This paper presents an emerging aspect of intentionality through recent Artificial Intelligence (AI) developments in art and design. Our main thesis is that, if we focus just on the outcome of the artistic process, the intentionality of the artist does not have any relevance. Intention is measured as a result of actions regardless of whether they are human-based or not as long as there is an esthetical value intersubjectively acknowledged. In other words, what matters is the ‘intentio’ embedded in (...) the work of art (the output) rather than the ‘intendere’ (the process). By considering the former aspect, intentionality becomes free of human intervention, therefore 'unintentional'. This thesis is supported through a range of examples related to AI in general and AI art in particular. However, in the case of a self-driving vehicle, the macro-goal of the system is fixed by humans, even though the AI system itself will take care of decomposing the macro-goal into a set of micro-goals and take the corresponding decisions. In the case of art, the system does not need to have any exterior goal to the extent that art is pure freedom of expression, as many philosophers have acknowledged. In this sense, the decisions of any AI system generating art or design are independent of humans and must be judged only on the ground of the final outcome. A work of art will be judged ‘artistic’ to the extent that humans will recognize an artistic intent in the work itself. In particular, the introduction of random processes makes an AI-generated artwork fully independent of human creativity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature (...) and to assert that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature (...) and to assert that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (shrink)

Creativity is an essential factor in ensuring the sustainable development of a society. Improving students’ creativity has gained much attention in education, especially in Science, Technology, Engineering, Arts, and Mathematics education. In a quasi-experimental design, this study examines the effectiveness of a project-based STEAM program on the development of creativity in Chinese elementary school science education. We selected two fourth-graders classes. One received a project-based STEAM program, and the other received a conventional science teaching over 6 weeks. Students’ (...) creativity was assessed before and after the intervention using a multi-method approach, including a test of divergent thinking, a story completion through the Consensus Assessment Technique, a creative self-efficacy measure, and a group-based creative project. Moreover, all students received a test of their science knowledge after the intervention. The results showed that compared with the control group, the creativity of the experimental group students improved significantly for 6 weeks at both individual and group level, even though their knowledge in science were comparable. This result confirmed the effectiveness of a project-based STEAM educational program improving elementary school students’ creativity. Implications are discussed. (shrink)

Cultivation: Art and Aesthetics in Everyday Life is an inquiry into everyday practices with an aesthetic dimension such as collecting, walking and domestic life. I examine the implications of a critical engagement with these practices for philosophical aesthetics and cultural studies. Traditional aesthetic theory has been informed by a fine arts model of creativity and aesthetic experience and, thus, has not adequately treated everyday aesthetic life. The rapidly expanding field of contemporary cultural studies, on the other hand, has been (...) marked by a dramatic shift in attention toward non-fine art objects like film and television. However, the attention of cultural studies remains, for the most part, limited to mass produced commodities, thereby presenting a narrow picture of aesthetic life outside the fine arts. Cultivation presents an alternative to both approaches. Following John Dewey, I develop a model of cultivation that allows me to locate and describe creativity and aesthetic experience in everyday life. Seen within the framework of everyday life, cultivation becomes more than the development of aesthetic sensibility, as in traditional connoisseurship. Instead, it includes as well the ongoing development of the capacity to satisfy this sensibility through the creative manipulation of one's actions and the world. This Pragmatist version of cultivation emphasizes the importance of creating occasions for aesthetic experience, that is, of refining and developing experience through the design of aesthetically motivated endeavors like walking, interior decoration and collecting. Cultivation is essentially a process: we do or make things in order to have experiences which then, internalized through habit and re-organized and redirected upon reflection, serve as the basis for further doing or making and still more refined experiences. This model of cultivation is then deployed in extended analyses of everyday practices. In these analyses, I develop a critical approach that seeks to understand practice as a creative process whose possibilities are intrinsically open to development. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Painting Outside the Lines: Patterns of Creativity in Modern ArtMatthew ZiffPainting Outside the Lines: Patterns of Creativity in Modern Art, by David W. Galenson. Cambridge: Harvard University Press, 2001, 272 pp., $29.95.The relationship between the market value of paintings and the chronological point in an artist's working life when the paintings were produced is the driving mechanism for exploring creativity and innovation in David W. Galenson's book "Painting (...) Outside the Lines: Patterns of Creativity in Modern Art. The working thesis of this book is that Modern artists have worked creatively and innovatively in one of two distinctly different manners. The terminology Galenson uses to describe these distinct ways of working are "finders" and "seekers." Finders are artists like Pablo Picasso, who at age 26, make startling and important innovations with little advance indication that such a burst is about to take place. Seekers are artists like Paul Cezanne, whospend their entire working lives engaged in the pursuit of a singular approach or achievement. The differences between these methodologies are carefully presented through the details of the working lives of a variety of Modern artists. French nineteenth century and early twentieth-century artists and mid-twentieth-century American artists are used as the source data for these comparisons.Early in the book Galenson presents lists of chronological events within the lives of artists and market valuation of their work within this chronology. The dramatic clarity of the relationships presented in this data sets the stage for the detailed information that follows. Factors that in some cases only partly, and in others nearly completely, explain an artist's way of working are offered through biographic information, information about the aesthetic and cultural milieu, and about the economic and educational structures that are predominant during the relevant time in the life of the artist.The relationship between the aesthetic and cultural milieu surrounding an artist and the capacity or inclination of an artist to be innovative is an important aspect of the book's analysis. The scope of the book is limited to Modern artists because of the shift that took place at the outset of Modern art, during the mid 1860s, that brought a strong emphasis on innovation and change for their own sake as an important characteristic within a work of art. This emphasis "created incentives for painters to produce new approaches to art" (p. 111). Prior to the time of Modern art, innovation and change were often unnecessary for an artist to be successful. Modern art introduced the demand that innovation and change be necessary ingredients in art, and therefore the search for innovation became a significant element within the work of many artists. The manner in which this search took place, as presented through the data at hand, reveals how individual artists viewed the need for innovation and change within their own [End Page 123] work. Paul Cezanne, for example, was aware of the impact that his painting was having on the art world, but he insisted that he was not yet finished with discoveries that would reveal the truest expression of his beliefs about aesthetic expression.In the American movement, "Abstract Expressionism," Galenson finds a useful counter example to the art scene in Paris. In the United States, especially during the 1940s and 1950s — the peak years of creative output by Abstract Expressionist artists — the demand for their work was quite low. There were few economically viable outlets for the work of de Kooning, Pollack, Rothko, and the others of this group. Consequently there is a shift in the chronological point at which these artists achieve market value success. Nearly all of these artists receivedrecognition at an older age than the French artists of the late nineteenth and early twentieth centuries.The thesis of the book, that there are two fundamentally different ways of working to produce works of art, is directly applicable to, and useful in, exploring issues of teaching and learning in design education. As a teacher of interior architecture I was interested to follow the details that Galenson presented in support of his analysis of the careers of numerous Modern artists. The methodological differences between seeking and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Theoretical Remarks on Combined Creative and Scholarly PhD Degrees in the Visual ArtsJames Elkins (bio)The PhD in visual arts is inescapable: it is on the horizon. In just a few years, there will be a number of such programs in the United States, and if the trend mirrors the expansion of MFAs after the mid-1960s, then in a few decades the PhD will be the consensus "terminal" (...) degree for artists. Given that, it is pressing to consider how the degree might be theorized. In Australia and the United Kingdom, where the degrees already exist, their growth has been dictated in large measure by the existing educational structures and by the inevitable quest for funding. (In the United Kingdom, university departments get a disproportionate increase in their funding if they offer doctorate programs, and the same pattern occurs in state schools in America.) As a result, existing programs simply grow by exonomic necessity or opportunity, and so far they have not been well theorized apart from models already in use elsewhere in the university. Private universities and art schools in the United States are therefore well positioned to rethink the conceptual foundations of combined studio and scholarly PhDs, because they are largely freed of the temptation of increased funding and the obligation to fit the new programs into existing structures. In this essay, I propose eight configurations that such degrees might take. I close with three general observations about the future of such programs.Three pieces of background are necessary as introduction. First, the School of the Art Institute, Chicago, where I teach, is currently running an four-year undergraduate major in visual studies. Soon we will be expanding it into an MA and, in a few years, a PhD. At the BA level our program already has a large studio component. For that reason we have been looking at programs that offer comparable combinations of creative and scholarly work at the PhD level. Our own program, we hope, will be a place [End Page 22] where the possibilities of other programs can be kept open and continuously questioned.Second, this essay was originally a reader's report for a creative-arts PhD thesis called "Beyond the Surface: The Contemporary Experience of the Italian Renaissance," written by Jo-Anne Duggan for the University of Technology, Sydney. In fall 2003 Duggan was a candidate for the "DCA," Doctorate of Creative Arts." She is a photographer, and her special interest is photographing inside museums; her thesis explores the history and theory of that practice. The report I wrote for her was the basis of this essay, because I found that her thesis is a mixture of what I think are the eight principal possibilities for combining PhD-level scholarship and creative work.Third, this essay is the outgrowth of several colloquia that have been held at the College Art Association and at the Association of Independent Colleges of Art and Design/National Association of Schools of Art and Design (AICAD/NASAD) conferences (organizations of art school administrators). These ad hoc forums have been, so far, the only places where the new programs have been debated. I hope this essay can contribute to a more detailed discussion.Here are the eight configurations. The first five are (or will be) common, and the last two are rare but preferable.1. The thesis is art history, intended to inform the art practice. The most obvious relation between scholarship and creative work is that the former informs the latter. The artist positions her scholarship so that it supports her art practice. Within this possibility, perhaps the most common option would be to write an art historical thesis, covering the history of practices that lead up to the writer's own practice. Among the advantages would be that, in theory, the candidate would be able to go on to teach in a department of art history. In terms of her practice, the idea would be that historical knowledge strengthens art practice: a debatable point, if only because so many artists have done so well by ignoring or distorting the relevant history. In Canberra in summer 2003, I met a recent PhD whose thesis was on... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.3 (2001) 183-206 [Access article in PDF] Design and the New Rhetoric: Productive Arts in the Philosophy of Culture 1 Richard Buchanan In a seminal article on the study of rhetoric in the Middle Ages, Richard McKeon proposed a strategy for inquiry that illuminated the development of the art in a period where traditional histories had found little of intellectual significance. 2 He argued (...) that instead of studying rhetoric as a simple verbal discipline with a more or less constant subject matter drawn from style or the interpretation of the works of poets and orators or the law, one could study the changing conceptions of subject matter and purpose by which rhetoricians thought to distinguish and oppose their doctrines. By studying the basic philosophic differences that are implicated in changing conceptions of rhetoric, one could discover intelligible patterns in the development of the art that otherwise may appear whimsical, haphazard, arbitrary, or merely verbal. What followed was the discovery of how the doctrines and devices of rhetoric in the Middle Ages spread with little recognition to subject matters far from those ordinarily ascribed to it. McKeon summarized the patterns in three lines of intellectual development. First was the tradition of rhetoricians themselves; second was the tradition of philosophers and theologians; and third was the tradition of logicians. The article concludes with a discussion of how these lines of development were extended in the Renaissance, with implications for the changing relationship of art and science that continues to unfold in the twentieth century around the development of technology.What would a study of rhetoric in our own period look like if rhetoric were explored by McKeon's strategy? Among rhetoricians the record of past meetings of organizations such as the Rhetoric Society of America provides evidence for how the lines of intellectual development revealed by McKeon are extended in contemporary culture. For example, we find continuing attention to the study of rhetoric as a simple verbal discipline [End Page 183] with a more or less constant, traditional subject matter of style and literature. The problems of writing and speaking remain with us, and the traditional resources of rhetoric continue to inform new investigations. In addition, we find growing interest in expanding rhetorical studies to incorporate the interpretation of new kinds of literature as well as other creative works in the cultural arts, philosophy, and the sciences and technology. These studies are often innovative, though they are also easily recognized as an extension of traditional rhetorical arts. As Thomas Conley has remarked, "the present in rhetorical studies is prelude to an encouraging future." 3Following McKeon's strategy, however, the study of rhetoric in our period would not stop with the work of formally recognized rhetoricians and scholars of rhetoric. McKeon argued that rhetoric is an unusually clear example of a general tendency among the arts and sciences for doctrines and devices to move across disciplinary boundaries and stimulate innovation in new circumstances. Rhetoric provides this example precisely because it is universal in scope and shared among all intellectual disciplines. Furthermore, only rhetoric is traditionally characterized from antiquity by many of its leading theorists and practitioners as an art of invention and discovery. Whatever their primary focus in subject matter and purpose, all disciplines are concerned at some point with invention and the eventual disposition of inventions in a medium of communication and application. Therefore, it is only proper that whatever our concern about the problems of writing and speaking well, rhetoricians should also direct their attention to innovations in other fields and disciplines, particularly sensitive to the movement of their own doctrines and devices and the consequent innovations that have occurred as a result. The focal question is one of the central issues that concerned McKeon in his study of rhetoric in the Middle Ages. How may we profitably consider the many innovations that have occurred in fields far removed from those traditionally associated with rhetoric, but with a degree of independence from the field in which they are usually celebrated?This is what McKeon himself pursued... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Theoretical Remarks on Combined Creative and Scholarly PhD Degrees in the Visual ArtsJames Elkins (bio)The PhD in visual arts is inescapable: it is on the horizon. In just a few years, there will be a number of such programs in the United States, and if the trend mirrors the expansion of MFAs after the mid-1960s, then in a few decades the PhD will be the consensus "terminal" (...) degree for artists. Given that, it is pressing to consider how the degree might be theorized. In Australia and the United Kingdom, where the degrees already exist, their growth has been dictated in large measure by the existing educational structures and by the inevitable quest for funding. (In the United Kingdom, university departments get a disproportionate increase in their funding if they offer doctorate programs, and the same pattern occurs in state schools in America.) As a result, existing programs simply grow by exonomic necessity or opportunity, and so far they have not been well theorized apart from models already in use elsewhere in the university. Private universities and art schools in the United States are therefore well positioned to rethink the conceptual foundations of combined studio and scholarly PhDs, because they are largely freed of the temptation of increased funding and the obligation to fit the new programs into existing structures. In this essay, I propose eight configurations that such degrees might take. I close with three general observations about the future of such programs.Three pieces of background are necessary as introduction. First, the School of the Art Institute, Chicago, where I teach, is currently running an four-year undergraduate major in visual studies. Soon we will be expanding it into an MA and, in a few years, a PhD. At the BA level our program already has a large studio component. For that reason we have been looking at programs that offer comparable combinations of creative and scholarly work at the PhD level. Our own program, we hope, will be a place [End Page 22] where the possibilities of other programs can be kept open and continuously questioned.Second, this essay was originally a reader's report for a creative-arts PhD thesis called "Beyond the Surface: The Contemporary Experience of the Italian Renaissance," written by Jo-Anne Duggan for the University of Technology, Sydney. In fall 2003 Duggan was a candidate for the "DCA," Doctorate of Creative Arts." She is a photographer, and her special interest is photographing inside museums; her thesis explores the history and theory of that practice. The report I wrote for her was the basis of this essay, because I found that her thesis is a mixture of what I think are the eight principal possibilities for combining PhD-level scholarship and creative work.Third, this essay is the outgrowth of several colloquia that have been held at the College Art Association and at the Association of Independent Colleges of Art and Design/National Association of Schools of Art and Design (AICAD/NASAD) conferences (organizations of art school administrators). These ad hoc forums have been, so far, the only places where the new programs have been debated. I hope this essay can contribute to a more detailed discussion.Here are the eight configurations. The first five are (or will be) common, and the last two are rare but preferable.1. The thesis is art history, intended to inform the art practice. The most obvious relation between scholarship and creative work is that the former informs the latter. The artist positions her scholarship so that it supports her art practice. Within this possibility, perhaps the most common option would be to write an art historical thesis, covering the history of practices that lead up to the writer's own practice. Among the advantages would be that, in theory, the candidate would be able to go on to teach in a department of art history. In terms of her practice, the idea would be that historical knowledge strengthens art practice: a debatable point, if only because so many artists have done so well by ignoring or distorting the relevant history. In Canberra in summer 2003, I met a recent PhD whose thesis was on... (shrink)

