This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

The main aim of this paper is to reconstruct different aspects of the history of ideas of suicide, from antiquity to late modernity, and contemplate their dialectical tension. Reflexive suicide prevention, drawing on the ancient wisdom that the art of living is inseparable from the art of dying, takes advantage, it is argued, of the contradictory nature of suicide, and hence embraces, rather than trying to overcome, death, pain, grief, fear, hopelessness and milder depressions. This approach might facilitate the (...) transformation of inner shame to inter-personal guilt, which is the precondition for coping with losses through grieving that is shared with others. The traditional projection of suicide on the ‘Other’, reinforced by modernity’s bio-political suppression of death, has inhibited development of good suicide prevention. Awareness of the ambiguity and ambivalence found in suicide may work as a resource when measures are taken to address as many causal mechanisms as possible, and bringing special emphasis to external factors. (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)

This essay examines reflexive strategies in three contemporary Hindi-language feature films directed by women, Om Shanti Om, Luck By Chance, and Dhobi Ghat/Mumbai Diaries. These Mumbai-set films, directed and written by Farah Khan, Zoya Akhtar, and Kiran Rao, respectively, offer insider industry perspectives and a variety of outlooks on Bollywood and Indian society more generally. I introduce the concepts of “selective reflection” to critically examine self-conscious representations of the excessively star-driven world of Bollywood filmmaking in an age of globalization, (...) directing styles and strategies of image-making, and the blurred boundaries between reality and artifice. This article presents a close analysis of narrative tropes, filmi references, casting, spectator dynamics, and gendered agency in films that represent a taxonomic range from commercial blockbuster to art cinema. (shrink)

Discourses of social justice offer the sense of a progressive and developing narrative within the arts sector. Cultural democracy, cultural equity and cultural diversity address broad policy issues related to production, consumption and representation. This article questions whether these approaches have failed in their challenge to the long-established power dynamics of the cultural sector. We take this position of failure as a starting point for a self-reflexive account of the lack of progressive change in the sector. We argue that (...) reflexivity is needed to avoid the elision of the progressive impulse through the inauthentic and rhetorical promotion of ‘fakequity’. As scholars from divergent yet mutually Anglo-centric traditions, our aim is to better understand how a self-reflexive approach might counter the (non)performative behaviour of the cultural sector. Without such an approach, initiatives supposedly designed to be culturally democratic risk enforcing structures of exclusion and facilitating a ‘non-performative woke democratisation of culture’. (shrink)

Les arts de la ruse constituent un champ exploratoire où se tissent et se recroisent des pratiques tant réflexives que non-réflexives: des tactiques animales de chasse ou de camouflage aux adresses agiles de scientifiques pour construire des théories pertinentes. Michel de Certeau, jésuite érudit, au carrefour des tournants linguistique et pragmatique de la fin du XXe siècle, a travaillé ce tissage insolite de pratiques à travers les sciences humaines, questionnant et braconnant tour à tour les ruses du théoricien et celles (...) de l'objet qu'il convoque : l'historien et le passé, l'ethnologue et la culture, le sociologue et le quotidien, le théologien et la mystique... L'étendue et la diversité des thèmes rigoureusement abordés par cet auteur inclassable lance un jeu d'adresses à ses lecteurs : Michel de Certeau nous demande à notre tour de ruser, autrement dit de saisir l'occasion de transformer le champ du savoir en évitant de tomber de Charybde en Scylla. Pour relever ce défi et y inviter, à leur tour, les lecteurs, cet ouvrage propose un "tango philosophique", danse par excellence d'une ruse permanente entre technique sophistiquée de pas et improvisation envoûtée, à partir des traces de pieds nus, laissés par Michel de Certeau, sur le bord de nos savoirs conquérants. Cette étude développe une expérimentation épistémologique des sciences humaines contemporaines. (shrink)

The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we should not always (...) reflexively turn away from them. In turn, these responses reveal that moral value is not autonomous from aesthetic value, and neither dominates the other. The secondary aim of this chapter is to explore the ramifications of this revelation. I argue that, in addition to an ethics of media consumption, we need an aesthetics of media consumption that is fundamentally social rather than solitary. (shrink)

Jeannette Pols and Tamar Sharon kindly reviewed my case study of the art of living with technology as an engagement with technomoral change. I am indebted to them for their careful reading and critical suggestions to further elaborate the project. In my response I focus on the question whose art we are talking about, while further elucidating the reflexivity addressed in my essay. I conclude with some remarks on what we can learn from micro studies like the one presented for (...) macro level thinking on the ‘art of becoming’ with technology in a surveillance society. (shrink)

