Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of (...) Estonian ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of (...) Estonian ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

This article reflects on the problem of false belief produced by the integrated psychological and algorithmic landscape humans now inhabit. Following the work of scholars such as Lee McIntyre (Post-Truth, MIT Press, 2018) or Cailin O’Connor and James Weatherall (The Misinformation Age: How False Beliefs Spread, Yale University Press, 2019) it combines recent discussions of fake news, post-truth, and science denialism across the disciplines of political science, computer science, sociology, psychology, and the history and philosophy of science that variously address (...) the ineffectiveness, in a digital era, of countering individual falsehoods with facts. Truth and falsehood, it argues, rather than being seen as properties or conditions attached to individual instances of content, should now be seen as collective, performative, and above all persuasive phenomena. They should be practically evaluated as networked systems and mechanisms of sharing in which individually targeted actions are combining with structural tendencies (both human and mechanical) in unprecedented ways. For example, the persuasive agency of apparent consensus (clicks, likes, bots, trolls) is newly important in a fractured environment that only appears to be, but is no longer ‘public’; the control of narratives, labels, and associations is a live, time-sensitive issue, a continuous contest, or ongoing cusp. Taking a social approach to truth yields observations of new relevance; from how current strategies of negative cohesion, blame, and enemy-creation depend crucially on binary ways of constructing the world, to how the offer of identity/community powerfully cooperates with the structural tendencies of algorithm-driven advertiser platforms towards polarisation. Remedies for these machine-learned and psychological tendencies lie in end-user education. So the Arts and Humanities, whether via comparisons with previous historical periods, or via principles of critical thinking and active reading, offer crucial resources to help counter what since 1997 silicon valley executives and scholars have called ‘persuasive technology’ (Fogg in Persuasive Technology: Using Computers to Change What we Think and Do, Morgan Kaufmann, 2003; Hamari et al. (eds) in Persuasive Technology, Springer International Publishing, 2014; Harris in How a Handful of Tech Companies Control Billions of Minds Every Day, 2017; Lanier in Who Owns the Future? Simon & Schuster, 2014 and Ten Arguments for Deleting your Social Media Accounts Right Now, Picador, 2019). The article proposes a paradigm shift in public understandings of this new social environment: from a culture of discovery, where what matters is what exists or is in fact the case, to a culture of iteration, where what matters is what gets repeated. (shrink)

Human beings engage works of the arts in many different ways: they sing songs while working, they kiss icons, they create and dedicate memorials. Yet almost all philosophers of art of the modern period have ignored this variety and focused entirely on just one mode of engagement, namely, disinterested attention. Nicholas Wolterstorff asks why this might be, and proposes that almost all philosophers have accepted the grand narrative concerning art in the modern world. It is generally agreed that in the (...) early modern period, members of the middle class in Western Europe increasingly engaged works of the arts as objects of disinterested attention. The grand narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. Wolterstorff rejects this claim, and offers an alternative framework for thinking about the arts. Central to his alternative framework are the idea of the arts as social practices and the idea of works of the arts as having different meaning in different practices. (shrink)

The purpose of this paper is to consider Dewey’s influence on American artistic culture between the nineteen-twenties and the nineteen-fifties by focusing on the social and political implications of his approach to art in terms of experience. This entails recapturing, in a concise form, the impact of Dewey’s thought on the development of the Federal Art Project and on Abstract Expressionism. On the basis of the pragmatist assumption that the soundness of a theoretical proposal is to be measured according (...) to its capacity to meet the difficulties arising in our everyday interactions, the present paper systematically examines the theoretical implications of Dewey’s aesthetics in the light of the historical consequences of a specific cultural policy. Dewey’s conception of art and aesthetic experience appears to have made a decisive contribution by providing new opportunities to enjoy the arts and by widely promoting practices with the potential to be aesthetically satisfying. Dewey’s ideas actually led to an undermining of the hierarchy between the fine arts and crafts, between popular culture and design, etc. More problematic are their connections with questions of cultural identity and of art market. Dewey’s influence on the Abstract Expressionists is evident in the way it shifted the artistic focus from art objects toward the experiential dimensions of artistic practices. Some problems regard the accessibility of this kind of works for a general audience and a certain reinforcement of the conception of the artist as creative genius, included the related interpretation of artistic creation as extreme subjective expression. (shrink)

© British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] exists, according to Nicholas Wolterstorff in this deeply engaging and exemplary study, a Grand Narrative that runs through much of our thinking about art. That narrative, emerging from and solidified since the eighteenth century, is in essence that art is created for, and remains in museums and galleries as occasions for, abstract and transcendent (...) contemplation of a kind disconnected from life and from the rather messy social practices and embodied interactions that lie far beneath that lofty aesthetic realm. It is Wolterstorff’s chosen task here to identify that narrative, root it out, and rid us of it once and for all. He reports that his moment of realization that art needed... (shrink)