Experiential knowledge is not often associated with research and organized inquiry, and even less often with the rigour of debating and honing research methods and methodology. However, many researchers in art and design and related fields perceive experiential knowledge or tacit knowledge as an integral part of their practice. The editorial article for the special issue on "Research Practice in Art and Design: Experiential Knowledge and Organised Inquiry" explores how research can recognise the relationship between creative practice, (...) experience, and knowledge generation in art and design in order to develop relevant approaches to organised inquiry. This discussion provides the backdrop against which the different articles of this special issue are introduced. The first section, "Experiential Knowledge and Organised Inquiry" addresses issues of integration and communication of experiential and tacit knowledge within the context of organised inquiry. The second section, "Experiential Knowledge in Doctoral Research" examines research practice options within doctoral research in art and design. (shrink)

In an essay published in 1918, Walter Benjamin sets forth a task that will concern him for the rest of his life: The task of a future epistemology is to find for knowledge the sphere of total neutrality in regards to concepts of both subject and object; in other words, it is to discover the autonomous, innate sphere of knowledge in which this concept in no way continues to designate the relation between two metaphysical entities. (‘‘The Coming Philosophy’’ 104) Benjamin (...) seeks an ‘‘autonomous, innate sphere of knowledge’’ that bypasses the Kantian dualism of subject and object to ‘‘form a pure and systematic continuum of experience’’ (105). He wants to break down the relation between subject and object that has led to the ossification of experience in fixed modes of life, in order to develop a theoretical thinking that ‘‘grasps the world as such as an undivided whole’’. (shrink)

In 1984 the renowned biologist Edward O. Wilson wrote that we are human in good part because of the particular way we affiliate with other organisms. They are the matrix in which the human mind originated and is permanently rooted, and they offer the challenge and freedom innately sought. To the extent that each person can feel like a naturalist, the old excitement of the untrammeled world will be regained. I offer this as a formula of reenchantment to invigorate poetry (...) and myth: mysterious and little known organisms live within walking distance of where you sit. Splendor awaits in minute proportions.1 This poetical quote nicely captures the essence of Wilson’s biophilia hypothesis. While the notion .. (shrink)

Depression experienced by older adults is proving an increasing global health burden, with rates generally 7% and as high as 27% in the USA. This is likely to significantly increase in coming years as the number and proportion of older adults in the population rises all around the world. Therefore, it is imperative that the effectiveness of approaches to the prevention and treatment of depression are understood. Creative arts interventions, including art, dance movement, drama and music modalities, are (...) utilised internationally to target depression and depressive symptoms in older adults. This includes interventions led by trained arts therapists as well as other health and arts professionals. However, to date there has not been a systematic review that reports effects and examines the processes (why) and mechanisms (how) of creative arts interventions are used to address depression in this older age group. This systematic review of studies on creative arts interventions for older adults experiencing depression examined: outcomes of four creative arts modalities (art, dance movement, drama, and music); with particular attention paid to processes documented as contributing to change in each modality; and mechanisms considered to result from these processes. Our analysis of 75 articles (17 art, 13 dance, 4 drama and 41 music) indicates mostly significant quantitative or positive qualitative findings, particularly for interventions led by creative arts therapists. Mechanisms of change gleaned from the studies that were common across modalities include physical (e.g. increased muscle strength; neurochemical effects, such as endorphin release), intra-personal (e.g. enhanced self-concept, strengthened agency and mastery; processing and communication of emotions), cultural (e.g. creative expression, aesthetic pleasure), cognitive (e.g. stimulation of memory) and social (e.g. increased social skills and connection), that were all considered to contribute to reduced depression and symptoms. Recommendations for future research include a stronger focus on testing of processes and mechanisms. (shrink)

