This paper examines Allen Carlson's influential view that knowledge from natural science offers the best (and perhaps only) framework for aesthetically appreciating nature for what it is in itself. Carlson argues that knowledge from the natural sciences can play a role analogous to the role of art-historical knowledge in our experience of art by supplying categories for properly 'calibrating' one's sensory experience and rendering more informed aesthetic judgments. Yet, while art history indeed functions this way, Carlson's formulation (...) leaves out a second (and often more important) role played by art-historical knowledge over the last century - namely, providing the context needed for interpretations of meaning. This paper explores whether natural science can also inform our aesthetic experience of nature in this second sense. I argue that a robust sense of meaning from our aesthetic experience of nature is indeed made possible by coupling our aesthetic experience of animals with knowledge from the natural science of animal ethology. By extending the scope of Carlson's analogy to include interpretations of meaning, my argument shows that the cognitive, scientific model can accommodate a wider range of aesthetic engagement with nature than previously recognised. (shrink)

The ‘model approach’ facilitates a quantitative-oriented study of conceptual changes in large corpora. This paper implements the ‘model approach’ to investigate the erosion of the traditional art-nature distinction in early modern natural philosophy. I argue that a condition for this transformation has to be located in the late scholastic conception of final causation. I design a conceptual model to capture the art-nature distinction and formulate a working hypothesis about its early modern fate. I test my hypothesis on a selected (...) corpus of 25 works published in the Dutch academic milieu between 1607 and 1748. I analyse the corpus through a procedure based on concordancing of keywords associated with the model. I argue that the results obtained constitute a successful pilot study for the implementation of the model approach on larger scale research. (shrink)

This paper discusses corporate entanglement, impactfulness and responsibility in the Anthropocene, amidst events and conditions that ‘uncontain’ time. It takes its direction of travel from artist Brian Jungen’s ‘Cetology’ (2002), a whalebone sculpture made out of cut-up plastic garden chairs, which conjoins the times of earth and world history, as it hangs in the air of the art gallery, ‘as if’ exhibited in the natural history museum. The paper relates ‘Cetology’s’ engagement with natural history, time, (...) and commodification to matters of corporate entanglement and responsibility within company law and governance. Problems with understanding the comparable imprint of large and multinational companies on matters, places, and communities are identified, after the domination of corporate legal frameworks over nature and the stability and perfection of economic incentives at law. The reading of this (critical-legal) situation is developed through theory and engagement with materialist and critical thinkers, who unite in their concern with distributed human–nature relations and the ‘concreteness’ that attends collisions in time, ruin and affect. Walter Benjamin and Theodor Adorno’s writings are central to this analysis, and strengthen the commentary on ‘natural history’ themes curated by Jungen. The paper contemplates how times’ uncontainment might invoke a change in expectation and method for the company law field, assigning contingency to the corporation and provoking a new mode of reflection about corporate entanglement and responsibility at law. (shrink)

Excerpt from Cultures and Institutions of Natural History: Essays in the History and Philosophy of Science This volume consists mainly of papers delivered at two meetings cosponsored by the Museo Civico di Storia Naturale in Milan and the California Academy of Sciences in San Francisco. The first, on the Culture of Natural History, was held in Milan, November l4-l 6, I996. The second, on Institutions of Natural History, was held in San Francisco, October (...) 5 - 7, 1998. They followed two earlier conferences on Biology as History (pinna and Ghiselin I996; Ghiselin and Pinna I996) likewise held in Milan and San Francisco. We intend to continue the series of meetings and have publications based on them in commemoration of the Academy's sesquicentennial in 2003. The emphasis here is mainly upon natural history museums and the kind of science that goes on in them. Although the essays were originally written to stand by themselves, when arranged in chronological order they suggest a common theme. To paraphrase Darwin, the culture and institutions of natural history have been, and are being, evolved. They have adapted to local circumstances, diversified, and sometimes even progressed. We may hope that the future holds more than just retrogression and extinction in store. Read as case studies the essays provide valuable insights into not just how, but why, the institutions have come into being and subsequently been transformed. Previous generations had quite different ideas than we do about how a collection of naturalia is supposed to function and how it should be organized. And there were con icting goals and serious disputes about policy, much as there are today. Often, though not always, the institutions turn out to be very different from what had been envisioned by their founders. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)

