Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Pandey, V. Introduction.--Kalelkar, K. S. Jainism, a familyhood of all religions.--David, M. D. From Risabha to Mahavira.--Chalil, J. E. Glimpses of Southern Jainism.--Gopani, A. S. Life and culture in Jaina narrative literature, 8th, 9th and 10th century A.D.--Gopani, A. S. Position of women in Jaina literature.--Ranka, R. Evolution of Jaina thought.--Pandey, V. Jaina philosophy and religion.--Shah, C. C. Jainism and modern life.--Sankalia, H. D. The great renunciation.--Shah, U. P. Jaina contribution to Indian art.--Gorakshkar, S. Early metal images of the Jainas.--Bhagwati, (...) U. Bibliographical aids for the study of Jainism. (shrink)

What is it that we lack in everyday life that causes us to value art so highly? This article argues that (almost) all values are to be understood in terms of a needs-satisfaction system, and hence that the value of art can be understood only with reference to the state of the appreciator prior to engagement with the artwork. Aesthetic appreciation can be analysed as a process, which can be described in empirically based psychological terms, leading to a functional view (...) of aesthetic experience as potentially enhancing the individual's orientation at sensory, cognitive, and interpersonal levels; our motivation is a special form of pleasure. Various objections are then considered, with particular attention to the role of pleasure in connection with tragedy; the relation of art to related cultural pursuits is also briefly indicated. (shrink)

Heidegger has shown how the subject-predicate structure of language and the substance-accident structure of things are both derived from the analysis of the "mere thing" into some matter that stands together with some form, a form always determined by the use to which the thing will be put. Regardless of what we try to say, discourse concerns itself with some subject related to some predicate in a manner indicating either that it is useful or that it is stripped bare of (...) usefulness. ;Therefore, within the law of contradiction, that is, insofar as "S is P," our thought is always already structured by this obscure origin. The system of discourse always signifies and represents, the appearance of the thing becomes constant, language becomes constant: form and matter, subject and predicate. ;All attempts to directly oppose the discursive system result in cooption. Yet, Kant and Hegel make way for the spatial and temporal, thus discursive counter to the significational system. They do this not by directly confronting it in order to produce yet another level of signification, but by opening up a space for thought. Kant discovers the acategorical "sublime," and Hegel dissolves the substantiality of the object, opening up the possibility of other logics and grammars. ;There emerged a surplus never completely enframed by discourse. Painting deliberately evaded the realm of non-contradiction, politely declined the positing of significations, the logic and grammar of an object with or without use. It has brought us to a confrontation with "stupidity," where there is nothing to know , and there is no history . There is only a great despair. ;Yet, this despair is thought facing its own dogmatism, recognizing that there is "something happening" rather than nothing, and seeking its orientation from this "it is happening," rather than from discourse dominated by a single logic, a single grammar, a single truth. (shrink)

In this paper I will begin by exploring the context in which objectoriented aesthetics arose. I will set object-oriented aesthetics against another focus which I shall call "activity-oriented aesthetics", in which the excellence of an artistic production lies in the artist's activity. This activity is merely expressed in the finished work, even when the work is overwhelmingly admirable. Excellent artistic activity originates and persists in the artist's manner, execution and style. 1 Just as there is a special case of object-oriented (...) aesthetics in which objective beauty is the fundamental aesthetic concept, there is a special case of activity-oriented aesthetics in which artistic beauty/ a property of the artist's activity, becomes the fundamental aesthetic concept. Artistic beauty is beauty that radiates from the activity of an artist. It is visible directly in the activity itself, but it is also visible in the work through and to which it is transmitted. (The combination of activity and work I shall call 'artistic production'.). (shrink)

