What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic (...) class='Hi'>style should address: Are there limits on what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

What is it for a person to have style? Philosophers working in action theory, ethics, and aesthetics are surprisingly quiet on this question. I begin by considering whether theories of artistic style shed any light on it. Many philosophers, artists, and art historians are attracted to some version of the view that artistic style is the expression of personality. I clarify this view and argue that it is implausible for both artistic style and, (...) suitably modified, personal style. In fact, both theories of style crack along the same line, which suggests that they can indeed be mutually illuminating. I articulate and defend a view of personal style according to which, roughly, having style is a matter of expressing one’s ideals. I show how this illuminates the widely neglected value of personal style and propose a new, analogous theory of individual artistic style: artistic style is the expression of the ideals the artist has for her art. (shrink)

Visual stylometry is a new interdisciplinary research field that sits at the junction of digital humanities, empirical aesthetics, and computer science. Research in this field employs image analysis algorithms to study key aspects of artistic style. The nature of artistic style is the subject of ongoing debate within art history and philosophy of art. Computational and statistical methods in visual stylometry allow researchers to quantify and compare aspects of artistic style over the course of (...) the career of an individual artist, among artists who share in a common artistic style, and across different schools of art. The results of these studies provide clues to the image features that enable viewers to categorize works as belonging to different artistic styles. -/- We have developed a system that can act as an open access laboratory for visual stylometry. This approach is powerful enough to support advanced academic research in computer science, cognitive science, art history, and the philosophy of art while at the same time providing a user friendly interface accessible to students and researchers with little or no computer science background. Our framework is designed around the idea of scientific workflows. Scientific workflows allow users to build executable analyses in the same way they would draw a flowchart, by dragging objects representing data sets and image analysis procedures onto the work-space and drawing links between them. These workflows and data sets can be exported using open standards as web objects that can then be shared or modified by other users. -/- Our platform, Workflows for the Analysis of Images in Visual Stylometry (WAIVS), has the potential to promote computational literacy and data analytic skills among humanities students, to introduce science students to research in art and the humanities, to explore the nature of artistic style and its role in our understanding of artwork, and to help researchers in cognitive science understand how viewers perceptually categorize, recognize, and otherwise engage with artworks. (shrink)

Recent interdisciplinary research in visual stylometry employs digital image analysis algorithms to study the image features and statistics that underwrite our experience of artworks. This research brings psychologists, computer scientists, and art historians together to explore the formal image qualities that define artistic style. We introduce the field of visual stylometry, discuss it's implications for our understanding of both the nature of categories of art and the role artistic style plays in our engagement with artworks. We (...) then discuss the results of our research employing entropy analyses and discrete tonal analyses to classify paintings by school (Impressionism/Hudson River School) and medium/technique (Wyeth/egg-tempura/watercolor). (shrink)

Of the famous passage from Augustine’s Confessions1 that opens Philosophical Investigations, Wittgenstein writes, These words, it seems to me, give us a particular picture of the essence of human language. It is this: the words in language name objects — sentences are combinations of such names. — In this picture of language we find the roots of the following idea: Every word has a meaning. This meaning is correlated with the word. It is the object for which the word stands. (...) (PI, 2009, §1) -/- This remark has frequently been taken to simply identify as Wittgenstein’s point of departure the ‘naming theory’ of language. But as usual, closer attentiveness to Wittgenstein’s words extracts a good deal more content. Augustine’s words impart a picture not only of human language, but indeed a picture of the essence of language. So to begin, let us look briefly at the concepts of (1) picture and (2) essence as they are used here. (shrink)

Purpose of the study is to shed light on the role of psychophysiology in the creative process, namely, the style corrections connected with pathological changes in the artist’s organism, deviating from empirical-descriptive methods. Theoretical basis of the study implies the interpretation of the notions style and disease not in their narrow professional limitation but from the standpoint of expanding the parameters of these concepts to philosophical dimensions. Based on the principle of analogy, the research findings prove that non-mimetic (...) creative process manifests itself exclusively in connection with a human from a bodily viewpoint through anthropological mimesis, which can program the propensity to certain capabilities of the individual organism. C. G. Jung was the first who pointed to the productivity of this method in his work "Theoretical Reflections on the Nature of the Psyche". The creativity phenomenon reflects not only "pure" psychology and the intellectual and spiritual component but also its relation to the artist as a physical being. It, outside its belonging to and being conditioned by transcendent factors, includes a quantitative aspect related to the moment of intensity. The disease acts to some extent as a stimulator of the production/change of aesthetic enzyme. In this context, the dialectic method is also effective because the subject of study cannot be comprehensively argued using naturalistic approaches only and requires a semantic explanation too. The essence of it is the logic of contradictions. In this case, the antinomy of matter-spirit plays a conceptual role in the projection on the plane of word-formation. Originality of the research findings is in the expansion of the causal relationship range of the creative process, namely the inclusion of the factor of psycho-physiological pathology into the system artist-work. This factor performs important stylistic functions. Conclusions. In contrast to scientific studies, where 1) style is analyzed separately and 2) the figure of the artist, this study argues the need to correlate these issues, taking them beyond descriptiveness to avoid schematics and one-dimensionality. (shrink)

Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the (...) role the artistic metaphor plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist’s style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists’ knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto’s notion of style, based on Sartre’s notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem. (shrink)

Adapting critical methods from such wide-ranging fields as anthropology, linguistics, philosophy, biology, and other sciences, Schapiro appraises fundamental semantic terms such as "organic style," "pictorial style", "field and vehicle," and "form and content"; he elucidates eclipsed intent in a well-known text by Freud on Leonardo da Vinci, in another by Heidegger on Vincent van Gogh.

Adapting critical methods from such wide-ranging fields as anthropology, linguistics, philosophy, biology, and other sciences, Schapiro appraises fundamental semantic terms such as "organic style," "pictorial style", "field and vehicle," and "form and content"; he elucidates eclipsed intent in a well-known text by Freud on Leonardo da Vinci, in another by Heidegger on Vincent van Gogh.

