At first glance, relating philosophy and design does not seem trivial, but there are several elements that make it possible to develop such a hypothesis beyond the context of the philosophy of technology. In this article, the main objective is to explore some aspects of design in the world and in Brazil, emphasizing how much its bases dialogue with the principles of Gadamer’s philosophical hermeneutics. To do so, in the first section, I develop a bibliographical analysis of the history of (...) design, exposing its roots in art and architecture, as well as the passage from affirmative design to the philosophy of design. In the second section, I discuss some studies on design and philosophy in order to support the formation of critical-speculative design from contemporary art, and later, to address the main hypothesis of the study, that is, that there is a very interesting gain in relating studies of Gadamerian hermeneutics in what I call philosophical-hermeneutical design, which allows thinking about the history, identity and ontological preconceptions of design and expand horizons of philosophical hermeneutics. (shrink)

This volume consists of selected essays on the art and aesthetics of the avantgarde, contemporary art, and postsocialist culture by the internationally renowned Slovenian philosopher and art theorist Aleš Erjavec.

We reflect on the nature of art, the creative process, and the connection between art and philosophy.

With _Relationscapes_, Erin Manning offers a new philosophy of movement challenging the idea that movement is simple displacement in space, knowable only in terms of the actual. Exploring the relation between sensation and thought through the prisms of dance, cinema, art, and new media, Manning argues for the intensity of movement. From this idea of intensity--the incipiency at the heart of movement--Manning develops the concept of preacceleration, which makes palpable how movement creates relational intervals out of which displacements take form. (...) Discussing her theory of incipient movement in terms of dance and relational movement, Manning describes choreographic practices that work to develop with a body in movement rather than simply stabilizing that body into patterns of displacement. She examines the movement-images of Leni Riefenstahl, Étienne-Jules Marey, and Norman McLaren, and explores the dot-paintings of contemporary Australian Aboriginal artists. Turning to language, Manning proposes a theory of prearticulation claiming that language's affective force depends on a concept of thought in motion. _Relationscapes_ takes a "Whiteheadian perspective," recognizing Whitehead's importance and his influence on process philosophers of the late twentieth century--Deleuze and Guattari in particular. It will be of special interest to scholars in new media, philosophy, dance studies, film theory, and art history. (shrink)

In the late 1990s, Rosalind Krauss, one of the principal theorists of post-modernism in the arts, began using the term "post-medium" in her work. It was a nod to the American "ordinary language" philosopher Stanley Cavell, who had been thinking through a concept of medium in art for 30 years. Today with the decline of post-modernism, Stanley Cavell has emerged as one of the most important figures for thinking again about the visual arts, film and theatre. Stanley Cavell and the (...) Arts looks at Cavell's extensive writings on a wide variety of artforms and at a number of writers (Michael Fried, William Rothman) influenced by his work. Over a 50-year career, Cavell wrote about visual art, photography, classical music, Shakespeare, the plays of Samuel Beckett and perhaps most notably Hollywood cinema. Stanley Cavell and the Arts offers an overview of Cavell's writings on the arts, situating them within his wider philosophical practice, analysing in detail his treatment of particular art forms and looking at the work of those he has deeply shaped. (shrink)

Concepts are traditionally pictured as discrete containers that bring together objects or qualities based on the possession of shared, uniform properties. This paper focuses on a contrasting notion of the concept which holds that concepts are defined by their capacity to reach out and connect with other concepts. Two theories in recent continental philosophy maintain this view: one from Ricoeur, the other from Deleuze and Guattari. Both are offered as attempts to bring art and philosophy into relation, but they differ (...) over how the process of connection is theorized. With Ricoeur, a concept is only a concept if it is inherently predisposed to connect with others, and open to being misapplied through metaphor, whereas, with Deleuze and Guattari, connection is left as the general notion of each and every concept being mutually consistent with other concepts, with the consistency attributed to the external action of “bridging.” The author demonstrates the impact of this difference on how the philosophers perceive the art–philosophy relation, and argues that Ricoeur is better placed to provide a theory of philosophical discourse that is open to the aesthetic. Ricoeur can show it through metaphor, while Deleuze and Guattari can only assert or state an art–philosophy relation through a series of technical claims. The significance of the showing–saying distinction is that it can demonstrate the depth with which conceptual connectivity is located within the philosophers’ respective ontologies, and can help to reveal the value of conceptual connectivity for that ontology. (shrink)

Explores painting as a form of communication through a language of aesthetics. Concludes that successful paintings teach viewers something about their own world, rather than about the ideas or the techniques of the artist, and that such learning should be effortless and intuitive. Annotation copyright by Book News, Inc., Portland, OR.

