Symbolism is a primary characteristic of the mind, deployed and displayed in every aspect of our thought and culture. In this important and broad-ranging book, Israel Scheffler explores the various ways in which the mind functions symbolically. This involves considering not only the world of science and the arts, but also such activities as religious ritual and child's play. The book offers an integrated treatment of ambiguity and metaphor, analyses of play and ritual, and an extended discussion of the (...) relations between scientific symbol systems and reality. What emerges is a picture of the basic symbol-forming character of the mind. In addition to philosophers of art and science, likely readers of this book will include students of linguistics, semiotics, anthropology, religion, and psychology. (shrink)

Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written—or whether it (...) is even possible to do so. He also engages the political and moral issues raised by the idea of a multicultural art history. Focusing on a consideration of intersecting artistic traditions, Carrier negotiates the way meaning and understanding shift or are altered when a visual object from one culture, for example, is inserted into the visual tradition of another culture. _A World Art History and Its Objects _proposes the use of temporal narrative as a way to begin to understand a multicultural art history. ��. (shrink)

Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written—or whether it (...) is even possible to do so. He also engages the political and moral issues raised by the idea of a multicultural art history. Focusing on a consideration of intersecting artistic traditions, Carrier negotiates the way meaning and understanding shift or are altered when a visual object from one culture, for example, is inserted into the visual tradition of another culture. _A World Art History and Its Objects _proposes the use of temporal narrative as a way to begin to understand a multicultural art history. ��. (shrink)

Symbolic Worlds contains fifteen chapters, with all but the first published between 1972 and 1996. The unifying theme concerns aspects of the symbolic function in language, science, art, ritual, and play. The approach is nominalist and heavily influenced by the work of Nelson Goodman.

(No abstract is available for this citation).

My aim in this paper is to address some difficulties related to the development of an emerging research program called world art studies. While it originates as a European discipline in the German scholarly tradition around 1900, this program comes to the fore only recently, with recent advances in natural and cognitive sciences which hold promise for providing more inclusive categories that could serve the study of art as a worldwide phenomenon. I focus more specifically on the strengths and (...) weaknesses of psychology as explanatory framework for world art studies. Unlike the romantic art historiographers of the late 19th century, contemporary scholars no longer dwell on collective mentalities or spirits of an age but the problem of postulating mysterious faculties in relation to art behavior and aesthetic response is still present when adopting as an entry point the universality of human nature. (shrink)

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

Discusses about selective engagement as the most desirable strategy for contemporary America, stating that it is the one that seeks to forestall dangers, not simply to react to them; that is politically viable; at home and abroad; and that protects US interests.

Helps individual readers to overcome procrastination and build self-esteem Reveals how to create a culture of accountability, and how to hold someone accountable Gives leaders a step-by-step process for helping team members become more self-responsible Explains commitment reluctance and how to encourage self-responsibility among team members Uncovers why we blame others and shows how to defeat a blame culture Provides an easy read with no consultant-speak In recent years, HORN Training and Consulting was awarded the distinguished Gold Medal by the (...) Canadian Society for Training and Development for its leadership development program designed for one of the world’s largest international banks; and HORN is currently executing leadership development projects on a global scale for companies in the consumer packaged goods and pharmaceutical industries. (shrink)

This is a philosophical exploration of the role of art and religion as sources of meaning in an increasingly material world dominated by science. Relating themes in the history of European philosophy to topics in contemporary philosophy, Gordon Graham investigates the idea that art has the potential to re-enchant an irreligious world.

In this paper, I provide an arts-based posthumanist cartography of a theatre play, Apple Time performed by deaf youth in Regina, Saskatchewan. This play was co-constructed by deaf youth performers, two deaf adults, a hearing teacher, and a hearing director. Apple Time premiered in Regina, Saskatchewan on June 2, 2018, and was remounted again at the Globe Theatre (Regina) in February 2019 and again at the SoundOff Festival in Edmonton, Alberta. The arts-based cartography examines intelligibility as a methodological problem as (...) posited by Graif (2018), in which the actions of deaf children and youth often remain invisible due to the ontological position that perception of the world is predicated upon the ability to hear. Intelligibility as a methodological problem poses a challenge to the deficit perspective commonly held by families and service providers working with deaf children and youth (Glickman & Hall, 2019). The performers in this play were able to re-align audience perceptions through the presentation of their inner worlds and preoccupations, thereby making their multiple deaf worlds more intelligible. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted (...) fantasy, and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

This book, with its attention to literature and the visual arts as well as traditional non-fiction sources, provides a distinctive, wide-ranging exploration of utopia and education. Utopia is examined not as a model of social perfection but as an active, ongoing, imaginative educational process — the building of better worlds.