This article explores representations of the artist Willem de Kooning who, during the last few years of his creative life, produced a large number of paintings at the same time as he was thought to be suffering from Alzheimer's disease. My focus is on the way that these representations mobilize themes which Jane Goodall identifies as belonging to a discourse of anxiety. In a bid to suggest that the artist is uniquely positioned to adapt to the progression of the disease, (...) commentators betray a particular concern with the relation between will and intuition. This relation is negotiated, first, by privileging the hand of the artist as a body part possessed of a brain and a will of its own and, second, by drawing on neurological explanations of the nervous system which have the effect of removing `will' from the sphere of voluntarism. Although these representations go some way to refigure conventional notions of artistic identity and creative processes, the reliance on neurology supports an elitism which justifies the exclusion of certain figures (the insane, the naive, the computer) not just from the subject-position `artist', but also from the category `human'. (shrink)

Arthur Danto was an original thinker, and like all creative readers of the history of philosophy he invariably heard in those who caught his attention echoes, faint or raucous, of his own thoughts. Danto rejects the transparency theory as inadequate to how we talk about art and to artistic practice. For Danto, an artwork is not a mere representation, with a particular kind of content. Echoing a familiar theme from traditional aesthetic theory, Danto reminds us that “it is crucial (...) to distinguish the form of a representation from the content of the representation”. Sartre and Danto agree that artistic style and expression differ essentially from mundane character and meaning. By his own admission, Sartre's favored argumentative technique was to invest heavily in sharp categorical distinctions where common sense and philosophical refinement are inclined to see complexity and ambiguity. (shrink)

The question, How is style possible? assumes the existence of style and sufficient evidence for this assertion, as well as for determining what it means, appears in the talk about style, in the deployment of stylistic categories. That talk extends in common usage to such attenuated references as styles in dress, styles of social exchange, life-styles. To limit the discussion, I speak here primarily of artistic style, but it will be clear that the ramifications of (...) the argument extend beyond the arts, indeed beyond style as well. When we pursue this line of inference, the practical question of what the use or function of stylistic analysis is plays a controlling role and in effect sets a dialectic in motion. For if, as I suggest, there is a stopping short in the first—adverbial or instrumental—model of style and an amending completeness in the first—verbial or transitive—model, that difference starts from their respective conceptions of the function which stylistic analysis and finally style itself serve. It is important, then, to keep the question of function in mind, to allow it to spend its own force; that question serves, in fact, as a mediating link between the appearance of style and the discourse about it, on the one hand, and the final question of how style is possible, on the other. The two models of style to be described differ explicitly on the last of these points, and they differ at least tacitly in their conception of the mediating link, the question of the function or use of style. Those differences in turn make a practical difference even in the immediate description of particular styles. Berel Lang, whose "Space, Time, and Philosophical Style" appeared in the Winter 1975 issue of Critical Inquiry, is professor of philosophy at the University of Colorado, the author of Art and Inquiry, co-editor of Marxism and Art: Writings in Aesthetics and Criticism, and the editor of The Concept of Style. "Style as Instrument, Style as Person" is part of Person and Representation: The Intentions of Style. (shrink)

Style: A Queer Cosmology considers artists and critics whose work defines style as that which eludes paraphrase or social scientific categorization; rather, they show style to be the attributes that make us all more like ourselves and less like each other.

The article begins with a brief history of aesthetic theory. Particular attention is given to the postructuralist ‘aesthetic return’: the resurgence of interest in aesthetics as an ontological foundation for human being-in-the-world. The disordered individual-as-emergent-artist-and-artifact, who is at the centre of this ‘aesthetic return’, is then translated into the ‘dis’-organization that is the firm. The firm is thus defined in terms of its primal sensory impact on the world. It invokes a myriad of aesthetic relations between its disorganized self and (...) others: its essence resides within these relations; its power of being is determined by its ability to project a unified aesthetic ideal – a ‘mirror fantasy’. The firm thus emerges as a style: where style is defined as an organizing – a sculpting – of aesthetic chaos. In order to achieve a grand style, the firm projects itself through time as a unified aesthetic ideal; as an ongoing work of art. The article concludes with a discussion of how this aesthetic theory of the firm relates to other accepted theories of the nature and purpose of business organizations. (shrink)

