The Scenic Imagination argues that the uniquely human phenomenon of representation, as manifested in language, art, and ritual, is a scenic event focused on a central object designated by a sign. The originary hypothesis posits the necessity of conceiving the origin of the human as such an event. In traditional societies, the scenic imagination through which this scene of origin is conceived manifests itself in sacred creation narratives. Modern thought is defined by the independent use of the (...) scenic imagination to create anthropological models of the origin of human institutions, beginning with the social contract scene in Hobbes’s Leviathan that puts an end to the reciprocal violence of the state of nature. Eric Gans follows the work of the scenic imagination in selected writings of twenty thinkers including Locke, Rousseau, Kant, Hegel, Marx, Nietzsche, Durkheim, Boas, and Freud and concludes his book with a critical examination of contemporary writing on the origins of religion and language. In the process, he demonstrates that the originary hypothesis offers the most cohesive explanation of the origin and function of these fundamental institutions. (shrink)

Both similarities and differences were observed when comparing scenic beauty evaluations of rural landscapes made by persons from different cultures. Differences seem due to the westernized tourists' misinterpretation or ignorance of the meaning associated with certain landscape features by the Balinese. This implies scenic beauty is dependent upon meanings assigned to landscape features, which in turn implies that scenic beauty is, to some extent, learned. Similarities between tourists' and Balinese' scenic evaluations are significant and correspond to (...) consistencies found in other landscape preference studies. Multiple methods were used, including participant photography, rating scales, and a variety of statistical analyses. A review of the literature reveals evidence and theory which suggests both similarities and differences are to be expected when comparing scenic evaluations made by persons of different cultures. This review also suggests three methodological concerns which should be addressed in landscape studies: a concern for the participant's purpose for evaluating a landscape; a concern for the participant's familiarity with a landscape; and a concern for the criterion's appropriateness to all participants. Research designs which ignore these concerns may mask true cultural differences. (shrink)

The visual creativity of famous Russian ballerina Anna Pavlova is studied in the article within the context of the synthetic approach to working on stage roles. There are data on Anna Pavlova that have not been included in existing publications concerning her artistic, mainly sculptural experiments. This information provides understanding of not only professional tasks that the ballerina has set, but of the tools through which these tasks have been dealt with in a gradual process of formation of plastic dance (...) images. At the same time, the data reflect the very essence of her unordinary poetically-plastic talent. The author systemizes and analyzes extant sculptural and graphic works created by the ballet dancer that are scattered on various, mostly private collections and often known only by copies. There are rare documentary material and sources confirming the basic conclusions of the article. The main purpose of the article is to reveal visually depictive aspects of the formation of the stage means of А. Pavlova, which have played important role in her art, to trace way to the mastery of the concrete stage subjects, which go through the mastery of plastic material. Accentuation of the synthetic sense of A. Pavlova’s heritage is determined by the fact that her sculpture has focused or refracted the dance. After mastering academic construction of form, ballerina filled it with new content provided not only by her fantasy, but also by detailed study of the phenomena of nature, plastic of organic forms. It is possible to say with confidence that the fixed image could serve as the excellent model of the study of the motives of stage behavior and dynamic manifestations of her personality in choreography. It is obvious that the study of the artistic style of A. Pavlova reveals not only her plastic uniqueness, but also the mysterious aspiration of the skill of ballerina to the embodiment of her romantic searching in the dance. (shrink)

From picture to photography and back. Tableau vivants, in their gestural synthetic dimension, represent for Diderot the apex of expression that the image can make explicit. Nothing closer to Wall’s poetics. His works show outstanding attention to detail: from scenic design to protagonists’ costumes, from light to actors’ action. And the result is exactly what Diderot saw in the eyes of people observing Chardin’s art: imagination at work.

From picture to photography and back. Tableau vivants, in their gestural synthetic dimension, represent for Diderot the apex of expression that the image can make explicit. Nothing closer to Wall’s poetics. His works show outstanding attention to detail: from scenic design to protagonists’ costumes, from light to actors’ action. And the result is exactly what Diderot saw in the eyes of people observing Chardin’s art: imagination at work.

Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's _Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin _and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations (...) into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself. (shrink)

Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's _Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin _and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations (...) into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself. (shrink)

The subject of the study is the changes in the theatrical space and artistic features of the two early court masks during the transition from the Renaissance theater system to the Baroque. The object of the study were two early court spectacles of the Stuart period in the context of Baroque aesthetics – "Hymen" and "Mask of Queens", the authors of which were the playwright Ben Johnson and the artist Inigo Jones. Special attention is paid to the scenic (...) class='Hi'>design of both masks and the transformations of the theater space, in which the main role is played by the stage device – the turning circle. Its use in spectacles not only allowed the artist to change the whole design and express one of the main themes of the performance through the transformations themselves, but also combined stage transformations with the plot action of the mask. The research material is presented by the surviving texts of Ben Johnson's mask plays, letters from courtiers and ambassadors who were direct witnesses of court spectacles, as well as published sketches of costumes and scenery by Inigo Jones. The methodology of the work includes a cultural-historical approach, a descriptive method, a method of comparative analysis, as well as a reconstruction of a theatrical performance that has not yet been carried out in relation to both masks. The novelty of the research lies in the fact that for the first time in Russian theater studies, an attempt has been made to consider the aesthetic features of Inigo Jones' theatrical and decorative art in the context of Baroque aesthetics based on the material of two court spectacles. The main conclusion is the identification in the two early Stuart masks of the features of Baroque art and the transition to the formation of the English Baroque theater with its scenic metamorphoses, striking the viewer dynamics, the coverage of the universal expanses on stage and the synthesis of all the arts. (shrink)

