Results for 'Art Philosophy.'

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  1.  71
    Art, Self and Knowledge.Keith Lehrer - 2011 - , US: Oxford University Press.
    Knowing the content of art -- Consciousness, exemplars, and art -- Aesthetic theory, feminist art ,and autonomy -- Value, expression, and globalization -- Artistic creation, freedom, and self -- Aesthetics, death, and beauty -- Aesthetic experience, intentionality, and the form of representation -- Theories of art, and art as theory of the world -- Self-trust, disagreement, and reasonable acceptance -- Social reason, aggregation, and collective wisdom -- Knowledge, autonomy, and art in loop theory.
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  2.  13
    Art & philosophy.Timothy Taubes - 1993 - Buffalo, N.Y.: Prometheus Books.
    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.
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  3.  7
    Art, Philosophy, and Ideology: Writings on Aesthetics and Visual Culture from the Avantgarde to Postsocialism.Tyrus Miller (ed.) - 2024 - Boston: BRILL.
    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.
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  4. Art, Philosophy, and Creativity.Said Mikki - manuscript
    We reflect on the nature of art, the creative process, and the connection between art and philosophy.
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  5.  43
    Border Arte Philosophy: Altogether Beyond Philosophy.Nancy Tuana & Charles Scott - 2018 - Journal of Speculative Philosophy 32 (1):70-91.
    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 (...)
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  6.  24
    Reflections on Business Ethics: What Is It? What Causes It? and, What Should A Course in Business Ethics Include?Art Wolfe - 1991 - Business Ethics Quarterly 1 (4):409-439.
    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 (...)
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  7.  8
    Stephen Snyder, End-of-Art Philosophy in Hegel, Nietzsche and Danto.Šárka Lojdová - 2019 - Estetika: The European Journal of Aesthetics 56 (2):263-272.
    A review of Stephen Snyder’s End-of-Art Philosophy in Hegel, Nietzsche and Danto.
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  8.  26
    Art & Philosophy: Seven Aestheticians, Croce, Dewey, Collingwood, Santayana, Ducasse, Langer, Reid.Sushil Kumar Saxena - 1996 - Journal of Aesthetics and Art Criticism 54 (2):188-189.
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  9. Art, philosophy, and ideology: writings on aesthetics and visual culture from the avantgarde to postsocialism.Aleš Erjavec - 2024 - Boston: Brill. Edited by Tyrus Miller.
    This volume presents a selection of aesthetic and art theoretical writings by the internationally renowned philosopher Aleš Erjavec from the 1990s to the present. Erjavec was an active participant in the artistic revolt in Slovenia throughout the 1980 and became one of the most notable international theorists of late- and post-socialist developments in art. His work also extended to new, emergent forms of contemporary art and visual culture in global art and culture networks. The diverse contexts and artists with which (...)
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  10. Expérience, Art, Philosophie.Guido Morpurgo-Tagliabue - 1964 - Revue Internationale de Philosophie 18 (68/69):209.
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  11.  51
    Reflections on Business Ethics: What Is It? What Causes It? and, What Should A Course in Business Ethics Include?Art Wolfe - 1991 - Business Ethics Quarterly 1 (4):409-439.
    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 (...)
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  12. Jhoon Rhee Martial Arts: Philosophy & Life Skills.Jhoon Rhee - 2000 - Jhoon Rhee Foundation for International Leadership.
     