In this book, McMahon argues that a reading of Kant’s body of work in the light of a pragmatist theory of meaning and language leads one to put community reception ahead of individual reception in the order of aesthetic relations. A core premise of the book is that neo-pragmatism draws attention to an otherwise overlooked aspect of Kant’s "Critique of Aesthetic Judgment," and this is the conception of community which it sets forth. While offering an interpretation of Kant’s aesthetic theory, (...) the book focuses on the implications of Kant’s third critique for contemporary art. McMahon draws upon Kant and his legacy in pragmatist theories of meaning and language to argue that aesthetic judgment is a version of moral judgment: a way to cultivate attitudes conducive to community, which plays a pivotal role in the evolution of language, meaning, and knowledge. (shrink)

(No abstract is available for this citation).

A conference paper examining the relationship between art and what is loosely termed the “real world”.

While the notion of the mind as information-processor--a kind of computational system--is widely accepted, many scientists and philosophers have assumed that this account of cognition shows that the mind's operations are characterizable independent of their relationship to the external world. Existential Cognition challenges the internalist view of mind, arguing that intelligence, thought, and action cannot be understood in isolation, but only in interaction with the outside world. Arguing that the mind is essentially embedded in the external world, (...) Ron McClamrock provides a schema that allows cognitive scientists to address such long-standing problems in artificial intelligence as the "frame" problem and the issue of "bounded" rationality. Extending this schema to cover progress in other studies of behavior, including language, vision, and action, McClamrock reinterprets the importance of the organism/environment distinction. McClamrock also considers the broader philosophical question of the place of mind in the world, particularly with regard to questions of intentionality, subjectivity, and phenomenology. With implications for philosophy, cognitive and computer science, AI, and psychology, this book synthesizes state-of-the-art work in philosophy and cognitive science on how the mind interacts with the world to produce thoughts, ideas, and actions. (shrink)

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical (...) roots. John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

Describes when and how humans first acquired and then utilized symbolic representation and explores how art has been used throughout history as a means of mass persuasion.

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social and political (...) philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

What is film? Why are movies important? Why do we care about them in the way we do? How do we think of the connections between the projected image and what it is actually an image of? Most movie-goers assume that they are entitled to make jugments and come to conclusions about the movies they see--to evaluate how "good" they are, or what they "mean." But what do they base, or what should they base, their judgments on? In this thought-provoking (...) new book, Stanley Cavell, a professor of philosophy and aesthetics at Harvard who has long taken a lively interest in movies, looks closely at these and other questions concerning America's most popular art and the perceptions we make of, by, and through it. His answers are surprising and important--not only to our understanding of film and of ourselves, but to our expectations of life and art. Mr. Cavell's explorations of some of Hollywood's stars, directors, and most famous films--as well as his fresh look at Godard, Bergman, and other great European directors--will be of lasting interest to movie-viewers and intelligent people of all ages. (shrink)

The task of finding art in the world is presented as a tale of three dynamic forces that have shaped art in recent times. The first is expansion of the domain of art. This is reflected in linguistic change. The term "art" has grown enormously in sense and extension. The second force is the public's subjective response to art writ large. Our commercial culture compels reaction. The third force is the art world's active promotion of the expansion of (...) art's domain and the contextualization of the public's subjective response to it. The aspiration of the paper is to bring some clarity to how we presently identify art, respond to it, understand it, and institutionalize it. The tale concludes with discussion of the future of art in the world today. (shrink)

This essay presents an account of what it takes to live a philosophical way of life: practitioners must be committed to a worldview, structure their lives around it, and engage in truth‐directed practices. Contra John Cooper, it does not require that one’s life be solely guided by reason. Religious or tradition‐based ways of life count as truth directed as long as their practices are reasons responsive and would be truth directed if the claims made by their way of life are (...) correct. The essay argues that these three conditions can be met by progressors as well as sages. Making progress in how one acts in the world, and improving one’s understanding and direction through being part of a community is living a philosophical way of life. The offered view acknowledges more ways to develop the art of living and enables a broader range of people to count as living philosophically. (shrink)

Problems arising from two issues are examined and resolved: those having to do with reference and denotation involving fictional entities and those having to do with the realist/idealist controversy - and with confusions due to mingling the two issues. Discussion ranges over the views of Russell, Quine, Strawson, Searle, Beardsley, Ryle, Wolterstorff, van Inwagen, de Man, Bakhtin, Goodman, and others. The solutions offered depend on sorting actual persons, actual stories, and imaginary or fictitious persons; and on treating reference in a (...) purely grammatical way, without ontological import in itself but without precluding ontological interpretation. (shrink)