We aim to focus on the mimic gestures intentionally produced to be “monstrate” to others, thus attempting to propose a semiotic analysis on the actor’s face. We shall attempt to outline the extent to which, since the rise of cinema, the actor’s face has gained a foreground role as compared to the full-figured body, and the legacy of the nineteenth-century handbooks of scenic postures was crucial in this context, especially those of Antonio Morrocchesi and Alemanno Morelli. To deal with (...) the actor’s body as an instrument, means to make it a blank page to be used to re-design the character’s body, including the face. In this regard, it is worth mentioning the method of the pedagogue Jacques Lecoq—one of the greatest teachers of contemporary theatre—which consists in the use of a special mask during the training process: the so-called neutral mask. (shrink)

Throughout the history ofthe U.S. national park system, park advocates and managers have changed both acquisition priorities and internal management policies. The park movement began with the establishment of large, spectacular natural areas, primarily in the West. As the movement developed there was more emphasis on the biological, on recreation, and on parks near population centers. GraduaIly, scenic wonders and uniqueness have become less necessary to designation and the types of sites eligible have diversified. Early managers treated the parks (...) as relatively unchanging, threatenedby little other than human vandalism. Initially managers removed “bad” animals, such as wolves, and suppressed disturbances, such as fire. Modem management values processes as weIl as objects and recognizes change and disturbance as integral to park maintanence. A conversion to an ecosystem mode of management does not answer all questions concerning values, however, and may present some disadvantages, such as a tendency to treat nature as aseries of functions and energy equations, thus weakening aesthetic values. (shrink)