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  13.  25
    Aesthetics and the Philosophy of Art.Robert Stecker - 2006 - Journal of Aesthetics and Art Criticism 64 (3):379-381.
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  14.  44
    Art, Philosophy and the Connectivity of Concepts: Ricoeur and Deleuze and Guattari.Clive Cazeaux - 2019 - Journal of Aesthetics and Phenomenology 6 (1):21-40.
    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 (...)
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  15.  79
    Relationscapes: Movement, Art, Philosophy.Erin Manning - 2009 - MIT Press.
    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 (...)
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  16.  19
    Virgil C. Aldrich,PHILOSOPHY OF ART(Prentice-Hall, 1963) pp.Harold N. Lee - 1964 - Southern Journal of Philosophy 2 (1):34-37.
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  17.  4
    Spectrum: modern German thought in science, literature, philosophy and art.Winfred Philipp Lehmann, Helmut Rehder & Hans Beyer - 1964 - Holt, Rinehart and Winston.
  18.  19
    Between art, philosophy of design and philosophical-hermeneutical design.Leonardo Kussler - 2023 - Filosofia Unisinos 24 (2):1-15.
    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 (...)
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  19.  26
    On Sartwell’s Thesis That Knowledge is Merely True Belief.Art Skidmore - 1997 - Southwest Philosophy Review 13 (1):123-127.
  20.  28
    On Moral Dilemmas.Art Skidmore - 1999 - Southwest Philosophy Review 15 (1):81-85.
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  21.  9
    The Art Instinct: Beauty, Pleasure, and Human Evolution.Denis Dutton - 2009 - New York: Oxford University Press.
    The need to create art is found in every human society, manifest in many different ways across many different cultures. Is this universal need rooted in our evolutionary past? The Art Instinct reveals that it is, combining evolutionary psychology with aesthetics to shed new light on fascinating questions about the nature of art.
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  22.  27
    Hidden harmony: the connected worlds of physics and art.Jack R. Leibowitz - 2008 - Baltimore: Johns Hopkins University Press.
    Most "art and science" books focus on the science of perspective or the psychology of perception. Hidden Harmony does not. Instead, the book addresses the surprising common ground between physics and art from a novel and personal perspective. Viewing the two disciplines as creative processes, J. R. Leibowitz supplements existing and original research with illustrations to demonstrate that physics and art share guiding aesthetics and compositional demands and to show how each speaks meaningfully to the other. Leibowitz widens our experience (...)
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  23. The art instinct: beauty, pleasure, & human evolution.Denis Dutton - 2009 - New York: Bloomsbury Press.
    Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.
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  24.  12
    Ecophilosophy as Liberal Arts Philosophy.Hiromasa Mase - 1989 - Philosophical Inquiry 11 (1-2):28-36.
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  25.  44
    Relationscapes: Movement, Art, Philosophy.Erin Manning - 2012 - MIT Press.
    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. (...)
  26.  19
    Ambivalent romanticism: art and aesthetic insight in philosophy and politics.S. J. Wulf - 1999 - History of European Ideas 25 (6):275-289.
  27.  8
    Kʻartʻvel pʻilosopʻostʻa lekʻsikoni: personalia.Tamaz Buachidze & Sak°Art°Velos P.°Ilosop°Iuri Sazogadoeba (eds.) - 2000 - Tʻbilisi: Gamomcʻemloba "Oazisi".
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  28.  42
    What happens in art.Matthew Lipman - 1966 - New York,: Appleton-Century-Crofts.
    Subsequently presented is a more detailed consideration of the notion of process , for we cannot understand what happens in art as a process unless we are ...
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  29. Art as Performance.Dave Davies - 2003 - Wiley-Blackwell.
    In this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights core topics (...)
     
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  30. Can art become theoretical?Clinton Peter Verdonschot - 2021 - Internationales Jahrbuch für Philosophische Anthropologie 11 (1):109-126.
    Art-science, as its name suggests, combines art with science. The idea of combining art and science raises the question whether the outcome, art-scientific works, can succeed against a standard properly belonging to them. In other words: can there be such a thing as an art-scientific work, or do such works merely belong to either art or science while superficially seeming to belong to the other sphere as well? Surprisingly perhaps, these concerns overlap with a chief point of contention as regards (...)
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  31. The Concept of Art in the Aesthetics of Max Raphael in Art and Philosophy: Mutual Connections and Inspirations.S. Pazura - 1988 - Dialectics and Humanism 15 (1-2):133-136.
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  32.  25
    A Reply to Robert Allan Cooke.Art Wolfe - 1993 - Business Ethics Quarterly 3 (1):65-67.
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  33.  28
    On Peirce's Denial of the Law of Contradiction.Art Skidmore - 1982 - Philosophical Topics 13 (9999):101-107.
  34.  24
    Complexity: Architecture, Art, Philosophy.Andrew Benjamin (ed.) - 1995 - Distributed to the Trade in the United States of America by National Book Network.
    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, (...)
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  35. Mishnato ha-hagutit shel Rabi Yehudah ha-Leṿi.Ḥayah Shṿarts (ed.) - 1977 - Yerushalayim: Miśrad ha-ḥinukh ṿeha-tarbut, ha-Maḥlaḳah le-tarbut Toranit.
     