Perceptions are often merely regarded as the basic elements of knowledge. They have, however, a complex structure of their own and are far from being elementary. My paper will analyze two basic patterns of perception and some of the resulting medical implications. Most basically, all object perception is characterized by a mixture of knowledge and ignorance (Husserl). Perception essentially perceives with inner and outer horizons, brought about by the kinesthetic activity of the perceiving subject (Sartre). This first layer of perceptual (...) reality, the world of open perceptions, is the inescapable background for every rationality, every value, every existence (Merleau-Ponty). On an epistemological level a characteristic change of perceptual patterns in medicine was introduced by pathological anatomy (Foucault). The reference of medical perception to the dead body created the new possibility of absolute perception, allowing for more precise medical interventions, but at the same time coming into conflict with the open structures of ordinary, non-scientific perception patterns in everyday life. On the basis of these distinctions, an analysis of the different perceptual patterns in medicine becomes possible. Such an analysis would be the task of a sub-field in medical philosophy that could be called medical aesthetics having as its goal an art of perception understood as a technique of adequately applying different perceptual patterns in medical practice. (shrink)

Philosophers-professionals and the armchair variety-are given to defending comprehensive world views. Raymond Geuss, one of the most celebrated thinkers of our time, dispenses with this ambition for intellectual unity. Ranging across the history of art and ideas, Geuss argues for flexibility, doubt, and the accommodation of unresolved complexity.

The original Gallimard edition of Merleau-Ponty’s last-published essay, "Eye and Mind," which was printed as a slim, separate volume containing only this essay, includes a visual preface of seven artworks, chosen by Merleau-Ponty. This essay takes the key assertion of "Eye and Mind"—that rather than seeing depth as the “third dimension,” as seen traditionally, “if [depth] were a dimension, it would be the first one” (180)—and applies it to the reading of these artworks preceding the text. There is an analysis (...) of how and why depth is the first rank in not only rethinking art, but also in rethinking Being itself. The development of the idea of depth as the going together of incompossibles in time and in space is explored by turning to Merleau-Ponty’s texts, beginning with the Phenomenology of Perception through to his last works. The last section of the essay carefully analyses six of the seven visual works of art (omitting Cézanne about whom so much has been written) to see the ways in which they instantiate this new notion of depth as the motive force of art and the heart of the flesh of the world. (shrink)

AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology and digital (...) media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds. (shrink)

The Art of Randomness teaches readers to harness the power of randomness (and Python code) to solve real-world problems in programming, science, and art through hands-on experiments-from simulating evolution to encrypting messages to making machine-learning algorithms. Each chapter describes how randomness plays into the given topic area, then proceeds to demonstrate its problem-solving role with hands-on experiments to work through using Python code.

Activist artists often face a difficult question: is striving to change the world undermined when pursued through difficult and experimental artistic means? Looking closely at Adrian Piper's 'Four Intruders plus Alarm Systems' (1980), I will consider why this is an important concern for activist art, and assess three different responses in relation to Piper’s work. What I call the conciliatory stance recommends that when activist artists encounter misunderstanding, they should downplay their experimental artistry in favor of fitting their work (...) to their audience's appreciative capacities. What I call the steadfast stance recommends that activist artists have reason to use their privilege of artistic exceptionalism to challenge their audience's expectations, even if this leads to misunderstanding. I claim that a middle position that I call liberal conciliation best balances the demands for actual change placed on activism and the experimental means that artists bring to activism. (shrink)

This is a multicultural philosophy of art applied to common American and European experience and discussed in relation to Taoist, Buddhist, Hindu, Native American, and African traditions.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

A compelling defense of the sacred by one of today's leading philosophers In The Soul of the World, renowned philosopher Roger Scruton defends the experience of the sacred against today's fashionable forms of atheism. He argues that our personal relationships, moral intuitions, and aesthetic judgments hint at a transcendent dimension that cannot be understood through the lens of science alone. To be fully alive—and to understand what we are—is to acknowledge the reality of sacred things. Rather than an argument (...) for the existence of God, or a defense of the truth of religion, the book is an extended reflection on why a sense of the sacred is essential to human life—and what the final loss of the sacred would mean. In short, the book addresses the most important question of modernity: what is left of our aspirations after science has delivered its verdict about what we are? Drawing on art, architecture, music, and literature, Scruton suggests that the highest forms of human experience and expression tell the story of our religious need, and of our quest for the being who might answer it, and that this search for the sacred endows the world with a soul. Evolution cannot explain our conception of the sacred; neuroscience is irrelevant to our interpersonal relationships, which provide a model for our posture toward God; and scientific understanding has nothing to say about the experience of beauty, which provides a God’s-eye perspective on reality. Ultimately, a world without the sacred would be a completely different world—one in which we humans are not truly at home. Yet despite the shrinking place for the sacred in today’s world, Scruton says, the paths to transcendence remain open. (shrink)

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 (...) class='Hi'>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)

In this book the author treats art as an action performed by the artist as agent, rather than examining it from the point of view of its audience as ...