Reflexivity does not presuppose linguistic articulation or even propositional content. If it did, art could not be called reflexive. Reflexivity can be found in the self-contact of the living, in mental reflection or in symbolic self-reference. Art is a medium which claims these different modes of reflexivity and intertwines them. Aesthetic reflexivity as such has been established by Kant and his epigones, following the model of transcendetal reflection. Thus it could be specified as the reflexive structure of aesthetic (...) judgement, or as an emphasis on a work’s being created, or as a reference to perception itself in the process of perceiving, or as a way of reflecting concepts. Aesthetic reflexivity can only be detached from the model of transcendental reflection, if it is seen as oriented towards the interaction among the three modes of reflection mentioned above, leaving aside the difference, interplay or competition between perception and conceptual capacities. (shrink)

The arts and nursing are profoundly connected. While the relationship between nursing and art has persisted over time, the majority of nursing scholarship on the arts has historically centered upon the art of nursing practice and the cultivation and application of aesthetic knowing. However, there is a burgeoning use of arts‐based strategies is nursing education, research, and practice. Correspondingly, there is a need to understand how such approaches can uniquely contribute knowledge to the nursing discipline in order to support arts‐integration (...) for nursing scholars. We structure our inquiry into arts’ contributions according to two dominant methods of engaging with arts‐based strategies: knowing about (e.g., phenomena) vis‐à‐vis art‐viewing, and knowing through (e.g., embodied knowing) vis‐à‐vis art‐making. In doing so, we explore critical contributions of art to nursing research and educational practices, including arts’ capacity to augment traditional research and communication approaches, democratize the research space, challenge issues of representation, and facilitate education, dissemination, and reflexivity. (shrink)

In this article we seek to lay bare a couple of potential conceptual and methodological issues that, we believe, are implicitly present in contemporary philosophy of technology. At stake are the sustained pertinence of and need for coping strategies as to ‘how to live with technology ’ notwithstanding PhilTech’s advancement in its non-essentialist analysis of ‘technology’ as such; the issue of whether ‘living with technology’ is a technological affair or not ; and the tightly related question concerning the status of (...) the methodological bedrock of contemporary PhilTech, the ‘empirical turn.’ These matters are approached from the perspective of the philosophical notion of the ‘art of living,’ and our argumentation is developed both as a context for and on the basis of the contributions to the special issue ‘The Art of Living with Technology.’. (shrink)

In this article, the author concentrates on the space of contemporary Russian poetry and through the means of allusive proper names specifically focuses upon reflections of international culture. In this regard, expressive possibilities, text-formation role, as well as typological, semantic and functional characteristics of allusive proper names are considered. Attempts are made to analyze, formulate basic mechanisms of intertextual connections and identify the readers’ role in the creation of meaning of precedent anthroponyms in accordance with the context of the world (...) cultural heritage. The corpus of the texts, which we deal with, demonstrate that precedent anthroponyms function as an implement of parody and a way of ciphering some semantic of the intentions. Thus, a mechanism of contextual augmentation of cultural implications comes into effect at the readers’ perception of a connotative meaning of precedent names. Here at a close interaction between some common cultural and author’s individual connotations, which is provoked by consciousness of poet and reader and their creativity, are realized. References to ancient and Biblical heroes, as well as to other famous people, have a rich spectrum of connotations as a consequence and form a wide space for semantic games, interweaving and variations of meanings, which are typical for postmodern discourse and present day human’s world view. Such frames of mind on the one hand, explain the high frequency of desperate motives, ironic or sometimes even cynical attitude of the lyrical subject to the reality in which he lives. On the other hand, applying precedent names, using such anthroponyms, contemporary authors try to use cultural basic units, in order to save significant constants, guiding line, which the cultural inheritance of the past centuries generously provides. (shrink)

Abstract:Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting’s ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. (...) Maurice Merleau-Ponty’s theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting. (shrink)

In the discussion of religion and art, it is quite difficult to exactly define what makes art ‘religious’. In this article, the author suggest six different perspectives in which a work of art—any work of art—could be interpreted as ‘religious’, as an embodiment of the complex relationship between art and religion. These perspectives are not mutually exclusive: one and the same art work could be approached on multiple levels at once. Nor do they disqualify other methodologies of studying art and (...) religion. These perspectives provide conceptual windows to understand what people (could) mean when they discuss religious art. The six perspectives are: (1) material, (2) contextual, (3) referential, (4) reflexive, (5) ritual, and (6) existential. They vary from the more or less objective to the more subjective, and as such from artist-intended to viewer/listener-perceived (with or without help of clues provided by the artist and/or the object itself). The author illustrates who these different perspectives can vary in defining certain pieces of art as religious by using three very different case studies: the Isenheimer Altarpiece, one of Hugo Ball’s famous sound poems, and the digital game Child of Light. (shrink)

This article seeks to develop a new theory of reflexive democracy, based on practical cases of action research in regional development, with particular reference to regional development coalitions. Reflexive democracy is located in the context of the debate on Scandinavian worklife, emphasising knowledge, dialogue, and legitimacy.

