Few today can escape exposure to mass art. Nevertheless, despite the fact that mass art provides the primary source of aesthetic experience for the majority of people, mass art is a topic that has been neglected by analytic philosophers of art. The Philosophy of Mass Art addresses that lacuna. It shows why philosophers have previously resisted and/or misunderstood mass art and it develops new frameworks for understanding mass art in relation to the emotions, morality, (...) and ideology. (shrink)

Book Information A Philosophy of Mass Art. A Philosophy of Mass Art Noël Carroll Oxford Clarendon Press 1998 x + 425 Paperback Aus.$45.00 By Noël Carroll. Clarendon Press. Oxford. Pp. x + 425. Paperback:Aus.$45.00.

The chief sources of aesthetic experience for most people around the world are now the mass broadcasting and recording technologies. Yet analytic aesthetics has had little to say about mass art. Recent accounts of art and the aesthetic, while accommodating the consensus concerning central cases, are largely propelled by problem cases drawn from the avant-garde, and one wonders what the effect will be of adding works of mass art to the equation. One also wonders whether making room (...) for mass art will put pressure on standard views about art and emotion, or the moral or political content of art. It’s time for a comprehensive and sensible philosophical examination of mass art, and this is what we have in Noël Carroll’s latest book. (shrink)

The chief sources of aesthetic experience for most people around the world are now the mass broadcasting and recording technologies. Yet analytic aesthetics has had little to say about mass art. Recent accounts of art and the aesthetic, while accommodating the consensus concerning central cases, are largely propelled by problem cases drawn from the avant-garde, and one wonders what the effect will be of adding works of mass art to the equation. One also wonders whether making room (...) for mass art will put pressure on standard views about art and emotion, or the moral or political content of art. It’s time for a comprehensive and sensible philosophical examination of mass art, and this is what we have in Noël Carroll’s latest book. (shrink)

Noel Carroll’s A Philosophy of Mass Art is intended as a contribution to a “systematic” philosophy of mass art, but his more immediate aim is to clarify and criticize the principles and presuppositions that contemporary theorists bring—mistakenly, he argues—to their reflections on mass art. In a sense, Carroll offers to provide for the philosophy of mass art what he claims mass art can provide for morality, namely, clarificationism : “Logical argumentation and conceptual clarification are its (...) major research tools”. The general result of this strategy is a classification of mass art that is ontological, as he explains what is unique about a mass artwork ; structuralist, as he claims there are common emotional, moral, and ideological structures of mass art ; and functionalist, as he argues that it is the function of mass art to be produced intentionally to be accessible to a mass audience. Moreover, Carroll’s ontological theory is essentialist, for he is committed to developing and defending “a series of necessary conditions that are jointly sufficient for calling something a mass artwork”. This commitment culminates in what he calls a “real” definition of a mass artwork, which is as follows. (shrink)

Adorno’s extended conception of ‘culture industry’ renders the usual criticism of his views as ‘elitist’ meaningless. The same expansion creates, however, logical strains and contradictions in his analysis of the character and function of the culture industry: a strain in its ‘psychosocial’ and ‘status compulsion’ interpretation. In his late work Adorno attempts to solve this contradiction, but at a heavy price, by creating a conceptual barrier between pleasure and happiness.