We propose an AI-assisted design concept exploration tool, the “Character Space Construction”. Concept designers explore and articulate the target product aesthetics and semantics in language, which is expressed using “Design Concept Phrases”, that is, compound adjective phrases, and contrasting terms that convey what are not their target design concepts. Designers often utilize this dichotomy technique to communicate the nature of their aesthetic and semantic design concepts with stakeholders, especially in an early design development phase. The (...) CSC assists this designers' cognitive activity by constructing a “Character Space”, which is a semantic quadrant system, in a structured manner. A CS created by designers with the assistance of the CSC enables them to discern and explain their design concepts in contrast with opposing terms. These terms in a CS are retrieved and combined in the CSC by using a knowledge graph. The CSC presents terms and phrases as lists of candidates to users from which users will choose in order to define the target design concept, which is then visualized in a CS. The participants in our experiment, who were in the “arts and design” profession, were given two conditions under which to create DCPs and explain them. One group created and explained the DCPs with the assistance of the proposed CSC, and the other did the same task without this assistance, given the freedom to use any publicly available web search tools instead. The result showed that the group assisted by the CSC indicated their tasks were supported significantly better, especially in exploration, as measured by the Creativity Support Index. (shrink)

_Art and Mourning_ explores the relationship between creativity and the work of self-mourning in the lives of 20th century artists and thinkers. The role of artistic and creative endeavours is well-known within psychoanalytic circles in helping to heal in the face of personal loss, trauma, and mourning. In this book, Esther Dreifuss-Kattan, a psychoanalyst, art therapist and artist - analyses the work of major modernist and contemporary artists and thinkers through a psychoanalytic lens. In coming to terms with their (...) own mortality, figures like Albert Einstein, Louise Bourgeois, Paul Klee, Eva Hesse and others were able to access previously unknown reserves of creative energy in their late works, as well as a new healing experience of time outside of the continuous temporality of everyday life. Dreifuss-Kattan explores what we can learn about using the creative process to face and work through traumatic and painful experiences of loss._Art and Mourning _will inspire psychoanalysts and psychotherapists to understand the power of artistic expression in transforming loss and traumas into perseverance, survival and gain. Art and Mourning offers a new perspective on trauma and will appeal to psychoanalysts and psychotherapists, psychologists, clinical social workers and mental health workers, as well as artists and art historians. (shrink)

IN/Search RE/Search' offers a unique insight into the wide range of appearances of the intersection between art, design and research. The book is organized into twelve substantive chapters: The Anthropocene Epoch; The Climate Crisis; The Coexerced Existence, The Limitations of Language; Facts and Fictions; The Fragile Human; The Instrumentalised Identity; Gender and Violence; The Question of Race; Politics of Public Space; Naked Capitalism; The Morality of a Cyborg. These themes are analysed through art and design projects. The projects (...) are further contextualised by journalistic explorations and academic reflections on similar matters, grappled by varied research outlooks. 00By bringing together various practices (arts, design and writing practices and academic research), 'IN/Search RE/Search' shows how artistic research processes are designed and performed. The kaleidoscopic convergence of the featured approaches promises an exciting shift in thinking about how knowledge within the arts comes about, and how this knowledge nurtures daily practice, and vice versa. In this way, this publication discloses methods of thinking and working through which a new generation of artists/designers/researchers is shaping scenarios for the near future.00The core of this publication is formed by various art and design projects by students of the Rietveld Academie and the Sandberg Instituut. Many of these projects confuse, blur and confront what is traditionally relevant in research practices. These young artists demonstrate what happens when ideas and practices that seem to be miles apart within the traditional domain of research, are suddenly allowed touch upon and influence each other. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:164 BOOK REVIEWS "was presented with wine in the name of the whole University." That evening, one of the feasters recalled that this was the man who had written the foremost theological defense of the Royal Supremacy: the following morning, when Gardiner asked for vessels and vestments to say Mass before proceeding on his way, they were refused him, as to an excommunicate or a schismatic. This incident is (...) significant for a number of reasons: it shows that, whatever anyone else might have thought, Gardiner certainly thought he was a Catholic. The ambiguity of that label, and how far exactly it extended, is also quite evident. Some explanation of the difficulty and some consistency of usage in the text of the biography would have been welcome. The text itself appears to have a number of editorial flaws: p. 201 begins in the middle of a paragraph, and the opening lines are omitted. In the second paragraph of p. 176, numbers are transposed so that what is printed as 1534 should read 1543 (in the context, a significant difference). The book is, on the whole, a contribution to scholarship that is long overdue. That a man who was so powerful (not to say feared) during his own lifetime should wallow in oblivion is confusing. Redworth 's biography, for all its incompleteness, is of great value in piecing together the life of this leader, both political and ecclesiastical, who sought to fashion the emerging English Church and nation into a recognizably Catholic form. Dominican House of Studie$ Washington, D.C. W. BECKET SOULE, 0.P. Art and the Word of God (Arte e la Parola di Dio): A Study of Angelico Rinaldo Zarlenga, O.P. Edited by VINCENT I. ZARLENGA, O.P. (text in English and Italian). River Forest, Illinois: Fra Angelico Art Foundation, 1990. Pp. xiv + 109. The religious order of the Dominicans (Order of Preachers) was founded in the thirteenth century by St. Dominic with the specific purpose of preaching the Gospel or " ministry of the Word." With the Franciscan Order it shared in the creative, artistic impulse that produced the medieval cathedrals. It is often said that the great Summa Theologiae of St. Thomas Aquinas, for all its intellectual rigor, is also a work of art comparable to the gothic masterpiece of Chartres cathedral. Dominicans and Franciscans thought that the Gospel should find expression not only in words, but in poetry, music, architecture, and BOOK REVIEWS 165 the plastic arts. Among the artists who were members of the Dominican Order are the recently beatified Fra Angelico (BL Giovanni da Fiesole ), Bartolommeo della Porta, an important influence on Raphael and other High Renaissance painters, Juan Mayno the gifted Spanish contemporary of El Greco, Pere Couturier, the advocate of modern church art and friend of Matisse, and the American sculptor, Thomas McGlynn. Carrying on this Dominican tradition, Angelico Rinaldo Zarlenga (1919-1986), a native of Italy, worked in the United States from 1949 until his death. The present work, edited by his brother Vincent, also a member of the Order, makes available a chronological catalogue of his paintings, sculptures, and designs in glass, with many illustrations in full color, along with a biography and critical appreciations by others, including Cardinals Joseph Bernadin and Mario Luigi Ciappi. It is an important contribution to the history of Catholic religious art in the United States. The noted German theologian Hans Urs von Balthasar built his whole theology not on the goodness and truth of God, but on His beauty, or in biblical terms, God's "glory." According to St. Thomas Aquinas, " beauty " is the " radiance of truth," that is, it is truth as truth is related well to our knowing powers. Like the fit between the key and the lock, beauty is the fit between known and the knower. That is why a landscape on a cloudy day looks dull and uninteresting, but when the sun comes out it appears strikingly beautiful. The sun's illumination has made the dim objects vividly visible, radiant to our eyes. This is what the artist does for us. He does not clothe the facts of reality with an adventitious beauty, but he illumines those facts so that... (shrink)

This book, based on a critical/collective/auto/ethnographic research project, describes an assemblage of theoretically informed, arts-based methods that aim to promote multiplicity and thinking. It explores multiplicities of knowing, sensing, doing and being, generated by analyzing knowing frames, poetry, reading aloud, fableing, playwriting and other inventive, playful and scholarly ways of working with experiences and stories. By offering engaging and inspiring strategies that can disturb standardizations and interrupt cultural normativities, the book sheds light on the conditions that might be present (...) in cultural contexts that enable diversity and creativity. The research project on which this book is based originated from a contradictory set of conditions characterized on the one hand by a marked interest in creative research methods and novel knowledge practices and, on the other hand, by a widespread concern that we live in increasingly standardized times, featuring systems that specify objectives ahead of time, demand compliance and narrow the possibilities for human action. The book takes readers on an arts-based journey designed to enhance the opportunities for imaginative and ethical professional practice in education, human services and the arts. (shrink)

The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that there are substantial ethical challenges related to bias in the training data, copyright issues, as well as ecological challenges which the technology industry has consistently downplayed over the years. -/- The editorial highlights the distinction between the current AI technology’s reliance on extensive (...) pre-existing human-generated data for pattern recognition and the performative process inherent in art practice. Patterns of creative output can be replicated without a thorough understanding of underlying concepts. In contrast, the performative process of art practice, as explored through the conceptual frameworks of creativity by Noam Chomsky, Charles Sanders Peirce, and Roger T. Ames and with reference to an earlier publication of the editorial’s author, creates concepts and continually ‘strives to extend itself towards the unknown.’ -/- Following this introductory section, the editorial provides an overview of the ten articles featured in this issue of Technoetic Arts. The first four texts engage with emerging technologies from various perspectives in art and design. The subsequent six articles, part of a special section titled 'Perspectives from Chandigarh,' reflect a quest for meaningful existence within colonial, patriarchal, and biopolitical structures that frame everyday practices of exclusion and oppression. (shrink)