The volume starts with the paper of Lynn Maurice Ferguson Arnold, former Premier of South Australia and former Minister of Education of Australia, concerning the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) that was held from 25 May to 25 November 1937 in Paris, France. The organization of the world exhibition had placed the Nazi German and the Soviet pavilions directly across from each other. Many papers are devoted (...) to the interpretation of this opposition. Arnold’s paper considers the differences in the two totalitarian states’ architectural and design discourse styles. Although each of them communicated a totalitarian language of purposes, permissions, and boundaries, they essentially differed in the styles of discourse represented by the architecture and design of their respective pavilions. They were opposites of each other and the liberal ideals they contested. The internationalist viewpoint reflecting the multi-ethnic mix of the USSR is contrasted to the ein Volk homogeneity represented in the German pavilion. The Soviet pavilion opted for a utopian future to be arrived at by “benign” leadership, whereas the German pavilion anchored itself in the myth of Teutonic history with the nostalgic pride protected by the swastika-bearing eagle. Jean-Yves Béziau is best known as a logician and founder of Universal Logic. However, in this paper, he poses a new philosophical question: why philosophical discourse does not use images? The paper begins with a general analysis of different types of philosophical discourses. Then, he focuses on why images have been and are still rejected in philosophical discourse. He explains various ways to use images in a fruitful way to develop philosophical thinking and discourse and illustrates his view by providing several examples. He concludes with a promising programmatic declaration about founding a new journal entitled World Journal of Pictorial Philosophy to stimulate the usage of images for developing philosophical thinking. Although complaints about the obscurity of many philosophers’ discourse are widespread, Tatiana Denisova, ex-professor of the Surgut University and a research associate of the University of the Aegean undertakes a positive attitude to this problem. She explains that the reasons for the obscurity of philosophical texts, the subsequent complexity in communicating philosophers’ meanings and their eventual incomplete understanding is not a sign of their inferiority. On the contrary, it is a sign of the fruitfulness of philosophical discourse, which can generate new meanings. Thus, the darkness of philosophical discourse is like the life-giving chaos, and the obscurity that it inevitably contains can be the keeper of implicit meanings and even their generator. Katarzyna Gan-Krzywoszyńska and Piotr Leśniewski, authors of a monograph on Polish philosopher Kazimierz Ajdukiewicz (1890 – 1963), make a comparative analysis of his educational style with that of Paulo Reglus Neves Freire (1921 – 1997). The authors highlight that these scholars have distinctly different backgrounds. The former was an educator, philosopher and a leading advocate of critical pedagogy connected with the dialogical Latin-American tradition. The latter was a philosopher and logician, a notable representative of the Lwów–Warsaw school of logic with significant contributions to semantics, model theory and the philosophy of science. Despite their apparent difference, the authors identify some striking similarities regarding their attitudes towards education; notably, their approaches are essentially dialogical. Gilah Yelin Hirsch is a multidisciplinary artist who works as a painter, writer, curator, educator, and filmmaker. In her experiential paper, he explains how and why she uses four channels of communication in her creative expression: writing, painting, filmmaking, and teaching, as dialogic inquiry. She considers that these channels compose a continuum of discourse styles, each reaching a different facet of kaleidoscopic consciousness. She claims that her choice of medium is prompted by a need to communicate her insights profoundly. Thus, for instance, she created painted allegories to express narratives based on dreams and visions emerging from her subconscious. Art and healing is another Tibetan-rooted type of discourse practised by the author. Creating and observing a healing image produces a positive psychophysiological change in both the artist and the viewer. The discourse here is tripartite between creator, image, and viewer. Filmmaking is another type of discourse she practices between the filmmaker/artist as shaman or healer and the viewer as respondent or participant. These films are meant to be experienced frame by frame, physically and emotionally in both the body and mind. Jocelyn Ireson-Paine is a cartoonist and programmer. His paper offers an original attempt to use category theory in cartooning. Category theory is a branch of mathematics that provides concepts and methods to describe general abstract structures in terms of a labelled directed graph called category, whose nodes are called objects, and whose labelled directed edges are called arrows (or morphisms or transformations or mappings). The author explores different ways to define “style” in art using category theory and a relational view of art. Moreover, he examines how “translation” (transformation) between styles could be defined and reveals the difficulties of how it could be implemented in a computer using special software. Jens Lemanski is a philosopher who has revived research in Arthur Schopenhauer’s legacy by exploring his work on mathematical evidence, logic diagrams, and problems of semantics. In this paper, he advances a new approach to eristic as an art of protecting oneself from the one who deliberately violates norms of discourse ethics to win an argument. The author attributes the origins of this view to Schopenhauer, suggesting a new reading of his work. According to the author, eristic is a prohibitive technique that takes effect when the norms of discourse ethics are transgressed and violated. Thus, eristic is viewed as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Roshdi Rashed is an authority on the history of Arabic mathematical sciences. Proceeding from Gilles-Gaston Granger’s definition of mathematical style, he studies the question of whether a mathematical work can be characterized by a single style or by a multitude of styles. This question is explored within the style of a single work, namely Menelaus’s Sphaerica, and through the study of the development of a single problem over time, namely the isoperimetric problem. He indicates Menelaus’s divergence from the Euclidean style of (plane and stereometric) geometry caused by the drop of the Parallel Postulate, which associated it with hyperbolic geometry. Hence, the author concludes that Menelaus’s Sphaerica incorporates the well-known Euclidean style with a variation of the non-Euclidean one. On the other hand, examining the isoperimetric problem reveals another interesting historical picture. A succession of different styles (cosmological, geometric, infinitesimalistic, style of the calculus of variations, of synthetic geometry) can be observed due to the transformation of the research object over time. Boris Shalyutin, a Russian social philosopher, and Ombudsman for Human Rights in the Kurgan Region, explores the origins of discourse in combination with the birth of society and law. He claims that legal discourse marks the historical emergence of discourse in general. Homo Juridicus generated Homo Sapiens, which have created new spheres of discourse, notably moral discourse and further philosophical, political, and scientific discourse. Petros Stefaneas, a logician, computer scientist and novelist, suggests an alternative to the traditional narratology approach for studying (interactive) social media discourse. He claims that style describes how the parts of a narrative are blended into a whole. The author relies upon Goguen’s and Harrel’s concept of style as a choice of blending principles and transfers to the study of the social media narratives elements from the methodology of studying Web-based collaborative search for mathematical proofs like those implemented within the Polymath project. The last paper belongs to Ghil‘ad Zuckermann, a linguist, language revivalist, and proponent of a model of the emergence of Israeli Hebrew, according to which Hebrew and Yiddish were the primary sources of Modern Hebrew. This paper explores the fascinating and multifaceted Yiddish language and its survival in Israeli. Yiddish is characterized by a unique style that embeds psycho-ostensive expressions throughout its discourse. The author highlights the cross-fertilization between Hebrew and Yiddish as it manifests itself in any aspect of the Israeli language. He claims that Yiddish survives beneath Israeli phonetics, phonology, discourse, syntax, semantics, lexis, and even morphology, although traditional and institutional linguists have been most reluctant to admit it. (shrink)