Les quatre textes qui suivent tentent d'analyser dans la littérature québécoise et française récente les manifestations d'une société en mutation, désireuse ou non de rompre avec les stéréotypes de sexes, de revisiter et réconcilier féminin et masculin. Les écrivaines, avec quelques belles longueurs d'avance, continuent de vouloir à la fois le corps et l'esprit, la vie et la fiction, de jongler avec l'altérité et les identités plurielles et de travailler des textes ûctionnels, théoriques et incamés, qui prennent en compte le (...) réel Leur travail de réflexion et de création ne cesse, en fait, d'interroger les artifices de l'art, les mensonges de la petite et de la grande histoire, et de prouver qu'on ne peut impunément dissocier éthique et esthétique ! Le thème de l'autobiographie foetale qui hante la littérature masculine récente est très représentatif de la masculinité en crise; il cristallise ses angoisses, ses résistances ou sa nouvelle quête émotive, affective et corporelle.The following four-part paper try to analyse in recent quebecer and french littérature the manifestations of a changing society, wether it be willing or not to break with gender stereotypes and reconcile the masculine/feminine dichotomy. Female writers still show leadership in wanting both body and mind, life and fiction; in thinking ofalterity and multiple identities; and in working at fictionnal, theoretical and incarnate texts wich take reality into considerations. Their reflexion and creation in effect never stops questionning the artistic device, the lies of both small and big history to prove that we cannot inconsiderately dissociate Ethics from Esthetics ! The foetal autobiography team now haunting recent male littérature is very representative of the masculinity crisis; it cristallizes his anguish resistances or his new emotive, affective and corporeal quest. (shrink)

"An overview of modern art theory and history, this anthology treats modern art as a complex cultural, political, and social process intimately connected with larger cultural, political, and social contexts."--Pearson.

Artworks are seen here as presenting themselves as a means by which to navigate and plot the city for a writing interlocutor; The examples discussed reveat a plethora of emergent forms which are concentrated into three key modalities of urban arts practice in the twenty-first century walking play and cultural memory walking includes the talked walks of artist such as Richard Wentworth, the generative street incursions of Francis Alys, and the walking spectator at a site-based event, including works by Gustv (...) Metzger, Mark Wallinger and Pavel Althamer. Play embraces popular instances of mass public mobilisation in the form of flash mobs and mobile clubbing as well as ̀creative interventions such as free ranning, graffin writing and video sniffing, which reveal themselves to be engaged increasingly in a dialogue with the ̀high art' of artists like Antony Gomely, Mark Quinn and Carsten Holler. Cultural memory is considered via the burgeoning cases of holocaust installations, interrogating two of the best-known- and controversial-European urban sites from the point of view of the physical encounters that they implicity invite Peter Eisenman's memorial in Bertin and Rachel Whitereads' in Vienna. --Book Jacket. (shrink)

The last technological developments have introduced a huge amount of hardware, communication systems, and information systems into life of human beings. But also has brought a multiplicity of images, objects and sensitive experiences having a direct effect in social life. It can be said that this amount of current elements deserve to be analyzed in order to try to clarify the nature of information technology and its political impact. That means that far over history of scientific developments, it is precise (...) to take into account a critical task of the role of the information techniques in different levels of society (moral, social and economic levels), but after all the role playing in the way we perceive the world. For that, we treat some of the technological developments related to virtual reality; then, we handle the concept of simulation, and finally we establish the distinction between reality and virtuality. (shrink)