Creativity is commonly thought of as a positive advance for society that transcends the status quo knowledge. Humans display an inordinate capacity for it in a broad range of activities, with art being only one. Most work on creativity’s neural substrates measures general creativity, and that is done with laboratory tasks, whereas specific creativity in art is gleaned from acquired brain damage, largely in observing established visual artists, and some in visual de novo artists (became artists after the damage). The (...) verb “to create” has been erroneously equated with creativity; creativity, in the classic sense, does not appear to be enhanced following brain damage, regardless of etiology. The turning to communication through art in lieu of language deficits reflects a biological survival strategy. Creativity in art, and in other domains, is most likely dependent on intact and healthy knowledge and semantic conceptual systems, which are represented in several pathways in the cortex. It is adversely affected when these systems are dysfunctional, for congenital reasons (savant autism) or because of acquired brain damage (stroke, dementia, Parkinson’s), whereas inherent artistic talent and skill appear less affected. Clues to the neural substrates of general creativity and specific art creativity can be gleaned from considering that art is produced spontaneously mainly by humans, that there are unique neuroanatomical and neurofunctional organizations in the human brain, and that there are biological antecedents of innovation in animals. (shrink)

The role of figurative languages such as metaphor and metonymy in creativity has been studied in cognitive linguistics. These methods can also be applied to analyze non-linguistic data such as pictures and gestures. In this paper we analyze fashion design by focusing on visual metaphor and metonymy. The nature of creativity in fashion design is not fully studied from a cognitive perspective compared to other related fields such as art. We especially focus on the aspect of fashion (...) class='Hi'>design as a communication tool between the designer and the audience to convey designer’s image of human. Photos from two fashion shows are analyzed. We carried out an experiment to compare how human images in two shows are interpreted by those who are familiar with fashion and those who are not. We got three results: (1) As far as figurative (metaphorical and metonymic) interpretations of human image are concerned, two groups with different familiarity to fashion have significantly different patterns of responses to two shows. (2) For non-figurative interpretations (such as physical or personal attributes), no significant difference in the pattern of response to the show was observed between two groups. The participants as a whole, however, responded to the two shows differently. (3) In addition for non-figurative interpretation, fashion experts found significantly more attributes in human images than the others. The results show that the analysis of figurative interpreations is effective in seeing how the familiarity to fashion affects the mode of seeing fashion shows. (shrink)

This paper presents a critical reflection on insights into the ongoing endeavours for community engagement by Ayara and MAL; two urban grassroot organisations in Bogota, Colombia, where a long history of internal conflicts has resulted in diverse human right violations. The paper presents examples of the grassroots organisations’ unique methods of engagement that promotes building collective intelligence from the bottom–up through creative collaboration and design processes, leading to rebuilding social fabrics that support the common good for the people (...) of Bogota. (shrink)

Peirce proposed the concept of abductive inference to inquire into the generation of new hypotheses and defined it as another term for pragmatism, no less (Admitting, then, that the question of Pragmatism is the question of Abduction, let us consider it under that form. What is good abduction? What should an explanatory hypothesis be to be worthy to rank as a hypothesis? Of course, it must explain the facts. But what other conditions ought it to fulfill to be good? The (...) question of the goodness of anything is whether that thing fulfills its end. What, then, is the end of an explanatory hypothesis? Its end is, through subjection to the test of experiment, to lead to the avoidance of all surprise and to the establishment of a habit of positive expectation that shall not be disappointed (Peirce. 1931–1966. The collected papers of Charles S. Peirce, 8 vols., C. Hartshorne, P. Weiss & A. W. Burks (eds.). Cambridge: Harvard University Press. 5.197)). Apart from being linked to the vague idea of the play of musement as an almost dreamlike process of epiphany or inspiration or as an inverted minor premise from a syllogism, we are far from understanding the dynamics and specificity of this kind of inference. Among authors dealing with this problem I could trace three factors at work in processes of abduction, i.e. combination, resemblance, and dialetics or questioning. In this paper I attempt to look a bit further into this enigma by a category of play I defined as “peripatos” or games of invention, riddles, and puzzles, hoping it could shed some light on the process of creativity in several social activities such as science, art, war, and religion. The approach will take on Huizinga’s idea of the play of culture, Lakoff and Johnson’s conception of cross-domain correlations, Kant’s view of “aesthetic ideas,” and my proposal of the play of peripatos through a “what if-as if” coupling into this very common yet little understood, and thus mystified, process of the generation of innovative ideas. (shrink)

ObjectivesThe global COVID-19 pandemic in 2020 heavily affected the arts and creative industries due to the instigation of lockdown measures in the United Kingdom and closure of venues. However, it also provided new opportunities for arts and cultural engagement through virtual activities and streamed performances. Yet it remains unclear who was likely to engage with the arts at home during lockdown, how this engagement differed from patterns of arts engagement prior to COVID-19, and whether home-based (...) arts engagement was related to people’s ability to cope with their emotions during lockdown. This study was therefore designed to address these questions.MethodsWe used data collected in late May from the United Kingdom COVID-19 Social Study run by University College London. Multivariate regressions were used for the analysis. Identified factors included demographic factors, socio-economic position, psychosocial wellbeing and health conditions, adverse events/worries, and coping styles.ResultsFour types of home-based arts engagement were identified during the COVID-19 pandemic: digital arts and writing, musical activities, crafts, and reading for pleasure. Our results show that the strongest predictors of the engagement were age, education attainment, social support, and emotion-focused or supportive coping styles. In particular, younger adults, non-keyworkers, people with greater social support, people who had lost work, those who were worried about catching the virus, and those with an emotion-focused, problem-focused or supportive coping style were more likely to have increased arts engagement during lockdown. Arts activities were used as approach and avoidance strategies to help cope with emotions, as well as to help improve self-development.ConclusionOverall, our study suggests that while some people who engaged in the arts during the COVID-19 pandemic were those who typically engage under normal circumstances, the pandemic has also created new incentives and opportunities for others to engage virtually. Additionally, this study highlights the value of the arts as coping tools during stressful situations. (shrink)

Artists and designers working in the fields of generative and bio art frequently focus on designing speculative visions of how nature can be reimagined with the use of computational media and synthetic biology. Centered on the unique artistic strategies of reimagining life forms, this paper analyzes and compares a selection of generative software-based projects, in which artists are mimicking different natural phenomena and have the tendency to beautify nature and life, with bio art projects, where ethical considerations are prioritized over (...) other aspects of the work. Experimenting with software and producing code-based generative art can be a relatively accessible creative endeavor while working with synthetic biology requires more demanding and controlled workplace conditions and specialized equipment. Despite the differences in accessibility and usability, both fields of generative and bio art challenge the boundaries of contemporary artistic practice and research by mapping, provoking and contemplating the dramatic changes of life forms, in the era when living matter can be re-engineered into a new material capable of computing. (shrink)

An active engagement with arts in general and visual arts in particular has been hypothesized to yield beneficial effects beyond arts itself. So-called cognitive and socio-emotional “transfer” effects into other domains have been claimed. However, the empirical basis of these hopes is limited. This is partly due to a lack of experimental comparisons, theory-based designs, and objective measurements in the literature on transfer effects of arts education. Therefore, the aim of the present study was to (...) class='Hi'>design and experimentally investigate a theory-based visual-arts education program for adolescents aged between 12 and 19 years. The program was delivered in a museum context in three sessions and was expected to yield specific and objectively measurable transfer effects. To conduct a randomized field trial, three strictly parallelized and standardized art courses were developed, all of which addressed the topic of portrait drawing. The courses mainly differed regarding their instructional focus, which was either on periods of art history, on the facial expression of emotions, or on the self-perception of a person in the context of different social roles. In the first and more “traditional” course portrait drawing was used to better understand how portraits looked like in former centuries. The two other courses were designed in a way that the artistic engagement in portrait drawing was interwoven with practicing socio-emotional skills, namely empathy and emotion recognition in one course and understanding complex self-concept structures in the other. We expected positive socio-emotional transfer effects in the two “psychological” courses. We used an animated morph task to measure emotion recognition performance and a self-concept task to measure the self-complexity of participants before and after all three courses. Results indicate that an instructional focus on drawing the facial expressions of emotions yields specific improvements in emotion recognition, whereas drawing persons in different social roles yields a higher level of self-complexity in the self-concept task. In contrast, no significant effects on socio-emotional skills were found in the course focussing on art history. Therefore, our study provides causal evidence that visual-arts programs situated in an art-museum context can advance socio-emotional skills, when designed properly. (shrink)

In this essay, we explore the philosophical and theoretical resonances of the artwork Qatipana from the perspective of some key insights of Gilbert Simondon’s information processing system approach. Qatipana (Quechua word that means flow, sequence, transmission) is a hybrid ecosystem of information flow which, even though not the kind of dispositive systems theory was designed to read, offers some valuable empirical insights to test some key aspects of Simondon’s information processing systems. In particular, we are interested in observing how Simondon’s (...) becoming and individuation play out in an algorithmic cycle performed by the cognitive system of an Artificial Intelligence agent: how does mono-technology and computerization of cultural techniques influence the nature of knowing the affection of being with others (people, things, animals)? We contrast Simondon’s contributions with the work of Norbert Wiener and Stafford Beer on information in cybernetics and the cosmotechnics and Technodiversity of Chinese philosopher Yuk Hui. Furthermore, we offer a provisional assessment of the reach, limits, and possibilities this kind of symbiotic crossing of technologies and arts: it is a field filled with challenges and unresolved complexities that should encourage us to recognize the urgency that is implied in the disruptive (and creative) we can see unfolding in social and political life. The already pervasive (and growing) presence of computational systems has become both a tremendous risk and a vertiginous deployment of liberating opportunities. Latin America and elsewhere are desperately calling for an insightful and imaginative engagement. (shrink)