The article begins with a brief history of aesthetic theory. Particular attention is given to the postructuralist ‘aesthetic return’: the resurgence of interest in aesthetics as an ontological foundation for human being-in-the-world. The disordered individual-as-emergent-artist-and-artifact, who is at the centre of this ‘aesthetic return’, is then translated into the ‘dis’-organization that is the firm. The firm is thus defined in terms of its primal sensory impact on the world. It invokes a myriad of aesthetic relations between its disorganized self and (...) others: its essence resides within these relations; its power of being is determined by its ability to project a unified aesthetic ideal – a ‘mirror fantasy’. The firm thus emerges as a style: where style is defined as an organizing – a sculpting – of aesthetic chaos. In order to achieve a grand style, the firm projects itself through time as a unified aesthetic ideal; as an ongoing work of art. The article concludes with a discussion of how this aesthetic theory of the firm relates to other accepted theories of the nature and purpose of business organizations. (shrink)

Arthur Danto's style matrix brings together many facets of his thinking about philosophy and about art, particularly his intentionalism, art criticism, and historicism. This chapter presents the mechanics of the style matrix and offers modifications of the view in the light of certain criticisms. The style matrix has an interesting consequence for the range of artistic properties that can apply to artworks. In describing the style matrix, Danto relies on causal relations among artworks as a (...) way of identifying stylistic properties. The chapter considers some of the most influential Danto scholars and their interpretations of Danto's style matrix in relation to the debate about epistemic and metaphysical nature of the properties of artworks. Adopting a metaphysical interpretation of the style matrix also allows us to understand another, more general claim that Danto defends about the evolution of art. The correct interpretation of the style matrix hangs on adequate defenses of epistemic and metaphysical historicism. (shrink)

The enduring influence of the architect Gottfried Semper derives primarily from his monumental theoretical foray Der Stil in der technischen und tektonischen Künsten, here translated into English for the first time. A richly illustrated survey of the technical arts, Semper's analysis of the preconditions of style forever changed the interpretative context for aesthetics, architecture, and art history. Style, Semper believed, should be governed by historical function, cultural affinities, creative free will, and the innate properties of each medium. Thus, (...) in an ambitious attempt to turn nineteenth-century artistic discussion away from historicism, aestheticism, and materialism, Semper developed in Der Stil a complex picture of stylistic change based on scrutiny of specific objects and a remarkable grasp of cultural variety. Harry Francis Mallgrave's introductory essay offers an account of Semper's life and work, a survey of Der Stil, and a fresh consideration of Semper's landmark study and its lasting significance. (shrink)

This study investigates how patterns of media use and exposure to media messages are related to attitudes about artificial intelligence (AI) image generators. In doing so, it builds on theoretical accounts of media framing and public opinion about science and technology topics, including AI. The analyses draw on data from a survey of the US public (N = 1,035) that included an experimental manipulation of exposure to tweets framing AI image generators in terms of real art, artists’ concerns, artists’ outrage, (...) or competing interpretations. The results show that technology news use and science fiction viewing predicted support for AI art but also predicted belief that AI image generators will take jobs and steal art styles from human artists. In addition, the experimental results demonstrate that exposure to specific media messages can influence these responses. The findings carry implications for understanding the future adoption, use, and regulation of AI image generators. (shrink)

Congo Style presents a postcolonial approach to discussing the visual culture of two now-notorious regimes: King Leopold II's Congo Colony and the state sites of Mobutu Sese Seko's totalitarian Zaïre. Readers are brought into the living remains of sites once made up of ambitious modernist architecture and art in Kinshasa, Democratic Republic of the Congo. From the total artworks of Art Nouveau to the aggrandizing sites of post-independence Kinshasa, Congo Style investigates the experiential qualities of man-made environments intended (...) to entertain, delight, seduce and impress. In her study of visual culture, Ruth Sacks sets out to reinstate the compelling wonder of nationalist architecture from Kinshasa's post-independence era, such as the Tower of the Exchange (1974), Gécamines Tower (1977), and the artworks and exhibitions that accompanied them. While exploring post-independence nation-building, this book examines how the underlying ideology of Belgian Art Nouveau, a celebrated movement in Belgium, led to the dominating early colonial settler buildings of the ABC Hotels (circa 1908-13). Congo Style combines Sacks's practice as a visual artist and her academic scholarship to provide an original study of early colonial and independence-era modernist sites in their African context. (shrink)

In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...) literary titles, or associated texts connected to it by its composer – is often characterized as the expressive art par excellence. Yet how could that be possible, given that such music lacks semantic or representational content? Pure music presents the hardest and most vivid philosophical challenge to any account of expressiveness in the arts, which is why it is crucial to consider the musical case for the light it sheds on the underlying principles and issues. In this chapter I consider two accounts of expressiveness in pure music. Both regard expressiveness as an objective property of such music. I argue for the position I call appearance emotionalism and against the alternative, which I label hypothetical emo- tionalism. But before I get to that, there is a different mode of musical expression to be acknowledged. Even instrumental music comes charged with associations. Some of these are private to the listener, but many are widely shared. The latter may be included in a piece by accident but are, more often, deliberately placed for their effects. For instance, when a song is quoted in an instrumental work, its title or words may be brought to mind. Certain melodies (e.g., “Ode to Joy”), styles (e.g., tarantella), idioms (e.g., fanfares), forms (e.g., minuet), modalities (e.g., church modes), and instruments (e.g., fifes and snare drums) recall particular social events, geocultural regions, historical periods, ideas, and sensibilities, and in this way can hook up with affective life-experiences. Though it is music’s associative ties that are likely to be referred to when most people are asked about music’s significance, philosophers say little about them.. (shrink)

In a study of three indigenous and non-indigenous cultural groups in northwestern and northeastern Siberia, framed line tests and a landscape drawing task were used to examine the hypotheses that test-based assessments of context sensitivity and independence are correlated with the amount of contextual information contained in drawings, and with the order in which the focal and background objects are drawn. The results supported these hypotheses, and inspection of the regression relationships suggested that the intergroup variations in test performance were (...) likely to result from differences in the attention accorded to contextual information, as revealed by the drawings. Social and environmental explanations for the group differences in context sensitivity are also discussed. The conclusions support the argument that cultural differences in artistic styles and perceptual tests reflect the same underlying perceptual tendencies, and they are consistent with the argument that these tendencies reflect corresponding differences in patterns of social and environmental interaction. (shrink)