Here I examine the potential for art-science collaborations to be the basis for deliberative discussions on research agendas and direction. Responsible Research and Innovation has become a science policy goal in synthetic biology and several other high-profile areas of scientific research. While art-science collaborations offer the potential to engage both publics and scientists and thus possess the potential to facilitate the desired “mutual responsiveness” between researchers, institutional actors, publics and various stakeholders, there are potential challenges in effectively implementing collaborations as (...) well as dangers in potentially instrumentalizing artistic work for science policy or innovation agendas when power differentials in collaborations remain unacknowledged. Art-science collaborations can be thought of as processes of exchange which require acknowledgement of and attention to artistic agendas as well as identification of and attention to aesthetic dimensions of scientific research. I suggest the advantage of specifically identifying public engagement/science communication as a distinct aspect of such projects so that aesthetic, scientific or social science/philosophical research agendas are not subsumed to the assumption that the primary or only value of art-science collaborations is as a form of public engagement or science communication to mediate biological research community public relations. Likewise, there may be potential benefits of acknowledging an art-science-RRI triangle as stepping stone to a more reflexive research agenda within the STS/science communication/science policy community. Using BrisSynBio, an EPSRC/BBSRC-funded research centre in synthetic biology, I will discuss the framing for art-science collaborations and practical implementation and make remarks on what happened there. The empirical evidence reviewed here supports the model I propose but additionally, points to the need to broaden the conception of and possible purposes, or motivations for art, for example, in the case of cross-sectoral collaboration with community engaged art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Authority, Reading, Reflexivity: Pierre Bourdieu and the Aesthetic Judgment of KantKoenraad Geldof (bio)Translated by Alex Martin (bio)1. AuthorityFor some time now, Pierre Bourdieu has been a true author 1 —a producer, in other words, of an impressive number of theoretical and analytical discourses in a wide variety of research fields. 2 Whether in anthropology or ethnology, in the sociology of institutions or of the structure and workings of the (...) market of symbolic goods, or in the sociology of literature, the name Bourdieu imposes itself: it establishes authority. Contributing to this is another particularity quite typical of authority: it gets itself talked about; it generates, at accelerated speed, discourses that in one way or another (re-)produce and thus reinforce the authority of the author who was their point of departure and origin. The international proliferation of articles dealing with one aspect or another of Bourdieu’s thought, 3 essay collections, 4 and introductions to Bourdieu’s work 5 testifies to this. The intensity of metadiscursive production not only gives material form to the intrinsic analytic pertinence and richness of the discourse on which it comments—these are evident—but also shows, independent of the pieces’ intentions, that the proliferation is situated in a process of (re-)production of authority, that it is an integral part of a canonizing effort. The articles and introductions problematize, implicitly or explicitly, the direct accessibility of Bourdieu’s discourse. They make the oeuvre into a complex totality, difficult and diversified to the extreme, whose coherence can be revealed only with the help of a gradual, exegetic, and essentially submissive reading practice.To put it another way, and to examine the question more closely, the metadiscursive (re-)production of the authority of the author we call Pierre Bourdieu reveals itself to be [End Page 20] ambivalent: it is at once innovative—it invites the uninitiated to get to know a fascinating new universe of thought—and authoritarian, indeed even conservative. An introduction is never a simple mediation of discourse between an author and his or her potential readers: it provides a sort of user’s guide, it (re-)produces a reading habitus, an ideology of the correct interpretation the reader must learn and interiorize to be able to distinguish orthodox from false, heterodox, readings. Between the metadiscourse/commentary and the authority it discusses, a relationship of tautological circularity is established that surreptitiously transforms the discourse read into a legend (into what must be read): the possibility of an autonomous reading practice is erased by a pedagogy of legendary decoding. 6The authority of an author, that of Bourdieu for example, is consequently implicated in a dynamic of opening (the proliferation of metadiscourses) and closing (the tendency to discipline reading, to make it obey certain norms of legibility). It would be erroneous, however, to attribute the paradoxical aspect of authority simply to the ambivalent effect of metadiscourses/commentaries. This is because authors who establish authority can only rarely escape the canonizing efforts of which they are the object: in many cases, authors themselves participate in the production and reproduction of a mode of reading and interpretation judged to be legitimate. The fact that no authority can completely and exhaustively control its discursive and institutional space does not in any way contradict, therefore, that other distinctive and essential feature of authority: its intrinsic animation by a desire to control, by the desire to see itself respected. Authority wants to become Law and be recognized as such. Thus the tendency of certain authors to become actively involved in the modes of appropriation of their name and their discourses, to endeavor to make the reading of the author’s work not simply an act of connaissance but also a proof of reconnaissance. Authority detests being insufficiently or poorly known. Let us take the case of Bourdieu. As an author, he is first and foremost the one to whom we owe Raisons pratiques, La distinction, Homo academicus and Les règles de l’art, the producer, in other words, of a series of momentous works that, upon publication, established authority. Furthermore, Bourdieu is also the author of a considerable number of accompanying discourses, dominated by the... (shrink)