Traditionally, analytic philosophers writing on aesthetics have given short shrift to nature. The last thirty years, however, have seen a steady growth of interest in this area. The essays and books now available cover central philosophical issues concerning the nature of the aesthetic and the existence of norms for aesthetic judgement. They also intersect with important issues in environmental philosophy. More recent contributions have opened up new topics, such as the relationship between natural sound and music, the beauty of animals, (...) and the aesthetics of gardens. Using these materials, it is now easy to include a module on the aesthetics of nature as one part of an introductory course on aesthetics, or even to design an entire upper-level undergraduate or graduate seminar around the topic. Author Recommends: Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Readers coming fresh to contemporary debates may find the lack of attention to natural beauty in twentieth-century philosophy somewhat puzzling. This paper, which defends the view that nature cannot be aesthetically appreciated as such, presents this attitude in a particularly pure form. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This seminal essay marks the beginning of contemporary discussion of the aesthetics of nature. Many of its ideas and themes continue to reverberate in contemporary debates. Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture (London: Routledge, 2000). This volume is a collection of Carlson's influential essays on environmental aesthetics. Chapters 4 and 5, 'Appreciation and the Natural Environment' and 'Nature, Aesthetic Judgment, and Objectivity', set the agenda for much subsequent discussion in the aesthetics of nature. Chapter 6, 'Nature and Positive Aesthetics', develops and defends the controversial idea that nature, unlike art, is always aesthetically good. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). In this paper, Berleant presents his influential idea of an 'engaged aesthetics' for nature. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. This article develops Saito's idea that ethical considerations play a critical role in the aesthetics of nature, and presents a novel argument for Positive Aesthetics for nature. Malcolm Budd, The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature (Oxford: Oxford University Press, 2002). This book collects Budd's papers on the aesthetics of nature, which contain important criticisms of Carlson's natural environmental model and the notion of Positive Aesthetics for nature. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This paper argues for the importance of aesthetic appreciation that emphasizes emotional responses to nature. A philosophically sophisticated and influential treatment by a leading aesthetician. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. In this essay, an environmental philosopher gives careful and thorough consideration to the place of aesthetic considerations in environmental protection, focusing on Carlson's work. John Andrew Fisher, 'What the Hills are Alive With: In Defense of the Sounds of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 167–79. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). Most discussions of nature aesthetics focus on visual experiences; this essay is the first philosophical study of the aesthetics of natural sounds. A nuanced and original paper. Allen Carlson and Arnold Berleant. 'Introduction: The Aesthetics of Nature'. The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004), 11–42. A comprehensive review of the literature, this essay contains the best available bibliography on the subject. Online Materials: http://plato.stanford.edu/entries/environmental-aesthetics/ Environmental Aesthetics: Allen Carlson's entry in the Stanford Encyclopedia of Philosophy. http://www.aesthetics-online.org/articles/index.php?articles_id=17 Teaching Environmental Aesthetics: Allen Carlson's article on the American Society for Aesthetics Web site. http://www.uqtr.uquebec.ca/AE/Vol_6/ Volume 6 of AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique: Papers by Thomas Heyd and Ira Newman on Allen Carlson's book Aesthetics and the Environment, along with a response from Carlson. http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=400 Paradoxes and Puzzles: Appreciating Gardens and Urban Nature: An essay by Stephanie Ross in the online journal Contemporary Aesthetics. Sample Syllabus for a three-week module in an undergraduate aesthetics course: This three week module can easily be adapted to fit shorter available class time or reduced reading expectations for students. A lighter two-week module, for instance, would drop the Hepburn reading and do either the Carroll essay or the Saito essay, but not both. Note that all readings for this module are reprinted in Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Reading: Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Discussion of Hepburn's essay will allow the instructor to bring out the distinctive issues and themes of the aesthetics of nature. Week 2: Objectivity or Subjectivity? Readings: Allen Carlson, 'Appreciation and the Natural Environment'. Journal of Aesthetics and Art Criticism 37 (1979): 267–76. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. This section covers two very different approaches to thinking about the aesthetic appreciation of nature. Consideration of these provides an opportunity for students to reflect on nature's relationship to art, and on the character of aesthetic experience itself. Week 3: Pluralistic Approaches Readings: Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. This section considers approaches that are motivated by perceived limitations of the two approaches mentioned above. In discussing these, students will focus on the significance, for the aesthetics of nature, of emotion and also of broader ethical considerations. Sample Syllabus for an upper-level undergraduate or graduate seminar: Books on Syllabus: Glenn Parsons, Aesthetics and Nature [AN] (London: Continuum Press, forthcoming November 2008). Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture [AE] (London: Routledge, 2000). Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments [ANE] (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Parsons, AN, ch. 1. Allen Carlson, 'Environmental Aesthetics'. The Routledge Companion to Aesthetics. Eds. Berys Gaut and Dominic Lopes (London: Routledge, 2001), 423–36. Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in ANE. Week 2: Imagination Parsons, AN, ch. 2. Thomas Heyd, 'Aesthetic Appreciation and the Many Stories About Nature'. British Journal of Aesthetics 41 (2001): 125–37. Reprinted in ANE. Emily Brady, 'Imagination and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 139–47. Reprinted in ANE. Marcia Eaton, 'Fact and Fiction in the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 149–56. Reprinted in ANE. Week 3: Formalism Parsons, AN, ch. 3. Carlson, 'Formal Qualities and the Natural Environment', AE, ch. 3. Allen Carlson, 'On the Possibility of Quantifying Scenic Beauty'. Landscape Planning 4 (1977): 131–72. Ira Newman, 'Reflections on Allen Carlson's Aesthetics and the Environment'. AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique 6 (2001) http://www.uqtr.uquebec.ca/AE/Vol_6/Carlson/newman.html>. Nick Zangwill, 'Formal Natural Beauty'. Proceedings of the Aristotelian Society 21 (2001): 209–24. Week 4: Science and Nature Aesthetics Parsons, AN, ch. 4. Aldo Leopold, 'Country'. A Sand County Almanac, with Essays on Conservation from Round River (New York, NY: Ballantine Books, 1966), 177–80. Carlson, 'Appreciation and the Natural Environment', AE, ch. 4. Carlson, 'Nature, Aesthetic Judgment, and Objectivity', AE, ch. 5. Glenn Parsons, 'The Aesthetics of Nature'. Philosophy Compass 2 (2007): 358–72. Week 5: Positive Aesthetics Carlson, 'Nature and Positive Aesthetics', AE, ch. 6. Eugene Hargrove, Foundations of Environmental Ethics (Denton, TX: Environmental Ethics Books, 1996), ch. 6. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. Malcolm Budd, 'The Aesthetics of Nature'. Proceedings of the Aristotelian Society 100 (2000): 137–57. Glenn Parsons, 'Nature Appreciation, Science and Positive Aesthetics'. British Journal of Aesthetics 42 (2002): 279–95. Week 6: Animals Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]), Pt. III, sec. VI. Holmes Rolston III, 'Beauty and the Beast: Aesthetic Experience of Wildlife'. Valuing Wildlife: Economic and Social Perspectives. Eds. Daniel J. Decker and Gary R. Goff (Boulder, CO: Westview Press, 1987), 187–96. Glenn Parsons, 'The Aesthetic Value of Animals'. Environmental Ethics 27 (2007): 151–69. Week 7: Pluralism Parsons, AN, ch. 5. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in ANE. Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Reprinted in ANE. Ronald Hepburn, 'Nature Humanized: Nature Respected'. Environmental Values 7 (1998): 267–79. Ronald Hepburn, 'Trivial and Serious in Aesthetic Appreciation of Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 65–80. Glenn Parsons and Allen Carlson, 'New Formalism and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 62 (2004): 363–76. Week 8: Engagement Parsons, AN, ch. 6. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in ANE. Cheryl Foster, 'The Narrative and the Ambient in Environmental Aesthetics'. Journal of Aesthetics and Art Criticism 56 (1998): 127–37. Reprinted in ANE. Allen Carlson, 'Aesthetics and Engagement'. British Journal of Aesthetics 33 (1993): 220–27. Week 9: The Sublime Immanuel Kant, Critique of the Power of Judgment. Trans. P. Guyer and E. Matthews (Cambridge University Press, 2000 [1790]). Excerpts from sections 23–9. Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]). Excerpts from Pt. II, sections 1–8. Ronald Hepburn, 'The Concept of the Sublime: Has it any Relevance for Philosophy Today?'. Dialectics and Humanism 15 (1988): 137–55. Stan Godlovitch, 'Icebreakers: Environmentalism and Natural Aesthetics'. Journal of Applied Philosophy 11 (1994): 15–30. Reprinted in ANE. Malcolm Budd, 'Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part I: The Sublime in Nature'. British Journal of Aesthetics 38 (1998): 233–50. Week 10: Aesthetic Preservation Parsons, AN, ch. 7. Janna Thompson, 'Aesthetics and the Value of Nature'. Environmental Ethics 17 (1995): 291–305. Holmes Rolston III, 'From Beauty to Duty: Aesthetics of Nature and Environmental Ethics'. Environment and the Arts: Perspectives on Environmental Aesthetics. Ed. Arnold Berleant (Aldershot, UK: Ashgate, 2002), 127–41. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. Keekok Lee, 'Beauty for Ever?'. Environmental Values 4 (1995): 213–25. Week 11: Gardens Parsons, AN, ch. 8. Mara Miller, The Garden as an Art (Albany, NY: State University of New York Press, 1993), ch. 1. Mara Miller, 'Gardens as Works of Art: The Problem of Uniqueness'. British Journal of Aesthetics 26 (1986): 252–6. Stephanie Ross, What Gardens Mean (Chicago, IL: University of Chicago Press, 1998), chs. 1, 7. Tom Leddy, 'Gardens in an Expanded Field'. British Journal of Aesthetics 28 (1988): 327–40. David Cooper, 'In Praise of Gardens'. British Journal of Aesthetics 43 (2003): 101–13. Week 12: Art in Nature Parsons, AN, ch. 9. Carlson, 'Is Environmental Art an Aesthetic Affront to Nature?', AE, ch. 10. Sheila Lintott, 'Ethically Evaluating Land Art: Is It Worth It?'. Ethics, Place & Environment 10 (2007): 263–77. Emily Brady, 'Aesthetic Regard for Nature in Environmental and Land Art'. Ethics, Place & Environment 10 (2007): 287–300. Focus Questions1. Are there any important differences between the aesthetic appreciation of art and the aesthetic appreciation of nature? If so, what are they?2. Is preserving nature for its aesthetic value a coherent idea?3. What is the ugliest natural thing or place you can think of? How might proponents of Positive Aesthetics for nature deal with your example?4. Does the concept of the sublime have any significance for our contemporary experience of nature? If it does, what relation does it bear to our aesthetic appreciation of nature?5. Watch Rivers and Tides (2001), the documentary film about the British environmental artist Andy Goldsworthy. Ethically speaking, how do you think we ought to regard his art-making? (shrink)