Art and philosophy are the two major elements of the human world. The existence of art and philosophy can expand the spiritual world of human beings to a greater extent and enrich their spiritual life, thus supporting the construction of the material world. And music, as an aural art, has also been given a philosophical meaning in the evolution of history because of its birth and development. Therefore, when studying music, one should first study the history of music. The philosophy (...) of music history education is not only profound and contains world culture and philosophy, but also carries history and economy. Music history education is also a vivid art form of philosophy, where teachers create an artistic beauty to attract students and achieve the purpose of imparting knowledge by optimizing their educational philosophy. To develop the philosophy of education to its fullest extent, teachers must adhere to the concepts associated with the philosophy of art. To explain this process in greater depth, this paper provides a brief review of the aesthetic philosophy and historical evolution of Chinese. (shrink)

ABSTRACT We are concerned with borders and their crucial importance in people's lives. Throughout we place emphasis on liberatory critique and knowledge and on the importance of the forces lineages exercise in the ways we live. How might we speak of whatever is bordered and allow that of which we speak its manifest differences? How are we able to engage differences and maintain our own differences? How might we, as philosophers, speak philosophically about what is beyond philosophy? Such speaking would (...) constitute an art, a philosophical art, that is guided by unspeakable differences. After developing the concepts of border, in-between, sensibility, and mutations of lineages, we turn to Gloria Anzaldúa's accounts of border awareness and her experiences of it. Through an engagement with her account of nepantla, we offer reflections on the force that “beyond” can have in the happenings of liberatory philosophies. In doing so, we emphasize her conceptions of border arte and her manner of bringing it to expression. In that process we find parts of Alejandro Vallega's work helpful in elaborating radical exteriority, fluid margins, and “ana-chronic” sensibilities. We are engaging a philosophical understanding that gives us bridges that provide thresholds beyond philosophy. (shrink)

William Desmond sees religion, art, philosophy, and politics as essential and distinctive modes of human practice, manifestations of an intimate universality that illuminates individual and social being. By observing their permeable relations, Desmond captures notes of a clandestine conversation that transforms ontology.

JPVA Journal of Philosophy and the Visual Arts No 6 Complexity Architecture / Art / Philosophy 'Beginning with complexity will involve working with the recognition that there has always been more than one. Here however this insistent "more than one" will be positioned beyond the scope of semantics; rather than complexity occurring within the range of meaning and taking the form of a generalised polysemy, it will be linked to the nature of the object and to its production. Complexity, therefore, (...) will be inextricably connected to the ontology of the object. What this means is that complexity, in resisting the hold of a semantic idealism on the one hand, and the attempt to give to it the position of being the basis of a new foundationalism on the other, becomes a way of thinking both the presence and the production of objects.' Andrew Benjamin The Journal of Philosophy and the Visual Arts has set new standards in its exploration of themes central to philosophy's relation to the visual arts, illuminating areas of art criticism, architecture, feminism as well as philosophy itself. Rather than simply reflecting current trends it provides a forum in which the real developments in the analysis of the visual arts and its larger cultural and political context can be presented. Articles by well known philosophers and theorists, as well as some lesser known, together with writings by artists and architects allow a strong interdisciplinary approach reflecting the Journal's roots in post-structural theory. Previous issues include: Philosophy & the Visual Arts (No 1) Philosophy & Architecture (No 2) Architecture, Space, Painting (No 3) The Body (No 4) Abstraction (No 5). (shrink)

This book examines the little understood end-of-art theses of Hegel, Nietzsche, and Danto. The end-of-art claim is often associated with the end of a certain standard of taste or skill. However, at a deeper level, it relates to a transformation in how we philosophically understand our relation to the ‘world’. Hegel, Nietzsche, and Danto each strive philosophically to overcome Cartesian dualism, redrawing the traditional lines between mind and matter. Hegel sees the overcoming of the material in the ideal, Nietzsche levels (...) the two worlds into one, and Danto divides the world into representing and non-representing material. These attempts to overcome dualism necessitate notions of the self that differ significantly from traditional accounts; the redrawn boundaries show that art and philosophy grasp essential but different aspects of human existence. Neither perspective, however, fully grasps the duality. The appearance of art’s end occurs when one aspect is given priority: for Hegel and Danto, it is the essentialist lens of philosophy, and, in Nietzsche’s case, the transformative power of artistic creativity. Thus, the book makes the case that the end-of-art claim is avoided if a theory of art links the internal practice of artistic creation to all of art’s historical forms. (shrink)

« ... sans le sentiment de l’organe corporel, la vie serait la simple conscience de son existence, mais ne serait pas le sentiment du bien-être ou du malaise, c’est-à-dire le sentiment de la stimulation ou de l’inhibition des forces vitales. En effet, l’esprit n’est en lui-même que vie dans le rapport avec son corps. »Il m’est arrivé deux fois qu’un point de philosophie..

It is a philosophical commonplace to juxtapose logic and imagination, reason and sensibility, the concept and intuition, philosophy itself and art. Frequently these pairs are thought of as opposites, one mediated through abstract reflection, the other a more intimate participant in the given of concrete existence. Philosophy does not always come off uncriticized in this opposition. Its reflective, analytical impulse is often thought to abstract us, remove us from the concretely real. Art, by contrast, it is said, serves to keep (...) us closer to the particularities and richness of the concrete, and so to be justified in the greater immediacy of its appeal. (shrink)

Starting from the position of the ancient Stoa, these two interdisciplinary collections examine the influence of Stoic thinkers from late antiquity to modernity. Following an introductory overview, the 42 essays examine central Stoic themes and consider their cultural significance.