This essay explores claims made frequently by artists, critics, and philosophers that artworks bear personifying traits. Rejecting the notion that artists possess the Pygmalion-like power to bring works of art to life, the article looks seriously at how parallels may exist between the ontological structures of the artwork and human personhood. The discussion focuses on Arthur Danto’s claim that the “artworld” itself manifests properties that are an imprint of the historical representation of the “world.” These “world” representations are implicitly embodied (...) in the artist’s style. The “world” that is stamped on the people of a historical period entails a point of view that influences how they might act, something like the logic that guides a conversation. This “conversational” logic is also extant in the artworks that artists of a given period create. This analysis of Danto’s account of how people are connected to their world clarifies Danto’s assertions that a parallel structure of personification in the artwork and the human exists. It also explains his claims that artworks themselves appear to be in a kind of dialogue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kendall L. Walton FICTION, FICTION-MAKING, AND STYLES OF FICTIONALITY Both objectsandactions are said to have styles. Styles eire attributed to works of art, bathing suits, neckties, and automobiles. But we also think of styles as ways of doing things. There are styles of teaching, styles of chess playing, styles of travel. The primary notion of style is the one which attaches to actions. When we speak of die (...) style of a poem or a portrait or em automobile we do so with reference to an action or actions associated with the object, usually the action or actions which appear to have been performed in die making of it. I will not argue now for this claim about style except to note that style attributions eure peculietrly alien to objects which are not products of human action. What is the style of a tulip, or an alpine meadow, or a pristine lake in the high Sierras? Are the Grand Canyon and Yosemite Valley in the same style or different ones? Sunsets in the tropics are very different from sunsets in the arctic, but is die difference a stylistic one? We might allow that in unusual cases natured objects can have styles. A chorus ofchirping birds might, just conceivably, chirp in the style of Haydn. But die notion of style here is obviously parasitic on diat which is applied to man-made eirtifacts. To think of an object as having a style is to mink of it as a product of human action.1 If actions are the primary possessors of style, to understand styles of fictionality we must look at die action of fiction-meddng emd its relation to works of fiction. I will concentrate on the very basic question ofwhat fiction is, what it is for something to be a work of fiction, and on attempts to answer this question in terms of die action offiction-making. It has been especially fashionable to utilize die notion ofspeech acts introduced by John Austin in tackling this problem. The fictional status of a work is, supposedly, to be accounted for by what illocutionary actions were or were not performed by the artist producing it, or by connections between what the artist did and certain illocutionary actions. My assessment of mis program will be mostly negative. Speech-act theory is remarkably unhelpful in explaining what fiction is. We have here something ofa "Have dieory, will travel" syndrome. There is a tendency for theorists, when 78 Kendall L. Walton79 faced with a new problem, to dust off an old theory which they know emd love, one devised with other questions in mind, shove it into die breach, and pray mat it will fit. In this case it does not fit, and the result is confusion radier dian illumination. Lest I step on toes other man the ones I am aiming at, let me empheisize that my present concern is not with the viability of speech-act theory as a dieory of language. Nor do I mean to deny that speech-act theory can be used fruitfully to illuminate important features of literary fictions. I am now addressing only die basic question of what fiction is, how works of fiction are to be differentiated from odier things. Whatever the other merits of speech-act theory, its applications to this question have been distinctly infelicitous. From our discussion of such applications em even stronger conclusion will emerge, the conclusion that the nature of fiction is not to be explicated in terms of acts of fiction-making at all. The notion of fiction is in diis respect contrary to that of style, and certain consequences about styles of fictionality follow. I Speech-act theory has been brought to bear on the problem of the nature of fiction in a number of rather different ways. I will look at four of them. The first is the idea that works of fiction are simply texts (or other representations ) which are not vehicles of illocutionary acts. It is true mat in writing fiction an author typically does not perform the illocutionary acts that a person who uses the setme words in a nonfictional setting is likely to be performing... (shrink)

This essay positions the figure and thought of T.W. Adorno in relation to Mulk Raj Anand, and the latter’s foundational contributions to the modern Indian novel in English. In Adorno’s musical writings, “late style” features as a methodological premise, or an expository mode that removes the work from conventional norms of evaluation. Late style is directed especially toward canonized works that seem to lack current artistic or social relevance, despite their culturally privileged standing. The essay approaches Adorno (...) and Anand, accordingly: Their affiliations with European modernism and postcolonial realism, respectively, are read in late style, or, as largely obsoleted formations of the previous century. Focussing on Anand’s historical fiction, Across the Black Waters, my essay recuperates the novel’s vision of a single if internally differentiated twentieth-century: By imagining the Great War as world-historical crisis, Anand’s novel stage... (shrink)

In the present article, the work of contemporary English writer and screenwriter Neil Gaiman is studied from the point of view of artistic and philosophical reinterpretation of the principles of surrealism. His novels ‘Neverwhere‘, ‘Coraline‘ and the script for the film ‘Mirror mask‘are analysed, in which the interpenetration of the real and unreal world can be traced and the planes of reality and dreams are woven into one inseparable whole. It is emphasized that for the creative style of (...) Neil Gaiman game with space and time is typical: climbing the stairs out of the sewer, you can find yourself on a roof, away from home, you can go back to his door, looking through a window in the world of dream, you can see yourself sleeping. Therefore, the writer often uses the theme of dream, program for the philosophy of surrealism: the characters have dreams that are either echoes of the past or images of predicted future, reflection of dreams or the dream itself turns into a full-fledged reality that is being created by sleeping character. However, it can be noted that the approach of the writer to value of phantasmagoric worlds is changing. If in the novel ‘Neverwhere‘ the world of London below is conceptualized as an alternative to the real world, in the novel ‘Coraline‘, and especially in the movie ‘Mirror mask‘ filmed in 2005, staying in a different world helps heroes to understand the real world better and to seek that fills it with meaning. (shrink)