Profiles of art education in nineteen countries around the world by citizens or longtime residents of those countries comprise the core of this book. Guidelines for the cross-cultural study of art education are presented by the editors in a general introduction and three part introductions, and also by contributing specialists. The nineteen national profiles, with accompanying examples of children's artwork, make up the largest section of the book, Part II. The three chapters in Part I review research that has identified, (...) on one hand, certain universal characteristics of children's artwork attributable to common human stages of development, and, on the other hand, certain differing and unique cultural influences. The need for further research on this distinction is emphasized. Contributors to Part I are Elliot W. Eisner, William Ives and Howard Gardner, and Marjorie and Brent Wilson. The three chapters in Part III discuss three major problems in art education: the use of museum visits, the worldwide attempt to establish valid tests of teacher and pupil proficiency in art, and the design of sound and useful cross-cultural research. Resources for such research are described. Contributors to Part III are Robert Ott and Lois Swan Jones, William Bradley, and Frances E. Anderson. Professionals and students in art education can broaden their perspective through Art in Education, while their counterparts in child development and psychology can gain insights into the creative process. Profiles: Western Europe—England,Finland, Germany, Netherlands; Eastern Europe—Hungary, Poland, Soviet Union; Middle East and South Asia Afghanistan, Egypt, India, Israel; East Asia and the Pacific Australia, China, Japan; Africa—Ghana, Nigeria, South Africa; The Americas—Brazil, United States. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 12-19 [Access article in PDF] Seeking the Aesthetic in Creative Drama and Theatre for Young Audiences Nellie McCaslin Introduction Is an aesthetic experience ever achieved in a creative drama class or in attending a performance of a children's play? If it is, how do I know and how can it be achieved? This is a question to which I have (...) given much thought and in so doing have been flooded with memories of my own passion for theatre in all its forms, first as a child and years later as a teacher. These memories have shaped my perception of the aesthetic presence, elusive but powerful, which comes in its own way and in its own time. The following is an account of revisiting those memories in the light of today's practices and objectives. The result is not a scholarly piece or approach to the question but simply a record of one person's journey through the theatre arts as she experienced it at a particular point in time, when the pedagogy and the terminology of today were nonexistent, or at least were not generally known. Nor, I might add, was the question.From that journey through time, I have reached a few tentative convictions. First among them is that the most important element in teaching creative drama or producing children's plays is the one too often marginalized by practitioners today in their pursuit of practical ends and contemporary issue-oriented scripts.1 It is the aesthetic. Is theatre an art form worth studying in its own right or is it an educational tool, appealing to administrators and producers because it is effective? I believe that it is an art and should be taught as an art form first and foremost, but that skillfully done, it can accomplish both objectives. The grey area between art and education is difficult for the inexperienced teacher to negotiate without the loss of one goal or the other. It is the intent that charts the course. [End Page 12] Early Recollections What was it that first drew me to the theatre? Was it the play? The players? Or the combined skills of all who were involved in the production whether it was a professional company in a theatre downtown; a puppet show at a community center; "dramatics" in the classroom, when the teacher allowed us to "act out" a history lesson or favorite story; or an assembly program put on by the eighth grade in the school auditorium? To me, they were all theatre, and theatre in whatever form it took was magic. To us, theatre was real, regardless of the performers or the venue. Even the puppets ceased to be inanimate figures in the hands of an artist who shared his belief in their reality with his young audiences. Indeed, the puppets assumed human proportions before our eyes and have remained so in my memory ever since. Was this not just as much of an aesthetic experience for us, the viewers, as the performance of living actors? I believe that it was, although at the age of eight I had never heard the word "aesthetic" or stopped to analyze my reactions.The reason, among others, for my lack of discrimination as a child was the fact that in America at that time no differentiation was made between what we did and what we saw, never mind who did it. There was a clear distinction between the amateur and the professional; it didn't concern us. We flocked to the few shows, both amateur and professional, deemed appropriate for children, and we made up shows of our own in our own backyards. Our shows were improvised (another term we didn't know then), but even minus a script, it was still theatre because we believed in it and so did the little ones on our block who were the audience.It was Winifred Ward, an American pioneer in the field, writing a few years later, who was to distinguish between process and product... (shrink)

Through an examination of the bacteria that produce the cellulose, an investigation of the growing process and properties, and a discussion of an artistic exploration, one can fully grasp bio cellulose’s potential in becoming a synergist for sustainable fashion. This new creative and radical approach re-imagines the future materials for fashion and other fields requiring textile applications that are grown and renewable. Questions how textile can be created to be sustainable, biodegradable and infinitely reusable and mainly what the paradigms (...) for the new aesthetics are. The aim of this article is to convey the need for new biomaterials inspired by nature. (shrink)

The purpose of this paper is to describe a way of teaching business ethics using the creative arts, especially literature and theater. By drawing on these disciplines for both method and texts, we can more easily make the connection to business as a fully human activity, concerned with how meaning is created. Students are encouraged to understand story-telling and narrative and how these tools lend insight into the daily life of businesspeople. The paper describes two main courses, Business (...) Ethics Through Literature and Leadership, Ethics and Theater, and the rationale for each. We begin by suggesting three main leverage points that the courses engender. We then rely on the words of students who have taken the courses for insights into what they learned. We then critically assess some of the principles that have informed course design over time. We conclude by suggesting that paying attention to the creative arts gives rise to a rather different approach to business ethics, one grounded in the pragmatist tradition in philosophy. (shrink)

How do we perdure when we and everything around us are caught up in incessant change? But the course of this change does not seem to be haphazard and we may seek the modalities of its Logos in the transformations in which it occurs. The classic term "Metamorphosis" focuses upon the proportions between the transformed and the retained, the principles of sameness and otherness. Applied to life and its becoming, metamorphosis pinpoints the proportions between the vital and the aesthetic significance (...) of life. Where could this metaphysical in-between territory come better to light than in the Fine Arts? In this collection are investigated the various proportions between the vital significance of the constructivism of life and a specifically human contribution made by the creative imagination to the transformatory search for beauty and aesthetic values. Papers by: Lawrence Kimmel, Mark L. Brack, Sheryl Tucker de Vazquez, William Roberts, Jadwiga Smith, Victor Gerald Rivas, Max Statkiewicz, Matti Itkonen, George R. Tibbetts, Linda Stratford, Jorella Andrews, Ingeborg M. Rocker, Stephen J. Goldberg, Leah Durner, Donnalee Dox, Catherine Schear, Samantha Henriette Krukowski, Gary Maciag, Kelly Dennis, Wanda Strukus, Magda Romanska, Patricia Trutty-Coohill, Ellen Burns, Tessa Morrison, Sabine Coelsch-Foisner, Gary Backhaus, Daniel M. Unger, Howard Pearce. (shrink)

Sound and listening are intrinsically linked to how we experience and engage with places and communities. This guide invites landscape architects and urban designers to become soundscape architects and offers practical advice on sound and listening applicable to each stage of a design project: from reading the environment to intervening on it. This book foregrounds listening as an affective mediator between subjects and multispecies environments, and a vehicle to think and conceptualise environmental design beyond prevailing visual and human-centred (...) modes. The guide expands landscape architects' and urban designers' tools and skills to assess existing soundscapes, predict how those soundscapes will be altered through their designs, consider sound as a creative and active part of the design process, and envisage how users might perceive and be affected by those soundscapes as they evolve in time. The volume sits in the interface of research and practice, and incorporates theoretical, methodological and creative contributions from acoustic ecology, ecoacoustics, bioacoustics and sound art. Each of the design stages is illustrated through project examples that demonstrate the many advantages of incorporating attentive listening and sound into Landscape Architecture and Urban Design Practice. The book shows how incorporating listening and sounding as part of the design process promotes slow and subtle ways of practice, adds social and ecological value through the reduction of noise pollution and by monitoring the health of habitats, and enables the design of soundscapes that complement the character and design intent of a scheme and elicit joy and wonder. The book will be of interest to landscape architects, together with other design professionals such as urban designers, architects, geographers and engineers, who play a primary role in the composition of the soundscape. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 1-12 [Access article in PDF] Art and Mathematics in Education Richard Hickman and Peter Huckstep We begin by asking a simple question: To what extent can art education be related to mathematics education? One reason for asking this is that there is, on the one hand, a significant body of claims that assert that mathematics is an art, and, on the other, (...) work in art that has a mathematical basis. Observations of these kinds are not trivial. They have significant implications for the teaching of these areas of the curriculum in at least two ways. First, there is the methodological issue of the extent to which we should teach mathematics and art separately, and second, the teleological question of why they appear in the curriculum at all. So the relationship between the nature of mathematics and art, perceived or real, bears down on questions of the individuation and the justification of these disciplines, or, in other words, upon pedagogy and purpose. Although in principle both the pedagogy and the purpose of any discipline are distinct, there are important connections between them, as we shall draw out.As far as mathematics goes, it has been stressed that the purposes of even rudimentary aspects of mathematics such as counting do need to be made explicit to pupils. 1 What have been seen as errors in understanding are internally linked with pupils' ideas of the purposes of counting. Anna Sierpinska discusses a similar situation within the broader aspect of what she calls "theory" in higher mathematics. 2 More generally, John Passmore, in his analysis of pupils' understanding includes the case where a pupil sees no need to understand since he or she cannot understand the point of learning the subject. 3 If the purposes of art and mathematics are strikingly similar then there is reason to suppose that certain pedagogical approaches that [End Page 1] follow from this will improve understanding of both mathematics and art, and therefore understanding of reasons for engaging in math-based and art-based activities.In schools we see what appears to be some evidence of connections between art and mathematics in cross-curricular work, such as that described in Jacqueline Cossentino and David Schaffer. 4 Apart from providing much-needed motivation, an important value of this approach toward mathematics is that it can illuminate pupils' understanding of some of its purpose by, at the very least, allowing them to recognize instances of mathematics at work, often in unsuspecting contexts. In particular, by facilitating some transference of knowledge pupils can appreciate the so-called "power" of mathematics in its widespread application to the world of artefacts produced by themselves and others.Can we go further than displaying connections between these disciplines? Can we treat mathematics itself as art? In particular, can we suppose that pupils can make mathematics just as they can make artefacts? Some writers seem to imply this by invoking the notion of creativity as a common property between the two disciplines. 5 Leaving aside the ironic sense of creativity in, for example, the case of "creative accountancy" pupils must indeed "make" sense of mathematics and they must originate mathematical assertions of their own that have not been directly taught. In both respects mathematics is similar to the learning of a language. Further than this, we value pupils' inventiveness in their approaches to areas of mathematics, calculations for example.The linking of mathematics and art via creativity has its most persuasive force in the change of attitude toward axiomatic foundations. 6 The story is familiar: for centuries Euclidean geometry was (wrongly) supposed to offer truths of the actual space in which we lived, since its axioms were thought to be confirmed by our intuitions of space. However, when it was found that consistent and useful axiomatic systems could be constructed by making certain alterations to these axioms, it became clear that mathematics was not simply discovered. It involved a significant measure of creativity. Yet one thing is clear: the sense that children make of mathematics, the original utterances they make... (shrink)

