BackgroundCORE (Clarity and Openness in Reporting: E3-based) Reference (released May 2016 by the European Medical Writers Association [EMWA] and the American Medical Writers Association [AMWA]) is a complete and authoritative open-access user’s guide to support the authoring of clinical study reports (CSRs) for current industry-standard-design interventional studies. CORE Reference is a content guidance resource and is not a CSR Template.TransCelerate Biopharma Inc., an alliance of biopharmaceutical companies, released a CSR Template in November 2018 and recognised CORE Reference as one of (...) two principal sources used in its development.MethodsThe regulatory medical writing and statistical professionals who developed CORE Reference conducted a critical review of the TransCelerate CSR Template. We summarise our major findings and recommendations in this communication. We also re-examined and edited the Version 1 CORE Reference Terminology Table that we first published in 2016, and we present this as Version 2 in this communication.ResultsOur major critical review findings indicate that opportunities remain to refine the CSR Template structure and instructional text, enhance content clarity, add web links to referenced guidance documents, improve transparency to support the broad readership of CSRs, and develop supporting resources.The CORE Reference ‘Terminology Table’ Version 2 includes estimand as a defined term and an adaptation of the original ‘worked study example’ to incorporate the recently evolved concept of ‘estimands’.ConclusionsAs TransCelerate’s CSR Template represents an important milestone in authoring CSRs, we offer CSR authors advice and recommendations on its use, similarities, and differences with CORE Reference and advise them to consider shared interpretations between the two.RegistrationCORE Reference is registered with the EQUATOR Network. The TransCelerate CSR Template is not registered with any external organisation to the knowledge of the authors of this paper. (shrink)

In this first of two articles, I look at the project for the “Encyclopedia of Artistic Terminology” in connection with the idea of a synthesis of the “artistic sciences” as the principal task of the State Academy of Artistic Sciences (GAKhN, 1921–1930) in Moscow. The most important feature of the Academy was the unity of its epistemological conception (the system of artistic sciences) and the institutional structure of the Academy (its “departments,” “sections,” and “laboratories”), which embodied the interdisciplinary intention (...) of uniting the philosophy of art, the artistic sciences, and artistic experimentation. I analyze the connection of the project with the task of “concept formation” in the artistic sciences, which was recognized in European philosophy at the beginning of the twentieth century as the main criterion for scientificity in the human sciences. I also investigate how the Encyclopedia project, developed by Gustav Shpet, took into account previous attempts to systematize aesthetic terminology (in nineteenth-century dictionaries). I show that the project of the “Encyclopedia of Artistic Terminology” was not the sole attempt to create a new dictionary of aesthetic concepts and of the cultural sciences. Similar projects were being developed in the 1920s and 30s in Germany (Erich Rothacker planned to produce Handwörterbuch der gesamten gemeingeisteswissenschaftlichen und kulturphilosophischen Grundbegriffe) and in France (Étienne Souriau published Vocabulaire d’esthétique; see Souriau 2010). (shrink)

In this second article, I look at the history of the creation of the “Encyclopedia of Artistic Terminology” within the State Academy of the Artistic Sciences. I analyze various versions of the encyclopedia’s conception proposed by Wassily Kandinsky and Gustav Shpet and also at the theoretical bases for these conceptions. I then show how the work on the Encyclopedia was connected with the institutional transformations in the Academy. A key factor in the work on the Encyclopedia was the extensive (...) discussions of the fundamental aesthetic terms that took place in the Philosophy Department and in sections of GAKhN. As the dynamics of the discussions also determined changes in the conception of the Encyclopedia, so work on it shifted more and more from a project for creating a new system of aesthetic concepts to a reconstruction of the “history of concepts.” Such a transition marked the main vector of the development of European discussions about aesthetic concepts—from the creation of systems of aesthetic categories to historical reflection on the semantic transformations of categories. In conclusion, I investigate the cessation of work on the Encyclopedia in 1929 in response to the outside ideological pressure and the elimination of the possibility for autonomous theoretical work within the walls of the Academy. (shrink)

One point that definitions of art experience disagree about is whether this kind of experience is qualitatively different from experiences related to ordinary objects and everyday contexts. Here, we follow an ecological approach assuming that art experience has its own specific quality that is, not least, determined by typical contexts of art presentation. Practically, we systematically observe typical phenomena of experiencing art in ecologically valid or real-world settings such as museum contexts. Based on evidences gained in this manner, we emulate (...) and implement essential properties of ecological contexts (e.g., free choice of viewing distance and time, large scale of artworks and exhibition-like context) in controlled laboratory experiments. We found, for instance, that for large scale paintings by Pollock and Rothko preferred viewing distances as well as distances inducing most intense art experiences including Aesthetic Aha insights were much larger than typical viewing distances realized in lab studies. Following Carbon’s (2019) terminology of measurement strategies of art experience, the combined use of “Path #1” (real-world context) and “Path #2” (mildly controlled, still ecologically valid settings and contexts), enables us to understand and investigate much closer what is really happening when people experience art. (shrink)