A rarely examined internal reading by Bourdieu at the end of The Rules of Art of William Faulkner's short story ‘A Rose for Emily’ provides the starting point for a reflection on Bourdieu's theories of reading and reflexivity. The article begins by looking at Bourdieu's theory of literary reception, and its identification of two distinct modalities of reading, ‘scholastic’ and ‘naive’. It then places Bourdieu's discussion of ‘A Rose for Emily’ as a ‘reflexive’ text in the context of his (...) wider theory of reflexivity. Bourdieu's approach to reading Faulkner's text is compared with those deployed elsewhere by more established literary critics, notably Jean-Paul Sartre and Roland Barthes. Finally, the question of how his internal reading fits within the logic of a theoretical work devoted to the ‘reflexive’ practice and method of field analysis is discussed. (shrink)

The capacity to engage with art is a human universal present in all cultures and just about every individual human. This indicates that this capacity is evolved. In this Critical Notice of Denis Dutton's The Art Instinct, I discuss various evolutionary scenarios and their consequences. Dutton and I both reject the "spandrel" approach that originates from the work of Gould and Lewontin. Dutton proposes, following work of Geoffrey Miller, that art is sexually selected--that art-production is a sign of a fit (...) genome in males. I argue that while assortative mating may well have had a role in the evolution of "the art instinct", group selection is a better explanation. I also take issue with Dutton's "cluster concept" approach to defining art, and argue that it is a universal and essential characteristic of art that it is appreciated both for what it expresses and for the way that it expresses. It thus requires a reflexive capacity that is not operative in the appreciation of sport spectacles and pornography. (shrink)

Just over a decade-and-a-half ago, a roundtable discussion published in the pages of October worried that the periodic renewal of critical discourses had slowed to a standstill and that art criticism was faced with obsolescence. Such an obsolescence should be understood in a broadly Hegelian manner: the danger is not that art criticism would disappear from the cultural field, but that it will continue—although drained of its previous necessity. Such fears perhaps run the risk of exaggeration, yet this article shall (...) suggest that there seems a sense in which the field of art criticism has contracted in recent years. Self-reflexivity in art and the popularization of “para-curatorial” approaches, for instance, often underpin the artwork discursively before the arrival of art criticism upon the scene. To be sure, such circumstances are viewable positively as interdisciplinary dialogical opportunities, but the negative flipside here is that art criticism’s potential contribution becomes increasingly minimized. From another angle, critics such as Isabelle Graw have contended that the economic-cultural regime of post-Fordism, with its attention on intellectual labor and knowledge production, might actually hold possibilities for the contemporary art critic—but even here, I argue, art criticism becomes contracted, albeit in the other meaning of the word. (shrink)

The paper aims at reevaluating a conception of the aesthetic that was developed by Kant and Hegel but that has been widely neglected due to the fact that their positions in aesthetics have been wrongly considered to be antagonistic to one another. The conception states that the aesthetic is a practice of reflecting on other human practices. Kant was the first to articulate this conception, but nevertheless falls short of giving a satisfying account of it, as he doesn’t succeed in (...) explaining its objective aspect. I claim that Hegel resolves this problem by understanding works of art as objects that thermalize essential orientations of historical-cultural practices. But his explanation fails to grasp the specificity of art as a reflective practice. However, Hegel’s position gives us a hint for how to deal with this problem: Reflection has to be understood in a practical, and not in a cognitive sense. (shrink)

Monique Roelofs offers a pathbreaking systematic model of the field of address and puts it to work in the arts, critical theory, and social life. She shows how address props up finely hewn modalities of relationality, agency, and normativity. Address exceeds a one-on-one pairing of cultural productions with their audiences. As ardently energizing tiny slippages and snippets as fueling larger impulses in the society, it activates and reaestheticizes registers of race, gender, class, coloniality, and cosmopolitanism. In readings of writers and (...) artists ranging from Julio Cortázar to Jamaica Kincaid and from Martha Rosler to Pope.L, Roelofs demonstrates the centrality of address to freedom and a critical political aesthetics. Under the banner of a unified concept of address, Hume, Kant, and Foucault strike up conversations with Benjamin, Barthes, Althusser, Fanon, Anzaldúa, and Butler. Drawing on a wide array of artistic and theoretical sources and challenging disciplinary boundaries, the book illuminates address's significance to cultural existence and to our reflexive aesthetic engagement in it. (shrink)

El artículo examina la concepción hegeliana del arte moderno a la luz de las consideraciones sobre el teatro en las Lecciones de estética. Dicha concepción se modifica respecto a la época clásica y la antigüedad con la irrupción del principio de la subjetividad en el arte. Se descubren así las dimensiones histórica, reflexiva y comprensiva del arte que anticipan una hermenéutica del arte bajo la consigna de un “arte para nosotros”: un arte que deja de estar anclado en las representaciones (...) del pasado para situarse más bien de cara a las exigencias del presente. (shrink)

