conception of freedom that he develops instead. (shrink)

Les idées ici proposées ne dépendent point de quelque idée supérieure d'abord posée, et ne conduisent même point à quelque notion commune qui puisse définir tous les arts en peu de mots. Au contraire je me suis attaché à marquer les différences, les séparations, les oppositions, me réglant ainsi, autant que peut faire la critique, sur les oeuvres elles-mêmes, dont chacune s'affirme si bien et n'affirme qu'elle.

There are passages in Nietzsche that can be read as contributions to the free will/determinism debate. When read in that way, they reveal a fairly amateurish metaphysician with little of real substance or novelty to contribute; and if these readings were apt or perspicuous, it seems to me, they would show that Nietzsche's thoughts about freedom were barely worth pausing over. They would simply confirm the impression—amply bolstered from other quarters—that Nietzsche was not at his best when addressing the staple (...) questions of philosophy. But these readings sell Nietzsche short. He had next to no systematic interest in metaphysics, and his concern with the question of freedom was not motivated by metaphysical considerations. Rather—and as with all of Nietzsche's concerns—his motivations were ethical. He was interested, not in the relation of the human will to the causal order of nature, but in the relation between freedom and the good life, between the will and exemplary human living. Read from this perspective, Nietzsche's remarks about freedom actually add up to something. And what they add up to is one aspect of his attempt to understand life after the model of art. Beauty, for Kant, was an image of the moral.1 For Nietzsche, by contrast—and the contrast can be hard to spell out—art was an image of the ethical.2 My hope here is to begin to explain why Nietzsche might have thought that the issue of freedom was relevant to that. In sections 1–3, I attempt to show why Nietzsche is not best read as a participant in the standard free will/determinism debate; in sections 4–6, I try to spell out the ethical conception of freedom that he develops instead. (shrink)

L’esprit contemporain nous vole nos intériorités. Il entend façonner nos goûts et nos imaginaires. Orienter nos expériences. Nous détourner de nous-mêmes dans un divertissement généralisé, une mise en réseau et un art consommé de l’inquiétude qui est une autre manière de nous emporter dans son flux. C’est un homme mutilé, abruti, amoindri spirituellement que produit ce monde dominé par la technique qui ose appeler progrès les0régressions qu’il programme. L’art – entendu non comme savoir ou culture mais comme passion de la (...) liberté et exploration de nos sources enfouies – est l’un des derniers moyens qui nous restent pour nous savoir humains. Tout art digne de ce nom est insurrection, quête d’absolu, tentative désespérée pour dire l’amour incommensurable qui nous taraude. Emmanuel Godo, ici, nous provoque et nous convoque. Et si nous faisions l’épreuve de notre humanité – pour en avoir la preuve – en nous confrontant à des oeuvres d’art? Mais pas à des simulacres sans épaisseur ou à des joujoux insipides, non! Car ce n’est pas en millions de dollars que s’évalue une oeuvre mais à sa capacité à faire se lever en nous nos forces en sommeil. Un plaidoyer magistral pour l’art contemporain, le vrai. (shrink)

À partir des traces matérielles de son écriture, cet ouvrage propose de faire l'histoire d'un lecteur, Michel de Certeau, historien éminent du XXe siècle, jésuite, et auteur d'une théorie de la lecture comme braconnage. Relevant les soulignements et annotations laissés dans ses livres, sa manière de citer d'autres travaux ou lui-même dans le réemploi de ses écrits, et la construction de lecteurs libres de tout système scripturaire, ce livre présente un territoire inconnu, celui des textes disséminés dans les revues et (...) magazines. Ces traces de lecture saisissent le processus d'écriture d'une oeuvre dont le présent garde trace de l'altérité cachée de son passé, et mettent au jour les arts de braconner."--Page 4 of cover. (shrink)

