Speight has recently raised the question, which he himself leaves unanswered, how naturalism relates to spirit in Hegel’s philosophy of art. ‘Naturalism’ denotes an explanation that invokes aspects of nature that are (allegedly) irreducible or resistant to thought. I call nature ‘stubborn’ insofar as it evinces resistance to its being formed by thought and hence to its being united with it. This paper argues that §§556, 558 and 560 of Hegel’s Encyclopedia answer Speight’s question by specifying three elements (...) of nature that, first, are present in art and, second, are resistant to thought. These are materiality, natural form, and genius. They exhibit nature’s stubbornness in art. This stubbornness, I argue, is what justifies Hegel’s claim that art is absolute spirt only implicitly (§556), which leads to the claim that art needs to be superseded by religion and philosophy. In this way, Speight’s question receives a precise answer. (shrink)

An attempt to explain the theory behind medieval European and Asiatic art, especially art in India.

An attempt to explain the theory behind medieval European and Asiatic art, especially art in India.

THE NATURE OF ART is a collection of 29 seminal, historically-organized readings that are focused on a basic philosophical question: What is Art? Including writings from the Western tradition'both Continental and Analytic traditions'as well as non-Western, minority, and feminist writings, this volume provides students with a rich set of resources to explore this matter both broadly and deeply. Introductions to each reading situate the selection amidst each respective thinker's body of work and the greater philosophical context in which the (...) remarks arose. Reading questions accompany each selection, drawing students' attention to key points to be encountered. Hailed by reviewers and adopters for its clarity and rigor, Wartenberg's THE NATURE OF ART offers a lively and engaging introduction to the philosophy of art. (shrink)

Art is without doubt a powerful agent in determining how nature appears to us. Andrew Forge describes seeing tree leaves in sunlight, and ‘thinking Pissarro’. ‘I am wrapped round by Impressionism and the leaves look like brush strokes’. To Harold Osborne, once one has been impressed by Van Gogh's painting of certain objects, ‘it is difficult ever again to see the objects uninfluenced by Van Gogh's vision of them’.

Art is without doubt a powerful agent in determining how nature appears to us. Andrew Forge describes seeing tree leaves in sunlight, and ‘thinking Pissarro’. ‘I am wrapped round by Impressionism and the leaves look like brush strokes’. To Harold Osborne, once one has been impressed by Van Gogh's painting of certain objects, ‘it is difficult ever again to see the objects uninfluenced by Van Gogh's vision of them’.

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)

Este trabajo plantea, en primer lugar, una visión global acerca de la evolución de la representación de la naturaleza en la cultura artística visual europea del Alto Medievo. Resultado de la misma es la detección de una parálisis en la evolución estética de la representación de la naturaleza que sin embargo había pasado previamente por fases de esplendor decorativo y simbólico. A continuación se examinan diferentes propuestas historiográficas acerca de la evolución de la relación entre ser humano y naturaleza en (...) la Alta Edad Media y su posible contextualización con el cuadro evolutivo artístico trazado. Esa contextualización lleva finalmente a la búsqueda de una relación del fenómeno detectado con los fundamentos teológicos de la cultura monástica y sus planteamientos escatológicos. This paper first presents an overview about the evolution of the representation of nature in European artistic culture of the High Middle Ages. A result of this is the detection of a paralysis in the aesthetic evolution of nature in visual arts after previous phases of decorative and symbolic richness. Different historiographic proposals on the evolution of the relationship between man and nature in the Middle Ages show a possible contextualization with the artistic paralysis we have stated. That path leads to the search for a relation of the phenomenon detected with the theological foundations of the monastic culture and its eschatological discourses. (shrink)