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

A review of Stephen Snyder’s End-of-Art Philosophy in Hegel, Nietzsche and Danto.

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

The unique compendium re-assesses the value of future and emergent computing technologies via artistic and philosophical means. The book encourages scientists to adopt inspiring thinking of artists and philosophers to reuse scientific concepts in their works.The useful reference text consists of non-typical topics, where artistic and philosophical concepts encourage readers to adopt unconventional approaches towards computing and immerse themselves into discoveries of future emerging landscape.

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent formal (...) conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

«... sans le sentiment de l’organe corporel, la vie serait la simple conscience de son existence, mais ne serait pas le sentiment du bien-être ou du malaise, c’est-à-dire le sentiment de la stimulation ou de l’inhibition des forces vitales. En effet, l’esprit n’est en lui-même que vie dans le rapport avec son corps. »Il m’est arrivé deux fois qu’un point de philosophie...

This Inspirational Guide To An Open, Critical Exchange Between India And The West Is Framed As A Tribute To Dr. Bettina Baumer, An Eminent Scholar Of Indology. Comprising 32 Essays, Segregated Into Three Sections Indian Philosophy And Spirituality, Indian Arts And Aesthetics, And Interreligious And Intercultural Dialogue.

Excerpt from Philosophie de la Pratique: Économie Et Éthique En décrivant cette façon de procéder de la réflexion ordi naire en présence de la réalité, et en en montrant l'impuis sance philosophique, nous avons, en mémé temps, 'montré déjà le caractère et l'impuissance de la méthode psychologique, appliquée aux problèmes philosophiques. En effet, la philo sophie psychologique, bien qu'elle ait été exposée en 'de pesants traités et en de solennelles conférences académiques, ne fait ni plus ni moins que ce (...) que fait cette réflexion ordi naire, ou plutôt elle n'est précisément que cette réflexion ordi naire. Après avoir ramené ades classes les images des infinies manifestations de l'activité humaine, en mettant par exemple, dans ces classes, à côté de la pensée et de l'imagination la volonté et l'action, elle considère ces classes comme des rén lités. Mais les classes sont des classes et non des distinctions philosophiques celui qui, les prenant trop au sérieux, les entend de cette seconde manière se trouve ensuite, sans s'y attendre, forcé de s'apercevoir un beau jour qu'elles n'ont rien de réel. Et alors il s'exclame, crie et proclame l'inexistence des facultés de l'âme, ou déclare qu'elles ne sont qu'un artie fice mental auquel rien ne correspond dans la réalité; ou mème il va plus loin et, en mème temps que ces fausses distinctions, iljette à I'cenle critérium lui - mème ou la dis tinction, et il affirme que toutesles manifestations spirituelles se réduisent à un élément unique. Puis, cet élément finit par ètre précisément une de ces classes auparavant rejetées: de là, la tentation de montrer les faits volitifs comme n'étant rien d'autre que des faits de représentation, ou ceux de représen tation comme n'étant rien d'autre que des faits de volition, ou les uns et les autres comme n'étant que des faits de senti ment, et ainsi de suite. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Prelude -- What moves as a body returns as a movement of thought -- Introduction: Events of relation : concepts in the making -- Incipient action : the dance of the not-yet -- The elasticity of the almost -- A mover's guide to standing still -- Taking the next step -- Dancing the technogenetic body -- Perceptions in folding -- Grace taking form : Marey's movement machines -- Animation's dance -- From biopolitics to the biogram, or, how Leni Riefenstahl moves (...) through fascism -- Of force fields and rhythm contours -- Relationscapes : how contemporary Aboriginal art moves beyond the map -- Constituting facts : Dorothy Napangardi dances the dreaming -- Cornering a beginning -- Conclusion: Propositions for thought in motion. (shrink)

An engaging account of how Shaftesbury revolutionized Western philosophy At the turn of the eighteenth century, Anthony Ashley Cooper, the third Earl of Shaftesbury, developed the first comprehensive philosophy of beauty to be written in English. It revolutionized Western philosophy. In A Philosophy of Beauty, Michael Gill presents an engaging account of how Shaftesbury’s thought profoundly shaped modern ideas of nature, religion, morality, and art—and why, despite its long neglect, it remains compelling today. Before Shaftesbury’s magnum opus, Charactersticks of Men, (...) Manners, Opinions, Times, it was common to see wilderness as ugly, to associate religion with fear and morality with unpleasant restriction, and to dismiss art as trivial or even corrupting. But Shaftesbury argued that nature, religion, virtue, and art can all be truly beautiful, and that cherishing and cultivating beauty is what makes life worth living. And, as Gill shows, this view had a huge impact on the development of natural religion, moral sense theory, aesthetics, and environmentalism. Combining captivating historical details and flashes of humor, A Philosophy of Beauty not only rediscovers and illuminates a fascinating philosopher but also offers an inspiring reflection about the role beauty can play in our lives. (shrink)