This text is a reflection in action of an artistic process based on a scientific research. ENSAIO is the choreographic project that resulted from the translation mechanisms of laboratory concepts to a bodily approach, where it proposes a possible mainstreaming of artistic and scientific processes combined. This project joined artistic higher education schools in dance and scenic arts (ESD and FCSH) and Polavieja lab, a neuroscience research lab in Champalimaud Foundation – Center for the Unknown. This text aims to (...) reveal the creative choreographic and performative potentials hidden in this scientific research concerning neurosciences. Identifying cross materials to artistic and scientific processes, it was possible to design a structure of the creation process and the construction of a choreographic performance. The common platform has been found in the process of translation and the definition of the same concept substrate, which made possible the approach of the two instances: studio and laboratory. One of its key features is the promotion of the communication among its agents: scientists and dancers. And the possibility of modelling and absorption from what it comes from this sharing and collaboration. The methods and the choreographic procedures mirrored and promoted this sharing and, therefore, the involvement of the body. Where, the body is the agent able to reflect and trigger this process, a body as an essay that is constantly in research. A body able to coordinate between various media and to expand the reflection on itself. Although science and art are individual instances that inevitably specialise and segregated away. Therefore, this text focuses on examples of cross-thinking of both scientific and artistic cultures, and the articulation of the theoretical and practical bodies in a practice-as-research on the development of the ENSAIO creative process. (shrink)

Attempts to justify the objectivity and universality of aesthetic judgment have traditionally rested on unsupported assumptions or mere assertion. This paper offers a fresh consideration of the problem of judgments of taste. It suggests that the problem of securing universal agreement is false and therefore insoluble since it imposes an inappropriate logical criterion on the extent of agreement, which is irrevocably empirical. The variability of judgments of taste actually forms a subject ripe for inquiry by sociologists, psychologists, historians and anthropologists, (...) as well as by aestheticians. Scenic beauty provides a vivid test for the variability of these judgments. (shrink)

Errol Lord’s The Importance of Being Rational is a beautiful presentation of how one might defend a reasons-first approach to rationality. I’m going to focus these comments on some of the larger systematic ambitions of the book. In doing so, my hope is to draw Lord out concerning the larger project of which the book is a part and to raise some more general questions about the project of defining rationality in terms of reasons. In doing so, my focus with (...) be on the relationship between the reasons-first program and a more traditional view, which we might call the reason-first program. (shrink)