This article describes the methods involved in building a diachronic multilingual corpus devoted to Fine Arts, beginning with G. Vasari's Lives of the most excellent Italian architects, sculptors and painters (1568) as the fundamental source text in the field of Art History. Attention is given to automatic pre-alignment, the special proofreading protocol and segmentation rules developed to allow multilingual and/or diachronic alignment of multiple texts, and the difficulties inherent in annotating a multilingual database. A case study is offered, comparing the (...) term “tondo” and its variants (e.g. “mezzo tondo”, “di tondo rilievo”) in Italian with their translations in English (De Vere 1912-15) and French (Leclanché 1839, Chastel 1981, Luciani 2002, Powell 2007). These later translations contain a greater variety of both lexicalized counterparts such as “medallion” or “lunette” as well as paraphrases, used to disambiguate and distinguish the various meanings of “tondo”, thus demonstrating how artistic vocabulary, which was still developing in 16th c. Italian, through its transmission to other languages, became more diversified and stable over time. (shrink)

Early 20th century debates over the possibility of ‘metaphysics’ are grounded in a set of questions and answers whose central themes are already delineated in Kant’s critical philosophy. Wittgenstein and Carnap are sympathetic to Kant’s dismissal of transcendent metaphysics, but skeptical that there could be any substantive account of the fundamental conditions of our meaning-making. By contrast, Heidegger follows Fichte and the early German Romantics in seeing answers to the problems raised by metacritique not in science, but in the non-discursive (...) forms of understanding and expression exemplified in art. This Romantic turn to art is not taken arbitrarily; it is motivated by methodological considerations that emerge within Kant’s own critical system. I take up the Kantian considerations which lead to an understanding of art as a window into the fundamental conditions of meaning-making before turning to Heidegger’s development of this line of thought. Next, I examine Carnap and Wittgenstein’s skepticism concerning the meaning of Heidegger’s philosophical terminology, focusing on what is perhaps the most problematic case: Heidegger’s talk of ‘the nothing’. I argue that this skepticism is overblown. Heidegger’s talk of the nothing is meaningful in the way that talk about figure and ground is meaningful: it serves as an ostensive indication of intersubjectively accessible structural features of our encounters with things. I conclude by drawing out the existential ramifications of the decision to speak or be silent, drawing on Audre Lorde to illustrate the place of art in making it possible for us to lead authentic lives. (shrink)

This essay examines various contemporary artistic responses to climate change. These responses encompass multiple media and diverse philosophical and emotional forms, from grief and resignation to resistance, hope, and poignant celebration of spiritual value and natural beauty. Rejecting much of the terminology of current theory, the author considers the artworks in relation to interrelated and arguably unjustly discredited aesthetic and theological categories, namely, the sublime and the beautiful as well as the via negativa, the latter adapted from Thomas Aquinas (...) by theologian Matthew Fox. Art's power is seen largely as the ability to “humanize” the science by rendering it emotionally, psychologically, and spiritually relatable to individuals. The broken relationship between humanity and nature seems related to the need for a renewed religious sense of integration with, and belonging to, the cosmos. Art might play a pivotal role in bringing this about. (shrink)

The paper discusses artworks and artefacts considered as both cultural heritage and meaningful tokens for personal self-identity. The arguments come mostly from phenomenological understanding of self-identity and art, but the terminological toolkit comes mostly from the Extended Mind Thesis. While many museologists and theorists of culture argue that objects presented in a particular social context can shape group identity, I believe in taking this question to a lower, personal level. In this paper, I argue that we build our self-identity partially (...) by anchoring our memories with significant art and heritage objects. I state that artworks, mediated by cultural context immersion of museums and galleries, serve as self-identity extensions. Since I find both selfidentity and art structured as sets of cultural meanings wrapped in material scaffoldings, I draw a relation between those two, showing the crucial meaning of material cultural objects for the formation of our self-identity. (shrink)

In the article the issue of singling out some systemic criteria of differentiation between the fundamental and applied terminologies is considered. The authors point at the fact that each terminology has its own individual peculiarities, which mark it out against a general background of the terminological fund of a certain language. It is asserted that one of the most important and effective criteria that can be the basis of the approach to the study of sublanguages for special purposes is (...) a fundamental or applied character of the sphere of professional or scientific knowledge verbalized by a certain terminology. Such terms, as ‘fundamental terminology‘, ‘applied terminology‘ and ‘terminology of transition type‘, are introduced for scientific use. The fundamental terminology is understood as a sublanguage for special purposes that verbalizes the notions, forming the totality of fundamental knowledge, serving for the description of phenomena and processes in reality and in science, in the framework of which the fundamental research is carried out. The applied terminology is the name for the sublanguage for special purposes representing the notions, in which the results of human being’s practical scientific-industrial activity for changing the reality, forming the artificial habitat, are conceptualized. The terminology of transition type is the terminology that verbalizes the fragments of the field of scientific knowledge in which the research can have both a fundamental and applied character. The authors come to the conclusion that pure applied or fundamental terminologies are quite rare, that it is rational to speak about the degree of manifestation of the applied or fundamental character within the limits of this or that terminological system. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