Introduction: Expressions of dignity as a clinical phenomenon in nursing homes as expressed by caregivers were investigated. A coherence could be detected between the concepts and phenomena of existence and dignity in relationships and caring culture as a context. A caring culture is interpreted by caregivers as the meaning-making of what is accepted or not in the ward culture. Background: The rationale for the connection between existence and dignity in relationships and caring culture is that suffering is a part of (...) existence, as well as compassion in relieving suffering, and ontological interdependency. Aim: To describe different expressions of dignity in relationships and existence in context of caring cultures from the perspective of the caregivers. Research design: The methodology and method are hermeneutic. The method used was to merge the theoretical preunderstanding as one horizon of understanding with empirical data. Participants and research context: Focus group interviews with caregivers in nursing homes. Ethical considerations: The principles of the Helsinki Declaration have been followed to, for example, preserve self-determination, integrity, dignity, confidentiality and privacy of the research persons. Findings: Data interpretation resulted in four themes: Encountering existential needs that promote dignity in a caring culture; To amplify dignity in relationships by the creative art of caring in a caring culture; Violation of dignity by ignorance or neglect in a non-caring culture and The ethic of words and appropriated ground values in a caring culture. Discussion: Dignity-promoting acts of caring, or dignity-depriving acts of non-caring are adequate to see from the perspective of dignity in relationships and existence and the caring culture. Conclusions: Dignity in relationships seems to touch the innermost existential life, as the existential life is dependent on confirmation from others. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 19-26 [Access article in PDF] Restriction and Individual Expression in the "Play Activity / Zokei Asobi " Since World War II, art teachers in Japan have wavered between two senses of value. The first issue is whether they should foster children's specific artistic ability (for example, drawing, painting, or sculpture) in art class. Many art teachers believe that there is a standard (...) body of knowledge about art that should be taught, much like chemistry or mathematics. In fact, teachers do set these restrictions by giving teaching materials or subjects of expression to children in art class. On the other hand, art teachers recognize the need to encourage the expression of each child's individual emotions and creativity. So, Japanese art teachers are faced with a contradiction: requiring [End Page 19] each child to express herself "freely" within an environment restricted by a set curriculum.In Japan, when the government guidelines for teaching were revised about 25 years ago, a new domain was instituted in the elementary school art class. The domain is called "Play Activity/Zokei Asobi." The field of expression consists of two domains: the making of works (visual objects) according to a theme or subject and the "Play Activity" using various materials. The former is equivalent to the basic picture, craft, design, and sculpture education. The Play Activity is based on the viewpoint that children's expression naturally comes from within and is expressed as spontaneous play, such as playing in the sand or with blocks. Because children have a natural curiosity, play is not to be directed by someone else, but by their own will. Children's spontaneous play is viewed as the beginning of individual expression. Although the Play Activity has not yet fully permeated into art education of Japan, it has brought some changes to art class. The Play Activity has forced art teachers to think about their role: whether one should emphasize restriction — "shall I teach something to children?" or freedom — "how should I deal with each child's individual expression?" In this essay, I explore teachers' stream of consciousness about children's expression and meanings and subjects of the Play Activity in Japan. Child's Expression and Works of Art The Japanese art class consists of two fields: "expression" and "appreciation." In the past, children's main activity has been expression in art class. In recent years, appreciation has gradually come to be thought of as important as expression. There are historical reasons for this general philosophy about "art".Many Japanese people think that only talented and famous painters or sculptors create "art." In their minds, "art" consists of highly valued "works of art" like those seen in museums and galleries. So, because it is quite different from that of a talented artist's masterpiece, children's expression has not been considered as art.On the other hand, children's expression is considered to be an important part of ego formation. In order to accomplish this, suitable materials and techniques must be part of the various formative experiences in art class. In this way, their inner emotions and thoughts can be communicated through the process and product of their expression. Because art teachers know such intuitive expression is an important part of life, it has been regarded as more important than appreciation. In this art class, children have not made "works of art" but have "expressed" themselves, thus they have been distanced from "Real art" (famous masterpieces). The Restriction Born of Confusion about the Sense of "Art" The Japanese general sense of "art" has brought a contradiction into art class. Because the works of talented and famous artists are highly valued in [End Page 20] many adults' minds, teachers often unrealistically expect young children to express as well as an adult.For example, many Japanese value lifelike pictures as excellent. Consequently, many adults expect children to draw objects exactly as they appear. A college student who grew up surrounded by this value system retains such a sense of value. And if she cannot draw a lifelike... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 19-26 [Access article in PDF] Restriction and Individual Expression in the "Play Activity / Zokei Asobi " Since World War II, art teachers in Japan have wavered between two senses of value. The first issue is whether they should foster children's specific artistic ability (for example, drawing, painting, or sculpture) in art class. Many art teachers believe that there is a standard (...) body of knowledge about art that should be taught, much like chemistry or mathematics. In fact, teachers do set these restrictions by giving teaching materials or subjects of expression to children in art class. On the other hand, art teachers recognize the need to encourage the expression of each child's individual emotions and creativity. So, Japanese art teachers are faced with a contradiction: requiring [End Page 19] each child to express herself "freely" within an environment restricted by a set curriculum.In Japan, when the government guidelines for teaching were revised about 25 years ago, a new domain was instituted in the elementary school art class. The domain is called "Play Activity/Zokei Asobi." The field of expression consists of two domains: the making of works (visual objects) according to a theme or subject and the "Play Activity" using various materials. The former is equivalent to the basic picture, craft, design, and sculpture education. The Play Activity is based on the viewpoint that children's expression naturally comes from within and is expressed as spontaneous play, such as playing in the sand or with blocks. Because children have a natural curiosity, play is not to be directed by someone else, but by their own will. Children's spontaneous play is viewed as the beginning of individual expression. Although the Play Activity has not yet fully permeated into art education of Japan, it has brought some changes to art class. The Play Activity has forced art teachers to think about their role: whether one should emphasize restriction — "shall I teach something to children?" or freedom — "how should I deal with each child's individual expression?" In this essay, I explore teachers' stream of consciousness about children's expression and meanings and subjects of the Play Activity in Japan. Child's Expression and Works of Art The Japanese art class consists of two fields: "expression" and "appreciation." In the past, children's main activity has been expression in art class. In recent years, appreciation has gradually come to be thought of as important as expression. There are historical reasons for this general philosophy about "art".Many Japanese people think that only talented and famous painters or sculptors create "art." In their minds, "art" consists of highly valued "works of art" like those seen in museums and galleries. So, because it is quite different from that of a talented artist's masterpiece, children's expression has not been considered as art.On the other hand, children's expression is considered to be an important part of ego formation. In order to accomplish this, suitable materials and techniques must be part of the various formative experiences in art class. In this way, their inner emotions and thoughts can be communicated through the process and product of their expression. Because art teachers know such intuitive expression is an important part of life, it has been regarded as more important than appreciation. In this art class, children have not made "works of art" but have "expressed" themselves, thus they have been distanced from "Real art" (famous masterpieces). The Restriction Born of Confusion about the Sense of "Art" The Japanese general sense of "art" has brought a contradiction into art class. Because the works of talented and famous artists are highly valued in [End Page 20] many adults' minds, teachers often unrealistically expect young children to express as well as an adult.For example, many Japanese value lifelike pictures as excellent. Consequently, many adults expect children to draw objects exactly as they appear. A college student who grew up surrounded by this value system retains such a sense of value. And if she cannot draw a lifelike... (shrink)

Four essays on the psychological aspects of art. A study of Leonardo treats the work of art, and art itself, not as ends in themselves, but rather as instruments of the artist's inner situation. Two other essays discuss the relation of art to its epoch and specifically the relation of modern art to our own time. An essay on Chagall views this artist in the context of the problems explored in the other studies.