_ Source: _Volume 9, Issue 2, pp 220 - 239 Art has been crucial for Western philosophy roughly since Kant – that is, for what is becoming known as “correlationist” philosophy – because it has so often had assigned to it a singular ontological status. The artwork, in this view, is material being that has been transfigured and shot through with subjectivity. The work of art, what art does and how it works have all been understood as mediating between the (...) otherwise irreconcilable opposites of historical spirit and the mute material world, between communicative thought and the unresponsiveness otherness of nature. I revisit this aesthetic tradition from the perspective of the Anthropocene, the proposed name of the new geological epoch of the present, distinguished by the fact that collective human action has now acquired the scale of a world-shaping natural force. The Anthropocene is at once a geological epoch and a historical period. What forms of narrative might possibly relate these two temporal orders together? What other aesthetic categories might help us think through the conceptual impasse of the Anthropocene present? How might aesthetic experience illuminate the history of Anthropocene? What natural histories might artworks tell today? My speculative endpoint: the Anthropocene globe is the universal artwork of the contemporary moment. (shrink)

ArgumentIn the 1920s and 1930s, the growing importance of habitat dioramas at the American Museum of Natural History forced staff members to reconsider what counted as scientific practice and knowledge. Exhibit-makers pressed for more scientific authority, citing their extensive and direct observations of nature in the field. The museum's curators, concerned about their own eroding status, dismissed this bid for authority, declaring that older traditions of lay observation were no longer legitimate. By the 1940s, changes inside and outside (...) the museum had destroyed any lingering notions that what exhibit-makers garnered from observing raw materials constituted scientific knowledge. (shrink)

In this incisive new work, Eli Friedlander demonstrates that Walter Benjamin's entire corpus, from early to late, comprises a rigorous and sustained philosophical questioning of how human beings belong to nature. Across seemingly heterogeneous writings, Friedlander argues, Benjamin consistently explores what the natural in the human comes to, that is, how nature is transformed, actualized, redeemed, and overcome in human existence. The book progresses gradually from Benjamin's philosophically fundamental writings on language and nature to his Goethean empiricism, from the (...) presentation of ideas to the primal history of the Paris arcades. Friedlander's careful analysis brings out how the idea of natural history inflects Benjamin's conception of the work of art and its critique, his diagnosis of the mythical violence of the legal order, his account of the body and of action, of material culture and technology, as well as his unique vision of historical materialism. Featuring revelatory new readings of Benjamin's major works that differ, sometimes dramatically, from prevailing interpretations, this book reveals the internal coherence and philosophical force of Benjamin's thought. (shrink)

This paper discusses Hans-Georg Gadamer’s account of what he sees as a major change in the approach to the Western philosophical and aesthetic traditions that began in the second half of the eighteenth century, and the results of this change today. According to Gadamer, these traditions ceased to be binding at this time and became objects of historical research. Instead of being seen even as potential sources of insight, traditional knowledge claims and works of art were subjected to historical and (...) aesthetic analysis. And Gadamer holds that these approaches have partially come to encompass the present as well. Thus, modern art has often downplayed cognitive and pedagogical tasks in proceeding in a purely aesthetic, playful way. And the study of history has been seen as providing insight into the contextually determined nature of presuppositions, those of the modern age included. According to Gadamer, this unduly limits the possibilities of both art and history to provide learning. (shrink)

The nineteenth-century museum and auction house are seemingly distinct spaces with opposing functions: while the former represents a contemplative space that accumulates objects of art and science, the latter provides a forum for lively sales events that disperse wares to the highest bidders. This contribution blurs the border between museums and marketplaces by studying the Berlin Zoological Museum's duplicate specimen auctions between 1818 and the 1840s. It attends to the operations and tools involved in commodifying specimens as duplicates, particularly the (...) auction catalogue. The paper furthermore contextualizes the museum's sales in a broader history of duplicate auctions across Berlin's collection landscape. (shrink)

This copiously illustrated volume is the first systematic general work to do justice to the fruits of recent scholarship in the history of natural history. Public interest in this lively field has been stimulated by environmental concerns and through links with the histories of art, collecting and gardening. The centrality of the development of natural history for other branches of history - medical, colonial, gender, economic, ecological - is increasingly recognized. Twenty-four specially commissioned essays (...) cover the period from the sixteenth century, when the first institutions of natural history were created, to its late nineteenth-century transformation by practitioners of the new biological sciences. An introduction discusses novel approaches that have made this a major focus for research in cultural history. The essays, which include suggestions for further reading, offer a coherent and accessible overview of a fascinating subject. An epilogue highlights the relevance of this wide-ranging survey for current debates on museum practice, the display of ecological diversity and concerns about the environment. (shrink)