Arthur Danto believed that “style has to be expressed immediately and spontaneously.” Danto writes that “the question of when is a thing an artwork becomes one with the question of when is an interpretation of a thing an artistic interpretation”. His extensive art criticism focuses, then, on the way artworks are about. The presence of a metaphor and the demand for interpretation are insufficient to draw the demarcation line between art and not‐art. A work of art ought to (...) be “a piece of visual thought”. Danto's own style was an invitation, almost intimate, to engage his enticing and entertaining way of thinking. His writing creates the impression that he is speaking and simply registering his thoughts and imaginings as they come. (shrink)

Bocchi's Opera sopra l'imagine miracolosa della Santissima Nunziata di Fiorenza of 1592 is concerned with the miracle-working image in the Florentine Servite church of SS. Annunziata. The image theory expounded in this book is in part derived from Aristotle, but Bocchi nonetheless allows for the fresco's miraculous nature. He addresses questions relating to the artistic authorship and style of the image, widely believed not to have been completed by human hand, and thus arrives at a new understanding of (...) the fresco both within and outside the history of art as defined by Vasari's Lives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.3 (2002) 223-243 [Access article in PDF] Style, Rhetoric, and Postmodern Culture Bradford Vivian Modern rhetoricians habitually avoid the canon of style. The reasons for this avoidance should be familiar to those versed in the disciplinary lore of rhetoric. Since the fifth and fourth centuries B. C. E., when oratorical virtuosos like Gorgias proclaimed that "Speech is a powerful lord, which by means of (...) the finest and most invisible body effects the divinest works" (41), the suspicion that rhetorical style amounts to irrational verbal excess has dogged those who would argue for the moral integrity of the art. Most recently, twentieth-century rhetoricians, Toulmin (1958) and Perelman (1969, 1979, 1982) in particular, realigned rhetoric with the study of argumentation after its apparent reduction, during the eighteenth and nineteenth centuries, to innocuous matters of form and taste by the elocutionist and belletristic movements. Consequently, the aesthetic capacities of rhetoric have received scant attention from modern rhetoricians, who resign considerations of style largely to supposedly regrettable episodes in the history of the discipline. For better or worse, then, modern rhetorical theory lacks a contemporary rationale and methodology for the study of style. 1Beyond unfortunate equations of rhetoric with grandiloquence, this scarcity in recent rhetorical scholarship corresponds to general humanistic and social scientific prejudices against the topic of style. Robert Hariman posits, "Established academic conceptions of style hardly prepare one to take seriously the aesthetic dimension of political experience" (7). As evidence for this claim, he cites Stuart Ewen's reflections on the "frustration" peculiar to research on style: "It seemed to be a universal category," Ewen writes, "transcending topical boundaries, an accolade applied to people, places, attitudes and things... a subject that was, at best, amorphous" (quoted in Hariman, 7-8). Yet the social ubiquity of style—"[o]n news magazines, sports magazines, music-oriented magazines, magazines about [End Page 223] fashion, architecture and interior design, automobiles, and sex"—indicates that it offers "a key to understanding the contours of contemporary culture" (qtd. in Hariman, 7-8). Hence, the paradox of style as a scholarly topic: that which exhibits its cultural importance makes it seem intellectually vacuous.Hariman's treatise on political style offers the most noteworthy attempt in rhetorical studies to remedy these trends; brief consideration of his insights will suggest further objectives for the study of rhetoric and style. 2 In Hariman's estimation, "style ultimately is a significant dimension of every human experience" because "relations of control and autonomy are negotiated through the artful composition of speech, gesture, ornament, decor, and any other means for modulating perception and shaping response. In a word, our political experience is styled" (3, 2). The distinctive contribution of rhetorical inquiry into political style involves "understanding the dynamics of our social experience or the relationship between rhetorical appeals and political decisions" rather than merely "cataloging discursive forms in the artistic text alone" (Hariman, 8).Accordingly, Hariman acknowledges that one must recognize the substantive social and political influences of style apart from its traditional connotations of individual artistic performance. "In this context," he explains, "although style still highlights aesthetic reactions it no longer enforces artistic autonomy. Style becomes an analytic category for understanding a social reality; in order to understand the social reality of politics, we can consider how political action involves acting according to a particular political style" (9). Thus, for Hariman, rhetorical choices in political style need not amount to a valorization of "artistic autonomy": "each political style draws on universal elements of the human condition and symbolic repertoire but organizes them into a limited, customary set of communicative designs... Each is thoroughly conventional, yet the means for personal improvisation and intelligent, innovate responses to unique problems" (11-12). His treatise therefore appears to dissociate style from its outmoded definitions while recommending the utility of rhetorical principles to the study of political culture.What Hariman calls the "cautious postmodernism" (6) of his project, however, hinders its innovative aspirations. The postmodern portion of his work endorses the study of style according to the aesthetic dimensions of social relations rather than "artistic autonomy" alone; but its... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 38-52 [Access article in PDF] Artist-Audience Communication: Tolstoy Reclaimed Saam Trivedi Whoever is really conversant with art recognizes in [Tolstoy's What is Art?] the voice of the master.1There has to be some presumption that, as one of the greatest artists who ever lived, Tolstoy might actually have known what he was talking about.2It is widely accepted in contemporary Anglo-American aesthetics that, despite (...) Tolstoy's own literary achievements, his "moralism" about art is a view without much merit. For the most part, I concur with this current consensus about Tolstoy. However, despite the many flaws in his view, I think Tolstoy was on to something, after all. In particular, I believe a concept of artist-audience communication similar to what Tolstoy had in mind can be fleshed out so as to avoid the problems that Tolstoy ran into, while reclaiming the insights in his view.3In what follows, I begin by suggesting briefly that recognizing a quasi-Tolstoyan concept of artist-audience communication may have important implications for how we should approach artworks, and thus also for aesthetic education. Next, I spell out this concept. I then offer trenchant criticisms of Tolstoy's view. Finally, I point out affinities between Tolstoy's concept and mine, while also distinguishing my concept of artist-audience communication from Tolstoy's concept of artistic communication. It will emerge, I hope, that while I disagree more than agree with Tolstoy, the issues where I agree with him may be more significant. Artist-Audience Communication I begin by discussing briefly how talk of a quasi-Tolstoyan artist-audience communication bears relevance for how we should approach artworks, and thus has relevance for aesthetic education. If I am right, then in approaching [End Page 38] and experiencing artworks, we should seek a correct experiential understanding of them that is shared between the artist and audience, and between ourselves and other members of the audience. This does not meanthat we seek what the artist did intend in creating the artwork, as actual intentionalism would have us do. Rather, as members of a competent audience, we should first analyze what a given artwork means by attending to the work itself.4 This includes the broad art-historical context of production (including the period, style, category, or genre of the work; the artist's public persona; the oeuvre of the artist; works by the artist's contemporaries; the social, cultural, and political milieu of the artist; and so on) and the public conventions that apply to it. In cases of irony, satire, and allusion, we may also need to broaden the context and appeal to artistic intentions. Then we should attribute this "work-meaning" to the historical artist as part of what she or he could have intended, so long as this was historically possible. If this historically possible work-meaning coincides with what she or he did intend in that artistic intentions are successfully realized in the work, then we have a real sharing of a correct, experiential understanding of the work between artist and audience, and thus real communication between them in the sense of artist-audience communication explained above. On the other hand, if what the artist did intend is not realized in the work and thus does not coincide with work-meaning as part of what she or he could have intended, then we still have at least a minimal, hypothetical sharing and communication insofar as our correct, experiential understanding of the work is shared with what the artist could have intended.This bears relevance for aesthetic education, assuming one of the purposes of aesthetic education is to teach children and other newcomers to art how to appreciate artworks.5 In teaching people how to appreciate artworks, I suggest we emphasize the shared, communicative aspects of the experience of artworks when they are understood more or less correctly. We should tell them that they should seek to communicate with the artist via the artwork, trying to understand the artwork correctly in the very experience of the... (shrink)