The mass childhood immunization programme has traditionally been viewed as a safe and effective preventative measure by health promoters, primary health care professionals and governments. This consensus has meant that immunization has rarely been viewed as ethically problematic. A number of recent changes in the context of the delivery of health care, particularly the emphasis on consumerism and the effect of the marketization of services, makes timely an examination of ethical, social and political issues. This article examines four main (...) grounds for problematizing the mass childhood immunization programme. These are: clinical research evidence about the safety and efficacy of vaccines; the masking of wider social and political determinants of ill health; the contradictory strictures about collective and individual rights in relation to immunization; and the uniqueness of childhood immunization as a physical intrusion into a healthy body. The implications of these ethical issues are discussed in relation to informed consent and the need for a 'greenfield' review that includes the views of dissenting parents, lawyers and moral philosophers, as well as health professionals. Les promoteurs de santé, les soignants et les gouvernements ont tous traditionellement vu le programme d'immunisation globale des enfants comme sain et efficace. Cela voulait dire que l'immunisation a rarement posé un problème éthique. Pourtant, actuellement des changements dans les contextes de la distribution des soins, le consumérisme et de l'effet de la commercialisation des services de santé, exigent une revue des problèmes éthiques, sociaux et politiques. Cet article discute quatre éléments problématiques du programme d'immunisation globale: les données des recherches médicales sur la sûreté et l'efficacité des vaccins; la dissimulation des déterminatifs sociaux et politiques des maladies; les critiques contradictoires des droits individuels et collectifs concernant l'immunisation; et le caractère unique de l'immunisation des enfants comme une intrusion physique dans un corps sain. Les effets de ces questions éthiques sont repris en rapport du consentement informé et de la nécessité d'une revue 'verte' qui comprend les vues des parents dissidents, des juristes, des philsophes et des membres des professions soignantes. Das Massenimpfungsprogramm von Kindern wurde allgemein von Gesundheits behörden, medizinischem Fachpersonal und Regierungen als sichere und wirksame Vorbeugungsmassnahme betrachtet. Diese Uebereinstimmung bedeutete, dass Imp fungen selten ein ethisches Problem darstellten. Eine Anzahl von Aenderungen im Gesundheitswesen - besonders im Hinblickin auf Konsum und Marktwirtschaft im Dienstleistungsbereich - berechtigen jedoch zu einer Untersuchung der ethischen, sozialen und politischen Fragen. Dieser Artikel untersucht vier Hauptgründe, die das Massenimpfungsprogramm für Kinder in Frage stellen: Forschungsergebnisse über die Sicherheit und Wirksamkeit der Impfstoffe; die Verschleierung von andern sozialen und politischen Krankheitsursachen; die widersprüchlichen Anordnungen über kollektive und individuelle Rechte mit Bezug auf die Impfungen; und die aussergewöhnliche Art der Impfung als physische Verletzung eines gesunden Körpers. Die Bedeutung dieser ethischen Fragen werden hier diskutiert im Zusammenhang mit der informierten Vereinstimmung und der Notwendigkeit eines 'grünen' Ueberblickes, der die Ansichten andersdenkender Eltern, Rechtsanwalte, Philosophen und Gesund heitsexperten einschliesst. (shrink)

In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work (...) of art (‘Gesamtkunstwerk’) include or rather exclude chamber music? (shrink)

For Adorno and Horkheimer, rationalism – in fact, a technical rationalism which becomes a rationalism of domination– failed to provide the path to the liberation of man and society. The aftermath, half education of the masses, is not an incomplete education or lack of education, but substantially hostility towards culture and genuine education, decay and involvement of education in individual considerations and benefits, with the contribution of mass dissemination of culture and art. Half education is the spread of culture (...) and art without a living relationship with the consciousness of people, without consequences for their lives. Adorno clarifies that in this context, the relationship between life and production reduces the former into the transitory epiphenomenon of the latter, as life and individual existence are not known in their immediacy, they do not connect directly, but they rather become part of the teaching for of material production. For Ortega y Gasset, a new type of human being has been born, the massman, who becomes isolated, trapped in the irrational feeling that nothing else, apart from his own private welfare, matters, but he also continues to demand as if it were his natural right to do so. Nonetheless, and although he remains an individualist, he does not have real access to the gifts of individuality. Marcuse understands that, ultimately, there is a conflict between production and profit on the one hand and self-determination on the other. As technology spreads its dominance over nature, man conquers man through mass control, diffused through work and culture. In this way, technological rationalism becomes ultimately political rationalism. (shrink)

Time is a necessary element in understanding AI art. Firstly, time reveals the historical process by which art-theoretical predicates move from the unmarked to the marked, which can thus be utilized as a defense for arguing the legitimacy of AI art as art. Furthermore, AI art should be seen as a “new” art that is temporally ahead of the descriptive forms of art theory. Secondly, time provides a unique interpretation of AI artworks’ characteristics and aesthetic experience. The absence of experience, (...) the de-depth of AI artworks, and the “short experience/short memory” aesthetic mode of the masses are closely linked to the scarcity of time in an age of acceleration. Finally, time reflects the loss of “aura” and the new end of art that AI art may bring about. Time provides a defense and explanation of AI art, as well as a perspective for reflecting on the development of art in contemporary times. (shrink)

In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.