1More than two centuries later, the aesthetic reflection of Idealism does not seem to have lost interest in philosophical debate at all. It is a multifaceted interest, which has partly ...historical-conceptual reasons, since it was post-Kantian philosophy that first posed the problem of defining art in systematic and cognitive terms, and partly more genuinely theoretical ones, for instance the contemporary declinations of a typically Idealistic theme such as the socio-historical determination o...
In the field of research of theory of history, Danto is mostly known as the author of Analytical Philosophy of History (1965), that is as the author of one of the key texts of the so-called Narrative ...Turn. But this work loses many of its own shades of meaning, if isolated from the rest of Danto’s production. The philosophy of history articulated in the work of 1965 is only the first piece of an atypical philosophical system, within which each of the parts communicates with the others. Based on this awareness, the present work aims to reconstruct, in essential lines, Danto’s theory of history, paying particular attention to the links it maintains with the rest of the system. In addition, while complying with this goal, it will also be useful to highlight the main influences of the continental tradition that resonate in his metahistorical synthesis. In this way, hopefully, we will show the importance of two of the least exercised interpretative gestures on this portion of the American philosopher work, that we think are fundamental, if you want to understand its authentic meaning.
Margolis aims for a ‘recovery of objectivity’. This may seem more suited to epistemologists or ethicists but Margolis saw reforming objectivity emerging from and contributing to his aesthetics and ...philosophy of art. My goal in this essay is to explain the connection of objectivity to aesthetics and then to offer some critical remarks which introduce an arguably richer version of objectivity, ‘pragmatic objectivity’. The introductory section explores Margolis’s motives for expanding aesthetics beyond its usual boundaries. Section 2 explores why artworks and selves are interdependent and artifactual, and how this prepares the ground for his recovery of objectivity. Section 3 considers Margolis’ more abstract, metaphysical context for objectivity, his modified relativism. At this point, Section 4 is able to lay out his revamped objectivity. Section 5 does the majority of this paper’s critical work: it explains why Margolis’ view might be considered a ‘pragmatic’ objectivity and advances some ways in which Margolis’ version might be filled in and extended. A brief conclusion identifies differences between the author’s and Margolis’ approach.
This paper discussed the art appreciation technique using Jerrold Levinson’s artistic value in arriving at the importance of aesthetic experience in artwork. Levinson claimed that artistic value ...covers aesthetic value and achievement value, specifically in analyzing Juan Luna’s Spoliarium, which is considered the largest painting in the Philippines and is proclaimed as a national heritage. This paper argued that art should have aesthetic engagement from the viewer’s point of view which would lead them to discover its artistic value. Thus, this paper used the contextualizing technique since it augments and strengthens artistic engagement. References Adler, Mortimer. Six Great Ideas. New York: Macmillan Publishing Company, 1981.Descartes, Rene. The Philosophical Writings of Descartes (Volume II). Translated by John Cottingham, Robert, 1984.Goodman, Nelson. Languages of Arts. Indianapolis: The Bobbs-Merrill Company, Inc., 1968.Kant, Immanuel. Critique of Pure Reason. Translated by Norman Kemp Smith: Macmillan & Co., Ltd., 1929.Levison, Jerrold. Aesthetics and Ethics: Essays at the Intersection. Cambridge: Cambridge University Press, 1998._____________ Contemplating Art. Oxford: Oxford University Press, 2006._____________ Aesthetic Pursuits. United States of America: Oxford University Press, 2016.Luna, Juan. Spolarium. National Museum of the Philippines, 1884.Sporre, Dennis. Perceiving the Arts, 8th ed. United States of America: Prentice Hall, 2006.Stoothoff, and Dugald Murdoch. New York: Cambridge University Press.Tolstoy, Leo. What is Art? Translated by Richard Pevear & Larissa Volokhonsky. New York: Penguin Group, 1995.Wright, Susan. The Art, Young Children, and Learning. United States of America: Pearson Education Inc., 2003.www.flickr.com/photos/43184028@N02/440796048 29 June 2022.
Theories that treat Artistic Research (AR) as their object have been experiencing a boom since the beginning of the 21st century. Increased interest in AR resulted from a historical situation ...interconnecting at least three fields. First, the art world, which, starting in the 90s, produced AR as a phenomenon in the first place; second, higher education policy, which, in the implementation discussions concerning the Bologna reforms from the 90s onwards, drew on reflections on AR; and third, Germanophone aesthetics, which, during the 2000s, paid increased attention to heteronomy aesthetics. Within these fields, multiple factors are to be accounted for to understand both the sudden increase in pertinence as well as the concrete shape that these theories took in the Germanophone sphere.
In this article, I argue that paintings are transformations of the perceptual world, transformations that the world itself elicits but does not determine, thus undercutting the subjective-objective ...divide in art. First, I describe Maurice Merleau-Ponty's notion of institution, according to which sense develops only by changing, that is, by being taken up and coherently deformed. Next, I use this notion to argue that paintings develop the perceptual sense of the world by coherently deforming it. In other words, paintings are transformations of the perceptual world that are called for by the world itself. To make my case, I analyze Susan Rothenberg's painting Three Heads, a work that develops and furthers the perceptual sense of horses only by taking it up and changing it. Finally, I suggest that this view of painting motivates an interactive ontology according to which things are not self-contained but interactive, fundamentally opening onto things beyond themselves.
There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this ‘atmospheric turn’ owes much ...to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme’s most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised by Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian (Forbes Chair in Architecture, Edinburgh College of Art) and an afterword by Professor David Leatherbarrow, (Chair of the Graduate Group in Architecture, University of Pennsylvania), the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus.
Diese Arbeit stellt einen neuartigen Ansatz vor, die symbolischen Strukturen, die der traditionellen chinesischen Tuschmalerei zugrunde liegen, zu verstehen und im interkulturellen Kontext zu ...vermitteln. Lichen Zhang nimmt damit eine substantielle Erweiterung von Ernst Cassirers Konzeption des menschlichen Geistes als einem universellen symbolischen Netzwerk vor und beweist stringent die Anwendbarkeit des symbolphilosophischen Konzepts auf die bildende Kunst. Das Buch stellt mit eindrucksvollen Bildbeispielen die weitreichenden Konsequenzen dieses neuen Blickwinkels anhand der traditionellen chinesischen Tuschmalerei dar. So wird der Einfluss, den chinesische Philosophien, Ethik, Religion, Gesellschaft und frühe Naturwissenschaften über die Jahrhunderte hinweg auf die Kunst hatten, durch systematische Aufarbeitung als Objektivierung einer geistigen Aktivität offenbar.