Marrying lyrical close reading with critical awareness, Novel Style argues for the ethical value of elaborate styles of writing and demonstrates that artistic excessiveness can provide dynamic responses to the moral complexities of our times.

Leah, created over the last three years, is a self-styled, autonomous avatar collaboratively developed with Dr Mark Sagar at the Laboratory for Animate Technologies, Auckland Bioengineering Institute at the University of Auckland, New Zealand. Using ‘Leah’ as a technoscientific art case study, this paper will address the practical and theoretical considerations underlying the project, showing complex posthuman and bioethical relations. Leah is exhibited as an intra-active screen-based installation. It is the product of a shifting transdisciplinary collaborative process, involving artists, engineers, (...) computer scientists and neuroscientists. Leah was developed as part of the Auckland Face Simulator project where adult faces are realistically and precisely modelled to show accurate expression. These can be used for neurophysiological and neuropsychological research into emotion, agency and empathy. This artwork engages with a deep questioning of the posthuman through bioengineering self-imaging practices and reflects on our co-evolution with technology. (shrink)

Discovering the influences between paintings and artists is very important for automatic art analysis. Lately, this problem has gained more importance since research studies are looking into explanations about the origin and evolution of artistic styles, which is a related problem. This paper proposes to build a multiplex artwork representation based on artistic formal concepts to gain more understanding about the aforementioned problem. We complement and built our approach on the previous notion of Creativity Implication Network. We used (...) the recently proposed MultiRank algorithm to suggest possible explanations of the dynamic of some artistic styles. Our results corroborate some well-known facts about the artists analyzed and give qualitative and quantitative information that show the possibilities and strengths of the proposed framework. We plan to expand our analysis to include more abstract artworks. Ideally, we are going to be able to validate more our results and test how our methodology could be used to generate visual artifacts too. (shrink)

The enduring influence of the architect Gottfried Semper derives primarily from his monumental theoretical foray Der Stil in der technischen und tektonischen Künsten, here translated into English for the first time. A richly illustrated survey of the technical arts, Semper's analysis of the preconditions of style forever changed the interpretative context for aesthetics, architecture, and art history. Style, Semper believed, should be governed by historical function, cultural affinities, creative free will, and the innate properties of each medium. Thus, (...) in an ambitious attempt to turn nineteenth-century artistic discussion away from historicism, aestheticism, and materialism, Semper developed in Der Stil a complex picture of stylistic change based on scrutiny of specific objects and a remarkable grasp of cultural variety. Harry Francis Mallgrave's introductory essay offers an account of Semper's life and work, a survey of Der Stil, and a fresh consideration of Semper's landmark study and its lasting significance. (shrink)

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

The formalist linguists are of the opinion that the literary language is formed by polishing and foregrounding the practiced slang. Many of this literary tricks used in foregrounding are categorized; but there exist some literary tricks that have not been dealt with and are not named or addressed in the available categories. The attempt is made in this study to find an answer to the questions that why has Mandanipour in his masterpiece, “Shargh-e Banafshe” achieved a superior language that is (...) outstanding among his colleagues of the same era and has become a model in advanced language for the writers to come based on adopting defamiliarization theory in the Leech foregrounding format? Assessing the language of this unique work indicates that in addition to introducing an innovation in the usual styles in contemporary writing and the themes he has allowed assimilation and metaphor and other obsolete styles in his language; and yet has used special literary tricks that have never been tried or tested before. This approach has pat language in story writing to a high position. (shrink)

