In lieu of an abstract, here is a brief excerpt of the content:The Paradox of Kandinsky's Abstract RepresentationKenneth BerryThere is a paradox in the relationship between Kandinsky's use of the terms, "abstract" and "concrete," which is presented in the expression, "Kandinsky's abstract representation." Thisexpression, while being apparently contradictory, may point to a feature underpinning Kandinsky's art, which is pivotal to a proper experience of his work, just as, in Christopher Middleton's view, a poetic language may be pivotal to the formation (...) of cultures.1 Art and cultural artifacts are vital to aesthetic experience and aesthetic education, and both the language of art and other languages are instrumental to this end. However, how may Kandinsky's mature abstraction, being in essence objectless, have any claim to representation, and consequently the higher cultural goals of aesthetic expression and the aesthetic enrichment of society?According to Thomas M. Messer, the position of centrality that Kandinsky has assumed in our understanding of modern art is largely due to his having brought to bear on his art, an instinctive awareness of what constituted the central aesthetic issues of his era.2 Kandinsky's writings in Concerning the Spiritual in Art elaborate on his aesthetic theories, and, in particular, [End Page 99] present the view that paintings should be looked at as a graphic representation of a mood rather than as a representation of objects. Messer observes that, for Kandinsky, abstraction, defined as a mode of painting extending beyond the depiction of recognizable objects, having gradually stripped itself of mimetic vestiges, thus becomes paramount. Michael Carter has similarly pointed out that with the pure forms of absolute abstraction, the non-objective colors and shapes of Kandinsky's paintings were regarded as distillations of the aesthetic properties of the artistic sign3 — separable from any referential aspect of art.4 This aesthetic aspect of Kandinsky's work, which became known as nonfigurative, nonobjective, or nonrepresentational,goes along with the cultural — and, as sculptor Anish Kapoor has remarked, "in the deepest, deepest depths of human history the cultural has always been a motivator of people," and has the power to transform society through finding visual equivalents for an emotional language.5Much has been written about Kandinsky's use of color, but perhaps the primary innovation that he made, as in the case of Barnett Newman, was in the field of drawing. Kandinsky was influenced by Gauguin's idea that drawing was an abstraction from memory after nature, just as Gauguin had been affected by the simplified contours and flattened forms of Puvis de Chavannes. Drawing did not come so easily to Kandinsky as color — he had to work harder at drawing, but in his early improvisations, forms and their outlines as graphic symbols came welling up from the unconscious, and eidetic motifs only had to be copied — almost as the art of calligraphy. Kandinsky's "organic" drawing developed as an urge to nonnaturalistic impulses, and during the period of Point and Line to Plane became almost a grammar of form, saved from mere pedantry by the living forces or visual tensions that made various kinds of line operate not just as contours but as dynamic or restful elements within themselves. In 1913, Kandinsky wrote in his "Reminiscences" that, "painting is a thundering collision of different worlds, intended to create a new world in, and from, their struggles with one another, a new world which is the work of art."6 It is clear from this that the Modernist work of art was intended to be a "new world" operating according to its own universal aesthetic laws.Kandinsky is not just a painter; he is also a visual poet. Poetry, according to Tony Curtis, involves the expression of the intensification of experience — the elevation of banal facts of life into something beyond the merely prosaic — something unique and perceptively heightened.7 It involves both imagination and poetic license to explore both ambiguity and paradox. As Scottish poet Norman MacCaig observed, poetry renders the ordinary extraordinary, seeing the unfamiliar in the familiar.8 Creative analogical thinking such as evinced in Kandinsky's art, often involves breaking free of a clichéd representation.Malcolm Budd has remarked that, in its most exclusive sense, a work... (shrink)

A guide to developing logical thought and expression through discussion and exercises.

This paper attempts a deduction of Kant's concept of the highest good: that is, it attempts to prove, in accordance with Dieter Henrich.s interpretation of the notion of deduction, that the highest good is an end that is also a duty. It does this by appealing to features of practical reason that make up the legitimating facts that serve as the premises that any deduction must possess. According to Kant, the highest good consists of happiness, virtue, and relations of proportionality (...) and causation between happiness and virtue, such that happiness is proportional to and caused by virtue. I argue, by drawing on accepted Kantian notions, that Kant had compelling reasons for concluding that the highest good is in fact an end that is also a duty. If correct, then this argument provides the deduction promisedin my title. (shrink)

This book, a sequel to the author's well-received Luther in Context, illuminates Calvin's thought by placing it in the context of the theological and exegetical traditions - ancient, medieval, and contemporary - that formed it and contributed to its particular texture. Steinmetz addresses a range of issues almost as wide as the Reformation itself, including the knowledge of God, the problem of iconoclasm, the doctrines of justification and predestination, and the role of the state and the civil magistrate. Along the (...) way, Steinmetz also clarifies the substance of Calvin's quarrels with Lutherans, Catholics, Anabaptists, and assorted radicals from Ochino to Sozzini. An accessible yet authoritative general introduction to Calvin's thought, Calvin in Context engages a much wider range of primary sources than the standard introductions. It provides a context for understanding Calvin not from secondary literature about the later middle ages and Renaissance, but from the writings of Calvin's own contemporaries and the rich sources from which they drew. (shrink)

David Chalmers has defended an account of what it is for a physical system to implement a computation. The account appeals to the idea of a “combinatorial-state automaton” or CSA. It is unclear whether Chalmers intends the CSA to be a computational model in the usual sense, or merely a convenient formalism into which instances of other models can be translated. I argue that the CSA is not a computational model in the usual sense because CSAs do not perspicuously represent (...) algorithms, are too powerful both in that they can perform any computation in a single step and in that without so far unspecified restrictions they can “compute” the uncomputable, and are too loosely related to physical implementations. (shrink)

"A Focus on Images - Sense and Form, an exhibition of selected works from the Permanent Collection with added selections from private collectors, is an occasion to explore a sampling from a variety of artists' images encompassing the 12th century to the present and to reflect upon their importance in human experience. From the mysterious and elegant masks of African tribal arts to the often provocative figurative and abstract wall markings of yesterday's graffitists, artists' images have enjoyed cultural significance quite (...) beyond any apparent contribution to the necessities of day-to- day practical living.". (shrink)

Carlos Luna: Cuban Artist at the Crossroads is an essay appearing in the exhibition catalogue Pablo Picasso Ceramics, Carlos Luna Paintings for the exhibit of the same title installed at the Museum of Art/Fort Lauderdale from October 2, 2008 through February 23, 2009.

My approach.to environmental aesthetics here begins with reflections on previous encounters with the subject, focusing initially on aesthetics of the city. Then follows a brief look at current theories of environmental aesthetics as they relate to nature aesthetics. The final section will consider garden as a symbolic link of nature/city. Nelson Goodman 's theory of exemplification will serve as an account of garden as a symbol linking nature and city.