During the colonial contact and especially after the 2nd World War in the Solomon Islands local communities various traditions of woodcarving and other handicrafts have transformed from religious and ritual objects to commercial 'tourist arts' that have become economically important for local communities. In the course of culture change Western concepts such as art and culture have been adopted to local languages and they have replaced local terminologies and classifications in various ways. These processes may be described as 'conceptual colonialism'. (...) The meaning shifts and emerging new conceptual categories produce homogenising effects that transform the local ways of cultural thinking towards the direction of hegemonic Western interpretations of socio-cultural phenomena. The concept of art should be treated as one major element in this linguistic power play between the local and the global. (shrink)

Objective communication—the principal aim of languages of any kind—meets with its greatest measure of success in science and art, which can both be precise, and therefore immune to misunderstanding born of vagueness or ambiguity, by giving specific expression to ideas. But, paradoxically, in order to reach specificity science and art must be developed along two opposite directions: in the first technical terminology replaces imagery-bearing words, in the second images are cultivated to the utmost. The scientist's procedure is entirely justified. (...) For it is undeniable that words are often misleading. because they are clouded with different images in the minds of different people. (shrink)

This paper deals with the autonomy of art and more specifically with the autonomy of socially engaged art once it is institutionalized. The originality of the article is its use of Goodman's terminology to theorize socially engaged art. By comparing two works of art from the same collective, the main issue is to defend the hypothesis that artistic consecration prevents an emancipatory action from functioning as art or prevents an action from functioning as socially engaged art. Thus, in the (...) context of engaged art, the question is no longer "when is art?" but "where is art?". (shrink)

ABSTRACTThe metaphor of historical distance often appears in discussions about the study of contemporary history. It suggests that we cannot see the past in perspective if we are too near to it. According to founding fathers like Ranke and Humboldt, temporal distance is required to discern historical “ideas” or forms. The argument may have some plausibility, but the presupposition is plainly false, since we cannot see the past at all. This leaves us with the question of what to make of (...) the so‐called historical forms. This article discusses three different views. The first, historicist, view is objectivist and localizes historical forms in the past. The second, narrativist, view is subjectivist and localizes historical forms in the realm of imagination and representation. The third view goes beyond the other two in that it considers both sides. It does not use a one‐sided but a two‐sided concept of form, which hinges on the idea of a distinction. This means that historical forms occupy both sides of the subject–object distinction or the present–past distinction. Because the subject–object terminology is confusing, the essay employs an alternative distinction between first‐ and second‐order observation. With the help of this distinction, it is possible to redescribe the distance metaphor in such a way that the theoretical status of contemporary history becomes less enigmatic. (shrink)

A multilingual thesaurus’ development needs the appropriate methodological considerations not only for linguistics, but also cultural heterogeneity, as demonstrated in this report on the multilingual project of the Art & Architecture Thesaurus (AAT) in the Chinese language, which has been a collaboration between the Academia Sinica Center for Digital Culture and the Getty Research Institute for more than a decade. After a brief overview of the project, the paper will introduce a holistic methodology for considering how to enable Western art (...) to be accessible to Chinese users and Chinese art accessible to Western users. The conceptual and structural issues will be discussed, especially the challenges of developing terminology in two different cultures. For instance, some terms shared by Western and Chinese cultures could be understood differently in each culture, which raises questions regarding their locations within the hierarchical structure of the AAT. Finally, the report will provide cases to demonstrate how the Chinese-Language AAT language supports online exhibitions, digital humanities and linking of digital art history content to the web of data. (shrink)

Karl Pfeifer argues against the view that an aesthetic experience must be a uniquely special kind of experience by means of an analogy with sexual experiences. Nonetheless, he leaves open the possibility that some aesthetic experiences might still be of a special kind.