Saturn and Melancholy remains an iconic text in art history, intellectual history, and the study of culture, despite being long out of print in English. Rooted in the tradition established by Aby Warburg and the Warburg Library, this book has deeply influenced understandings of the interrelations between the humanities disciplines since its first publication in English in 1964. This new edition makes the original English text available for the first time in decades. Saturn and Melancholy offers an unparalleled (...) inquiry into the origin and development of the philosophical and medical theories on which the ancient conception of the temperaments was based and discusses their connections to astrological and religious ideas. It also traces representations of melancholy in literature and the arts up to the sixteenth century, culminating in a landmark analysis of Dürer's most famous engraving, Melencolia I. This edition features Raymond Klibansky's additional introduction and bibliographical amendments for the German edition, as well as translations of source material and 155 original illustrations. An essay on the complex publication history of this pathbreaking project - which almost did not see the light of day - covers more than eighty years, including its more recent heritage. Making new a classic book that has been out of print for over four decades, this expanded edition presents fresh insights about Saturn and Melancholy and its legacy as a precursor to modern interdisciplinary studies. (shrink)

Postmodernism was not launched by the development of Warholesque pop art in the 1960s, nor was it initiated by the explosive destruction of the Pruitt-Igoe modern housing project of St Louis, Missouri in 1972, or by the commissioning of Jean-Francois Lyotard's work on knowledge in advanced societies by the Quebec government in the late 1970s. Postmodernism began with the publication of a paper entitled `The individualistic concept of plant the association' in 1926 by the plant ecologist Henry Gleason. If we (...) dare to characterize postmodernism, emphases on ideas such as heterogeneity, ephemerality, anti-foundationalism, pluralism, fragmentation, indeterminacy, schizophrenia, chaos, antiformalism, discontinuity, absence, playfulness, irony, localism, anarchy and ontological meaninglessness are the ones that tend to abound. The Gleasonian theory of plant associations can be said to reflect such ideas in the ecological arena. Certainly there is room for, and an expanding professional commitment to, a fully-fledged neo-Gleasonian postmodern approach to natural history in which ecological phenomena are examined using non-determinist, pluralist and local perspectives that reject the foundationalism and unifying approach of modernist science and which posits a view of the Earth's biota highlighting fragmentation, anarchism and non-interaction. Community ecology, as opposed to the unifying and totalizing tendencies of ecosystems ecology, might rightly claim to be the intellectual site of such a postmodern natural history. Often, postmodern studies not only attempt to describe a postmodern phenomenon but act to forge new varieties of postmodernism. It is in this vein that this paper seeks to present a non-anthropocentric form of postmodernism; not by dissolving the dualistic barrier that separates humanity from nature (as many environmentalisms would advocate) but by dissolving humanity and nature. (shrink)

"Discusses the European interpretation of the Pacific in the late eighteenth and early nineteenth centuries. It considers the work of artists attached to scientific voyages of discovery and exploration from the time of Cook to the time of Dumont d'Urville and elucidates the ways in which their work is related to the scientific interestes and prevailing ideas of their eras."--Book jacket.