© The Author 2017. Published by Oxford University Press on behalf of The Analysis Trust. All rights reserved. For Permissions, please email: [email protected] this very wide-ranging and absorbing monograph, Nicholas Wolterstorff argues that modern aestheticians ignore the varieties of engagement with art, in an exclusive focus on disinterested attention. This, he argues, is because they assume the ‘grand narrative concerning art in the modern world’. According to Wolterstorff, this narrative holds that in the Early Modern period in the West, members (...) of the bourgeoisie increasingly engaged works of the arts as objects of disinterested attention. The narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. The change arose through the emergence of a bourgeoisie with leisure and a secular civil society; thus ‘contemplation as a way of engaging with works of arts came... (shrink)

"Artists are trying to move away from the influence of competitive corporate culture that has increasingly defined art as an abrasive urban career. Artists are trying to replace this with the humbler notion of art as a practice, as a mindful way of life, consisting of consciously creative gestures, visible and invisible, large and small. Art practice is a private and public, selfless and generous, creative life process resulting in a conscious cultural product." "Walking Art Practice" brings (...) together the author's experiences as a monk, performance artist, social choreographer and educator. It serves as a provocation, walkers' manifesto, and teaching guide for walking as a mindful cultural activity and as mindful cultural activism. It is an inspirational text for artists, art students and anyone who loves to walk. Ernesto Pujol combines elements from an art book, field journal and walkers' manifesto. It is a text for performative artists, art students, and all who walk as cultural activism. This book is an invitation to: Rethink what it means to walk and explore different ways in which to walk as: a cultural practice; a meditative practice; a radical practice; art; healing; and social engagement; Reconsider how to attend to the inner and outer landscape whilst walking; Treat walking as a performance resource; Walk as an everyday pilgrimage; Walk slowly, walk in and with awareness, walk with and without skill, walk to regain and to lose. [Subject: Performance Art, Walking, Meditation]. (shrink)

In our life with science, we trust experts; we form judgements by inference from past evidence. We conduct ourselves very differently in the aesthetic domain. We avoid deferring to aesthetic experts. We form our judgements through direct perception of particulars rather than through inference. Why the difference? I suggest that we avoid aesthetic testimony and aesthetic inference, not because they’re unusable, but because we have adopted social norms to avoid them. Aesthetic appreciation turns out to be something like a (...) game. We have laid down certain rules and restrictions in order to shape a kind of activity we cherish. And aesthetic properties turn out to be a kind of social construct. Much like the goal of a game, they are constituted in part by our obedience to certain rules. The norms of aesthetic life are different from those of science because our purposes are different. We engage in science to get the right answers; we engage in aesthetic appreciation to be absorbed in the activity of the sensuous perception of particulars. Our aesthetic practices are a constructed shelter from science; they restore to us a small domain where we may once again engage in our own sensuous perception of particulars. (shrink)

The paper is one of the four central texts where Clifford Geertz summarized his ideas. Geertz suggests an understanding of art as a social phenomenon and gives a social anthropological account of aesthetic experience. In opposition to structuralism, which analyzes art as a closed sign system developing according to its inherent logic, and to radical functionalism, which attempts to study art as if its main function was to maintain established institutions of culture, Geertz proposes to view a work (...) of art as a symbolical expression of the significant experience of its creator. In this case the ability of aesthetic perception of the work of art is treated as the ability to recognize the symbols it contains — the ability that results from involvement in the relevant cultural practices. Author illustrates his argument by the examples from the studies of that time: studies of Abelam tribe of New Guinea, Yoruba people of Western Africa, Quattrocento Italia, and modern Morocco. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Achieving Social and Cultural Educational Objectives through Art Historical Inquiry PracticesJacqueline Chanda (bio)Some overburdened art or generalist teachers may ask: "With all the things we have to know and do these days, why should we be interested in art history inquiry processes? What educational value is there in promoting the use of art history inquiry processes in teaching and learning?" The answer to the first question lies in (...) art history's relationship to the humanities and the visual arts. The humanities is the branch of learning concerned with human thought and relations. We turn to the humanities when we wish to understand the human condition, social and cultural values, and ourselves. But some might say that historical inquiry methods do the same thing. What distinguishes art historical inquiry from general historical inquiry is the focus on the visual arts. Visual arts are in the branch of learning that deal with the production and study of visual imagery and material objects. In the context of art history inquiry, visual imagery and material objects are the primary data used for the study of changes in ourselves; religious, social, and cultural values; and human conditions. Visual imagery is one of the universal ways that the human condition and social and cultural values of the past and present are expressed. It is one of the fundamental means by which humans communicate feelings, emotions, ideas, ideologies, etc.Art educators have acknowledged for a long time the importance of the study of images and visual elements in the lives of children and the field of art education. This is even more evident today as the discipline moves to embrace notions of "visual culture," which emphasize exploring and studying all the things that visibly shape our lives. The acknowledgment of art history as an inquiry process rather than simply the study of facts about past artworks developed in the discipline-based arts education (DBAE) [End Page 24] movement of the 1980s and 1990s.1 In spite of the recommendations that art history be explored as a discipline of inquiry, much of the art history investigations that take place in the classroom today focus on understanding the artist through his/her biography and understanding the work of art through analysis of style and formal description.2 While the artist biography brings to light the artist's intention and a formal description examines what one can see in the work and makes reference to aspects of style and formal elements, the two approaches do not provide enough information to generate meaning and speculate about what social and cultural elements may have caused the work of art to look the way it does or the effects it may have had at the time of its creation. Unfortunately, many educators are not aware of how to extend their investigations to uncover these levels of analysis.Erickson provides one definition of inquiry as describing, attributing (determining who created the work), reconstructing (determining what the object originally looked like), and interpreting the artwork.3 While these aspects are all a part of an art historical investigation, they do not go far enough into the practices utilized by art historians when exploring a work of art. Therefore, in the context of this article the phrase "art historical inquiry processes" refers to the use of authentic activities (asking questions, collecting and analyzing data, interpreting, speculating about cause or effect, and disseminating knowledge) and approaches that art historians use when studying works of art; this approach goes beyond what is clearly seen in visual imagery in order to reveal not only the denotative but also the connotative meanings that are relevant to the historical and cultural context of the artwork. These authentic activities incorporate approaches related to structural analysis (that is, contemporary analysis—iconography, iconology semiotics, feminism, etc.—that draws from literary reading skills to generate meaning) and explore, examine, and facilitate the drawing of conclusions about the significance and place of visual imagery and material objects in the societies from which they come.4 The purpose of this article is to discuss the value of studying visual images and material objects using authentic art history inquiry processes to uncover meanings, and by extension... (shrink)