Schelling is often thought to be a protean thinker whose work is difficult to approach or interpret. Devin Zane Shaw shows that the philosophy of art is the guiding thread to understanding Schelling's philosophical development from his early works in 1795-1796 through his theological turn in 1809-1810. -/- Schelling's philosophy of art is the 'keystone' of the system; it unifies his idea of freedom and his philosophy of nature. Schelling's idea of freedom is developed through a critique of the (...) formalism of Kant's and Fichte's practical philosophies, and his nature-philosophy is developed to show how subjectivity and objectivity emerge from a common source in nature. The philosophy of art plays a dual role in the system. First, Schelling argues that artistic activity produces through the artwork a sensible realization of the ideas of philosophy. Second, he argues that artistic production creates the possibility of a new mythology that can overcome the socio-political divisions that structure the relationships between individuals and society. Shaw's careful analysis shows how art, for Schelling, is the highest expression of human freedom. (shrink)

Recent work in environmental ethics has seen a pragmatic turn that emphasises the importance of developing positive relationships with nature through practices involved in, for example, ecological restoration and community gardens. This article explores whether environmental and land art-making encourages positive aesthetic-moral relationships between nature and humans. It critically examines a particular type of aesthetic objection to these kinds of artworks and defends the work of Robert Smithson and Andy Goldsworthy, among others, against this charge. It is argued (...) that rather than constituting an 'aesthetic affront' to nature, some forms of environmental and land art show 'aesthetic regard' for nature. (shrink)

In this carefully constructed work, Dixon extends the study of art by defining a critical procedure for determining the relation between the work of art and the fundamental attitude of the artist toward himself and the world in which he lives. His specific concern is the relation between art and Christianity. Originally published in 1964. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that (...) were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value. (shrink)

How fixed are the happenings in Nature and how are they fixed? One - very orthodox - account teaches that the sciences offer general truths that we combine with local facts to derive our expectations about what will happen, either naturally or when we build a device to design, be it a laser, a washing machine, an anti-malarial bed net, or an auction for the airwavse. Nancy Cartwright offers a different picture, one in which neither we nor Nature (...) have such nice rules to go by. This volume includes her Paul Carus Lectures plus four additional papers that further develop some of the central ideas. Cartwright offers an original view on the age-old question of scientific realism in which our knowledge is genuine, yet our scientific principles are neither true nor false but are, rather, templates for building good models. (shrink)

This paper deals with an approach to the integration of science (with technology and economics), ethics (with religion and mysticism), the arts (aesthetics) and Nature, in order to establish a world-view based on holistic, evolutionary ethics that could help with problem solving. The author suggests that this integration is possible with the aid of “Nature’s wisdom” which is mirrored in the macroscopic pattern of the ecosphere. The corresponding eco-principles represent the basis for unifying soft and hard sciences resulting (...) in “deep sciences”. Deduction and induction will remain the methodology for deep sciences and will include conventional experiments and aesthetic and sentient experiences. Perception becomes the decisive factor with the senses as operators for the building of consciousness through the subconscious. In this paper, an attempt at integrating the concepts of the “true”, the “right” and the “beautiful” with the aid of Nature’s wisdom is explained in more detail along with consequences. (shrink)

The aim of our study is to highlight the obvious similarities that exist between the organizational structures of the biological world, particularly in terms of the number and distribution of the petals on flower and the geometric configurations used by the great masters of European painting, both in the East but also in the West, in order to elaborate the compositional framework of paintings and icons. Taking into consideration the symbolic connotations concerning the field of biology, we chose as a (...) case study the Russian icon from the 14th century entitled “The Triumphal Entry of Jesus into Jerusalem”, exhibited and venerated across the orthodox world on Palm Sunday. Starting with the circle of the aureole of Jesus, we have marked the harmonic series of concentric circles that are distributed across the nodal points of some regular polygons with seven and nine sides, which make reference to the ergonomic formulas of distribution of the petals on a flower and highlight the fact that the beauty of the natural world was and still is the main source of inspiration in the world of arts. (shrink)