In lieu of an abstract, here is a brief excerpt of the content:Creativity Belongs to the Person, not to DiseaseJuan J. López-Ibor Jr. (bio) and María-Inés López-Ibor (bio)Keywordscreativity, patho-biography, Saint Teresa, visionsIn the paper, “From the Visions of Saint Teresa of Jesus to the Voices of Schizophrenia,” Cangas, Sass, and Pérez-Álvarez (2008) take an original approach to patho-biography that is very welcome.The temptation to designate historical individuals or characters of fiction as suffering from mental disease has always produced disagreeable feelings (...) in me. This sort of abuse of psychiatry and of the people in question is parallel to the abuse by the media or lay citizens when they describe, say, an especially violent murderer as a schizophrenic—forgetting that the vast majority of people with schizophrenia are not in the least violent. Having read Santa Teresa’s writings during my adolescence, well before I even considered entering medicine, I reacted to comments about her alleged psychiatric illnesses with uneasiness, to put it mildly. The Santa Teresa of La Vida de la Santa Madre Teresa de Jesús (her autobiography), of the Camino de Perfección, and of the El Castillo Interior was surely not a mental patient, it seemed to me. The same would apply to San Juan de La Cruz, Jean D’Arc, Don Quijote, Sancho Panza, Edipus, and Clitemnestra, to mention a few. Even van Gogh’s paintings did not seem to me the productions of a patient with schizophrenia or epilepsy. Of course all of them may have suffered, at certain periods of life, symptoms attributable to a mental disorder, but their creativity rested elsewhere, and was often manifest during healthy periods of their lives. After years spent fighting the stigma of mental diseases, and after organizing several exhibitions of works of art of people with mental diseases, we came to the conclusion that creativity and singularity belong to the person, not to the illness. Some of the diseases of these individuals may have being accidents (van Gogh’s hallucinations and psychotic symptoms, for example, were most probably due to intoxications with absinthe, then rich in hallucinogenic alkaloids such as tujone), or, together with other life circumstances, may have had unspecific influences on the person’s condition. In contrast with many other psychiatric disorders that are represented in ancient Greek and Roman literature, there are no descriptions of individuals with schizophrenia in the Greek and Roman literature dating from the fifth century bc to the beginning of the second century Ad (Evans et al. 2003), and several authors have speculated that schizophrenia did not exist before the eighteenth century (Ellard 1987).Caution is important when dealing with mental health and religious issues in contrast with creativity. The creativity of people suffering from bipolar disorders is well recognized (Jamison 1993) and [End Page 277] the same applies to alcohol and drug intoxication. Tellenbach (1986) has also written on the creativity of depressed persons, although he refers more to the disposition of mood (Schwermut) than to clinical depression as such. The link between melancholia and genius put forward by Aristotle has often been misinterpreted. The philosopher was considering the melancholic temperament and not the melancholic illness as we would understand it today. Of the four temperaments, it is in his view only the melancholic that is gifted with creativity. The sanguine person seeks the immediate pleasures of life, the choleric one considers himself powerful and dedicates himself to manifesting this power, and the phlegmatic individual is disconnected from life and seeks to live without effort or pleasure. The melancholic temperament leads to creativity because of the predominance of doubt, reflection, and dissatisfaction with the miseries of life.Freud’s notion of religiosity as a collective obsessive neurosis is totally mistaken, in my view. The three main themes of obsessions are cleanliness, order, and guilt. In none of these cases is the theme the goal of the action; rather, it is a strategy to contain anxiety. As a consequence, patients with obsessions and compulsions about dirt and cleanliness tend to be dirty themselves, because the real purpose of their compulsions is not in fact to be clean but rather to satisfy a ritual. When order... (shrink)

This paper first elaborates ‘Art’ and the aesthetic as these concepts emerged in the eighteenth century, and uncovers the conflict between the resulting ideal of ‘art for art’s sake’ and the increasing use ‘art therapy’ for personal and social purposes. Taking this conflict to be a reason for the rejection of ‘Art’, it considers two accounts of ‘the end of Art’, one by Arthur Danto and the other by Nicholas Wolterstorff. The paper argues that both accounts fall short of adequately (...) recognizing the presence of the aesthetic in everyday life, and that once we do acknowledge the properly aesthetic character of ‘Design’, a way of thinking is opened up that can make better sense of art therapy. The paper concludes with a brief indication of where the next philosophical question about art therapy lies. (shrink)

Art world talk of “blurred boundaries” and “hybrids” between art and craft, suggests that the philosophy of art needs to rethink the concept of craft. This can best be done by adopting four strategies: first, distinguish between craft as a set of disciplines, and craft as a process and practice; second, keep in mind the differences among craft practices such as studio, trade, ethnic, amateur, and DIY; third, recognize that craft’s relationship with design is as important as its relationship (...) to art; fourth, attend to the role digital design and fabrication are playing in craft and art today. At the core of the craft process are three contested characteristics found in most craft practices: hand, material, and skill, although these are better understood as body, medium, and mastery. After discussing a fourth contested characteristic of many craft and design practices, function, I show that none of the four characteristics is a requisite condition for artistic practice today, yet none are excluded from contemporary art, despite its current “post‐studio” or “post‐disciplinary” tendencies. I conclude that the boundary between art and craft conceived as a set of disciplines defined by materials and techniques has not become blurred, it has all but disappeared. On the other hand, I show through an analysis of some references to “mere craft” by Stephen Davies and Arthur Danto, that craft conceived as a process and practice can be understood as distinct from art, but in a non‐invidious sense. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 64-73 [Access article in PDF] Postmodern Approach to Art Appreciation for Integrated Study in Japan This essay aims to clarify the issues of art appreciation education in Japan, and to examine a viewpoint for considering the issues in relation to a "Period for Integrated Study" established in 2002. Though ideas of art educationhave expanded in recent years, we are facing the difficulty (...) of approximately |a 20% cut in the number of art classes offered in Japanese compulsory education. In addition to this, involvement of art with Integrated Study, a new attempt to transcend the conventional learning of subjects, has presented urgent issues in art education along with current educational reforms.Based on analyses of the developmental characteristics of Japanese students' aesthetic sensitivity, we consider the issues of art appreciation education, and present a vision for involvement of art appreciation with Integrated Study. For example, Japanese students show a keen interest in formal elements with an inclination for expressiveness as a legacy received from the study of modernism in art education. On the other hand, students also show weakness in skills in finding artistic contexts. This should be considered as the most important issue of art appreciation education in Japan. It is necessary to enhance students' viewing in relation to social and cultural contexts in order to address this issue. We propose that this can be achieved through Integrated Study. Art appreciation in Integrated Study should take a postmodern approach to Japanese art education, which now has a strong inclination toward modernism. Educational Reform and Integrated Study With a rapid decline in the number of children, a rapidly aging society, and the advent of computerization and globalization, we now face problems which cannot be solved by conventional systems presently in place in Japanese society. In order to address these problems, drastic reforms that also include educational reform must be undertaken. Specific reform in education [End Page 64] can be seen in changes in the Course of Study. The most notable feature in the latest revision of the Course of Study is the establishment of the Period for Integrated Study. Integrated Study was established as a new project for the most highly prioritized issue of how students can acquire the so-called "Zest for Living." 1 Integrated Study is a required subject, with 105 to 110 class hours/year in third grade and above in elementary school, and 70 to 130 class hours/year in junior high school. The Course of Study does not prescribe the contents in detail but the periods are organized and implemented by each school according to regions and schools. However, it is suggested that schools proceed with the study of international understanding, conversation in foreign languages, information, the environment, social welfare, and health in a comprehensive and interdisciplinary way. IntegratedStudy puts an emphasis on students' initiative in identifying issues forthemselves, and on the cultivation of their talent and ability to solve those issues. Based on students' own interests, great importance is placed on problem-solving, open-ended activities, and the cultivation of independent and creative attitudes. Unlike the conventional unilateral teaching of knowledge for subjects, Integrated Study's purpose is to shift the direction of education so students can learn and think for themselves. In addition, Integrated Study focuses on authentic way and develops the skills of collecting, investigating, and connecting information, and reporting, announcing, and discussing. 2On the other hand, in curricula for elementary and junior high schools, the hours of art classes were reduced so that Japanese art education was put in a more difficult situation compared to previous curricula. Respectivesubjects are designed for students to learn basic abilities for the development of Integrated Study. Therefore, while educational reform is underway in Japan, art education faces the problem of maintaining basic learning at the same level as previously, relating art to Integrated Study.Relations between Integrated Study and art education have been discussed in various ways. 3 Two general problems can be pointed out. One isour concern that the originality of art as... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 64-73 [Access article in PDF] Postmodern Approach to Art Appreciation for Integrated Study in Japan This essay aims to clarify the issues of art appreciation education in Japan, and to examine a viewpoint for considering the issues in relation to a "Period for Integrated Study" established in 2002. Though ideas of art educationhave expanded in recent years, we are facing the difficulty (...) of approximately |a 20% cut in the number of art classes offered in Japanese compulsory education. In addition to this, involvement of art with Integrated Study, a new attempt to transcend the conventional learning of subjects, has presented urgent issues in art education along with current educational reforms.Based on analyses of the developmental characteristics of Japanese students' aesthetic sensitivity, we consider the issues of art appreciation education, and present a vision for involvement of art appreciation with Integrated Study. For example, Japanese students show a keen interest in formal elements with an inclination for expressiveness as a legacy received from the study of modernism in art education. On the other hand, students also show weakness in skills in finding artistic contexts. This should be considered as the most important issue of art appreciation education in Japan. It is necessary to enhance students' viewing in relation to social and cultural contexts in order to address this issue. We propose that this can be achieved through Integrated Study. Art appreciation in Integrated Study should take a postmodern approach to Japanese art education, which now has a strong inclination toward modernism. Educational Reform and Integrated Study With a rapid decline in the number of children, a rapidly aging society, and the advent of computerization and globalization, we now face problems which cannot be solved by conventional systems presently in place in Japanese society. In order to address these problems, drastic reforms that also include educational reform must be undertaken. Specific reform in education [End Page 64] can be seen in changes in the Course of Study. The most notable feature in the latest revision of the Course of Study is the establishment of the Period for Integrated Study. Integrated Study was established as a new project for the most highly prioritized issue of how students can acquire the so-called "Zest for Living." 1 Integrated Study is a required subject, with 105 to 110 class hours/year in third grade and above in elementary school, and 70 to 130 class hours/year in junior high school. The Course of Study does not prescribe the contents in detail but the periods are organized and implemented by each school according to regions and schools. However, it is suggested that schools proceed with the study of international understanding, conversation in foreign languages, information, the environment, social welfare, and health in a comprehensive and interdisciplinary way. IntegratedStudy puts an emphasis on students' initiative in identifying issues forthemselves, and on the cultivation of their talent and ability to solve those issues. Based on students' own interests, great importance is placed on problem-solving, open-ended activities, and the cultivation of independent and creative attitudes. Unlike the conventional unilateral teaching of knowledge for subjects, Integrated Study's purpose is to shift the direction of education so students can learn and think for themselves. In addition, Integrated Study focuses on authentic way and develops the skills of collecting, investigating, and connecting information, and reporting, announcing, and discussing. 2On the other hand, in curricula for elementary and junior high schools, the hours of art classes were reduced so that Japanese art education was put in a more difficult situation compared to previous curricula. Respectivesubjects are designed for students to learn basic abilities for the development of Integrated Study. Therefore, while educational reform is underway in Japan, art education faces the problem of maintaining basic learning at the same level as previously, relating art to Integrated Study.Relations between Integrated Study and art education have been discussed in various ways. 3 Two general problems can be pointed out. One isour concern that the originality of art as... (shrink)