In Rethinking Language Arts: Passion and Practice, Second Edition , author Nina Zaragoza uses the form of letters to her students to engage pre-service teachers in reevaluating teaching practices. Zaragoza discusses and explains the need for teachers to be decision-makers, reflective thinkers, political beings, and agents of social change in order to create a positive and inclusive classroom setting. This book is both a critical text that deconstructs the way language arts are traditionally taught in our schools as (...) well as a visionary text with clear, no-nonsense directions on how to provide much needed change in our schools. (shrink)

The history of modern innovation is primarily that of the industrial research laboratory, but the demise of the independent inventor —like that of the entrepreneur —has been much exaggerated. Independent inventing, in fact, continues to flourish as a cultural and technical practice in the contemporary United States. There are, however, a number of structural and cultural impediments in the way of independent inventors who seek to translate their invention into a commercial innovation. By drawing a comparison with the art (...) world, this article explores these impediments and argues that their existence is revealing of the deep social embeddedness of the invention and innovation process. (shrink)

Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind of knowledge (...) and practices are involved in art and technological innovation. It argues that technological innovation is indeed “technical”, but, if conceptualized as techne, can be understood as art and performance. It is argued that in practice, innovative techne is not only connected to episteme as theoretical knowledge but also has the mode of poiesis: it is not just the outcome of human design and intention but rather involves a performative process in which there is a “dialogue” between form and matter and between creator and environment in which humans and non-humans participate. Moreover, this art is embedded in broader cultural patterns and grammars—ultimately a ‘form of life’—that shape and make possible the innovation. In that sense, there is no gap between science and society—a gap that is often assumed in STS and in, for instance, discourse on responsible innovation. It is concluded that technology and art were only relatively recently and unfortunately divorced, conceptually, but that in practices and performances they were always linked. If we understand technological innovation as a poetic, participative, and performative process, then bringing together technological innovation and artistic practices should not be seen as a marginal or luxury project but instead as one that is central, necessary, and vital for cultural-technological change. This conceptualization supports not only a different approach to innovation but has also social-transformative potential and has implications for ethics of technology and responsible innovation. (shrink)

How is art both distinct and different from the rest of human life, while also mattering in and for it? This central yet overlooked question in contemporary philosophy of art is at the heart of Georg Bertram's new aesthetic. Drawing on the resources of diverse philosophical traditions – analytic philosophy, French philosophy, and German post-Kantian philosophy – his book offers a systematic account of art as a human practice. One that remains connected to the whole of life.