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  36. Definitions of art.Stephen Davies - 1991 - Ithaca, N.Y.: Cornell University Press.
    In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can be defined, (...)
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  37.  36
    The Forger's Art: Forgery and the Philosophy of Art.F. N. Sibley - 1985 - Philosophical Books 26 (3):168-171.
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  38.  12
    Aesthetics and Philosophy of Art Criticism; A Critical Introduction.Joseph Margolis - 1964 - Philosophy and Phenomenological Research 24 (4):599-600.
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  39.  63
    Art, Philosophy and Concreteness in Hegel.William Desmond - 1985 - The Owl of Minerva 16 (2):131-146.
    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 (...)
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  40.  54
    Erotic Art.Hans Maes - 2014 - Stanford Encyclopaedia of Philosophy.
    What is erotic art? Do all paintings with a sexual theme qualify as erotic? How to distinguish between erotica and erotic art? In what way are aesthetic experiences related to, or different from, erotic experiences and are they at all compatible? Both people and works of art can be sensually appealing, but is the beauty in each case substantially the same? How helpful is the distinction between the nude and the naked? Can we draw a strict line between erotic art (...)
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  41.  15
    The Forger's Art: Forgery and the Philosophy of Art.Kenneth Marantz - 1984 - Journal of Aesthetic Education 18 (3):125.
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  42. Questions on the philosophy of art.Wilbur Fiske Stone - 1897 - London,: Printed by William Clowes and Sons.
     
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  43. Aesthetic Order: A Philosophy of Order, Beauty and Art.Ruth Lorand - 2002 - Journal of Aesthetics and Art Criticism 60 (2):194-196.
     
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  44. The temple of art.Ernest Newlandsmith - 1905 - Paignton, Eng.,: Order of the Goldon Age.
     
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  45.  36
    Art, Meaning, and Perception: A Question of Methods for a Cognitive Neuroscience of Art.W. P. Seeley - 2013 - British Journal of Aesthetics 53 (4):443-460.
    Neuroscience of art might give us traction with aesthetic issues. However it can be seen to have trouble modeling the artistically salient semantic properties of artworks. So if meaning really matters, and it does, even in aesthetic contexts, the prospects for this nascent field are dim. The issue boils down to a question of whether or not we can get a grip on the kinds of constraints present and available to guide interpretive behavior in our engagement with works of fine (...)
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  46. Or ha-Kuzari: beʼur Sefer ha-Kuzari le-Rabenu Yehudah ha-Leṿi.Ḥayim Avihu ben Daṿid Shṿarts - 2021 - Bet El: Ḥayim Avihu Shṿarts.. Edited by Metanʼel Franḳel.
     
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  47. Interpretation and Construction: Art, Speech, and the Law.Robert Stecker - 2003 - Malden, MA: Wiley-Blackwell.
    _Interpretation and Construction _examines the interpretation and products of intentional human behavior, focusing primarily on issues in art, law, and everyday speech. Focuses on artistic interpretation, but also includes extended discussion of interpretation of the law and everyday speech and communication. Written by one of the leading theorists of interpretation. Theoretical discussions are consistently centered around examples for ease of comprehension.
     
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  48.  45
    Interpretation and Construction: Art, Speech, and the Law.Robert Stecker - 2003 - Malden, MA: Wiley-Blackwell.
    _Interpretation and Construction_ examines the interpretation and products of intentional human behavior, focusing primarily on issues in art, law, and everyday speech. Focuses on artistic interpretation, but also includes extended discussion of interpretation of the law and everyday speech and communication. Written by one of the leading theorists of interpretation. Theoretical discussions are consistently centered around examples for ease of comprehension.
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  49.  33
    The Art of Living: Socratic Reflections from Plato to Foucault.C. C. W. Taylor - 2000 - Philosophical Review 109 (3):423.
    From his own day to the present Socrates has presented a challenge to philosophers and commentators, a challenge at once of a puzzle to be solved and of an ideal to be continually reshaped in response to the demands of shifting historical perspectives. Alexander Nehamas’s intriguing book combines discussion of this ongoing process, specifically of responses to Socrates by Montaigne, Nietzsche, and Foucault, with exemplification of it via his own response to Socrates. The focus of these responses is specified in (...)
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  50.  44
    A strategy for a philosophy of art.Joseph Margolis - 1979 - Journal of Aesthetics and Art Criticism 37 (4):445-454.
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