This study examines whether scenic beauty judgments based upon photographs of landscapes are similar to scenic beauty judgments based upon on-site experiences of landscapes. Two concerns are emphasized: a concern about the threat to the ecological validity of photo-based assessments caused by differences between on-site and photo-based contexts and a concern that the individual rater, rather than the group average, is the more appropriate unit of analysis for tests of validity of photo-based assessments. On-site scenic beauty assessments (...) were collected from day hikers. These data were compared to photo-based scenic beauty assessments collected from the same persons three months and nine months after their on-site experience. Approximately 38% of participants had insignificant correlations between their on-site and photo-based scenic beauty ratings. These and other results suggest that the validity of photo-based scenic beauty assessments is in doubt, at least for the situation studied here. Moreover, the results suggest that the difference between persons' on-site and photo-based ratings can be explained, in part, by contextual factors such as the mood, meaning, and novelty that differentiate photo-based from on-site landscape experiences. Group averaged on-site and photo-based assessments, however, were very similar, suggesting caution may be in order for studies interpreting summary measures. (shrink)

Emerging technologies such as cloud computing, augmented and virtual reality, artificial intelligence and robotics, among others, are transforming the field of manufacturing and industry as a whole in unprecedent ways. This fourth industrial revolution is consequentially changing how operators that have been crucial to industry success go about their practices in industrial environments. This short paper briefly introduces the notion of the Operator 4.0 as well as how this novel way of conceptualizing the human operator necessarily implicates human values in (...) the technologies that constitute it. Similarly, the design methodology known as value sensitive design (VSD) is drawn upon to discuss how these Operator 4.0 technologies can be design for human values and, conversely, how a potential value-sensitive Operator 4.0 can be used to strengthen the VSD methodology in developing novel technologies. (shrink)

The author takes the contemporary theatre performance of Mátohy [The Spooks] and maps out the use of original folk theatre masks in a new theatrical context. He describes and characterizes the changes that occur as a consequence of transposing folk masks from their traditional environment to the contemporary stage.

Value Sensitive Design (VSD) is an established method for integrating values into technical design. It has been applied to different technologies and, more recently, to artificial intelligence (AI). We argue that AI poses a number of challenges specific to VSD that require a somewhat modified VSD approach. Machine learning (ML), in particular, poses two challenges. First, humans may not understand how an AI system learns certain things. This requires paying attention to values such as transparency, explicability, and accountability. (...) Second, ML may lead to AI systems adapting in ways that ‘disembody’ the values embedded in them. To address this, we propose a threefold modified VSD approach: 1) integrating a known set of VSD principles (AI4SG) as design norms from which more specific design requirements can be derived; 2) distinguishing between values that are promoted and respected by the design to ensure outcomes that not only do no harm but also contribute to good; and 3) extending the VSD process to encompass the whole life cycle of an AI technology in order to monitor unintended value consequences and redesign as needed. We illustrate our VSD for AI approach with an example use case of a SARS-CoV-2 contact tracing app. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From First Hesitation to Scenic ImaginationOriginary Thinking with Eric GansAndrew Bartlett (bio)Taken together, the publication of Eric Gans’s The Scenic Imagination: Originary Thinking from Hobbes to the Present Day (2008), the recent release of Adam Katz’s anthology The Originary Hypothesis: A Minimal Proposal for Humanistic Inquiry (2007),1 and the organization of three international gatherings devoted to generative anthropology2 suggest a recent infusion of vital energy into the (...) forward movement of generative anthropology. The goal of this review essay is to add a little to that infusion. The essay surveys the six major books of Eric Gans in which the originary hypothesis is defined, developed, tested, and taken onto various intellectual terrains. It has been composed with the readers of Contagion in mind. Insofar as it has a definable stance, that stance emphasises elements of generative anthropology that might encourage scholars and students familiar with the ideas of René Girard but more or less unfamiliar with the thinking of Eric Gans to begin studying Gans free of inhibitions about discontinuities between his way of thinking and that of Girard. This essay’s mode is one of affirmative exposition rather than critical suspicion. Its multiple suggestions are advanced in the conviction that neglecting one thinker for the sake of the other does an injustice to both. [End Page 89]IThe person ready to study the book where generative anthropology began—The Origin of Language: A Formal Theory of Representation (1981)—should be set for an extraordinary experience. It stands as the most austere, abstract, and taxing of Gans’s books; but by virtue of those very qualities, the most rewarding and the best basis for understanding subsequent elaborations of the hypothesis. The Origin of Language may feel odd to readers who come to it working “backward” from later volumes or articles. In it, key terms in the later works, such as “resentment,” “mimetic,” “scenic,” even the adjective “originary,” do not figure prominently. In expositions where Gans explains the differences between René Girard’s institutional theory of representation (which proposes that language evolved somehow as a side effect of ritual) and Gans’s formal theory of representation, there is an odd thickness of cautious deference, a propriety verging on a reluctance to disagree. In Girard’s thought, the maximal form of human culture, the institution of ritual as it evolved from episodes of collective murder, is foundational; by contrast, in Gans, the minimal form of human culture, linguistic exchange as it has evolved in a dialectic of desire and representation, is foundational. Nor for Gans are the earliest “victims” of collective violence human ones; Gans’s hypothesis puts an object initially of appetite (most easily figured as food), transfigured by the sign into a desire-object, into the center of the scene of representation. The humans in generative anthropology are less murderous and more hungry than those in mimetic theory; the economic-consumerist element of human beings enjoys a privilege in Gans’s system that it does not have in the system of Girard, with its more orthodox otherworldliness.Generative anthropology is about human language. It takes linguistic exchange, the deferral of violence through representation, as the essence of the human. The title The Origin of Language reflects this. Gans’s hypothesis is that human language began with a communally mediated abortive gesture of appropriation toward a central object of appetite in a scenic event; that abortive gesture of appropriation is the gesture of originary thinking. Originary thinking now, even as I am doing it here, does what it did then at the beginning of human thought: it reflects on its own origin. The emission of the first human sign, that first abortive gesture of appropriation, is the object of the hypothesis. The mimetic paradox of rivalry and imitation familiar to students of Girard precedes the emission of the first ostensive gesture-sign, generating the double-bind circumstances that make possible its being chosen. For Gans, the collective violence familiar to students of Girard follows the emission of the first ostensive [End Page 90] sign; indeed, violence is intensified by the abortive gesture of appropriation—because what was an object merely of appetite before the... (shrink)