The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, uniquely combined art historian, philosopher, orientalist, linguist, and expositor in his person. His knowledge of the arts and handcrafts of the Orient was unexcelled and his numerous monographs on Oriental art either established or revolutionized entire fields. He was also a great Orientalist, with an almost unmatched understanding of traditional culture. He covered the philosophic and religious experience of the entire premodern world, east (...) and west, and for him primitive, medieval European, and classical Indian experiences of truth and art were only different dialects in a common language. Finally, Coomaraswamy was a provocative writer, whose erudition was expressed in a delightful, aphoristic style. The nine essays in this book are among his most stimulating. They discuss such matters as the true function of aesthetics in art, the importance of symbolism, and the importance of intellectual and philosophical background to the artists; they demonstrate that abstract art and primitive art, despite superficial resemblances, are completely divergent; and they deal with the common philosophy which pervades all great art, the nature of medieval art, folklore, and modern art, the beauty inherent in mathematics, and the union of traditional symbolism and individual portraiture in premodern cultures. (shrink)

Here, for the first time, Christopher Kul-Want brings together twenty-five texts on art written by twenty philosophers. Covering the Enlightenment to postmodernism, these essays draw on Continental philosophy and aesthetics, the Marxist intellectual tradition, and psychoanalytic theory, and each is accompanied by an overview and interpretation. The volume features Martin Heidegger on Van Gogh's shoes and the meaning of the Greek temple; Georges Bataille on Salvador Dal’'s The Lugubrious Game; Theodor W. Adorno on capitalism and collage; Walter Benjamin and Roland (...) Barthes on the uncanny nature of photography; Sigmund Freud on Leonardo Da Vinci and his interpreters; Jacques Lacan and Julia Kristeva on the paintings of Holbein; Freud's postmodern critic, Gilles Deleuze on the visceral paintings of Francis Bacon; and Giorgio Agamben on the twin traditions of the Duchampian ready-made and Pop Art. Kul-Want elucidates these texts with essays on aesthetics, from Hegel and Nietzsche to Badiou and Rancire, demonstrating how philosophy adopted a new orientation toward aesthetic experience and subjectivity in the wake of Kant's powerful legacy. (shrink)

The analysis focuses on the manner in which public authorities in Romania have carried out their role of supporting artistic creation, as well as on the institutional and financial instruments put into practice for this purpose. First, it is about exposing the contradictory logics that grounds the public action in supporting arts and artists and understanding the character of the State intervention in the cultural field, pointing up its oscillations between mediator and cultural agent roles, neutral and valorizing instance, artistic (...) and social rationales. Secondly, a comparative analysis points out to what extent the State intervention, especially using as instrument the direct subsidy, responds to the assumed role of supporting artistic creation and if it has contributed and is able to contribute to the development of the artistic sector and, implicitly, to the improvement of the artists’ social and professional status, in the actual context of an internationalized art and a free and global art market. (shrink)

This article deals with questions concerning the nature of representation of the female body within the so-called `oriental' discourse in Serbian art: Who is the painter? For whom is the work painted? With whom is the work identified? With what other possibilities of identification does the work leave us? In the context of the historical codes, a stance towards a body is seen as a projection of the social, cultural and power impulses. In the first case studied, the artist (...) was a male commissioned by the Serbian court to paint a series of paintings for the indigenous population and foreigners. In the second case, the artist was also male, a Serb working in Vienna, who painted for the audience of the `real Europe' from the position of an identity alteration. The third case focuses on a female artist, Babett Bachmayer Vukanovic, who was born in Germany but after marrying a Serb moved to her husband's homeland. Visual constructions of female bodies are used as the starting point for the deconstruction of ignored gender-related questions in analysing époque. (shrink)

This article gives an overview of Buddhist-oriented meditation techniques that were integrated with art projects for four and five year old kindergarten children at Dong Guk Kindergarten, Gyeongju City, South Korea. The article assesses the effect of this program on the creatvitiy levels of the children.