This book is a radical reappraisal of positivism as a major movement in philosophy, science and culture. In examining positivist movement and its contemporary impact, I had the following goals. First, to provide a more precise and systematic definition of the notion of positivism. Second, to describe positivism as a trend of thought concerned not only with the theory of knowledge and philosophy of science, but also with problems of ethics, social, and political philosophy, and show that its representatives (...) usually thought that the problems of the latter cannot be solved without solving the former first. Third, to examine the development of positivism as a movement which preserves a certain tradition and hence possesses some coherence, although the forms of this movement changed in different historical circumstances: it was born in the eighteenth century during the Enlightenment, took the form of social positivism in the nineteenth century, was transformed at the turn of the twentieth century with the emergence of empirio-criticism, and became logical positivism in the twentieth century. Fourth, to reveal the external and internal factors of this evolution. Fifth, to disclose the relation of positivism to other trends of philosophy. Sixth, to determine the influence the positive mind had not only upon philosophy, but upon other cultural phenomena, such as the natural and social sciences, law, politics, arts, religion, and everyday life. (shrink)

In three volumes, a distinguished group of scholars from a variety of disciplines in the natural and social sciences, the humanities and the arts contribute essays in honor of Robert S. Cohen, on the occasion of his 70th birthday. The range of the essays, as well as their originality, and their critical and historical depth, pay tribute to the extraordinary scope of Professor Cohen's intellectual interests, as a scientist-philosopher and a humanist, and also to his engagement in the world (...) of social and political practice. In Science, Politics and Social Practice, (Volume II of Essays in Honor of Robert S. Cohen), an international group of scholars -- philosophers, sociologists, historians, and political scientists -- discuss issues at the cutting edge of contemporary social and political thought, and its bearing on science. Several essays discuss the relations of Marxism to science, and specifically, to the philosophies of science of Carnap and Popper, as well as Soviet Marxism, and the effects of Stalinism on Soviet science. There are also essays on the philosophy and methodology of the social sciences, on questions of method and aim in historical narrative, on the issue of cultural relativism, and more. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the (...) public good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

This manual, which includes texts, interviews and artwork from five decades of practice, is intended as a tool for any artist or practitioner looking to find a meaningful relationship with contemporary society. It proclaims, and argues for, a culture that promotes the fluid, transient, relative and complex society from which it stems.

There are now countless social scientific disciplines—listed either as the science of … X … or as an -ology of one kind or another—each with their own internal controversies as to what are their “proper objects of their study.” This profusion of separate sciences has emerged, and is still emerging, tainted by the classical Cartesian-Newtonian assumption of a mechanistic world. We still seem to assume that we can begin our inquiries simply by reflecting on the world around us, and (...) by allowing our conceptualizations to guide our actions in our inquiries. Beginning our inquiries in this retrospective manner, however, means that our concepts and conceptualizations are both after-the-fact and beside the point, for ‘something else’ altogether is guiding us in the performance of our situation-sensitive actions than merely our conceptualizations. We need before-the-fact, hermeneutically-structured inquiries that can ‘set out’ inner ‘landscapes of possibilities’, to think-with and to provide guidance, as we try in our more scientifically organized efforts to achieve socially desired outcomes in particular socially shared situations. Conducting such preliminary inquiries is thus an art, requiring not only judgment, but also imagination and poetic forms of expression aimed at creating such shared, inner landscapes among all concerned. (shrink)

Academics from diverse disciplines are recognizing not only the procedural ethical issues involved in research, but also the complexity of everyday “micro” ethical issues that arise. While ethical guidelines are being developed for research in aboriginal populations and low-and-middle-income countries, multi-partnered research initiatives examining arts-based interventions to promote social change pose a unique set of ethical dilemmas not yet fully explored. Our research team, comprising health, education, and social scientists, critical theorists, artists and community-activists launched a five-year research (...) partnership on arts-for-social change. Funded by the Social Science and Humanities Research Council in Canada and based in six universities, including over 40 community-based collaborators, and informed by five main field projects, we set out to synthesize existing knowledge and lessons we learned. We summarized these learnings into 12 key points for reflection, grouped into three categories: community-university partnership concerns, dilemmas related to the arts, and team issues. In addition to addressing previous concerns outlined in the literature, we identified power dynamics hindering meaningful participation of community partners and university-based teams that need to be addressed within a reflective critical framework of ethical practice. We present how our team has been addressing these issues, as examples of how such concerns could be approached in community-university partnerships in arts for social change. (shrink)

The increasing availability of passively observed data has yielded a growing interest in “data fusion” methods, which involve merging data from observational and experimental sources to draw causal conclusions. Such methods often require a precarious tradeoff between the unknown bias in the observational dataset and the often-large variance in the experimental dataset. We propose an alternative approach, which avoids this tradeoff: rather than using observational data for inference, we use it to design a more efficient experiment. We consider the case (...) of a stratified experiment with a binary outcome and suppose pilot estimates for the stratum potential outcome variances can be obtained from the observational study. We extend existing results to generate confidence sets for these variances, while accounting for the possibility of unmeasured confounding. Then, we pose the experimental design problem as a regret minimization problem subject to the constraints imposed by our confidence sets. We show that this problem can be converted into a concave maximization and solved using conventional methods. Finally, we demonstrate the practical utility of our methods using data from the Women’s Health Initiative. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