This paper reconstructs Margaret Cavendish’s theory of the metaphysics of artifacts. It situates her anti-mechanist account of artifactual production and the art-nature distinction against a background of Aristotelian, Scholastic, and mechanist theories. Within this broad context, it considers what Cavendish thinks artisans can actually do, grounding her terminological stipulation that there is no genuine generation in nature in a commitment to natural and artistic production as the mere rearrangement of bodies. Bodies themselves are identified, in a conceptually Ockhamist manner, with (...) their figures, so that the resulting theory of mere rearrangement is Scholastically respectable. The paper also offers literal interpretations, focused narrowly on the philosophical content of her theories of art and artifacts, of her claims that art concerns only “nature’s sporting or playing actions”, that its products are “deformed and defective”, and that they are “at best …mixt or hermaphroditical.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:George J. Leonard EMERSON, WHITMAN, AND CONCEPTUAL ART The widespread abandoning of the art object at the end of the 1960s was taken as something radically, even frighteningly, new, by critics and artists alike. Objects, concept artist Joseph Kosuth was asserting by 1969, are "irrelevant" to art. Though an artist might choose, as in the past, to "employ" objects, "all art is finally conceptual." In fact it was now (...) time that the object, nothing more than the "physical residue" of the artist's mental activity, was dispensed with.1 "We / open our eyes and ears seeing life / each day excellent as it is," John Cage chanted: "This / realization no longer needs art...."2 Aestheticians as disparate as Murray Krieger and Harold Rosenberg reacted to this "transfiguration of the commonplace," as Arthur Danto has called it. Danto has gained a wide scholarly audience for his ideas about the 1960s as "the end of art," or at least as the beginning of "post-historical art."3 We know from such works as Renato Poggioli's TL· T^ry oftL· Avant-Garde that, in this century, particular movements have routinely declared themselves to be art's climax.4 Critics like Jacques Barzun and artists like Amedee Ozenfant had been saying for years that art was exhausted. Yet conceptualism's attack on the object struck most critics as something both alarming and new: Irving Sandler wrote in a special edition of the College Art Association's Art Journal devoted to the problem that it demolished "every notion of what art should be,"5 and Murray Krieger feared that this "leap beyond Pop Art" would "complete the obliteration of the realm of art, its objects, its museums...."6 But the conceptualist attacks on the art object were, in fact, not new. One can find attacks as scathing in Emerson and Whitman; so scathing, that criticism has rarely taken them seriously. The attacks the concep297 298Philosophy and Literature tualists mounted in the 1960s were only the culmination ofan intellectual tendency which appeared throughout the West one hundred and sixty years before. It has long been a scholarly commonplace that after 1800 an "intellectual tendency"—as M. H. Abrams finallytermed it—extolling the possibilities of this world emerged in all parts of Western culture. When itappears in literature we nowusually call it, withAbrams, Natural Supernaturalism; or, with Harold Bloom, the "visionary company." Man, Wordsworth decreed, can and must learn to find "Paradise" in "the common day."7 Surprisingly litde work has been done on what happened when this intellectual tendency, Natural Supernaturalism, confronted the art object. Emerson and Whitman can stand for many who were necessarily ill at ease with the idea of art objects as elite objects superior to the common things it was their mission to extol. Wordsworth works before these two; Ruskin develops similar ideas into greater complexity; but since Emerson writes clear expository prose and avoids fanciful terminology, he makes a good place to enter this dark wood. Let us begin with some straightfor-ward, overdue interdisciplinary history, reading Emerson on the art object, noticing similar passages in Whitman, and noting where Emerson has reworked Hegel for his own ends. For Emerson objects are but thought's "inert effect," as for the concept artist Kosuth they would be but the "physical residue" of the artist's activity. Emerson and Kosuth, opposite Shakespeare, do not applaud the art process as the giving to an airy nothing a local habitation and a name; rather they disdain the stuff as petrifactions, as dead mud footprints left by living thoughts diat have raced away.8 In his essay "Circles," Emerson derides our admiration for a work of architecture, directing us to the "litde waving hand" that built it, for "that which builds is better than that which is built." By the same logic, the invisible thoughts which truly wrought the object were even better than the hand and "nimbler."9 When such passages are discussed at all, they are usually considered Platonic,10 but, in his essay "Art," Emerson envisions a use for art objects Plato would have blinked at. For the time being, art objects have a particular "office" to fill. That office, Emerson wrote in... (shrink)

Perhaps more than most professions, law depends on a corpus of specialized terms of art that are familiar to the practitioners who use them regularly in legal contexts but less familiar to lay people. Apart from the importance of enhancing transparency and public access for a key domain, making legal terms understandable to non-professionals may be crucial when non-professionals are involved in legal processes, such as civil litigation. However, simplifying terms risks changing their meaning, while explaining them in plain language (...) entails the difficulty of assessing how much of the legal content lay people need or are prepared to know. An initial step to making legalese more understandable to non-lawyers is to evaluate what lay people actually understand by the terms they come across, and so this study compared the responses of lay participants when asked about key terms form the Japanese Civil Code with the definitions and explanations given by a legal expert. One of the key findings that emerged was that there is particular difficulty with terms that lay people have some understanding of because of their use in non-legal contexts. It will be argued that supplying some background in legal theory would help facilitate educating the public about the legal meaning of terms. (shrink)