Le Consistoire de Rotterdam ayant condamné plusieurs articles lors de la première parution du Dictionnaire historique et critique, les éditions ultérieures contiendront des « Éclaircissements ». Bayle, par sa maîtrise de l’écriture cryptée, va faire de ces textes, officiellement de justification et d’autocensure, un plaidoyer pour la liberté de philosopher.Dans ses premiers textes, comme les Pensées diverses sur la comète, il a pratiqué un art d’écrire d’autant plus efficace qu’il était presque revendiqué comme tel dans des « Avis aux lecteurs (...) ». Il appartient en effet à une génération d’écrivains qui tente de donner à un certain public quelques clefs de lecture permettant, en contournant la censure, de faire perdre à celle-ci une partie de sa nocivité et de sa raison d’être. Cette « pédagogie » se déploie dans les Nouvelles de la République des Lettres, dans son Dictionnaire. Ce sont ces clefs qui peuvent rendre encore le lecteur contemporain apte à déjouer les pièges de ces étranges « Éclaircissements ».The Rotterdam Consistory having sentenced a few articles on the occasion of the first edition of the Critical and Historical Dictionary, the later editions will contain a few explanations. Bayle, through his mastery of crypted writing will turn those texts – supposed to be of justification and self-censorship – into a plea for the freedom to philosophize.In his first texts, for instance in Several Thoughts on the Comet, he exercized an art of writing all the more efficient as it had been almost claimed as such in « Advices to the readers ». Indeed, he belongs to a generation of writers attempting to give some kind of audience a few keys for reading that should enable, by by-passing censorship, to deprive it of part of its noxiousness and raison d’être. Such a paedagogical approach unfolds itself in the News from the Republic of Letters and his Dictionary. Such keys still enable the contemporary reader to thwart the traps of those strange « Explanations ». (shrink)

Pourquoi prend-on plaisir à dessiner et à regarder des images? A écouter de la musique, à en faire, à lire et à écrire, à aller au spectacle? Pour le comprendre, cette investigation nous entraîne vers des territoires inattendus, là où surgissent les idées et se manifeste la création. On y découvre que la joie singulière procurée par l'appréciation, ou la création d'une oeuvre, correspond à une sorte d'état second, un mode de vigilance aussi indispensable au bon fonctionnement de notre monde (...) mental que le sont le sommeil et les rêves. Une hypothèse novatrice qui explique la présence de l'activité esthétique dans toutes les sociétés humaines et nous offre la possibilité de repenser radicalement notre rapport à l'art, la beauté, l'artiste et la création. -- payot. (shrink)

Until fairly recently, most of the attention of art historians and others in these debates has been paid to differences among the partisans of various disciplinary methodologies, or to the differential benefits of one or another school of thought or theoretical perspective in other areas of the humanities and social sciences as these might arguably apply to questions of art historical practice.1 Yet there has also come about among art historians a renewed interest in the historical origins of the academic (...) discipline itself, and in the relationships of its institutionalization in various countries to the professionalizing of other historical and critical disciplines in the latter part of the nineteenth century. These interests have led increasingly to wider discussion by art historians of the particular nature of disciplinary knowledge, the circumstances and protocols of academic practice, and the relations between the various branches of modern discourse on the visual arts: academic art history, art criticism, aesthetic philosophy, the art market, exhibitions, and musicology.2 What follows does not aim to summarize or characterize these developments but is more simply an attempt to delineate some of the principal characteristics of the discipline as an evidentiary institution in the light of the material conditions of academic practice that arose in the latter half of the nineteenth century in relation to the history of mueological display. In brief, this essay is concerned with the circumstances of art history’s foundations as a systematic and “scientific” practice, and its focus is limited to a single, albeit paradigmatic, American example. 1. An extended discussion of these issues may be found in Donald Preziosi, Rethinking Art History: Meditations on a Coy Science , pp. 80-121. See also The New Art History, ed. A. L. Rees and Frances Borzello .2. One important sign off these discussions has been a series of “Views and Overviews” of the discipline appearing in The Art Bulletin in recent years, of which the most recent has been perhaps the most extensive and comprehensive: Mieke Bal and Norman Byrson, ”Semiotics and Art History,” The Art Bulletin 73 : 174-208. Donald Preziosi is professor of art history at the University of California, Los Angeles, and, beginning in 1992, at the École des Hautes Études en Sciences Sociales in Paris. He is the author of Rethinking Art History: Meditations on a Coy Science and is currently completing a book on the history of museums entitled Framing Modernity. (shrink)