This Element analyzes the various forms that design arguments for the existence of God can take, but the main focus is on two such arguments. The first concerns the complex adaptive features that organisms have. Creationists who advance this argument contend that evolution by natural selection cannot be the right explanation. The second design argument - the argument from fine-tuning - begins with the fact that life could not exist in our universe if the constants found in the (...) laws of physics had values that differed more than a little from their actual values. Since probability is the main analytical tool used, the book provides a primer on probability theory. (shrink)

The aim of this article is to interrogate the use of US rural landscape in the 2020 film Nomadland and its account of contemporary precarity and poverty in the United States. I argue that while the film is ostensibly invested in locating alternative modes of living in the face of neo-liberal marginalization, it ultimately reaffirms neo-liberalism’s core tenet, individualism, through its fascination with what Kenneth Olwig calls the ‘scenic’ landscape. This approach to landscape understands nature as an unchanging ‘stage’ (...) on which a nation’s history is played out and thus ultimately naturalizes nationalism. Thereby, the film reaffirms the myth of the ‘wide open spaces’ of American landscape which has historically been instrumental in the displacement of people excluded from US national identity on the basis of class and race. This can be contrasted with a more interactive, more inclusive approach to landscape which understands landscape as the result of interaction between a community and its environment. Recent US films such as Leave No Trace (2018) identify precisely such an interactive understanding as a basis for potential resistance against the forces of neo-liberalism which perpetuate precarity. (shrink)

In light of the fact that social dynamics and unexpected uses of technology can inspire innovation, this book proposes a research model of design for emergence, ...

Contemporary philosophers have largely neglected Richard Taylor’s design argument. Given that the initial responses to the argument were largely negative, one might be tempted to conclude that the argument is simply philosophically inadequate. This paper rejects that conclusion by showing how Taylor’s argument has been misunderstood by his critics. In defending Taylor, it is shown that the two types of objections levied against him fail to even blemish his design argument, let alone refute it. Consideration is also given (...) to the argument’s historical lineage, along with a proposal for future considerations of the connection between epistemological realism and design. (shrink)

The Aesthetics of Design offers the first full treatment of design in the field of philosophical aesthetics, challenging the discipline to broaden its scope to include the quotidian objects and experiences of our everyday lives and concerns ...

There are many commonalities between the framework of roleplaying games such as Dungeons & Dragons and the way in which we design classes and assignments. The professor (the dungeon master) selects a number of readings with some end goal in mind (the campaign). Along the way the students are expected to be active participants (roleplay) and the professor designs progressively harder assignments (quests) in order to test the students’ abilities and to promote learning and growth (leveling up). This structural (...) analogy prompted me to investigate how such a framework could be implemented more explicitly in a class, and in this chapter I describe how I did so. (shrink)

Design for Values (DfV) philosophies are a series of design approaches that aim to incorporate human values into the early phases of technological design to direct innovation into beneficial outcomes. The difficulty and necessity of directing advantageous futures for transformative technologies through the application and adoption of value-based design approaches are apparent. However, questions of whose values to design are of critical importance. DfV philosophies typically aim to enrol the stakeholders who may be affected by (...) the emergence of such a technology. However, regardless of which design approach is adopted, all enrolled stakeholders are human ones who propose human values. Contemporary scholarship on metahumanisms, particularly those on posthumanism, have decentred the human from its traditionally privileged position among other forms of life. Arguments that the humanist position is not (and has never been) tenable are persuasive. As such, scholarship has begun to provide a more encompassing ontology for the investigation of nonhuman values. Given the potentially transformative nature of future technologies as relates to the earth and its many assemblages, it is clear that the value investigations of these design approaches fail to account for all relevant stakeholders (i.e., nonhuman animals). This paper has two primary objectives: (1) to argue for the cogency of a posthuman ethics in the design of technologies; and (2) to describe how existing DfV approaches can begin to envision principled and methodological ways of incorporating non-human values into design. To do this, the paper provides a rudimentary outline of what constitutes DfV approaches. It then takes up a unique design approach called Value Sensitive Design (VSD) as an illustrative example. Out of all the other DfV frameworks, VSD most clearly illustrates a principled approach to the integration of values in design. (shrink)