RESUMO: O mundo luterano produziu um enorme arcabouço teórico e prático para a composição, interpretação e análise musical. Entre os séculos XVII e XVIII, autores do gênero de escritos que passou a ser conhecido como musica poetica publicaram preceptivas cujas bases teórica, sistemática e terminológica eram emprestadas de retóricas e de poéticas latinas, leituras obrigatórias em todas as escolas luteranas, desde a reforma do ensino, consolidada em 1528, por Martinho Lutero e Philipp Melanchton. Neste artigo, mostraremos como o lugar comum (...) arte-natureza é imitado, a partir de poéticas latinas, em preceptivas musicais setecentistas, em especial, Der vollkommene Capellmeister, de Johann Mattheson. Abordaremos os conceitos de natureza e de arte para, em seguida, discutir a relação entre eles e o emprego da tópica arte-natureza, por Johann Mattheson, seja a partir da perspectiva do orador perfeito, seja pela tomada da natureza como modelo da arte. Discorreremos, ainda, sobre a ampliação do conceito de natureza, de modo a incluir também a imitação de autoridades e obras, além da naturalidade como objetivo da arte. ABSTRACT: The Lutheran world produced an extensive theoretical and practical framework for musical composition, interpretation, and analysis. In the seventeenth and eighteenth centuries, the authors of what became known as musica poetica published manuals whose systematic, theoretical, and terminological bases were borrowed from Latin rhetorics and poetics. In this article, we show how the art-nature commonplace was imitated from Latin poetics in eighteenth-century music manuals, especially in Der vollkommene Capellmeister by Johann Mattheson. We treat the concepts of nature and art separately, so as to then elucidate the relationship between these concepts and Mattheson's use of the art-nature commonplace, whether from the perspective of the perfect orator or of taking nature as a model of art. We then discuss the expansion of the concept of nature so as to include the imitation of authors and works, and discuss the idea of naturality as the final purpose of art. (shrink)

This paper represents a preliminary investigation relating Bernard Lonergan’s thought to health science and the healing arts. First, I provide background for basic elements of Lonergan’s theoretical terminology that I employ. As inquiry is the engine of Lonergan’s method, next I specify two questions that underlie medical insights and define several terms, including health, disease, and illness, in relation to these questions. Then I expand the frame of reference to include all disciplines involved in the cycle of clinical interaction (...) under the heading health science and the healing arts. Finally, I analyze the cycle of clinical interaction in terms of Lonergan’s cognitive theory. I compare and contrast my analysis, based on Lonergan, with that of Pellegrino, Thomasma and Sulmasy as I proceed. In closing, I comment briefly on the next stage of this project regarding Lonergan’s theory of the human good in relation to the practice of the healing arts. (shrink)

Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...) being “autographic.” Second, other artworks such as musical or literary works seem to be copyable without any such limitations: for example, two identical copies of a novel could each equally be a genuine instance of that novel; such works are “allographic,” in Goodman’s terminology. Nevertheless, it seems clear enough that a deeper understanding of both kinds of artworks requires the pursuit of analogies or similarities between them, in spite of their differences. Any such analogies that may be found will provide critical tests for more general theories about the nature of artworks. I show how to resolve such analogies for the orientational concept of inversion. (shrink)

I examine Jacques Maritain's views on the relationship between art and ethics or what is today called the ‘ethical criticism of art’, and examine what Maritain's thought can contribute to debates in contemporary aesthetics and wider society. In part I of the article, I approach Maritain's attempted reconciliation of artistic freedom and the demands of morality in three steps, first recalling Maritain's definition of art, second looking at Maritain's analysis of the extra-artistic concerns of the artist, and third offering a (...) critique of Maritain's views on why art is valued by the community and what justifiable moral claims of the community upon the artist might be—particularly regarding the method of production of artworks. Comparing Maritain's theories to those of contemporary writers in part II, I argue that Maritain's ethics of art can be used to complement Jacques Rancière's notions of the ‘distribution of the sensible’ and ‘artistic regimes’, and that, in the terminology of the ethical criticism of art, Maritain affirms a position which is a composite of ‘moderate moralism’ and ‘ethicism’—a position which is both explanatorily powerful in ascertaining how and why we recognise and value art, and flexible in accommodating changing artistic forms and practices. (shrink)

It has been a popular theory in English, Japanese, and Chinese scholarship that a “victory of Confucianism” occurred during the Han dynasty. Some members of these academic communities challenge this theory. However, it has long been overlooked that they do so by adopting different terminology and research frameworks. English scholarship uses the expression “victory/triumph of Confucianism” to refer to the dominance or growth of Confucianism during that period, while the Japanese use “the establishment of Confucian doctrine/religion as the state (...) doctrine/religion” and the Chinese use “dismissing the hundred schools and revering only the Confucian arts”. The expressions, as the current issue illustrates, exemplify three different ways of studying the history of Han Confucianism. (shrink)