Procuramos, com este trabalho, levantar algumas pistas que nos parecem fundamentais concernentes à natureza da significação estética das obras de arte, tentando mostrar como esta significação é em si mesma urn horizonte de sentido irredutível aos seus significados parciais. Para isso, delimitamos um itinerário cuja perspectiva de fundo se situa, sobretudo, no interior da estética fenomenológica trabalhada pelos textos de Mikel Dufrenne, e articulado em quatroblocos concêntricos: a indagação do fundamento de uma semântica de ordem estética; o confronto com o (...) objectivismo da semiologia estruturalista; o modo como o objecto estético se distingue dos objectos especificamente significantes; finalmente, de como essa diferenciação lhe perm ite prosseguir um poder desobressignificar. /// Nous cherchons dans ce travail à fournir quelques pistes qui nous paraissent fondamentales concernant la nature de la signification esthetique des oeuvres d'art en essayant de montrer que cette signification est en elle même un horizon de sens irréductible à ses signifiés partiels. Pource faire, nous délimitons un itinéraire dont laperspective de fond se situe surtout à l'intérieur de l'esthétique phénoménologique travaillée par les textes de Mikel Dufrenne; et dont l'articulation se fait en quatre blocs concentriques: la recherche du fondement d'une sémantique d'ordre esthétique; la confrontation avec l'objectivisme de la sémiologie structurasliste; la façon dont l'objet esthétique se distingue des objets spécifiquement signifiants; enfin, la maniére dont cette différanciation lui permet de poursuivre une capacité de sursignifier. /// In this paper we put forward some suggestions which we consider of fundamental importance as to the nature of the aesthetical significance of art works, and attempt to show that this significance is in itself an horizon of sense, irreducible to its partial meanings. To attain this goal, we outline an itinerary whose background outlook is in line with the phenomenological aesthetics put forward in Mikel Dufrenne's texts, an articulated in four concentric parts: investigation about the foundation of a semantics of an aesthetical kind; confrontation with the objectivism of the structuralist semeiology; the way an aesthetical object differs from the other specifically significant objects; finally, how this differentiation gives such an object the power to oversignify. (shrink)

Le present livre repose sur la conviction profonde et inveteree chez son auteur, que l'art n'est pas une facon de connaissance, mais qu'il releve au contraire d'un ordre distinct de celui du connaitre, qui est l'ordre du faire ou, s'il est permis de s'exprimer ainsi, de la factivite. Il s'agit donc ici uniquement de philosophie, en commencant par le commencement, qui consiste a chercher, au moins brievement, quel genre de question de philosophie doit se poser au sujet de l'art. A (...) partir de la, reflechissant en metaphysicien a la lumiere des premiers principes, on s'est efforce d'eclaircir successivement les notions principales a mesure qu'elles s'offraient a l'esprit. (shrink)

Le present livre repose sur la conviction profonde et inveteree chez son auteur, que l'art n'est pas une facon de connaissance, mais qu'il releve au contraire d'un ordre distinct de celui du connaitre, qui est l'ordre du faire ou, s'il est permis de s'exprimer ainsi, de la factivite. Il s'agit donc ici uniquement de philosophie, en commencant par le commencement, qui consiste a chercher, au moins brievement, quel genre de question de philosophie doit se poser au sujet de l'art. A (...) partir de la, reflechissant en metaphysicien a la lumiere des premiers principes, on s'est efforce d'eclaircir successivement les notions principales a mesure qu'elles s'offraient a l'esprit. (shrink)