At the centre of Kant’s “Critique of Aesthetic Judgment” lies a tantalising relation, the reciprocal semblance between nature and art, upon which the entire text pivots. With this thought, Kant suggests a critically licensed blurring of some of the defining presuppositions of critical philosophy and reconfigures the ancient problematic of mimesis. This paper will offer a sketch of how some of Kant’s key successors attempt to extend his project of ‘transcendental critique’ in the field of aesthetics by exposing and (...) challenging the residual pre-critical assumptions underpinning such a conception of the relation between nature and art. The possibility thereby arises of liberating critique from the restraints of the Kantian ‘as if’ without relapsing into a pre-critical naivety. In this respect the important notion of ‘auto-poiesis’, the indigenous artistic creativity of nature, will be considered in its phenomenological and materialist guises. (shrink)

Recent advances in out understanding of the cognitive neuroscience of perception have encouraged cognitive scientists and scientifically minded philosophers to turn their attention towards art and the problems of philosophical aesthetics. This cognitive turn does not represent an entirely novel paradigm in the study of art. Alexander Baumgarten originally introduced the term ‘aesthetics’ to refer to a science of perception. Artist’s formal methods are a means to cull the structural features necessary for constructing clear perceptual representations from the dense flux (...) of sensory information in conscious experience. therefore, he interpreted artist’s formal methods as tools for studying the structure of perception. Art was a field whose interests coincidentally overlapped with aesthetics. In what follows I examine three approaches to cognitive science and aesthetics that rest on a tacit assumption of Baumgarten’s program. I argue that whereas this new research can explain how viewers perceptually recover the content of artworks, it does not explain what makes those works aesthetically interesting. Therefore, the challenge for cognitive science and aesthetics is to tie the perceptual practices of artists and viewers to their more narrowly construed aesthetic, or artistic, practices. What is needed to establish this link is an interpretation of Baumgarten’s original definition of aesthetics that treats attention to the way the formal structure of an artwork works to convey its content as a source of aesthetic interest. Unfortunately this interpretation is not transparently established by explanations of the perceptual practices of artists and viewers. I conclude that it remains an open question whether this research can contribute to philosophical aesthetics. (shrink)

The article argues against various proposals to treat the term 'beauty' as standing for a single, generic concept of aesthetic value, which has application both to natural objects and to art. It argues that in Kant's aesthetic theory 'beauty' must be treated as ambiguous because in the case of art, but not in that of nature, part of beauty is the expession of aesthetic ideas. This gives rise to the dilemma: either beauty is always the ultimate aesthetic value of (...) any thing, in which case there is no single account of beauty to be had that covers both art and nature, or being beautiful is the same for both art and nature, but must constitute only part of the aesthetic value of art. It is argued that certain late twentieth century theories of beauty do not overcome this problem. (shrink)

When Swiss artist Paul Klee died in 1940, he left behind not only paintings that are a testament to his prodigious skill and vision but also a trove of writings and lectures that highlight his impressive intellectual prowess. Paul Klee: Philosophical Vision: From Nature to Art is the fully illustrated catalog accompanying an eponymous exhibition opening in 2012 at the McMullen Museum of Art that focuses on the philosophical depth of Klee's art. Demonstrating how ideas developed in Klee's written (...) work are realized in his paintings, Paul Kleeputs a keen emphasis on the artist as philosopher, both in his theoretical writings and in his artistic works. Klee's philosophy of nature and of the genesis of natural things is explored, as are the ways in which Klee translated these ideas into form, line, and color. His paintings are also decoded to reveal Klee as an astute critic of modern society, taking up topics as various as the impact of technology on art and the political failures of Germany that led to the rise of Hitler and Nazism. The exhibition and catalog will also look at twentieth- and twenty-first-century philosophers who have discussed Klee's work, including Benjamin, Heidegger, Foucault, and Merleau-Ponty, and will articulate the broad impact that Klee's art has had on recent philosophical thought. This book brings together contributions by an international group of scholars and also includes a new translation of Klee's "On Modern Art." A beautiful and rigorous treatment of one of the twentiethcentury's most famous painters, Paul Klee not only reveals the man himself as a thinker and artist, but also creates a larger paradigm for how philosophical ideas shape art, and vice versa. (shrink)