This essay aims at providing a brief analysis of John Dewey’s 1896 essay The reflex arc concept in psychology by identifying in it “proto-aesthetic” elements that will be thematized in an explicitly aesthetic sense only, almost forty years later, in Art as experience. This latter can be indeed considered both as a hapax and an apex of a path in which Dewey progressively focuses on matters that can be deemed properly aesthetic and of which The reflex arc concept in psychology (...) can be seen as one of the first steps. Our analysis will attempt at showing this connection by spanning the reflex arc idea, amended by Dewey in this essay, and that of “an” experience as a proper aesthetic experience through the fundamental concept of coordination. (shrink)

L’objet de l’article est d’interroger le statut d’une œuvre d’art à partir du problème de l’interprétation posé initialement par Arthur Danto. Une œuvre d’art demande-t-elle nécessairement à être interprétée? L’argumentation se déploie à une double échelle. À une échelle ontologique, l’enjeu est de savoir sous quelles conditions un objet appartient à la classe des œuvres d’art. À une échelle dénotative, l’enjeu est de savoir si toute représentation artistique requiert un travail interprétatif. L’auteur défend une théorie de l’interprétation restreinte, d’inspiration pragmatiste, (...) en vertu de laquelle l’interprétation, comme activité suspensive et réflexive, n’intervient que lorsque le rapport au sens est troublé, confus, problématique. Ainsi une œuvre d’art n’est soumise à interprétation que lorsque son statut ontologique ne va pas de soi et lorsque son potentiel de dénotation contrarie notre rapport familier au sens. (shrink)

With reference to a standard work on embodied cognition – The Embodied Mind: Cognitive Science and Human Experience by Francisco Varela, Evan Thompson und Eleanor Rosch – in this article I theorize art reception that connects reflexive processes with concrete perceptual experiences as embodied art reflection. Analogously to Varela et al’s citation of meditation practice as a transformation of immediate experience into an open, embodied reflection, one can also understand focussed awareness of experience in reflected, perceptually-oriented reception of art (...) as an open, embodied mode of access. The particular educational potential of art as a medium and object of knowledge and cognition lies moreover above all in its physical power of making-present, which exercises its particular effect in the concrete experience of the artwork. Against the background of a phenomenological perspective on learning, it is especially disruptive moments which are able to form perception and thought anew. For a pedagogical context above all, the schooling of perception and attention practised in art has particular relevance in relation to lived experience, opening new horizons. To show the potential of embodied art reflection through an example from the field of object art, my theoretical discussion opens out into a specific consideration of an artwork. (shrink)

This article is a meditation on the theme that language in its ability to discuss and refer is naturally self-referential. This theme is a key to cybernetics. The ideas in this article are extensions of the author’s prior work: Kauffman (,,, ).

This article aims to provide an account of self-reflexivity through recent debates that pertain to thinking about contemporary network culture. It focuses on the shifts from the mechanistic to the organic, and then towards the post-organic, pertaining particularly to current debates around an understanding of systems and structures. Although it employs a wide variety of disciplines, ranging from philosophy to mathematics, this article traces the lineage from modern art towards thinking about systems. This work is part of an ongoing research (...) objective that is directed towards practice-based research, particularly aimed at art practice that seeks to intersect with emerging network thinking and culture. One of the intentions of this article is to consider the account of self-reflexivity towards the implication of a ‘system as the medium’ in contemporary art practice, which is found in the writing of Francis Halsall. The research is part of an agenda that seeks to explore the conditions of production in contemporary culture, as a supplement to practice-based research. This article frames the debates around self-reflexivity through the chapter entitled ‘Strange loops’ by Mark C. Taylor, which is found in his book The Moment of Complexity: Emerging Network Culture (2001). It traces the lineage that Francis Halsall provides in his book Systems of Art: Art, History and Systems Theory (2008), and seeks to provide an account of self-reflexivity towards his consideration of the system as medium, found in the chapter entitled ‘Systems aesthetics and the system as medium’. In this chapter, Halsall provides an inclusive account of the medium that arguably covers the extent of contemporary art practices, through his contribution to system aesthetics. The account of self-reflexivity introduced in this article follows a parallel pathway to some of the major points in Halsall’s development of the system as medium. These include the ontologically stable modernist art object; the impact of cybernetics and information theory on art practice and discourse; and art that seeks to intersect with the environment. (shrink)

This essay argues that recent reflexively oriented critiques of social studies of science, especially those of Steve Woolgar, present a problematic version of instrumental irony. Woolgar's own view is presented as instrumental and his antipathy to theorizing is opposed by arguing for the need to adopt a privileged position in order to carry out his recommended refusal of objectivist discourse.