William Petty's work has usually been regarded as an epistemic break in the history of statistical and politico-economic thought. In this paper, I argue that Petty's statistical notions stemmed from the natural-historical techniques he originally implemented to manage the Down Survey. Following Bacon, who viewed the description of trades as a paramount branch of natural history, Petty approached the art of surveying itself as an object of natural-historical analysis. He partitioned the surveying work into individual (...) tasks and implemented a meticulous division of labour, employing hundreds of disbanded soldiers as surveyors and using questionnaires to calibrate the responses of his ‘instruments’, as he called his specialized workers. By borrowing these methods from natural history to organize surveying work, Petty was able to conceptualize Ireland as a political body defined by tables of aggregate data. I then compare the Down Survey with John Graunt's observations on the bills of mortality to show that both are representative of a particular style of natural history, aimed at describing the natural and political state of a circumscribed territory. I close by considering other manifestations of ‘territorial natural history’, indicating a continuity between this research tradition and the appearance of statistics in the British Isles. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.3 (2001) 523-541 [Access article in PDF] Antiquarianism, the History of Objects, and the History of Art before Winckelmann Thomas DaCosta Kaufmann [Figures] To the Memory of Franklin LeVan Baumer. In light of postmodernist and poststructuralist trends in the humanities which have contested notions of originality and of authorship, it might seem surprising that one outstanding myth of the eighteenth (...) century has not yet been thoroughly challenged. This is the claim made by Johann Joachim Winckelmann in the foreword to the Geschichte der Kunst des Altertums, originally published in 1764, that he had created a new history of art which was distinct from a history of artists and also different from what had previously been written about antiquities (Altertümer): The history of the art of antiquity, which I have undertaken to write, is no mere account of the chronological order and change of art, but I take the word history in the wider sense, that it has in the Greek language, and my intention is to offer an attempt at a system.... But the essence of art is in every part the most eminent aim, in which the history of artists has little influence, and this [sort of history of artists], which has been compiled by others, is therefore not to be sought here... those who have treated antiquities, examine either only such where erudition was to be applied, or, if they speak of art, this happens in part with common eulogies, or their judgment is built on peculiar, false grounds. 1 [End Page 523]Wolf Lepenies once described this claim as one of the many foundational myths of the Enlightenment and presented instead some parallels between the writing of art history and natural history in the eighteenth century. 2 As interest in the historiography of art has revived, publications have continued to pour forth on Winckelmann. 3 Yet the critique suggested by Lepenies has largely not been followed. Winckelmann's claim to originality remains a starting or major turning point for most accounts of the history of the discipline of art history. 4 [End Page 524]It may be that Winckelmann's claim has remained largely unchallenged because his differentiation of his accomplishment from that of Gelehrsamkeit in particular coincides with and helps to support another distinction made at his time, that between "philosophy," or criticism, and erudition, the latter being at best necessary but inferior. 5 This distinction, which was fostered by the philosophes and their counterparts in other countries, has been frequently heard in scholarly debates, and it is echoed in current discussions where empirical scholarship is disparaged in favor of what is often now called Theory. 6 Thus while in the twentieth century the Enlightenment came in for heavy going starting with at least the critique of Max Horkheimer and Theodor W. Adorno, 7 this is one Enlightenment opinion which, despite the rise of critical theory among other trends in recent scholarship, has gained in fashion, especially in the English-speaking world.But the contrast between philosophy, or critique, and erudition makes a distinction that is ultimately untenable, even if it is also one that has continued to dominate many views of the history of eighteenth-century scholarship. The case at hand suggests that supposed innovations of the eighteenth century in the historiography of art, as in many other fields of study, are much more bound up with late humanism and encyclopedism than their promulgators might have wished to admit. Scholars of a number of disciplines have begun to revise interpretations of the role of the so-called antiquarians of the sixteenth to eighteenth centuries--those who dealt with Altertümer. 8 Some recent studies of the historiography of art have pointed to some connections between the antiquarian tradition and that of the historiography of art. 9 These approaches, however, have primarily dealt with Italian and French writers and, moreover, have left Winckelmann's position largely untouched. 10 Winckelmann's situation in the [End Page 525] broader European historical and geographical context also remains... (shrink)

In the history of art and aesthetics, beauty in nature and beauty in art can be seen meeting in the works of Immanuel Kant. Thinkers such as Kirwan and Allison believed that Kant endorsed a predominantly nature-centered aesthetics. I dissect Kant’s The Critique of the Power of Judgment with the help of convictions by various thinkers in maintaining that Kant does not prioritize beauty in nature over art. For this, I revisit Kant’s views on beauty in art and nature, (...) and finally his views on the genius which marks the significant difference between art and nature. If we analyze and reread his views in an intellectually subtle manner, we can see that in Kant, philosophy of art and aesthetics acquire a fine balance. (shrink)

This volume uses the art of Rome to help us understand the radical historical break between the fundamental ancient pre-supposition that there is a natural world or cosmos situating human life, and the equally fundamental modern emphasis on human imagination and its creative power. Rome's unique art history reveals a different side of the battle between ancients and moderns than that usually raised as an issue in the history of science and philosophy. The book traces the idea (...) of a cosmos in pre-modern art in Rome, from the reception of Greek art in the Roman republic to the construction of the Pantheon, to early Christian art and architecture. It then sketches the disappearance of the presupposition of a cosmos in the High Renaissance and Baroque periods, as creativity became a new ideal. Through discussions of the art and architecture that defines proto-modern Rome- from Michelangelo's terribilita' in the Sistine Chapel, Caravaggio's realism, Baroque illusionism, the infinities of Borromini's architecture, to the Grand Tour's representations of ruins- through an interpretation of such major issues and works, this book shows how modern art liberates us while leaving us feeling estranged from our grounding in the natural world. The book will be of interest to scholars working in art history, architectural history, classics, philosophy, and early modern history and culture. (shrink)