The aim of this article is to adapt Peirce’s semiotics to the study of media and arts. While some Peircean notions are criticized and rejected, constructive ways of understanding Peirce’s ideas are suggested, and a number of new notions, which are intended to highlight crucial aspects of semiosis, are then introduced. All these ideas and notions are systematically related to one another within the frames of a consistent terminology. The article starts with an investigation of Peirce’s three sign constituents (...) and their interrelations: the representamen, the object, and the interpretant. A new approach to the interrelations of these three sign constituents is then suggested and manifested in a distinction between representation and neopresentation. This is followed by a critical discussion of Peirce’s three types of representation—iconicity, indexicality, and symbolicity—and their interrelations, which sets the stage for a presentation of what is referred to as the material and mental representation model. This model aims to illuminate the problematic relation between material and mental facets of signification triggered by media and art products, and other material things and phenomena. (shrink)

Margolis's main concern is to clarify aesthetic terminology, and especially to distinguish between normative and descriptive uses of such terms as "taste" and "aesthetic." His own definition of a work of art, however, "an artifact considered with respect to its design," hardly improves on the definitions he criticizes. Some of the problems he discusses can be seen as versions of the One and the Many: e.g., the relation between a symphony and its different performances or between a poem and (...) the different interpretations it gives rise to. Among the more interesting chapters are those on figurative language and on "truth and reference in fiction."—W. B. K. (shrink)

The selections in this anthology range from Plato to Tolstoy, concentrating mainly on the Greeks, Kant, and representative figures from eighteenth-century Britain. All of the standard authors are included and speak for themselves. Sesonske has contributed a short but insightful introduction suggesting that a myriad of questions really underlie the seemingly simple question "What is art?" and showing that in each historical period of aesthetic theory there is a shift of terminology and interest. Professor Sesonske has also drawn up (...) an extremely useful bibliography.—D. J. B. (shrink)

In this paper, to solve the problem of slow design of arts and crafts and to improve design efficiency and aesthetics, the existing big data and 3D technology are used to conduct an in-depth analysis of the optimization of the rapid design system of arts and crafts machine salt baking. In the system requirement analysis, the functional modules of this system are identified as nine functional modules such as design terminology management system and external information import function according to (...) the actual usage requirements. In the system design, the overall structure design, database design, and functional module design of the system are comprehensively elaborated, and the key issues such as 3D display and home layout generation algorithm based on reinforcement learning are analyzed and designed. In the implementation part of the system, the overall construction of the system and the composition of functional modules are introduced in detail and the main functional modules of the system are presented with interface diagrams. In the system implementation part, the overall system construction and functional module composition are introduced in detail, the main functional modules of the system are shown with interface diagrams, codes, and algorithms, and the specific implementation process of 3D display and soft layout algorithms are also explained in detail. The process of Surface Mount Technology big data processing and analysis is designed, and the design of SMT production line data collection scheme and real-time data processing architecture is completed. Based on the characteristics of SMT production line data, the K-means algorithm is used to detect data outliers and verify the accuracy of the method; also, the Spark-based association rule printing parameter recommendation model is designed, and the efficiency of the Apriori algorithm is significantly improved by parallelization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Painting Outside the Lines: Patterns of Creativity in Modern ArtMatthew ZiffPainting Outside the Lines: Patterns of Creativity in Modern Art, by David W. Galenson. Cambridge: Harvard University Press, 2001, 272 pp., $29.95.The relationship between the market value of paintings and the chronological point in an artist's working life when the paintings were produced is the driving mechanism for exploring creativity and innovation in David W. Galenson's book "Painting (...) Outside the Lines: Patterns of Creativity in Modern Art. The working thesis of this book is that Modern artists have worked creatively and innovatively in one of two distinctly different manners. The terminology Galenson uses to describe these distinct ways of working are "finders" and "seekers." Finders are artists like Pablo Picasso, who at age 26, make startling and important innovations with little advance indication that such a burst is about to take place. Seekers are artists like Paul Cezanne, whospend their entire working lives engaged in the pursuit of a singular approach or achievement. The differences between these methodologies are carefully presented through the details of the working lives of a variety of Modern artists. French nineteenth century and early twentieth-century artists and mid-twentieth-century American artists are used as the source data for these comparisons.Early in the book Galenson presents lists of chronological events within the lives of artists and market valuation of their work within this chronology. The dramatic clarity of the relationships presented in this data sets the stage for the detailed information that follows. Factors that in some cases only partly, and in others nearly completely, explain an artist's way of working are offered through biographic information, information about the aesthetic and cultural milieu, and about the economic and educational structures that are predominant during the relevant time in the life of the artist.The relationship between the aesthetic and cultural milieu surrounding an artist and the capacity or inclination of an artist to be innovative is an important aspect of the book's analysis. The scope of the book is limited to Modern artists because of the shift that took place at the outset of Modern art, during the mid 1860s, that brought a strong emphasis on innovation and change for their own sake as an important characteristic within a work of art. This emphasis "created incentives for painters to produce new approaches to art" (p. 111). Prior to the time of Modern art, innovation and change were often unnecessary for an artist to be successful. Modern art introduced the demand that innovation and change be necessary ingredients in art, and therefore the search for innovation became a significant element within the work of many artists. The manner in which this search took place, as presented through the data at hand, reveals how individual artists viewed the need for innovation and change within their own [End Page 123] work. Paul Cezanne, for example, was aware of the impact that his painting was having on the art world, but he insisted that he was not yet finished with discoveries that would reveal the truest expression of his beliefs about aesthetic expression.In the American movement, "Abstract Expressionism," Galenson finds a useful counter example to the art scene in Paris. In the United States, especially during the 1940s and 1950s — the peak years of creative output by Abstract Expressionist artists — the demand for their work was quite low. There were few economically viable outlets for the work of de Kooning, Pollack, Rothko, and the others of this group. Consequently there is a shift in the chronological point at which these artists achieve market value success. Nearly all of these artists receivedrecognition at an older age than the French artists of the late nineteenth and early twentieth centuries.The thesis of the book, that there are two fundamentally different ways of working to produce works of art, is directly applicable to, and useful in, exploring issues of teaching and learning in design education. As a teacher of interior architecture I was interested to follow the details that Galenson presented in support of his analysis of the careers of numerous Modern artists. The methodological differences between seeking and... (shrink)