Both Brandom and Wittgenstein base their concepts of experience on the game metaphor and the associated concept of rule. In fact, what Brandom seems to do is further refine Wittgenstein’s vocabulary by specifying the game as the game of giving and asking for reasons and rules as the rules of inference. By replacing the plurality of “games” with the one and only “game”, though, Brandom also lays the ground for a possible discord. This relates particularly to the cognitive significance of (...) different forms of human experience, such as music or art in general, which are treated by Wittgenstein as language games despite their being rather independent of claims and commitments and despite their utterly lacking the representational dimension. In my paper, I will show that with respect to these objections, one can argue that Brandom is in fact true to Wittgenstein’s instruction to always read his Investigations against his Tractatus. The general idea is to look at the game and picture metaphor as parts of a single concept that both philosophers work on together by going back to the very idealist concept of reflexivity or self-consciousness. (shrink)

Modernity theory approaches modern experience as it incorporates a sense of itself as 'modern' (modernity), along with the possibilities and limitations of representing this in the arts and culture generally (modernism). The book interrogates modernity in the name of a fluid, unsettled, unsettling modernism. As the offspring of the Enlightenment and the Age of Sensibility, modernity is framed here through a cultural aesthetics that highlights not just an instrumental, exploitative approach to the world but the distinctive configuration of embodiment, feeling, (...) and imagination, that we refer to as 'civilization', in turn both explored and subverted through modernist experimentalism and reflexive thinking in culture and the arts. This discloses the rationalizing pretensions that underlie the modern project and have resulted in the sensationalist, melodramatic conflicts of good and evil that traverse our contemporary world of politics and popular culture alike. This innovative approach permits modernity theory to link otherwise fragmented insights of separate humanities disciplines, aspects of sociology, and cultural studies, by identifying and contributing to a central strand of modern thought running from Kant through Benjamin to the present. One aspect of modernity theory that results is that it cannot escape the paradoxes inherent in reflexive involvement in its own history. (shrink)

Despite philosophers’ growing interest in the relation between philosophy and literature in general, over the last few decades comparatively few studies have been published dealing more narrowly with the literary aspects of philosophical texts. The relationship between philosophy and literature is too often taken to be "literature as philosophy" and very rarely "philosophy as literature." It is the dissatisfaction with this one-sidedness that lies at the heart of the present volume. Philosophy has nothing to lose by engaging in a serious (...) process of literary self-analysis. On the contrary, such an exercise would most likely make it stronger, more sophisticated, more playful and especially more self-reflexive. By not moving in this direction, philosophy places itself in the position of not following what has been deemed, since Socrates at least, the worthiest of all philosophical ideals: self-knowledge. This book was originally published as a special issue of The European Legacy. (shrink)

Cette monographie, soigneusement reliée et bien présentée, interpelle dès l’abord par le libellé de son titre : si l’A. peut affirmer qu’il n’existe aucune monographie récente qui traite de manière combinée de l’art grec et de la religion (p. 1), c’est peut-être bien que les deux termes choisis ne sont pas les plus évidents à utiliser. Le lecteur s’attend dès lors à une analyse réflexive de ces deux notions et de leur combinaison. Mais en guise de définition de « religion (...) », on n’aura à se me... (shrink)

Our brains are characterized by sensory pathways that are highly reflexive, allowing higher cortical centres to control neural activity patterns at peripheral sensory areas. This feature is characterized as an internal sketchpad and involves recursive interactions between central symbols and peripheral images. The process is assumed to be the fundamental mechanism underlying most cognitive functions. The paper attempts to portray the beginnings of art and language as natural extensions of these pre-existing internal processes, made possible by the greatly enlarged (...) human prefrontal cortex. It views these highly social activities as originating in subjective, private discourse between the emerging self and its externalized expressions. (shrink)

The phrase “the end of art” has a long association with Arthur C. Danto.1 Indeed, Danto popularized the idea and offered an explanation of this puzzling notion. How could there have been an end of art when it has robustly continued? For this question to make sense, the meaning of “end” is not in the sense of termination, finality, or death in a literal, physical sense. So in 1912 when Marius de Zayas pronounced “art is dead,” he must have thought (...) the historical circumstances warranted it and found the metaphor illuminating: “[Art’s] present movements are not at all indications of vitality; they are not even the convulsions of agony prior to death; they are the mechanical reflex actions of a corpse.”2 In less .. (shrink)

This essay takes an epistemological perspective on the question of the ‘art of living with technology.’ Such an approach is needed as our everyday notion and understanding of technology keep being framed in the old categories of instrumentalism and essentialism—notwithstanding philosophy of technology’s substantial attempts, in recent times, to bridge the stark dichotomy between those two viewpoints. Here, the persistent dichotomous thinking still characterizing our everyday involvement with technology is traced back to the epistemological distinction between ‘concrete’ and ‘abstract.’ Those (...) terms are often contrasted, and a tendency can be found, in the literature as well as in popular discourse, to either conceptually favor one of both or let them collapse into each other. The current essay makes a plea, in an exploratory manner, and on the basis of insights hailing from among others Gregory Bateson and Alfred Korzybski, to not choose either one of those options, but to practice ourselves in navigating ladders of abstraction. (shrink)