What role does race play in the moral judgment of character? None, ideally, philosophers insist, contending that the proper assessment of an action requires that we disregard any social values associated with the body performing it. What rightly comes under evaluation, they assert, is the neutral, abstract deed irrespective of the race of the agent. Only under these conditions, presumably, can we gauge true moral worth. Reading together Immanuel Kant and Frantz Fanon on ethics and race, I propose instead (...) that embodied values such as those accorded by race do not distort the portrait of the ethical subject but rather bring that subjectivity into being. Key Words: blackness • embodiment • ethics • Frantz Fanon • Immanuel • Kant • morality • race • value. (shrink)

Much insect sounding is beyond the limits of typical human hearing ability. This sonic separation is exacerbated by a socialized narrative of fear and avoidance of insects in many western societies. With the use of audio technologies to expand our senses, we can embrace opportunities to get to know sensory and communicative insect sound-worlds beyond our own. Ecological sound art – sound art that has an environmentalist intent – is a tangible and accessible means of listening to these sounds. In (...) the series Built Hidden Soundscapes, the primary author (Schonberg) composes imagined soundscapes existing solely of sounds that are beyond the limits of typical human hearing ability. In this article we introduce two compositions in this series, Reserva Florestal Adolpho Ducke and Pipeline Road. These compositions offer a temporary expansion of our aural senses that can increase listeners’ awareness of cryptic insect existences/ecologies. We suggest that this listening practice might prompt future auralization (sounding or hearing in the mind) of insect sound for the listener. (shrink)

Research and theorizing in psychology, and as well as in other behavioral and social sciences, will be enhanced, enriched, and made more practical and useful if the variables and constructs therein are broadened and deepened by the words, the expressions, and the observations found in poetry, literature, plays, narratives and in the arts broadly speaking, media which are more sensitive to the nuances and subtleties in behavior than are those contained more conventionally in psychology.

Learning with different kinds of ICT-based tools is an important issue in today's society. In this article we focus on how design of technology rich environments based on state of the art learning principles can give us new insights about how learning occur, and how we can develop new types of learning environments. Medical education constitutes the subject domain. There has been a considerable effort to develop 3D technologies in this field, and the article provides a careful review of how (...) these technologies are applied. There is, however, a substantial gap between these advances and the use of technologies in medical education. Related work proposes individualistic assumptions or metaphors that do not focus explicitly on learning and technology mediation. Based on theoretical analysis of previous literature in the field we argue that there is a need for a new unit of analysis that includes the relationship between individual and collective activity and the role of technology herein. The socio-cultural and especially activity theory is taken as the perspective which gives the possibility to develop the argumentation about the unit of analysis. The unit of analysis also has implications for design of 3D environments. The design principles are elaborated upon and examples are given in relation to an application called Matador (Medical Advanced Training in an Artificial Distributed Environment). Matador is aimed at developing a simulation environment for training in emergency medicine. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Wittgensteinian Approach to Discerning the Meaning of Works of Art in the Practice of Critical and Contextual Studies in Secondary Art EducationLeslie Cunliffe (bio)In order to get clear about aesthetic words you have to describe ways of living.Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief1Language is a labyrinth of paths. You approach from one side and know your way about; you approach the same place (...) from another side and no longer know your way about.Wittgenstein, Philosophical Investigations2IntroductionThis article explores a Wittgensteinian approach for dealing with the meaning of works of art in the practice of critical and contextual studies in art education. The article is aimed at developing a methodology for eleven to nineteen year olds, known in the UK as the secondary phase of education, but the approach could be generalized to other educational phases.Henry Finch3 interprets four references to meaning found in Ludwig Wittgenstein's philosophy of language as a quadrant that combines the horizontal axis of meaning as physiognomies (the experiential and visual) and meaning as constructions (concepts, uses, science, and mathematics), with a vertical axis of meaning as imperatives (rule following, obligations, and law) and meaning as custom (ceremonies, myths, and ritual).4 The quadrant represents Finch's understanding of Wittgenstein's views about how language serves a different but complementary role in the way human beings engage [End Page 65] with meaning in the world and their place in it.5 Such meanings are embedded in social practices, including first-person responses to a physiognomy, although these start off as biologically primed reactions.Michael Luntley argues that Wittgenstein's philosophy of language and the related remarks on perception should be understood as setting conditions for the possibilities of judgment in "seeing the world aright, in taking the right attitude to the world"6 rather than simply mapping the possibilities of meaning, as the former underscores the role of will7 in the way meaning is actively witnessed and ethically processed by an agent. Having the right view is still only a view, but for Wittgenstein this amounted to an immense ethical and philosophical project to see things accurately and in correct relationship to each other. Such perspectival stances result from an agent's capacity to selectively engage with meaning, with a more unitary understanding resulting from criss-crossing the same territory from different points of view. Wittgenstein's four references to meaning can be thought of as forming four different points on a compass that direct the "self-as-will engaged with that which is independent of will "8 in a quest to see things aright. By extension, such an approach could be used in art education to enable students to develop the dispositions to see works of art aright.Marcia Eaton describes the tension between epistemic and interpretative approaches to the meaning of works of art in this way: "In which direction should one go? In other words, how can judgments which seem so personal (relative, subjective, etc.) also play a role in interpersonal (absolute, objective, etc.) language games?"9 Michael Podro gives a similar description of the apparent tension between a context-bound analysis of works of art and their irreducible and autonomous qualities as like "constantly treading a tightrope."10 Ralph Smith highlights the difference "between having knowledge about art and personally experiencing its presence and power."11Ben Tilghman12 advocates a Wittgensteinian way of going beyond these twofold approaches for understanding and interpreting art by focusing on the role that ponderable and imponderable evidence play in achieving the right stance when attempting to condense the meaning of works of art. Following Wittgenstein, Tilghman argues that a judgment based on imponderable evidence can often be supported by ponderable evidence, a process that is always linked to the relative experience, knowledge, and wisdom of the person making the judgment. Wittgenstein's four references to meaning could be thought of as points on a compass for directing the will in fittingness when endeavoring to understand the role and relationship of ponderable and imponderable evidence in any attempt to see works of art aright. But before these ideas can be... (shrink)