As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art (...) or art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Tracing the broad outline of European art history means presenting the different methods considered essential to the formation of this discipline. Historiographical research arrives quite naturally at a criticism of the methods themselves and at a search for a broader horizon.To the extent that the historian is involved with the thinking and the problems of his age, his methods reveal personal and conjunctural concepts and ideas which will guide the reflections of his successors ; these successors will modify and (...) correct the concepts received in order to adapt them to new experiences and questions. Or they will add others which are more apt to supply the answers sought. The means of analysing art history today are the fruit of four centuries of discussion during which certain normative criteria, traditional theories and underlying concepts were called into question while at the same time, though being sometimes exported to other areas of the world, they have demonstrated a tenacious degree of longevity. But perhaps a brief recapitulation might be helpful here. (shrink)

The discovery of fragmentary classical sculpture in the fifteenth and sixteenth centuries reorients the making of art toward broken bodies, changing the nature of sculpture as an aesthetic form. But this category shift in the ideal of beauty also makes an opening for the emergence of disability aesthetics: the recognition that the disabled body becomes a valuable resource for the creation and appreciation of new art forms. The idea of disability aesthetics may be traced via disability signposts in which ancient (...) works reminiscent of disability and modern works devoted to disability cross historically to create a powerful line of descent for the emergence of disability as an aesthetic value in itself. (shrink)

The paper argues that something is art only if (i) it belongs to a special kind of internal history and (ii) needs to be understood and appreciated in the light of such history. This goes against both the traditional view that art has a timeless, ahistorical essence and the historicist view that there can be no ahistorical perspective for understanding art. The paper draws on Hegel’s view that art needs to be understood through its history, but rejects (...) the idea that the history of art has an end in the double sense of a goal and an end point. It also rejects Arthur Danto’s Hegel-inspired claim that the ahistorical essence of art is revealed at the end of its history and opens the door to a natural alliance between philosophers of art and art historians. (shrink)

As many cultural historians of the sciences have recently indicated, eighteenth-century illustrations of natural historical works represent an important source that can be used to explore the ways in which nature and the study of nature were regarded in the period. Naturalistic illustrations, however, are not the only genre of images that may help the historian in this investigation. Another interesting source is represented by images of nature and natural objects connected with fictional literature. Yet, little attention has (...) been devoted so far to this genre of images. In this paper I analyse some of the engravings which illustrate Retif de la Bretonne's imaginary voyage La Decouverte australe par un homme volant. My aim is to show that these illustrations convey a well-defined image of the natural universe, and that their analysis may contribute to our understanding of the various significances and roles attached to Nature in the period-particularly bringing to the fore its moral and political uses. Further, by analysing the ways in which they connect and integrate a variety of artistic and discursive traditions related to fiction, travel, and natural history, I hope to suggest some of the ways in which this genre of images may be used to shed light on the eighteenth-century interplay between spheres of knowledge later assigned to such distinct disciplines as 'science', 'literature', or 'art'. (shrink)

Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in a (...) variety of ways--through personal experience, natural history, cultural studies, philosophical inquiry, art history, literary analysis, film studies, and theoretical imagining, and through a combination of these trains of thought. The essays expose weaknesses in western epistemological frames of reference that for centuries have limited our views and, thus, our experiences of animal being, including our own. (shrink)

This paper discusses the question if there is any truth in art. Initially it poses the question whether artworks are just mere appearances or whether they have a special truth. In critical reflection on Heidegger’s conception of art as the “setting-itself-to-work of truth” this question is then elaborated and answered: The appearance character of artworks cannot be conceived as truth. What true artworks show, namely mere possibilities, is beyond truth, because it does not belong to the real world. Artworks are (...) not true; in their decentered order and their self-showing nature they are beautiful. (shrink)