Semantic interoperability can be defined as the ability of two or more computer systems to exchange information in such a way that the meaning of that information can be automatically interpreted by the receiving system accurately enough to produce useful results to the end users of both systems. Several activities are currently being performed by a variety of stakeholders to achieve semantic interoperability in healthcare. Many of these activities are not beneficial, because they place too great a focus on business (...) aspects and not enough on involvement of the right sorts of researchers, in particular those that are able to see how the data and information relate to the entities of concern on the side of the patient. The lack of a central focus on the patient, and the associated focus on ‘concepts’, have spawned a variety of mutually incompatible terminologies exhibiting non-resolvable overlap. The predominance of the healthcare IT industry in the writing and selection of semantic interoperability standards mitigates against the benefits that standards, when well designed, can bring about. (shrink)

Immanuel Kant’s Observations on the Feeling of the Beautiful and the Sublime is examined in the context of the emergence of the epistemological practice of scientific observation. By focusing on the genre-stylistic and semantic-structural features of the text the authors demonstrate the mechanisms of observation as well as the methods of describing the results characteristic of mid-eighteenth century science. The authors consider Kant’s treatise to be a hybrid text: on the one hand, it attests to the importance of the natural (...) science paradigm and the degree of its influence on the humanities in the modern period; and, on the other hand, it bears witness to the multi-genre character of philosophical treatises, combining as they do the considered and serious wisdom of philosophy, the precision of scientific terminology and the figurativeness of a work of fiction. Kant is perceived not only as a researcher and philosopher capable of bringing out the essence of the particular and changeable captured in observation, but as a writer with a consummate command of the apparatus for keeping the reader’s attention through linguistic devices and practices of image-creating. The authors demonstrate how the categories of the “beautiful” and “sublime” become a general framework for the description of the moral and mental properties of human nature. The authors show that Kant’s use of “aesthetic” wording in the title of his treatise does not announce that his aim is analysis of artistic perception and practices, but mainly refers to the form of his anthropological study and conceptualisation of scientific knowledge. Kant has transferred the technique of visualisation from natural sciences to the objects of philosophical inquiry, thus contributing to the development in the humanities of representative practices, the scientific method of observation as well as the corresponding epistemic and literary genre. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:DIKTAT OR DIALOGUE? ON GADAMER'S CONCEPT OF THE ART WORK'S CLAIM by John Pizer How do we experience a work of art? Put another way, how does die work of art engage and address us? Hans-Georg Gadamer devoted much of his magnum opus, Truth and Method, to answering these questions, and he takes up the task again in a brief essay entided "Aesthetics and Hermeneutics" (1964). Earlier positions on (...) the nature of hermeneutical reflection, the historical context of aesthetic interpretation and the linguistic character underlying the apprehension of all modes of art are reformulated here. At first glance, the essay appears to be more the summary of a previous epistemology than a venture into new terrain. There is, in fact, almost nothing in this work which seems to contradict Gadamer's previous view. Nevertheless, the closing lines of the essay give his concept of art a dimension not directly perceptible in Truth and Method. This is the notion that the work of art challenges us, on a personal level, to change the course of our existence: "The intimacy with which the work of art touches us is at the same time, in enigmatic fashion, a shattering and a demolition of the familiar. It is not only the 'This art thou!' disclosed in ajoyous and frightening shock; it also says to us: 'Thou must alter thy life'!" {PH, p. 104).1 Whereas Truth and Method focuses on the heightened reflexivity gained in a dialogue with an aesthetic object, Gadamer's citation of Rilke's admonition would appear to turn the dialogue into a command, or at least an unmediated personal challenge, issued by the work of art. 272 John Pizer273 This is not to say that Truth andMethod is free ofpowerful, even violent language in its description of aesthetic experience. In discussing the concept of "Erlebnis" as it came to be the dominant term in phenomenological investigations ofconsciousness, Gadamer represents aesthetic experience as paradigmatic of all experience. Like the hermeneutic circle, consciousness is grounded in the interplay of discrete, individual experience and the experience oflife as a whole. Life as a whole consists of unique, episodic experiences, and yet these experiences only acquire meaning in the context of life in its totality. As Joel Weinsheimer puts it: "An experience is something the meaning ofwhich accompanies one through life, determining that life and being determined by it."2 An exceptional experience is an adventure, which gives a disruptivejolt to the even flow of life. But it allows one to experience life in its richness, fullness, and totality even as it tears one from life's quotidian context. In this, the aesthetic experience has the character ofan adventure: "The work of art seems destined to become an aesthetic experience. This means the person experiencing it is wrenched at one blow from the context of his life while at the same time he is related back to the whole of his existence" {WM, p. 66).3 But while Gadamer's terminology here in describing the experience of art is as violent as that of "Aesthetics and Hermeneutics," he does not suggest in Truth and Method that the work of art issues a command or injunction. Rather, by reflecting on the essence of experience as the dialectic of "exile and reunion," 4 our dialogue with the art work enriches our ability to understand and find truth in life as a whole. Of course, even in Truth and Method Gadamer distinguishes clearly between the silent dialogue between art work and spectator, particularly between reader and text, and the colloquy of individuals engaged in conversation. Nevertheless, he makes it clear that in both cases an openended dialectic ofquestion and answer motivates the engagement. Does the notion that a work of art "shatters" the familiar and admonishes us to change our lives contradict the earlier, seemingly more democratic parameters established by Gadamer as defining the search for ontological truth, and, more narrowly, the attempt at legitimate interpretation? The purpose of this paper will be to demonstrate that it does not. First ofall, we must note Gadamer's concept ofexperience {Erfahrung) in relationship to the text implies an openness to it rather than a detached, objective... (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public (...) good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