This paper brings a critical focus to difference and the creative arts in education with specific attention to art as a site of knowledge in New Zealand conditions. The 1990s and early 2000s are marked by a paucity of critically engaged literature on the arts in education and a conspicuous absence of discussions on the politics of difference. Alongside the global return to empirical research in education where quantifiable data‐based projects tend to attract attention ahead of fundamentally crucial questions of (...) philosophical and critical registers, there has been an apparent reinvention of liberal humanistic concepts of creative practice. These tendencies are coupled with strategic political alignments of creativity with industry. The outcome appears to be a withering of attention to the politics of difference on the vine of educational philosophy, policy and practice in art education. The paper suggests that if the creative arts are to hold or gain any purchase in the stakes of education in a global world this vine must be tended and revitalised through a rigorous application of critically framed questions so that discourses of difference can be recognised as a social and political responsibility in the art educational encounter. (shrink)

This paper brings a critical focus to difference and the creative arts in education with specific attention to art as a site of knowledge in New Zealand conditions. The 1990s and early 2000s are marked by a paucity of critically engaged literature on the arts in education and a conspicuous absence of discussions on the politics of difference. Alongside the global return to empirical research in education where quantifiable data‐based projects tend to attract attention ahead of fundamentally crucial questions of (...) philosophical and critical registers, there has been an apparent reinvention of liberal humanistic concepts of creative practice. These tendencies are coupled with strategic political alignments of creativity with industry. The outcome appears to be a withering of attention to the politics of difference on the vine of educational philosophy, policy and practice in art education. The paper suggests that if the creative arts are to hold or gain any purchase in the stakes of education in a global world this vine must be tended and revitalised through a rigorous application of critically framed questions so that discourses of difference can be recognised as a social and political responsibility in the art educational encounter. (shrink)

Critique as Social Practice first appeared in German in 2009, in the series of the Institute for Social Research in Frankfurt. Its English translation comes out in the recently launched collection...

Humans, like all organisms, have evolved to survive in specific environments, while some elect or are forced to live and work in extreme environments. Understanding cognition as it relates to environmental conditions, we use 4E cognition as a framework to explore creativity in extreme environments. Our paper examines space arts as a case study through the history, present practices, and future possible arts in the context of humans beyond the Kármán boundary of the Earth’s atmosphere. We develop a proposed taxonomy (...) of space arts, based on prior taxonomies, and provide specific exemplars of space art developed by artists in space or for use by astronauts in space. Using examples of space art since the birth of the space age, we discuss 1) how human survival in extreme environments requires investment in the space arts, driven by consideration of all biopsychosocial factors and 2) how new scientific and engineering discoveries could be consequences or examples of creative thinking driven by artists in the various types of space art. We conclude by discussing possible benefits of space art, future research applications, and advocate that all space actors, government or private, involve artists in all projects beyond the Kármán Boundary of the Earth’s atmosphere. (shrink)

This book provides an overview of recent debates about critical theory from Pierre Bourdieu via Luc Boltanski to the Frankfurt School. Robin Celikates investigates the relevance of the self-understanding of ordinary agents and of their practices of critique for the theoretical and emancipatory project of critical theory.