Museums and collecting is now a major area of cultural studies. This selected group of key texts opens the investigation and appreciation of museum history. Edward Edwards, chief pioneer of municipal public libraries, chronicles the founders and early donors to the British Museum. Greenwood and Murray provide informative pictures of the early history of the museum movement. Sir William Flower, Director of the British Museum (Natural History), takes a pioneering philosophical approach to the sphere of (...) class='Hi'>natural history in relation to museums. Similarly, Acland and Ruskin discuss and explore the relationships of art and architecture to museums. (shrink)

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...) strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

Historians and cultural critics face special challenges when treating the nonhuman natural world in the medieval and early modern periods. Their most daunting problem is that in both the visual and written records of the time, nature seems to be both everywhere and nowhere. In the broadest sense, nature was everywhere, for it was vital to human survival. Agriculture, animal husbandry, medicine, and the patterns of human settlement all have their basis in natural settings. Humans also marked personal, (...) community, and seasonal events by natural occurrences and built their cultural explanations around the workings of nature, which formed the unspoken backdrop for every historical event and document of the time. Yet in spite of the ubiquity of nature's continual presence in the physical surroundings and the artistic and literary cultures of these periods, overt discussion of nature is often hard to find. Until the sixteenth century, responses to nature were quite often recorded only in the course of investigating other subjects. In a very real sense, nature went without saying. As a result, modern scholars analyzing the concept of nature in the history of medieval and early modern Europe must often work in deeply interdisciplinary ways. This challenge is deftly handled by the contributors to Engaging with Nature, whose essays provide insights into such topics as concepts of animal/human relationships; environmental and ecological history; medieval hunting; early modern collections of natural objects; the relationship of religion and nature; the rise of science; and the artistic representations of exotic plants and animals produced by Europeans encountering the New World. "As scholars of medieval and early modern Europe increasingly embrace environmental perspectives and animal studies, Engaging with Nature will be recognized as a landmark collection in the field. Taken together, the essays in this volume provide a synthetic overview of critical developments in the many disciplines that are now incorporating the approaches of natural and environmental studies. Each essay represents a substantial advance in scholarship and thought in its particular field. This is an essential collection for literary and cultural historians, and for historians of economy and society, art and ideas." --Rita Copeland, University of Pennsylvania "Engaging with Nature vividly captures the breadth and depth of human interactions with the natural world in premodern Europe. Its multidisciplinary approach generates new questions about how Europeans understood and connected with nature and delves into issues that will interest the specialist and the general reader alike. The book challenges readers to rethink not just the history of human engagement with nature but also the many ways the past has influenced our modern conceptions of ecology and environment." --James Masschaele, Rutgers University "This substantial collection of articles is far more than a response to current obsessions with climate change. It is a thought-provoking demonstration of the inter-disciplinary character of research on medieval history and culture. Students of medieval and early-modern society and economy, literature, philosophy, and art, will find much that is new in these essays, and much to provoke their own thinking about the vexed relationship of human societies with their natural surroundings." --Fredric Cheyette, Emeritus professor of history, Amherst College "Engaging with Nature is a deeply pleasurable volume to read. Using an incredible range of primary and secondary sources, the authors richly realize the methodological promise inherent in the emergent field of medieval and pre-modern studies on the history of nature." --Kathleen Biddick, Temple University "Engaging with Nature is a collection of impeccable scholarship that will make a highly original contribution to the emergent field of medieval and pre-modern studies on the history of nature." --Claire Sponsler, University of Iowa. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns (...) representing specific temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (shrink)

This paper discusses the question if there is any truth in art. Initially it poses the question whether artworks are just mere appearances or whether they have a special truth. In critical reflection on Heidegger’s conception of art as the “setting-itself-to-work of truth” this question is then elaborated and answered: The appearance character of artworks cannot be conceived as truth. What true artworks show, namely mere possibilities, is beyond truth, because it does not belong to the real world. Artworks are (...) not true; in their decentered order and their self-showing nature they are beautiful. (shrink)