A new political practice, the ‘reason of state’, informed the ends and practices of natural study in the late sixteenth century. Informed by the study of the Roman historian Tacitus, political writers gathered ‘secrets of empire’ from both history and travel. Following the economic reorientation of ‘reason of state’ by Giovanni Botero (1544–1617), such secrets came to include bodies of useful particulars concerning nature and art collected by an expanding personnel of intelligencers. A comparison between various writers describing wide-scale (...) collections, such as Botero, Francis Bacon (1561–1626), Jakob Bornitz (1560–1625) and Matthias Bernegger (1582–1640), reveals that seventeenth-century natural intelligencers across Europe not only were analogous to political intelligencers, but also were sometimes one and the same. Those seeking political prudence cast themselves as miners, prying precious particulars from the recesses of history, experience and disparate disciplines, including mathematics, alchemy and natural philosophy. The seventeenth-century practice of combining searches for secrets of empire, nature and art contests a frequent historiographical divide between empirical science and Tacitism or reason of state. It also points to the ways political cunning shaped the management of information for both politics and the study of nature and art. (shrink)

I argue that scientific and poetic modes of objectivity are perspectival duals: 'views' from and onto basic natural forces, respectively. I ground this analysis in a general account of objectivity, not in terms of either 'universal' or 'inter-subjective' validity, but as receptivity to basic features of reality. Contra traditionalists, bare truth, factual knowledge, and universally valid representation are not inherently valuable. But modern critics who focus primarily on the self-expressive aspect of science are also wrong to claim that our knowledge (...) is or should be ultimately mediated by ourselves. In objective science, we represent nature as a field of phenomena determined by and within explanatorily-basic physical structures that encode the causal impact of elemental physical forces. These causally-basic forces hence ground the possibility of objective scientific theory, even though (I argue) they are systematically excluded from its representational contents. I show how my notions of force and field emerge partly through my effort to naturalize concepts of 'God' and 'Laws' in 17th-century natural philosophy. In science, we use the structure of basic forces' impact to see corresponding objects. We do not see these forces themselves—and this relates to the 'transcendence' of 'God'. I supplement this historical analysis by critiquing standard accounts of objectivity, and by synthesizing elements from neo-Kantian epistemology and current 'structural' realism into a view that I call 'dynamic structuralism'. Finally, I argue that physics systematically relies on passive characterizations of phenomena like inertia and impressed force. Dynamic alternatives that are just as empirically adequate are possible, but they are non-scientific. Poetic objectivity involves a direct presentation of nature as an order of interacting forces. I elaborate first by developing a novel theory of the relation between beauty and sublimity, mediated by a basic category of 'sensory force' (e.g. a 'singing' tone in a beautiful melody). I then describe the interaction between sensory and affective dimensions of aesthetic experience, in relation to an original historical analysis of passion and 'disinterestedness' in Kant, Schiller and Nietzsche. I synthesize these lines of analysis into a critique of the role of 'expression' in art. I also resist 'spectator'-centric aesthetics, in this connection, by developing an account of artistic objectivity in dialogue with Ruskin's critique of the 'pathetic fallacy'. I contrast artistic objectivity with Romantic ideals of self-expression, while elaborating its positive relation to certain currents within Victorian and Modernist aesthetics, including Imagists' stress on 'exteriority'. My project creatively extends Nietzsche's view that philosophical and scientific theories are 'perspectival' expressions of theorists' drives. It is a virtue of Nietzsche's account that he takes the outlet of strong human drives in creative acts of theorizing to be just one among many higher modes of 'will to power' in nature—many of which are totally impersonal. But Nietzsche is still too focused on self-expression or willing one's own power. Objective science involves external forces' 'expression' in and through us, not just 'expressing' our own powers. And Nietzsche's vitalistic 'will to power' must be replaced by a basic ontology that better accommodates inorganic phenomena, like the 'lawful' order of celestial motions. Thus I aim to de-anthropomorphize and 'de-organicize' post-Kantian notions of willful striving and organic development, while preserving for force the primary ontological and evaluative status that theorists from Schiller and Goethe to Schelling and Schlegel to Emerson and Nietzsche attributed to will or to life. (shrink)