This article argues that an engagement with the powerful critical insights of Žižek’s theory of ideology and practice of cultural critique is a necessary step for any art historical methodology which aims to fully account for a work of art’s function within the society of its creation and reception, and to explain how it came to play such a role. However, any attempt to situate cultural artefacts within historically contingent networks of social relations requires an account of historical (...) change incompatible with any formalist or transcendentalist methodology. Moreover, if it is to be of any use as an academic discourse, art history must be able to account for the specifities of ‘art’ as a distinct—but not autonomous—sphere of human activity. It is precisely these two issues that a wholesale importation of Žižek’s writing into the domain of art history encounters. A solution must be found whereby the critical lessons of Žižek are not ‘lost in translation’. In this vein, the present article begins by outlining Žižek’s conception of ideology and elucidating the problematic consequences of any straightforward application of its parameters as an art historical methodology. It then reads the interventions of Jacques Rancière and Judith Butler as providing the necessary theoretical tools by which one can construct the possibility of a powerful Žižekian art historical methodology. (shrink)

Mobilising International Law for 'Global Justice' provides new insights into the dynamics between politics and international law and the roles played by state and civic actors in pursuing human rights, development, security and justice through mobilising international law at local and international levels. This includes attempts to hold states, corporations or individuals accountable for violations of international law. Second, this book examines how enforcing international law creates particular challenges for intergovernmental regulators seeking to manage tensions between incompatible legal systems and (...) bringing an end to harmful practices, such as foreign corruption and child abduction. Finally, it explores how international law has local resonance, whereby, for example, cities have taken it upon themselves to give effect to the spirit of international treaties that national governments fail to implement, or even may have refused to ratify. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis by Thomas A. RegelskiRoger MantieThomas A. Regelski, A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis (New York: Routledge, 2016)ANSWERS WITHOUT QUESTIONSThomas Regelski has earned a place as a major figure in music education, if for no other reason than his role as co-convener of the MayDay (...) Group in 1993. Regelski’s contributions to the profession, however, go much beyond the MayDay Group. His many books and articles provide both practical advice and suggestions for music teachers as well as rigorous discussions of important issues for scholars. He is among the most frequently cited authors in music education today and I count myself among those who have been deeply impacted by his work.1Those familiar with Regelski’s oeuvre and the history of the MayDay Group know that “praxial philosophy” has been his central concern since the early 1990s. The idea of praxialism, a term more or less invented by a small group of music education academics,2 has been driven, at least in part, by a desire to counter what has been considered (by some) to be the music education profession’s misguided adherence to and emphasis on “music education as aesthetic education,” particularly as an outgrowth of its Charles Leonard-Bennett Reimer [End Page 213] lineage.3 Along with contemporaries Philip Alperson, Wayne Bowman, and David Elliott (among others), Regelski has been a major voice in adopting and adapting ancient Greek (especially Aristotelean) thought in order to challenge the presupposition, predominant in twentieth-century academic discourse, that a (or the) philosophy of music education should unquestioningly derive from philosophies of art or aesthetics. Through the deployment of concepts such as theoria, techne, poiesis, phronesis, and especially, praxis, Regelski has, along with a cadre of like-minded thinkers, attempted, in the tradition of Christopher Small, to encourage educators to place greater emphasis on the social aspects of music making rather than on the so-called “aesthetic properties” of the music itself. For almost three decades, Regelski has been consistent, if not relentless in his promotion of all things “praxial.”A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis (hereafter A Brief Introduction) comprises seven short chapters. The first three (Part One: Ideology Critique) provide an historical, if editorialized, overview of the history of aesthetics, from its ancient Greek origins in aisthesis to what Regelski calls today’s “aesthetic rationale” for music education. The last four chapters (Part Two: Theory into Praxis and Praxis Informed by Theory) provide arguments for why a praxial philosophy provides a superior basis for music education, along with illustrations of what music teaching based on praxialism might look like in practice. Readers already acquainted with Regelski’s previous writings are unlikely to find anything new in A Brief Introduction. Many of the book’s themes, such as “automania,” “sacrilization of music,” “legitimation crisis,” “pragmatic difference,” “action learning,” and “breaking 100” will be familiar to those who have read his essays over the years. A Brief Introduction, however, is not intended for those already familiar with his previous writings, but for newcomers, such as upper level undergraduates, for whom A Brief Introduction provides, as the title appropriately suggests, a succinct summary of his ideas distilled into just over a hundred pages. Rather than a stand-alone textbook, Regelski imagines the book as a “complement” to other courses, such as introductory classes in music education, conducting classes, instrumental method courses, and so on. Although not stated explicitly, much of the book’s content is relevant primarily (though perhaps not exclusively) for an American/Canadian readership.Regelski explains from the outset that the ideas in the book “are intended as a corrective to current practices and traditions in music teaching” (xx), ones he considers based upon and reflective of “aesthetic ideology.” As he explains, he wishes to operate in the tradition of Critical Theory, where ideology means the imposition of a dominant group’s values over a subordinate group. Although he never discusses processes of social reproduction, established norms and practices [End Page 214] in institutional... (shrink)

In order to understand the economy in a wider sense we should conceive of the economy as a set of social practices. To conceive of a ‘practices-oriented’ foundation for our thinking about economy a...