Suffering Art Gladly is concerned with the ostensibly paradoxical phenomenon of negative emotions involved in the experience of art: how can we explain the pleasure felt or satisfaction taken in such experience when it is the vehicle of negative emotions, that is, ones that seem to be unpleasant or undesirable, and that one normally tries to avoid experiencing? The question is as old as philosophical reflection on the arts, beginning with Plato and Aristotle, and subsequently addressed by Hume, Burke, Diderot, (...) Kant, and Schopenhauer, among others. Moreover, it is still an important and unresolved question in contemporary philosophy of art, where the discussion has been notably enlivened by recent research on the nature of imagination, cognition, and the emotions. Suffering Art Gladly comprises essays of two kinds, though the division between them is not airtight. The first kind are essays with a primarily historical focus, examining the problem of negative emotion from art as treated by important figures in the history of aesthetic thought, including Aristotle, Hume, Diderot, Kant, and Schopenhauer. The second kind are essays with a primarily contemporary focus, in which the methods and tools of contemporary analytic philosophy are much in evidence. In addition to the thirteen essays forming the heart of the book there is a general introduction by the editor, motivating the basic problem with which the essays are variously concerned and identifying the presuppositions or assumptions that are involved in different solutions to the problem. The individual essays are wide-ranging, dealing with a variety of artforms, negative emotions, and specific works of art, and the contributors, all recognized scholars in the field of aesthetics, are a mixture of junior and senior figures representing seven nationalities. (shrink)

Eden In Iraq is an environmental design and water remediation project in the marshes of southern Iraq using design and wastewater as bio-art, to create a restorative garden for education, cultural memory, and contemplation. Earmarked for a 20,000 m2 site at Al Manar in the marshes between the Tigris and Euphrates rivers, near a probable site of the historic Garden of Eden, Eden in Iraq is a project that brings, art, design, and technology together with culture and history. Drawing (...) on Islamic and Mesopotamian traditions originating in this historically and symbolically charged region, the Eden in Iraq Waste Water Garden is designed to be a syncretic container for ecological and cultural restoration and heritage after the time of war. This paper looks at this project from three inter-related activities, namely, treatment of wastewater suitable for growing a large scale garden, design of the garden starting from the Islamic garden design principles and thirdly, reviving the cultural heritage of the pre-Islamic, Mesopotamian art in contemporary forms.Graphic abstract. (shrink)

The essay attempts to offer an alternative genealogy of aesthetics from the perspective of a post-colonial history. Here a painting from the Philippines, Juan Luna's Spoliarium (1884), is reworked to offer insights into this possible operation that exceeds the typical methods of relativization and the exclusively nationalist anti-colonial critique. It focuses on both art and the discourse about it, including the oration of the National Hero Jose Rizal, and how these intersect with the end of the colony and the (...) compelling emergence of the aesthetic in eccentric grounds. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the twentieth century, the (...) issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Handbook of Research and Policy in Art EducationCharles M. DornHandbook of Research and Policy in Art Education, edited by Elliot Eisner and Michael Day. Mahwah, N.J.: Lawrence Erlbaum, 2004, 879 pp., $90.00 paper.The Handbook of Research and Policy in Art Education is an 875-page compendium of articles addressing nearly every conceivable issue in the field and is, if nothing else, a valuable tour de force for any reader (...) who wants to come up to speed on issues in the field. It is not, however, either strictly a handbook or a complete exploration of either art education policy or research. This in no way diminishes its potential value as a source for policy issues and research that are of significant concern to the field.The publication presents 36 individual or joint authored chapters on (1) historical currents in art education, (2) policy perspectives impacting the teaching of art, (3) learning in the visual arts, (4) teaching and teacher education, (5) forms of assessment in art education, and (6) emerging visions of the field. Each of the six sections begins with a short introductory statement by the researcher responsible for reviewing the essays in that session. These section editors include F. Graeme-Chalmers, Ralph Smith, Anna Kindler, Enid Zimmerman, Elisabeth Soep, and Arthur Efland. Forty-one authors contributed to the book's contents, all of which have nationally recognized expertise in handling the topic discussed.Editors Elliot Eisner and Michael Day view the book as an effort to bring together research and theory, policy, and concepts that guide and give shape to what people in art education try to accomplish—which is, of course, a rather ambitious goal. Even the editors admit the Handbook meets some but not all of these competing orientations. They also claim that the Handbook serves as an assertion that art education is a scholarly field, perhaps even to a fault through mostly ignoring qualitative issues regarding goals, expressive art form, and aesthetics. Also, the editors admit that the Handbook will be a disappointment, which is true, especially with respect to its emphasis on rationales rather than policy problems, on assessment appreciation rather than policy and research, on assessment in art education history as a record of events rather than as policy windows, and on emerging visions as older forms of social and political discourse rather than policy issues, implementation, and evaluation.Nevertheless, the Handbook addresses a number of important policy issues, providing well-developed and valuable views of the field by a variety of important authors and, in some cases, with some rarely seen insights into the nature of the field. I will only review the most salient ideas of the chapter authors in each of the six sections and then comment on what I believe are promising, and sometimes somewhat troubling, directions pointed out in the chapters, including what promises have not been fulfilled. [End Page 111]Section I, on historical currents, includes chapters by F. Graeme Chalmers; Mary Ann Stankiewicz, Pat Amburgy, and Paul Bolin; and John Howell White. Chalmers provides a very thorough overview of the literature on the history of art education, including what he calls the broad perspectives on art education, history, and research interests of art education historians. Overall, he references nearly 300 publications. Stankiewicz, Amburgy, and Bolin then address specific movements in nineteenth-century art education and art, including a brief history of the social function of art, drawing instruction in schools, industrial drawing, manual training, the arts and crafts movement picture study, and progressive education with over 120 references. White, who follows, provides a similar review of major forces, focusing mainly on art education influences in the twentieth century, addressing the contributions of various art educators, arts organizational leaders, artists, government initiatives, and the critical and divergent influences of key post–WW II art education writers. He also documents his work with nearly 300 sources.Section II, on policy perspectives, contains seven chapters, including ones by Ralph Smith; Samuel Hope; Constance Bumgarner Gee; Lois Hetland and Ellen Winner; H. Gene Blocker; and E. Louis Langford and Kelly Scheffer. In Section II, Sam Hope outlines the power of policy and its effect... (shrink)