Dans certains récits poïétiques, des artistes trouvent par hasard au sein de leur expérience perceptive une solution à un problème de réalisation artistique en un moment imprévu, en un lieu inattendu, à la suite d’un temps devenu vacant par un retard ou une circonstance involontaires. De Léonard de Vinci à l’artiste surréaliste Max Ernst, sont analysées les relations entre ces temps vacants de diverses natures psychologiques et circonstancielles avec la capacité, qui leur succède, à saisir une sollicitation imprévue pour l’intégrer (...) à leur démarche artistique. Tournure stylistique et dramatique pour mieux faire ressortir l’instant fertile sérendipien? Rhétorique de l’ironie, qui retourne la durée morne en moment d’intense création? Repos nécessaire pour mieux aiguiser l’attention qui succède? Ou plongée dans l’inconscient riche d’images, qui souffle parfois des solutions époustouflantes de justesse? Ces moments vides, quelle qu’en soit la teneur, tiennent probablement un rôle plus soutenu qu’il n’y paraît dans la temporalité de la démarche sérendipienne chez nombre d’artistes. Aussi, même s’il n’est pas question ici de sacraliser leur activité, faut-il considérer leurs temps apparemment vides, comme une chance d’une possible sérendipité artistique. (shrink)

Paru une première fois en février 1968 à l'enseigne de la galerie Claude Givaudan, L'Abolition de l'art est l'un des textes les plus emblématiques parmi ceux préfigurant Mai 68, mais aussi dans la réflexion d'Alain Jouffroy sur l'art. Accompagné ici, et pour la première fois, du film éponyme réalisé dans la foulée, et de deux textes qui en redistribuent les enjeux (« Que faire de l'art? », écrit en août 1968, et « Le futur abolira-t-il l'art? », écrit en 1970); (...) les propositions de L'Abolition de l'art se présentent désormais comme un ensemble autonome dont Alain Jouffroy donnait la portée inaugurale en ces termes : « C'est au moment où, devant une oeuvre nous oublions qu'elle relève de l'art, au moment où la méthode d'exécution suscite dans le spectateur, une méthode de méditation - une série d'actes organisés par la pensée – que nous sommes confrontés vraiment avec nous-même, avec le feu. C'est ce basculement que j'appelle l'Abolition de l'art (...). » Cette édition, accompagnée des plans des « Urgences » de Daniel Pommereulle et du DVD du film, est préfacée par Pablo Durán. Alain Jouffroy est né en 1928. (shrink)

The increasing implementation of and reliance on machine-learning (ML) algorithms to perform tasks, deliver services and make decisions in health and healthcare have made the need for fairness in ML, and more specifically in healthcare ML algorithms (HMLA), a very important and urgent task. However, while the debate on fairness in the ethics of artificial intelligence (AI) and in HMLA has grown significantly over the last decade, the very concept of fairness as an ethical value has not yet been sufficiently (...) explored. Our paper aims to fill this gap and address the AI ethics principle of fairness from a conceptual standpoint, drawing insights from accounts of fairness elaborated in moral philosophy and using them to conceptualise fairness as an ethical value and to redefine fairness in HMLA accordingly. To achieve our goal, following a first section aimed at clarifying the background, methodology and structure of the paper, in the second section, we provide an overview of the discussion of the AI ethics principle of fairness in HMLA and show that the concept of fairness underlying this debate is framed in purely distributive terms and overlaps with non-discrimination, which is defined in turn as the absence of biases. After showing that this framing is inadequate, in the third section, we pursue an ethical inquiry into the concept of fairness and argue that fairness ought to be conceived of as an ethical value. Following a clarification of the relationship between fairness and non-discrimination, we show that the two do not overlap and that fairness requires much more than just non-discrimination. Moreover, we highlight that fairness not only has a distributive but also a socio-relational dimension. Finally, we pinpoint the constitutive components of fairness. In doing so, we base our arguments on a renewed reflection on the concept of respect, which goes beyond the idea of equal respect to include respect for individual persons. In the fourth section, we analyse the implications of our conceptual redefinition of fairness as an ethical value in the discussion of fairness in HMLA. Here, we claim that fairness requires more than non-discrimination and the absence of biases as well as more than just distribution; it needs to ensure that HMLA respects persons both as persons and as particular individuals. Finally, in the fifth section, we sketch some broader implications and show how our inquiry can contribute to making HMLA and, more generally, AI promote the social good and a fairer society. (shrink)