"This book collects essays by leading scholars, both American and European, on the American understanding of nature from Emerson to Dewey and beyond. The volume features essays on Emerson and Thoreau, Royce, Peirce, Wright, James, Holmes, Tocqueville, and Dewey. Topics include the role of nature in American idealism, the influence of Darwin, naturalism in psychology, and human nature in political thought. The final essay presents a comprehensive taxonomy of views of nature in relation to expressions of (...) nature in American art." "With its focus on philosophy of nature, this book fills a gap in the ongoing reassessment of nineteenth-century American philosophy, and it opens the way to further study of the role played by reflection on nature in the emergence of the American mind."--Jacket. (shrink)

This book examines sustainability learning with children, art and water in the new material, posthuman turn. A query into how we might sustain (our) childhood natures, the spaces between bodies and places are examined ontologically in daily conversations. Regarding philosophy, art, water and her children, the author asks, how can I sustain waterways if I am not sustaining myself? Theoretically disruptive and playful, the book introduces a new philosophy that combines existing philosophies of the new material and posthuman kind. The (...) ecological sciences, and the arts, are drawn together / apart to help recognize sustainability in its emergent, relational form. All the while this book, as art, engages and flows over the reader - as such, reading it becomes a transformative, meditative experience. Daily rhythms of 'being-with' art, water and children take the reader beyond orientations of environmental education that focus on notions of lack and reduction. New possibilities for sustaining childhood natures - for what is becoming, and unbecoming - emerge here in the making processes of an academic, everyday life in early motherhood. (shrink)

In this paper, however, I will argue that Kant’s restriction of interest to natural rather than artistic beauty should not be taken as a basic aspect of his aesthetic theory, and thus need not affect our assessment of that theory’s more basic claims. First, I will suggest that Kant’s theory of intellectual interest is not really necessary to explain what we ordinarily mean by an interest in beautiful objects—a desire to preserve them for repeated experience, a motivation for our efforts (...) to see them and our willingness to pay for them, and the like—and that the exclusion of art from a special moral interest thus does not leave our general interest in its objects unexplained. But, I will also argue, Kant’s own theory of art and our response to it actually allows beauties of art to have just as much claim to this intellectual interest as do objects of natural beauty. Kant’s differentiation of natural and artistic beauty with regard to moral interest turns on an ambiguity in the concept of nature itself, as well as on Kant’s assumptions that art, unlike nature, is a product of an intention to produce pleasure through determinately conceived objects, and that our response to art, again unlike that to nature, must be connected to a recognition of its intentionality. But Kant’s own theory of artistic creation—his theory of genius—undermines the force of the first of these assumptions, for it teaches us that art, while indeed the product of intentional activity, also calls upon the use of a natural talent that deserves our admiration as much as any other gift of nature. In other words, Kant’s own view of the complexity of artistic intentions forbids the simple differentiation of art and nature that he employs in §42, and while Kant’s theory of aesthetic response does not clearly preclude the view that our response to art must take into account the intentions with which art is produced, it also hardly entails this view. This may have been obscured from Kant by the indeterminacy of his own key concept of the freedom of the imagination, but, I will suggest, this freedom might actually have to be extended to the case of art if it is to work even in Kant’s paradigmatic case of natural beauty. Thus, on Kant’s own account the beauties of nature and of art are far more intimately connected, both in their own ontological status and in our response to them, than his theory of intellectual interest concedes. (shrink)

Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...) we rely on them to fulfill their commitments to act for aesthetic reasons — rather than for, say, financial, social, or political reasons. We feel most thoroughly betrayed by an artist, not when they make bad art, but when they sell out. This teaches us something about the nature of trust in general. According to many standard theories, trust involves thinking the trusted to be cooperative or good-natured. But trust in aesthetic sincerity is different. We trust artists to be true to their own aesthetic sensibility, which might involve selfishly ignoring their audience’s needs. Why do we care so much about an artist’s sincerity, rather than merely trusting them to make good art? We emphasize sincerity when wish to encourage originality, rather than to demand success along predictable lines. And we ask for sincerity when our goal is to discover a shared sensibility. In moral life, we often try to force convergence through coordinated effort. But in aesthetic life, we often hope for the lovely discovery that our sensibilities were similar all along. And for that we need to ask for sincerity, rather than overt coordination. (shrink)