We humans tend to believe that things are only real in as much as we perceive them, an idea reinforced by modern philosophy, which privileges us as special, radically different in kind from all other objects. But as Graham Harman, one of the theory's leading exponents, shows, Object-Oriented Ontology (OOO) rejects the idea of human specialness: the world, he states, is clearly not the world as manifest to humans. "To think a reality beyond our thinking is not nonsense, but obligatory." (...) At OOO's heart is the idea that objects--whether real, fictional, natural, artificial, human, or non-human--are mutually autonomous. This core idea has significance for nearly every field of inquiry which is concerned in some way with the systematic interaction of objects, and the degree to which individual objects resist full participation in such systems. In this brilliant new introduction, Graham Harman lays out OOO's history, ideas, and impact, taking in art and literature, politics and natural science along the way. From Sherlock Holmes, unicorns, and videogames to Dadaism, Voltaire, and string theory, this book will change the way you understand everything. (shrink)

As James Harold notes in his generous and thoughtful commentary on Artistic Creation and Ethical Criticism (ACEC) (2020), there is much on which we agree, inclu.

본 연구는 생애 전환기를 맞이하는 중년기에 대한 고찰과 능동적 나이 듦 을 위한 문화 예술교육의 실천요소를 모색하는 것을 목적으로 한다. 고령사회로 진입한 우리 사회는 2007년부터 노후의 삶을 주체적으로 설계하고 조정하 기 위한 일환으로 중년을 대상으로 하는 정책과 지원을 확대하고 있다. 이 점에서 예술을 매개로 감정의 자연스러운 표현과 교류를 증진하는 문화예술교육은 건강한 노년기를 맞이 하기 위한 능동적인 나이 듦 의 준비과정으로 여겨진다. 또한, 이것은 생산적인 여가의 선 용과 사회적 개인의 역할에 대한 의미를 확대하는 재사회화 의 기능을 갖는다. 그러므로 본 연구는 나이 (...) 듦에 대한 의미를 유가 사회의 전통적 가치체계 속에서 고찰하고, 그 의미의 현대적 해석을 Erikson의 중년기 발달 과업에 대한 논의를 통해 시도한다. 그리 고 능동적인 나이 듦을 위한 중년 대상 문화예술교육의 사회적 의미와 방향성에 대한 고찰은 성숙한 인격의 함양이라는 윤리적인 의미를 넘어 새로운 세대에게 사회의 가치와 문화를 매개 하는 전승자에 대한 의미를 문화예술의 관점에서 규명하는 과정이 된다. 더욱이 이것은 중년 기의 발달 과업인 생성감의 획득 과정, 즉 교육의 주체 되기, 다양한 관계 맺기, 적극적인 사회참여에 대한 의미를 규명하는 문화예술의 재사회화 과정에 대한 일련의 고찰이 된다. (shrink)

Oui, malgré le travail de déconstruction de la pensée « postcoloniale », on peut encore parler de pensée « orientale ». Comme une gageure et un défi supplémentaire, nous avons pris comme miroir d’un monde une chose, un petit rien, une technique très ancienne, un art de la terre portant le nom de « raku », art né à la croisée de plusieurs traditions du monde oriental. Par bien des aspects, cet art se distingue fondamentalement des caractères que nous (...) attribuons à notre « Occident ». La pensée européenne est pourtant depuis longtemps entrée en rapport avec cet Orient et a tenté de lancer bien des passerelles diverses entre ces deux mondes. (shrink)

Although few philosophers agree about what it is for something to be art, most, if not all, agree on one thing: art must be in some sense intention dependent. Art and Art-Attempts is about what follows from taking intention dependence seriously as a substantive necessary condition for something's being art. Christy Mag Uidhir argues that from the assumption that art must be the product of intentional action, along with basic action-theoretic account of attempts (goal-oriented intention-directed activity), follows a host of (...) sweeping implications for philosophical enquiry into the nature of art and its principal relata such as authorship, art forms, and art ontology: e.g., 1) an informative distinction between art, non-art, and failed-art that any viable theory of art must capture, 2) a far more productive minimal framework for authorship not only capable of systematically addressing issues of collective authorship appropriation, etc. but also one according to which artists just are authors, 3) a coherent and structurally precise account of art forms based upon the relation between artists, artworks, and the sortal properties thereof, and 4) a unified and far less metaphysically suspect ontology of art according to which if there are such things as artworks, then artworks must be concrete things. Ultimately, Mag Uidhir aims neither to propose nor to defend any particular, precise answer to the question "What is art?" Instead, he shows the ways in which taking intention-dependence seriously as a substantive necessary condition for being art can be profoundly revelatory, and perhaps even radically revisionary, as to the scope and limits of what any particular, precise answer to such a question could viably be. -/- **Winner of The American Society for Aesthetics Outstanding Monograph Award 2013**. (shrink)