Contents Acknowledgements vii Illustrations ix Preface xi Further Bibliography of A.C. Crombie xiii 1 Designed in the Mind: Western visions of Science, Nature and Humankind 1 2 The Western Experience of Scientific Objectivity 13 3 Historical Perceptions of Medieval Science 31 4 Robert Grosseteste 39 5 Roger Bacon [with J.D. North] 51 6 Infinite Power and the Laws of Nature: A Medieval Speculation 67 7 Experimental Science and the Rational Artist in Early Modern Europe 89 8 Mathematics and Platonism in (...) the Sixteenth-Century Italian Universities and in Jesuit Educational Policy 115 9 Sources of Galileo Galilei’s Early Natural Philosophy 149 10 The Jesuits and Galileo’s Ideas of Science and of Nature [with A. Carugo] 165 11 Galileo and the Art of Rhetoric [with A. Carugo] 231 12 Galileo Galilei: A Philosophical Symbol 257 13 Alexandre Koyré and Great Britain: Galileo and Mersenne 263 14 Marin Mersenne and the Origins of Language 275 15 Le Corps à la Renaissance: Theories of Perceiver and Perceived in Hearing 291 16 Expectation, Modelling and Assent in the History of Optics: i, Alhazen and the Medieval Tradition; ii, Kepler and Descartes 301 17 Contingent Expectation and Uncertain Choice: Historical Contexts of Arguments from Probabilities 357 18 P.-L. Moreau de Maupertuis, F.R.S. : Précurseur du Transformisme 407 19 The Public and Private Faces of Charles Darwin 429 20 The Language of Science 439 21 Some Historical Questions about Disease 443 22 Historians and the Scientific Revolution 451 23 The Origins of Western Science 465 Appendix to Chapter 10: 479 Sources and Dates of Galileos Writings [with A. Carugo] Pietro Redondi, Galileo eretico [with A. Carugo] Mario Biagioli, Galileo, Courtier Corrections to Science, Optics and Music in Medieval and Early Modern Thought 495 Index 497. (shrink)

Introduction -- Great Mother Nature -- The gendering of nature as female : from prehistory through the Middle Ages -- Nature and art in the Quattrocento : from pupil to equal -- Technology and the mastery of physical nature : Brunelleschi and Alberti -- Genesis and the reproduction of life : Masaccio and Michelangelo -- The rebirth of Venus and the feminization of beauty : Botticelli -- A balance of power : pictorial metaphors for nature in transition -- Nature's special (...) child : Leonardo da Vinci -- The goddess in Arcady : Giorgione -- Art and nature in the Cinquecento : from competitor to master -- Love and death in Venice : Titian -- Art against nature : Raphael, the early Mannerists, and late Michelangelo -- Natura bound : the later Tuscan Mannerists -- Epilogue. (shrink)