Obviously, subject is what is said, style is how. A little less obviously, that formula is full of faults. Architecture and nonobjective painting and most of music have no subject. Their style cannot be a matter of how they say something, for they do not literally say anything; they do other things, they mean in other ways. Although most literary works say something, they usually do other things, too; and some of the ways they do some of these (...) things are aspects of style. Moreover, the what of one sort of doing may be part of the how of another. Indeed, even where the only function in question is saying, we shall have to recognize that some notable features of style are features of the matter rather than the manner of the saying. In more ways than one, subject is involved in style. For this and other reasons, I cannot subscribe to the received opinion that style depends upon an artist's conscious choice among alternatives. And I think we shall also have to recognize that not all differences in ways of writing or painting or composing or performing are differences in style. Nelson Goodman, professor of philosophy at Harvard University, has written The Structure of Appearance; Fact, Fiction and Forecast; Languages of Art: An Approach to a Theory of Symbols; Problems and Projects; and numerous articles. Logic and Art: Essays in Honor of Nelson Goodman was published in 1972. His contributions to Critical Inquiry include "Metaphor as Moonlighting" , "Twisted Tales; or, Story, Study, and Symphony" , and "The Telling and the Told". (shrink)

The last half century has seen both attempts to demythologize the idea of God into purely secular forces and the resurgence of the language of “God” as indispensable to otherwise secular philosophers for describing experience. This volume asks whether “piety” might be a sort of irreducible human problematic: functioning both inside and outside religion.S. Clark Buckner works in San Francisco as an artist, critic, and curator. He is the gallery director at Mission 17 and publishes regularly in Artweek and the (...) San Francisco Bay Guardian. He has a Ph.D. in philosophy from Vanderbilt University. Matthew Statler is the Director of Research at the Imagination Lab Foundation in Lausanne, Switzerland. His current research is focused on practical wisdom as it pertains to organizational phenomena such as strategy making and leadership. He also has a Ph.D. in philosophy from Vanderbilt University. (shrink)

Investigating how people respond to and view AI-created artworks is becoming increasingly crucial as the technology’s current application spreads due to its affordability and accessibility. This study examined how AI art alters people’s evaluation, purchase intention, and collection intention toward Chinese-style and Western-style paintings, and whether art expertise plays a role. Study 1 recruited participants without professional art experience and found that those who made the paintings would not change their liking rating, purchase intention, and collection intention. In (...) addition, they showed ingroup preference, favoring Chinese-style relative to Western-style paintings, in line with previous evidence on cultural preference in empirical aesthetics. Study 2 further investigated the modulation effect of art expertise. Art experts evaluated less favorably AI-generated paintings relative to artist-made paintings, while non-experts showed no preference. There was also an interaction effect between the author and the art expertise and interaction between the painting style and the art expertise. Collectively, the findings in this study showed that who made the art matters for experts and that the painting style affects aesthetic evaluation and ultimate reception of it. These results would also provide implications for AI-art practitioners. (shrink)

Much of Arnold Hauser’s work on the social history of art and the philosophy of art history is informed by a concern for the cognitive dimension of art. The present paper offers a reconstruction of this aspect of Hauser’s project and identifies areas of overlap with the sociology of knowledge—where the latter is to be understood as both a separate discipline and a going intellectual concern. Following a discussion of Hauser’s personal and intellectual background, as well as of the shifting (...) political and academic setting of his work, the paper addresses one of Hauser’s central questions, viz. how best to square a thoroughgoing commitment to the social nature of art with the reality of successive artistic styles, given that the latter seem to be characterizable on purely formal grounds. This is followed by a discussion of Hauser’s conflicted views on the relation between art, science, and technology. This injects a tension into Hauser’s work, due to his initial reluctance to explain just how the aesthetic and the cognitive realms relate. The final part of the paper, through a closer examination of the analogies and disanalogies that Hauser sees between art history and the history of science, attempts to give a positive answer—“on Hauser’s behalf”, as it were—to the question of whether art may be credited with a specific cognitive dimension of its own, and if so, what its contribution to our cognitive enterprise may consist in. (shrink)

My concern in this paper is what, in Art and Illusion, Gombrich calls "the riddle of style". This is the problem of why people at different times and in different cultures have depicted objects in very different ways. An adequate solution to this problem will comprise an explanation of why depiction has a history. The problem seems intractable because of three common assumptions about the history of depiction that, while independently plausible, are inconsistent. First, we assume that this history (...) is a history of realism. Artists from a wide range of cultures and ages seem to have shared the common goal of capturing the visual appearances of the objects they depicted. Secondly, we assume that depictive styles differ from context to context in part because of features internal to the contexts in which they emerged. Finally, we are loathe to accept the claim that differences of style necessarily result from differences in technical capacity. However, these assumptions are in conflict. If artists throughout history sought to capture the appearances of the things they depicted and did not differ markedly in their technical capacities, then surely the pictures each produced should not depend on features internal to the contexts in which they emerged and should instead look more alike. -/- I argue that the history of style is not, in its entirety, a history of realism. Throughout history, pictures have been used to inform viewers about a wide variety of things other than their objects' appearances. Investigating the purposes for which pictures were used in particular historical and cultural contexts will help us to understand why certain styles were appropriate to those contexts. Nevertheless, it will not help us to understand why certain styles were appropriate to just one among a number of contexts in which pictures were used for a single purpose. To understand this, we need to know what cognitive environment was shared by the members of the relevant community. This will enable us to understand why, given the purpose for which pictures were used in that community, a certain style was more informative than another. In addition to cataloguing stylistic changes, therefore, the historian of art has two further tasks: to investigate both the various purposes for which pictures have been used and the cognitive environments of those who used them. (shrink)

The Oscar Wilde trials (1895) have usually been interpreted either as a historical document which gives insight into the regulation of sexuality in the late nineteenth century, or as literary biography explicating the playwright's life and works. Taking its cue from recent scholarship in ‘law and literature’, and also from Wilde's own conception of the relationship between art and life, this article proposes a reading of the trials which blurs the distinction between legal history and literary criticism by considering them (...) as a form of literature. It argues that the trial transcripts enact and reflect Wilde's vision of what literature is and how it should be read, and as such should be given a place amongst his literary works, alongside such aesthetic manifestos as ‘The Decay of Lying’ and ‘The Critic as Artist’. (shrink)