A humanidade tem sido tomada por angústias tão sutis que, aos poucos, vai se dissolvendo – física e psicologicamente – como se estivesse sendo consumida de dentro para fora. Neste sentido a saída – ainda que imediata e provisória – é propor um jogo de Xadrez com a morte. Não à toa Ingmar Bergman escolhe o Xadrez como a forma da sua personagem desafiar “alguém” tão poderoso. O jogo é um chamamento à razão, à luz capaz de organizar as ideias (...) e dar um rumo à vida. (shrink)

Em 2022 teremos uma celebração muito especial para a Música Popular Brasileira. O icônico disco “Clube da Esquina”, de Milton Nascimento e Lô Borges, completará 50 anos de lançado. O álbum apresentou ao mundo mais do que o resultado de uma parceria musical de rara beleza; ele foi uma espécie de marco zero de um movimento artístico e existencial nascido na bucólica Belo Horizonte da segunda metade da década de 1960, envolvendo amigos, música, cinema e literatura.

Quando assisti pela primeira vez a “Sociedade dos Poetas Mortos”, em 1989 (ano de lançamento no cinema), a história protagonizada pelo saudoso Robin Williams me comoveu profundamente. Naquela época eu caminhava rumo aos meus 20 anos, quando a vida ainda parece uma areia movediça e o futuro, uma eternidade. Eu ainda estava na Faculdade de Filosofia da UFBA, em Salvador, preparando-me para ser professor.

Revendo recentemente o ótimo filme “A Vila”, do diretor indiano M. Night Shyamalan (o mesmo diretor de “O Sexto Sentido”, “Corpo Fechado” e “Sinais”), é possível entender os motivos que levaram os fundadores do vilarejo fictício a criar um mundo à parte para as futuras gerações. O filme, de 2004, é inserido no gênero “suspense” por conta de sua história central em torno de uma lenda sobre criaturas aterradoras que vivem na floresta. Estas são o empecilho para que os moradores (...) cultivem o desejo de deixar o único lugar que conhecem. (shrink)

Desde que foram criados pelos sumérios há mais de 5 mil anos, os livros sempre aterrorizaram os ocupantes do topo de quaisquer formas de poder. Neles estiveram e continuam sendo guardados os sonhos, as ideias, os projetos e as ações da humanidade em todas as vertentes possíveis, sejam eles libertadores e instigantes para as transformações positivas do mundo e do próprio ser humano, sejam eles os caminhos opostos da destruição e da opressão. [...].