Ethics researchers advise managers of organizations to link rewards and punishments to ethical and unethical behavior, respectively. We build on prior research maintaining that organizations operate at Kohlbergs stages of moral reasoning, and explain how the over-reliance on rewards and punishments encourages employees to operate at Kohlbergs lowest stages of moral reasoning. We advocate designing organizations as ethical communities and relying on different assumptions about employees in order to foster ethical reasoning at higher levels. Characteristics associated with ethical communities are (...) identified and AES Corporation and Semco S/A serve as examples of corporations exhibiting the design characteristics and assumptions of ethical organizations. (shrink)

Sections include: experiments and generalised causal inference; statistical conclusion validity and internal validity; construct validity and external validity; quasi-experimental designs that either lack a control group or lack pretest observations on the outcome; quasi-experimental designs that use both control groups and pretests; quasi-experiments: interrupted time-series designs; regresssion discontinuity designs; randomised experiments: rationale, designs, and conditions conducive to doing them; practical problems 1: ethics, participation recruitment and random assignment; practical problems 2: treatment implementation and attrition; generalised causal inference: a grounded theory; (...) generalised causal inference: methods for single studies; generalised causal inference: methods for multiple studies; a critical assessment of our assumptions. (shrink)

In recent years, a growing discussion about how we should design our cities has emerged, particularly for the more controversial modes of design such as “defensive,” “hostile,” or “disciplinary” architecture (i.e., benches on which one cannot sleep, or metal studs on which one cannot skate). Although this debate is relatively mature, many studies have argued that these design notions are undertheorized and are, thus, challenging to study from an empirical and normative perspective. In this paper, I will (...) defne the most common terms used in the literature and show how they are interconnected by utilizing a set of “conditions of adequacy” from philosophy to facilitate a more transparent and well-grounded discussion of them. Terms such as “hostile” and “defensive” design are underlined by several diferent phenomena, not just one as is sometimes commonly assumed. I will also show that these phenomena and their conceptualizations require—and sometimes force us to use—diferent moral reasons when justifying the utilization of diferent designs. (shrink)

We present a preliminary high-level formal theory, grounded on knowledge representation techniques and foundational ontologies, for the uniform and integrated representation of the different kinds of (quali- tative and quantitative) knowledge involved in the designing process. We discuss the conceptual nature of engineering design by individuating and analyzing the involved notions. These notions are then formally charac- terized by extending the DOLCE foundational ontology. Our ultimate purpose is twofold: (i) to contribute to foundational issues of design; and (ii) (...) to support the development of advanced modelling systems for (qualitative and quantitative) representation of design knowledge. (shrink)

Richard Dawkins has a dilemma when it comes to design arguments. On the one hand, he maintains that it was Darwin who killed off design and so implies that his rejection of design depends upon the findings of modern science. On the other hand, he follows Hume when he claims that appealing to a designer does not explain anything and so implies that rejection of design need not be based on the findings of modern science. These (...) contrasting approaches lead to the following dilemma: if he claims that Darwinism is necessary for rejecting design, he has no satisfactory response to design arguments based on the order in the laws of physics or the fine-tuning of the physical constants; alternatively, if Humean arguments are doing most of the work, this would undermine one of his main contentions, that atheism is justified by science and especially by evolution. In any case, his Humean arguments do not provide a more secure basis for his atheism because they are seriously flawed. A particular problem is that his argument for the improbability of theism rests on a highly questionable application of probability theory since, even if it were sound, it would only establish that the prior probability of God’s existence is low, a conclusion which is compatible with the posterior probability of God’s existence being high. (shrink)

Shoot an arrow at a wall, and then paint a target around it so that the arrow sticks squarely in the bull's eye. Alternatively, paint a fixed target on a wall, and then shoot an arrow so that it sticks squarely in the bull's eye. How do these situations differ? In both instances the precise place where the arrow lands is highly improbable. Yet in the one, one can do no better than attribute the arrow's landing to chance, whereas in (...) the other one rightly attributes the arrow's landing to the archer's skill. ;Highly improbable events occur all the time, and by themselves may legitimately be attributed to chance. Yet when an event also conforms to a pattern given independently of that event , one rightly refuses to attribute the event to chance. Patterns given independently of events are called specifications. This dissertation explicates the relation of independence between specification and event, and sets precise bounds on what may count as a probability small enough to eliminate chance. Although this dissertation connects with how statistics eliminates chance, it considerably extends and clarifies the range of application for chance-elimination arguments based on small probabilities. ;The dual notions of specification and small probability together help justify a regulative principle of probability called the Law of Small Probability, which asserts that specified events of small probability do not occur by chance. This principle engenders a form of inference called the design inference, and a mode of explanation called design. To infer design in explaining an event is to eliminate decisively explanations of that event which appeal to law-like regularities or chance. (shrink)

Design thinking in general, and optimality modeling in particular, have traditionally been associated with adaptationism—a research agenda that gives pride of place to natural selection in shaping biological characters. Our goal is to evaluate the role of design thinking in non-evolutionary analyses. Specifically, we focus on research into abstract design principles that underpin the functional organization of extant organisms. Drawing on case studies from engineering-inspired approaches in biology we show how optimality analysis, and other design-related methods, (...) play a specific methodological role that is tangential to the study of adaptation. To account for the role of these reasoning strategies in contemporary biology, we therefore suggest a reevaluation of the connection between design thinking and adaptationism. (shrink)