The essays in Object-Oriented Feminism explore OOF: a feminist intervention into recent philosophical discourses--like speculative realism, object-oriented ontology (OOO), and new materialism--that take objects, things, stuff, and matter as primary. Object-oriented feminism approaches all objects from the inside-out position of being an object too, with all of its accompanying political and ethical potentials. This volume places OOF thought in a long history of ongoing feminist work in multiple disciplines. In particular, object-oriented feminism foregrounds three significant aspects of feminist thinking in (...) the philosophy of things: politics, engaging with histories of treating certain humans (women, people of color, and the poor) as objects; erotics, employing humor to foment unseemly entanglements between things; and ethics, refusing to make grand philosophical truth claims, instead staking a modest ethical position that arrives at being "in the right" by being "wrong." Seeking not to define object-oriented feminism but rather to enact it, the volume is interdisciplinary in approach, with contributors from a variety of fields, including sociology, anthropology, English, art, and philosophy. Topics are frequently provocative, engaging a wide range of theorists from Heidegger and Levinas to Irigaray and Haraway, and an intriguing diverse array of objects, including the female body as fetish object in Lolita subculture; birds made queer by endocrine disruptors; and truth claims arising in material relations in indigenous fiction and film. Intentionally, each essay can be seen as an "object" in relation to others in this collection. Contributors: Irina Aristarkhova, University of Michigan; Karen Gregory, University of Edinburgh; Marina Gržinic, Slovenian Academy of Science and Arts; Frenchy Lunning, Minneapolis College of Art and Design; Timothy Morton, Rice University; Anne Pollock, Georgia Tech; Elizabeth A. Povinelli, Columbia University; R. Joshua Scannell, CUNY Graduate Center; Adam Zaretsky, VASTAL. (shrink)

By comparing Object-Oriented Ontology (OOO) and Baudrillard through the lens of a study of the notion of withdrawal in Heidegger’s tool analysis and “The Question Concerning Technology”, this article explores the extent to which an Object-Oriented Baudrillard is possible, or even necessary. Considering an OOO understanding of Mauss’s gift-exchange, a possible critique of duomining in Baudrillard and a revision of Baudrillard’s understanding of art, the prospects of a new reading of Baudrillard and interpretation of OOO’s genealogy are established. These lines (...) of comparison qualify the role of withdrawal in Baudrillard and symbolic exchange for OOO, and lead towards the conclusion that an Object-Oriented Baudrillard is possible, but may not, conversely, be considered necessary. (shrink)

This chapter contains sections titled: The Intentions of Art Can Private Intentions Go Public? The Intention to Make a Poem Poems Are Made out of Words Blake's “London”.

This paper explores the «nature» of street art, highlighting its innovative features, the new socio-political status, and the differences between this emerging art form and dominant trends in contemporary visual art. This examination builds on the premise that artistic phenomena can only be considered from a critical perspective that situates questioning within a historical and specific gaze. Therefore, my aim is not to place this art movement within categorial boundaries, identifying the necessary and eternally true characteristics of street art, but (...) to identify the motives and tendencies that constitute it as a movement that runs against the dominant orientations in contemporary art. Building on this comparative analysis, the construens part of this paper explores the salient features of street art more thoroughly and more extensively, through an examination of the works of certain street artists. (shrink)