Throughout the history of psychoanalysis, the study of creativity and fine art has been a special concern. _Psychoanalytic Studies of Creativity, Greed and Fine Art: Making Contact with the Self_ makes a distinct contribution to the psychoanalytic study of art by focusing attention on the relationship between creativity and greed. This book also focuses attention on factors in the personality that block creativity, and examines the matter of the self and its ability to be present and exist as the essential (...) element in creativity. Using examples primarily from visual art_ David Levine_ explores the subjects of creativity, empathy, interpretation and thinking through a series of case studies of artists, including Robert Irwin, Ad Reinhardt, Susan Burnstine, and Mark Rothko. _Psychoanalytic Studies of Creativity, Greed and Fine Art_ explores the highly ambivalent attitude of artists toward making their presence known, an ambivalence that is evident in their hostility toward interpretation as a way of knowing. This is discussed with special reference to Susan Sontag’s essay on the subject of interpretation. Psychoanalytic Studies of Creativity, Greed and Fine Art contributes to a long tradition of psychoanalytically influenced writing on creativity including the work of Deri, Kohut, Meltzer, Miller and Winnicott among others. It will be of interest to psychoanalysts, psychoanalytic psychotherapists, historians and theorists of art. (shrink)

This volume aims to question, challenge, supplement, and revise current understandings of the relationship between aesthetic and political operations. The authors transcend disciplinary boundaries and nurture a wide-ranging sensibility about art and sovereignty, two highly complex and interwoven dimensions of human experience that have rarely been explored by scholars in one conceptual space. Several chapters consider the intertwining of modern philosophical currents and modernist artistic forms, in particular those revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to traditional definitions (...) of "Art." Other chapters deal with currents that emerged as facets of art became increasingly commercialized, merging with industrial design and popular entertainment industries. Some contributors address Post-Modernist art and theory, highlighting power relations and providing sceptical, critical commentary on repercussions of colonialism and notions of universal truths rooted in Western ideals. By interfering with established dichotomies and unsettling stable debates related to art and sovereignty, all contributors frame new perspectives on the co-constitution of artworks and practices of sovereignty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 1-12 [Access article in PDF] Art and Mathematics in Education Richard Hickman and Peter Huckstep We begin by asking a simple question: To what extent can art education be related to mathematics education? One reason for asking this is that there is, on the one hand, a significant body of claims that assert that mathematics is an art, and, on the other, (...) work in art that has a mathematical basis. Observations of these kinds are not trivial. They have significant implications for the teaching of these areas of the curriculum in at least two ways. First, there is the methodological issue of the extent to which we should teach mathematics and art separately, and second, the teleological question of why they appear in the curriculum at all. So the relationship between the nature of mathematics and art, perceived or real, bears down on questions of the individuation and the justification of these disciplines, or, in other words, upon pedagogy and purpose. Although in principle both the pedagogy and the purpose of any discipline are distinct, there are important connections between them, as we shall draw out.As far as mathematics goes, it has been stressed that the purposes of even rudimentary aspects of mathematics such as counting do need to be made explicit to pupils. 1 What have been seen as errors in understanding are internally linked with pupils' ideas of the purposes of counting. Anna Sierpinska discusses a similar situation within the broader aspect of what she calls "theory" in higher mathematics. 2 More generally, John Passmore, in his analysis of pupils' understanding includes the case where a pupil sees no need to understand since he or she cannot understand the point of learning the subject. 3 If the purposes of art and mathematics are strikingly similar then there is reason to suppose that certain pedagogical approaches that [End Page 1] follow from this will improve understanding of both mathematics and art, and therefore understanding of reasons for engaging in math-based and art-based activities.In schools we see what appears to be some evidence of connections between art and mathematics in cross-curricular work, such as that described in Jacqueline Cossentino and David Schaffer. 4 Apart from providing much-needed motivation, an important value of this approach toward mathematics is that it can illuminate pupils' understanding of some of its purpose by, at the very least, allowing them to recognize instances of mathematics at work, often in unsuspecting contexts. In particular, by facilitating some transference of knowledge pupils can appreciate the so-called "power" of mathematics in its widespread application to the world of artefacts produced by themselves and others.Can we go further than displaying connections between these disciplines? Can we treat mathematics itself as art? In particular, can we suppose that pupils can make mathematics just as they can make artefacts? Some writers seem to imply this by invoking the notion of creativity as a common property between the two disciplines. 5 Leaving aside the ironic sense of creativity in, for example, the case of "creative accountancy" pupils must indeed "make" sense of mathematics and they must originate mathematical assertions of their own that have not been directly taught. In both respects mathematics is similar to the learning of a language. Further than this, we value pupils' inventiveness in their approaches to areas of mathematics, calculations for example.The linking of mathematics and art via creativity has its most persuasive force in the change of attitude toward axiomatic foundations. 6 The story is familiar: for centuries Euclidean geometry was (wrongly) supposed to offer truths of the actual space in which we lived, since its axioms were thought to be confirmed by our intuitions of space. However, when it was found that consistent and useful axiomatic systems could be constructed by making certain alterations to these axioms, it became clear that mathematics was not simply discovered. It involved a significant measure of creativity. Yet one thing is clear: the sense that children make of mathematics, the original utterances they make... (shrink)

Works of culinary expertise are not typically regarded as works of "fine" art, in the way that, say, paintings, etchings, symphonies and sculptures are. I argue, however, that any form of creativity embodied in a perceptible work reflecting it is a subject about which we might exercise "aesthetic judgments" that do not differ fundamentally from the sorts typical with regard to the usual "fine" arts. To reserve a special notion for marking off the latter simply disguises the fact that (...) it is properly a value judgment that one is making. Otherwise it might seem a simple matter of fact that certain works are not works of fine art. I deal with this issue in Chapters Three and Four, in connection with traditional attempts to distinguish art from mere "craft" and more recent efforts to account for a certain "openness" in the concept of art. In Chapter One I consider the work of art as an "aesthetic object" combining sensory qualities into a complex whole, and specific objections against the possibility of composing or constructing, according to artistic principles, complexes of tastes . In Chapter Two the notion of "function" is introduced, since it might be thought that food is too obviously functional, in the face of the apparent irrelevance of functional considerations in artistic appraisal. ;Throughout, the emphasis is on food as specifically edible. In Chapter Two I argue, however, that other aspects of food besides its taste and smell might also be considered as part of that specific emphasis. Even to consider the visual qualities of a dish, for example, does not necessarily reduce it to a case of sculpture or visual design. Rather, I argue, cooking is an art which, in some of its forms, simply happens also to be an art of sculpting or visual design. I make a related point in Chapter Five about works in which food is at most one ingredient, e.g., performances, services or ceremonies. In cases where the whole work actually utilizes potentialities of food in an essential way, I argue that it is at least not clear why we should not regard the work as one of the culinary art that also happens to take the form, say, of dramatic or pictorial art. ;The first two chapters primarily aim to remove objections to regarding food works as art. This of course does not show that any particular food creation ever does in fact reach the level demanded for proper inclusion as "art." However, my more general discussion in Chapters Three and Four are aimed at generating some sympathy for an approach that would simply undercut the feeling that there is any such "level" to be reached in the first place. At best we are dealing with degrees of artistic value. Why not simply grant, then, that creatively produced taste complexes are works of art, and reserve whatever valuations we might come to make for the judgements we make concerning how good any particular work of food art is? In Chapter Five I emphasize the extent to which food works may in fact embody artistic dimensions, specifically with respect to the creative combination of expressive and symbolic elements. This allows for a kind of "composition" involving those elements, over and above the potentialities inherent in taste and smell as such. As for whether such compositions then ever reach a level of excellence sufficiently high for genuine "art"--I try to argue that this is a question that we simply should not ask. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

This short article discusses the nature of research and art practice and makes a case for the necessary intermingling of these activities. It does not attempt to define a space for art to operate as research, quite the opposite: research is an operating structure for the process and production of, among other things, art. It is regarded as integral to the processes of thinking, making, and reflecting, and it is important to note that curiosity, creative enquiry, and critical reflection (...) underpin much that is considered research in various fields. The author asserts that these processes are not necessarily discipline-specific although particular disciplines have specific procedures and goals. It is argued that "provisionality" is central to what art can offer other disciplines; it can make a virtue of incompleteness. The author suggests that art open itself up to quizzical scrutiny and help others to recognise that research has long been, and will continue to be, a driving force within its makeup. The article posits an expanded notion of the artwork that is essentially provisional and reliant on spectatorial involvement. (shrink)

_The Arts and the Definition of the Human_ introduces a novel theory that our selves—our thoughts, perceptions, creativity, and other qualities that make us human—are determined by our place in history, and more particularly by our culture and language. Margolis rejects the idea that any concepts or truths remain fixed and objective through the flow of history and reveals that this theory of the human being as culturally determined and changing is necessary to make sense of art. He shows (...) that a painting, sculpture, or poem cannot have a single correct interpretation because our creation and perception of art will always be mitigated by our historical and cultural contexts. Calling upon philosophers ranging from Parmenides and Plato to Kant, Hegel, and Wittgenstein, art historians from Damisch to Elkins, artists from Van Eyck to Michelangelo to Wordsworth to Duchamp, Margolis creates a philosophy of art interwoven with his philosophical anthropology which pointedly challenges prevailing views of the fine arts and the nature of personhood. (shrink)