Describes what the author sees as a suppression of the feminine in Western culture, technology, and philosophy and opens a feminist postmodern space from which fresh differences may emerge. This title explores underdeveloped themes in American and Canadian feminism. It offers a deconstruction of the phallocentric dichotomies of nature and culture.

Posthumanism has come to synthesize philosophical, literary, and artistic responses to the pressures of technology, globalization, and mass extinction in the Anthropocene. It asks what it can mean to be human in an increasingly more-than-human world that has lost faith in the ideal of humanism, the autonomous, rational subject, and it models generative alternatives cognizant of the demands of social and ecological justice. Posthumanism in Art and Science is an anthology of indispensable statements and artworks that provide an unprecedented mapping (...) of this intellectual and aesthetic shift in a global context. It extends across a broad range of fields such as art theory, media studies, continental philosophy, natural science, literary studies, aesthetics, psychoanalysis, environmental humanities, social and political theory, and animal studies. The reader features a diverse sampling of major thinkers including Donna Haraway, Rosi Braidotti, Michael Marder, Karen Barad, Alexander Weheliye, Jay Prosser, Anna Tsing, Graham Harman, Timothy Morton, N. Katherine Hayles, Jane Bennett, Bruno Latour, Francesca Ferrando, and Cary Wolfe, as well as innovative, acclaimed artists and curators such as Yvonne Rainer, Chus Martínez, William Wegman, Nandipha Mntambo, Cassils, Pauline Oliveros, Doo-sung Yoo, and Gavin Steingo. Their provocative and compelling works, including previously unpublished interviews and essays, speak to the ongoing conceptual and political challenge of posthuman theories in a time of unprecedented cultural and environmental crises. An essential primer and reference for educators, students, artists, and art enthusiasts, this volume offers a powerful framework for rethinking anthropocentric certitudes and reenvisioning equitable and sustainable futures. (shrink)

Leo Tolstoy's theory of human nature is sketched with Descartes's and Hume's theories of human nature in the background for context. Tolstoy's view is limited to "What Is Art"?, although it could be substantially augmented by references to his other well-known works. "By words a man transmits his thoughts," to which Tolstoy adds, "by means of art he transmits his feelings." Language and art work together to give us an aesthetic education that is built around the forms of (...) communication found in the arts: story-telling, singing, acting, dancing, making, and so on. These activities reflect the fundamentals of human nature; hence, the connection Tolstoy found between human nature and art that previous thinkers had not made. (shrink)

Numinous Fields has its roots in a phenomenological understanding of perception. It seeks to understand what, beyond the mere sensory data they provide, landscape, nature, and art, both separately and jointly, may mean when we experience them. It focuses on actual or potential experiences of the numinous, or sacred, that such encounters may give rise to. This volume is multi-disciplinary in scope. It examines perceptions of place, space, nature, and art as well as perceptions of place, space, and (...) nature in art. It includes chapters written by art curators, and historians and scholars in the fields of landscape, architecture, cultural geography, religious studies, philosophy, and art. Its chapters examine ideas, objects, and practices from the ancient time of Aboriginal Australians' Dreaming through to the present. The volume is also multi-cultural in scope and includes chapters focussed on manifestations of the sacred in indigenous culture, in cultures influenced by each of the world's major religions, and in the secular, contemporary world. Contributors: Samer Akkach, James Bennett, Veronica della Dora, Alasdair Forbes, Virginia Hooker, Philip Jones, Russell Kelty, Muchammadun,Tracey Lock, Ellen Philpott-Teo, John Powell, Rebekah Pryor, Wendy Shaw. (shrink)