As idealized descriptions of mathematical language, there is a sense in which formal systems specify too little, and there is a sense in which they specify too much. On the one hand, formal languages fail to account for a number of features of informal mathematical language that are essential to the communicative and inferential goals of the subject. On the other hand, many of these features are independent of the choice of a formal foundation, so grounding their analysis on a (...) particular choice of a formal system introduces unnecessary specificity. This chapter begins to map out the design features of mathematical language without descending to the level of formal implementation, drawing on examples from the mathematical literature and insights from the design of computational proof assistants and their libraries. (shrink)

The prospective robots in healthcare intended to be included within the conclave of the nurse-patient relationship—what I refer to as care robots—require rigorous ethical reflection to ensure their design and introduction do not impede the promotion of values and the dignity of patients at such a vulnerable and sensitive time in their lives. The ethical evaluation of care robots requires insight into the values at stake in the healthcare tradition. What’s more, given the stage of their development and lack (...) of standards provided by the International Organization for Standardization to guide their development, ethics ought to be included into the design process of such robots. The manner in which this may be accomplished, as presented here, uses the blueprint of the Value-sensitive design approach as a means for creating a framework tailored to care contexts. Using care values as the foundational values to be integrated into a technology and using the elements in care, from the care ethics perspective, as the normative criteria, the resulting approach may be referred to as care centered value-sensitive design. The framework proposed here allows for the ethical evaluation of care robots both retrospectively and prospectively. By evaluating care robots in this way, we may ultimately ask what kind of care we, as a society, want to provide in the future. (shrink)

Inclusive design prescribes addressing the needs of the widest possible audience in order to consider human differences. Taking differences seriously, however, may imply severely restricting “the widest possible audience”. In confronting this paradox, we investigate to what extent Rawls’ theory of justice as fairness applies to design. By converting the paradox into the question of how design can be fair, we show that the demand for equitability shifts from the design output to the design process. (...) We conclude that the two main questions about justice find application in design: the question about the standards of justice and the question about its metrics. We endorse a Rawlsian approach to the former, while some revision may be due regarding the latter. (shrink)

I have been told that for some twenty minutes after reading this paper Kripke believed I had shown that proper names could be non-rigid designators. (Then, apparently, he found a crucial error in the set-up.) I take great pride in this (alleged) fact.

One of the primary, if not most critical, difficulties in the design and implementation of autonomous systems is the black-boxed nature of the decision-making structures and logical pathways. How human values are embodied and actualised in situ may ultimately prove to be harmful if not outright recalcitrant. For this reason, the values of stakeholders become of particular significance given the risks posed by opaque structures of intelligent agents (IAs). This paper explores how decision matrix algorithms, via the belief-desire-intention model (...) for autonomous vehicles, can be designed to minimize the risks of opaque architectures. Primarily through an explicit orientation towards designing for the values of explainability and verifiability. In doing so, this research adopts the Value Sensitive Design (VSD) approach as a principled framework for the incorporation of such values within design. VSD is recognized as a potential starting point that offers a systematic way for engineering teams to formally incorporate existing technical solutions within ethical design, while simultaneously remaining pliable to emerging issues and needs. It is concluded that the VSD methodology offers at least a strong enough foundation from which designers can begin to anticipate design needs and formulate salient design flows that can be adapted to the changing ethical landscapes required for utilisation in autonomous vehicles. (shrink)

Philosophers expend considerable effort on the analysis of concepts, but the value of such work is not widely appreciated. This paper principally analyses some arguments, beliefs, and presuppositions about the nature of design and the relations between design and science common in the literature to illustrate this point, and to contribute to the foundations of design theory.

A specific issue for argumentation theory is whether information and communication technologies play any role in governing argument — that is, as parties engage in practical activities across space and time via ICTs, does technology matter for the interplay of argumentative content and process in managing disagreement? The case made here is that technologies do matter because they are not merely conduits of communication but have a role in the pragmatics of communication and argumentation. In particular, ICTs should be recognized (...) as communication-information services that are delegated degrees of responsibility for managing disagreements arising from practical activities. These services are organized around practical theories for designing disagreement space. However, recognizing this relationship between argument and technology requires accounting for procedures, techniques, or rules and speech acts that are not argumentative propositions in any strict sense but that are consequential for what becomes argumentation in any setting. An account about designing disagreement space, grounded in Jackson and Jacobs’s theory of Disagreement Management, is put forward to address these issues while more generally contributing to understanding argument in context. (shrink)

In this paper I critically evaluate the value neutrality thesis regarding technology, and find it wanting. I then introduce the various ways in which artifacts can come to influence moral value, and our evaluation of moral situations and actions. Here, following van de Poel and Kroes, I introduce the idea of value sensitive design. Specifically, I show how by virtue of their designed properties, artifacts may come to embody values. Such accounts, however, have several shortcomings. In agreement with Michael (...) Klenk, I raise epistemic and metaphysical issues with respect to designed properties embodying value. The concept of an affordance, borrowed from ecological psychology, provides a more philosophically fruitful grounding to the potential way(s) in which artifacts might embody values. This is due to the way in which it incorporates key insights from perception more generally, and how we go about determining possibilities for action in our environment specifically. The affordance account as it is presented by Klenk, however, is insufficient. I therefore argue that we understand affordances based on whether they are meaningful, and, secondly, that we grade them based on their force. (shrink)