Beginning with one of the most remarkable characteristics of cyber art, ‘interactivity’, in a context of generalized hybridization of the procedures and technological devices available in the current hyper-technological era, this article will highlight the festive dimension within contemporary artistic practices, especially in its technological and digital components. In order to take both its ‘creationist’ and ‘reflexionist’ aspects into consideration, the proposed interpretation will adopt as its starting point the questions introduced by classical anthropology about festivity: What establishes community in (...) cyber art? Which kind of community is established there and what is sacrificed in digital or cybernetic art? These questions are articulated with the discussion proposed by Hans-Georg Gadamer and Richard Schechner about the task of building the reflexive play that is found in the work of art as such. The purpose is to gradually present, throughout the article, the peculiarity of the experience of ‘the festive’ in computing and numerical arts. (shrink)

The concept of emotional intelligence has grown in popularity over the last two decades, generating interest both at a social and a professional level. Concurrent developments in nursing relate to the recognition of the impact of self‐awareness and reflexive practice on the quality of the patient experience and the drive toward evidence‐based patient centred models of care. The move of nurse training into higher education heralded many changes and indeed challenges for the profession as a whole. Traditionally, nurse education (...) has been viewed as an essentialist education, the main emphasis being on fitness for practice and the statutory competencies. However, the transfer into the academy confronts the very notion of what constitutes this fitness for practice.Many curricula now make reference in some way to the notion of an emotionally intelligent practitioner, one for whom theory, practice and research are inextricably bound up with tacit and experiential knowledge. In this paper we argue that much of what is described within curriculum documentation is little more than rhetoric when the surface is scratched. Further, we propose that some educationalists and practitioners have embraced the concept of emotional intelligence uncritically, and without fully grasping the entirety of its meaning and application. We attempt to make explicit the manner in which emotional intelligence can be more realistically and appropriately integrated into the profession and conclude by suggesting a model of transformatory learning for nurse education. (shrink)

Wit explores modes of reading representations of death and dying, both through the play’s sustained engagement with Donne’s Holy Sonnets and through Vivian’s self-reflexive approach to her illness and death. I argue that the play dramatizes reparative readings, a term coined by Eve Kosofsky Sedgwick to describe an alternative to the paranoid reading practices that have come to dominate literary criticism. By analyzing the play’s reparative readings of death and dying, I show how Wit provides lessons about knowledge-making and (...) reading practices in the field of health humanities. (shrink)

RESUMENEl trabajo se propone analizar la relación que John Dewey establece entre la experiencia estética y la crítica de arte. Dewey entiende la crítica como estadio mediador entre la expreiencia estética y la propia finalidad ilustrativa de la crítica. Asimismo, esta mediación es analizada como experiencia crítica, desarrollada en el proceso reflexivo y comunicativo del juicio crítico.PALABRAS CLAVEDEWEY-ESTETICA-CRITICA DE ARTEABSTRACTThe paper focuses on the relation John Dewey establishes betwerrn the aesthetic experiencie and art critique. Dewey conceives critique as a mediating (...) stage betweeen the aesthetic experience and the critique's own enlightening finality. This mediation moreover is but a critical experience, deployed within the reflexive and communicative process of judgement. KEYWORDSDEWEY-AESTHETICS-ART CRITIQUE. (shrink)

Ricoeur’s philosophical project can be broadly termed as a philosophical anthropology. Within this context, a main role is given to the issue of imagination through the resources of phenomenology, hermeneutics, and reflexive philosophy. The issue of picture, however, remains quite unknown and has not been much questioned; it might even be undermined by being reduced to the context of reproductive imagination as opposed to that of productive imagination within Ricoeur’s anthropology, and due to the emphasis on the linguistic relationship (...) to sense or meaning. Yet, instead of opposing the plane of picture to the plane of sense or meaning, an articulated connection between those two planes should be sought. The issue of symbolism opened by Ricoeur in his Philosophie de la volonté provides the starting point for our investigation. From that early hermeneutics on to La mémoire, l’histoire, l’oubli, via De l’interprétation. Essai sur Freud, La Métaphore vive, and Temps et récit, one could also consider that picture makes us think. But the issue of symbolism cannot be distinguished from that of imagination. One also has to link two paths of Ricoeur’s philosophy through the issue of symbolism, one that is orientated in the path of hermeneutics – the progression to the standpoint set by Du texte à l’action –, another that links the project of a philosophical anthropology to the fields of art and aesthetics. The research is thus structured around four parts. A first part is focused on the articulated connection between Ricoeur’s philosophy of imagination and philosophical aesthetics by addressing the hermeneutical prospect as the condition for the effectiveness of this connection. Extending this hermeneutical stance, a second part seeks to establish a bond between Ricoeur’s notion of a critical hermeneutics and the issue of picture. A third part, concurrent with the context of a critical hermeneutics, aims to consider imagination as mediating the plane of art and the plane of experience by referring to Ricoeur’s reading of analytic philosophy and, more specifically, analytic philosophy of art. Relying on the previous parts, a fourth part finally addresses the field of film, articulating ontological, narrative, and social layers to a philosophical hermeneutics. (shrink)

Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of übersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the übersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the ambiguity of (...) reality are related to each other in a dynamic way. It is in this reflexive dynamics that we constantly remodel our reality. Tools we use are our creative abilities and our powers of imagination. In our choices and solutions we show which aspects of reality we find important and how we communicate these values. The outcome of this investigation is a new perspective on the art of installation and a new insight in Wittgenstein's notion of übersichtliche Darstellung. Because of this combination, the book is itself an artwork: an InstallationPackage. The book is distributed by Ideabooks Amsterdam, Isbn 978 90 804240 3 6. Remodel[l]ing Reality is included in Special Collections, Allard Pierson Museum Amsterdam. (shrink)

Since the mid Nineties the impact of virtual technology has rapidly changed the architectural profession. This change has altered even the most mundane normative practice. Also it has drastically altered the nature of the architectural avant-garde. Its direction has progressed from the affected nihilism of the ‘deconstructive’ era of the eighties to paradigms of responsiveness. The basic premise of this work is that objects and events can be made to respond to the specifics of sites, the evolutionary emergent imperative, users (...) and viewers, manufacturing processes and virtual tectonics. This notion gives rise to six fundamental paradigms that responsive architecture with any virtual component must deal with. The impact of virtuality and advanced remote sensing devices should lead architects to reassess Surrealist and Pataphysical concepts of space. There are many similarities between these modes of creativity and the way an architect might perceive, interact and make connections between their architecture and the myriad machinic and natural ecologies that constitute the sites of our contemporary architecture. (shrink)

This article explores the carnal dimensions of existence through ethnographic research in a mixed martial arts club. Mixed martial arts (MMA) is an emergent sport where competitors in a ring or cage utilize strikes (punches, kicks, elbows and knees) as well as submission techniques to defeat opponents. Through data gathered from in-depth interviews with MMA practitioners and participant observation in an MMA club, I elucidate the social processes that are integral to the production of an MMA fighter habitus. I examine (...) how body techniques are learned and become attached to the identity of mixed martial arts fighters. Using Crossley’s concept of reflexive body techniques, I examine how MMA fighters engage in body callusing through use of reflexive body techniques thereby allowing them to withstand the rigors of the sport. (shrink)

This essay argues, following an insight of Burckhardt, that the philosophy of history is a ‘centaur’, and that it has a tendency to hinder rather than to encourage the practice of history. It challenges many of the presuppositions of Bevir's study, demonstrating that The Logic of the History of Ideas is not, in any meaningful sense, an historically minded work. The ‘logic’ of the essay looks to the arts, especially literature and music, as providing genuinely illuminating parallels to the discipline (...) involved in the practice of intellectual history. History cannot be understood as a process of philosophical abstraction; pertinent examples are of its essence, and plurality is therefore central to its richly textured nature. It still has much to learn from the reflexive procedures of anthropology. By examining the idea of ‘tradition’ the essay demonstrates that ‘the past’ is never dead, and that the relationship between texts is a living process: the intellectual historian is him/herself an artist, and his/her task is no less demanding than that of the creative artist, and it is always humblingly provisional. (shrink)

In this article, I consider ‘skin portraiture’: a mode of representation that privileges quasi-anonymous, fragmented, magnified and anatomized images of skin. I argue that this mode of representation permits a heightened awareness of embodied experiences such as reflexivity, empathy and relationality. Expanding understandings of difference through its engagement with haptic imagery and visuality, skin portraiture reorients the boundaries between ‘I’/‘not I’ and subject/object – often through touch – and challenges the cultural commitment to traditional notions of bodily autonomy. By doing (...) so, skin portraiture functions as an antagonistic form of portraiture; that is, as a kind of anti-portraiture that pushes the genre into an expanded visual field and, at times, beyond representation. Exploring the skin-as-technology metaphor, I show that bio art skin portraiture creates chimeric skins through tissue culturing practices, permitting bodies to become radically relational. Bio art skin portraits celebrate the genetic and cellular differences between bodies through a visible collapse of epidermal boundaries, which engenders a hyper-haptic mode of seeing beyond the subject and her or his skin. Analysing the bio art of Jalia Essaïdi, ORLAN and Julia Reodica, and drawing on the work of Laura Marks and Erin Manning, this article explores the skin-as-technology metaphor in order to offer the arts and humanities an innovative understanding of contemporary embodiment. (shrink)