In the last decade, nurse scholars have focused extensively on the nature of nursing and its relationship to art and science. This emphasis has also been accompanied by an increasing literature on nursing ethics. In spite of this growing interest, the relationship of nursing art and nursing ethics has been left unclear. This paper proposes that nursing must be considered as a practical art because this conception explicates the relationship of nursing art and nursing ethics. It is based on the (...) thesis that nursing art is subordinated to nursing ethics and as such is a moral art. Different conceptions of nursing art (craft and fine art) will be explored to show their limits. This will be followed by the conception of nursing art as a practical art. (shrink)

This book gathers together novel essays on the state-of-the-art research into the logic and practice of abduction. In many ways, abduction has become established and essential to several fields, such as logic, cognitive science, artificial intelligence, philosophy of science, and methodology. In recent years this interest in abduction’s many aspects and functions has accelerated. There are evidently several different interpretations and uses for abduction. Many fundamental questions on abduction remain open. How is abduction manifested in human cognition and intelligence? (...) What kinds or types of abduction can be discerned? What is the role for abduction in inquiry and mathematical discovery? The chapters aim at providing answer to these and other current questions. Their contributors have been at the forefront of discussions on abduction, and offer here their updated approaches to the issues that they consider central to abduction’s contemporary relevance. The book is an essential reading for any scholar or professional keeping up with disciplines impacted by the study of abductive reasoning, and its novel development and applications in various fields. (shrink)

Drawing on models of the interaction order, we describe how planning is an inherently social activity. We argue that planning as a practice involves five core elements: mirroring, identifying, coordinating, timing, and surmounting. Specifically, planning depends on (1) a realization of likely responses of others, (2) a recognition of communal understandings, grounded in local cultures, (3) a commitment to collaborative engagements with allies, (4) an adjustment to temporal sequences involving the use of “in time” strategies and tactics, and (...) (5) an ability to overcome or avoid obstacles and blocking moves set by competitors and adversaries. Planning is evident in micro-, meso-, or macro-level domains. To demonstrate how planning is a social accomplishment, we analyze three distinct ethnographic sites: the world of competitive chess, dependent on the micro-interactions of two competitors; the meso-level process of homebuying, requiring the aid of real estate agents as allies; and macro-level structures in directing social movement activism in a contentious action field. Planning extends beyond cognitive achievement and is central to a sociology of the future. (shrink)

With the continuous enrichment of material life and the increasing improvement of spiritual life, the quality of life of people in the new era has improved comprehensively. After achieving technological advancements, further improving people's living standards will become the first priority, and indicators concerning quality of life will become more important, including spiritual needs, environmental conditions and social order. In particular, the degree of spiritual and cultural satisfaction is a prominent indicator for consideration. The current research investigates how new-age (...) art is changing and how it may affect society dynamics in the future. It explores how new-age art, as a phenomenon in culture, adjusts to shifting environments, emphasizing the social roles, realization of values, and influencing elements of the art. With a focus on spiritual and cultural fulfillment, the study highlights the value of art in improving people's quality of life while taking into account elements such as social order, environmental influences, and spiritual demands. The primary goal is to comprehend the ways in which new age art raises living standards and general well-being. The results demonstrate the lasting contributions that new-age art makes to enjoyment, cultural transmission, and education, thereby reaffirming its important position in society. The paper emphasizes how crucial the socialist culture sector with Chinese characteristics will become to the future economic framework. This study found that new-age art continuously produces excellent literary and artistic works in addition to preserving traditional Chinese culture and fostering cultural self-confidence through its support for the improvement of living standards and industrial growth. This illustrates its practical importance in upholding economic supremacy and promoting cultural advancement. (shrink)

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

Calls for incorporating social science into patient care typically have accounted for neither the logistic constraints of medical training nor the methodological fallacies of utilizing aggregate “social facts” in clinical practice. By elucidating the different epistemic approaches of artistic and scientific practices, this paper illustrates an integrative artistic pedagogy that allows clinical practitioners to generate social scientific insights from actual patient encounters. Although there is no shortage of calls to bring social science into medicine, the (...) more fundamental processes of thinking by which art and science proceed have not been addressed to this end. As such, the art of medical practice is conceptualized as an innate gift, and thus little is done to cultivate it. Yet doing so is more important than ever because uncertainty in diagnosing and treating chronic illnesses, the most significant contemporary mortality risks, suggests a re-expanding role for clinical judgment. (shrink)

Art In Its Time takes a close look at the way in which art has become integral to the everyday 'ordinary' life of modern society. It explores the prevalent notion of art as transcending its historical moment, and argues that art cannot be separated from the everyday as it often provides material to represent social struggles and class, to explore sexuality, and to think about modern industry and our economic relationships.