Philosophy of Art

MUSEUMISATION OF THE PRESENT

by Suresh Pillai

Misyurov D.A. Dialectical formulas based on the binary notation as the development formulas // Credo New. 2012. №2

by Dmitry Misyurov

The article suggests dialectical formulas based on the binary notation as the development formulas: formula with... more The article suggests dialectical formulas based on the binary notation as the development formulas: formula with dominant and the non-dominant elements; universal formula; formula with symbolic weight of elements; tautological formula. For example, it suggests an opportunity to use the dialectical formulas for modeling and artificial intelligence creation, etc.

Church Space in Byzantium

by Sotiria Kordi

by Sotiria Kordi

Being a social space, the church building is a social product. This term however, does not refer to a collective... more Being a social space, the church building is a social product. This term however, does not refer to a collective product, created through a type of collective, anonymous productive procedure, but rather to a product created by certain individuals in order for it to be used, lived, and consumed by a community.

Call for Papers: Midwest Society for Women in Philosophy Fall 2012

by Summer Renault-Steele

Eight Ways Videogames Generate Emotion

by Jonathan Frome

Eight Ways Videogames Generate Emotion

by Jonathan Frome

What symbols

by Dmitry Misyurov

This article contains 12 questions about the symbols. What are your thoughts in response? This article contains 12 questions about the symbols. What are your thoughts in response?

Rethinking Creativity. Between Art and Philosophy

by Alessandro Bertinetto

Métaphysique des propriétés esthétiques

by Sébastien Réhault

Facing the Camera: Self-portraits of Photographers as Artists

by Dawn Wilson (née Phillips)

published in the Journal of Aesthetics and Art Criticism January 2012 (70:1)

Self-portrait photography presents an elucidatory range of cases for investigating the relationship between automatism... more Self-portrait photography presents an elucidatory range of cases for investigating the relationship between automatism and artistic agency in photography— a relationship that is seen as a problem in the philosophy of art. I discuss self-portraits by photographers who examine and portray their own identities as artists working in the medium of photography. I argue that the automatism inherent in the production of a photograph has made it possible for artists to extend the tradition of self-portraiture in a way that is radically different from previous visual arts.

In Section I, I explain why self-portraiture offers a way to address the apparent conflict between automatism and agency that is debated in the philosophy of art. In Section II, I explain why mirrors play an important function in the production of a traditional self-portrait. In Sections III and IV, I discuss how photographers may create self-portraits with and without the use of mirrors to show how photography offers unique and important new forms of self-portraiture.

Brian Boyd’s Evolutionary Account Of Art: Fiction Or Future?

by Jan Verpooten

published in Biological Theory

There has been a recent surge of evolutionary explanations of art. In this article I evaluate one currently... more There has been a recent surge of evolutionary explanations of art. In this article I evaluate one currently influential example, Brian Boyd’s recent book On the Origin of Stories: Evolution, Cognition, and Fiction (2009). The book offers a stimulating collection of findings, ideas and hypotheses borrowed from a wide range of research disciplines (philosophy of art and art criticism, anthropology, evolutionary and developmental psychology, neurobiology, ethology, etc.), brought together under the umbrella of evolution. However, in so doing Boyd lumps together issues that need to be separated, most importantly, organic and cultural evolution. In addition, he fails to consider alternative explanations to art as adaptation such as exaptation and constraint. Moreover, the neurobiological literature suggests current evidence of biological adaptation for most of the arts is weak at best. Given these considerations, I conclude by proposing to regard the arts instead as culturally evolved practices building on pre-existing biological traits.

Vers une philosophie schellingienne de la créativité. Subjectivité et folie à l'aune de Slavoj Žižek

by Joseph Carew

Forthcoming in Interpretationes. N° 2 (2012): Créativié et subjectivité

This article is an attempt to reactualize F. W. J. schelling by taking seriously and turning inside out Heidegger’s... more This article is an attempt to reactualize F. W. J. schelling by taking seriously and turning inside out Heidegger’s radical claim that schelling’s philosophy of freedom is the culmination (Gipfel) of the German idealist tradition. First, the author uses slavoj Žižek’s work in order to give weight to Heidegger’s controversial claim. By interpreting the schellingian logic of the ground (Grund) as an attempt to found transcendental freedom, Žižek is lead to declare that the schelling of the period of the  Philosophical Investigations into the Essence of Human Freedom and the Ages of the World radicalizes  the incompleteness of reality as brought forth by the kantian descriptions of freedom. Then, the author  tries to show that Žižek does not go far enough. Although the late schelling develops an account of what could be called an “ontological passage through madness”, it is only a moment within the processional totality of being. The image of the artist shows us a point of transfiguration (Verklärungspunkt) where the impetuous “unruliness” at the foundation of subjectivity is converted into a new order of being by means of an activity of free and unpredictable creation. This does not only occur in the symbolic; more strongly, it is an immanent, transfigurative event in the world.

Individualität und Improvisation. Theoretische, praktische und ästhetische Zusammenhänge oder Toward a „Theory of Jazztice“ (Draft)

by Alessandro Bertinetto

The paper was presented at the 17ème Colloque  Philosophique Internationale d’Evian (17-­‐23 Juliet 2011)

Reflexive Prozesse bei der Jazzimprovisation (Draft)

by Alessandro Bertinetto

Forthcoming in Sinnliche Reflexivität. Zur sinnlichen Dimension der Künste, Hgg. von Georg Bertram, Daniel M. Feige und Frank Ruda, Berlin, diaphanes, c.s. (2012).

William Burroughs o la caja de herramientas de un'culture jammer': Revolución electrónica y experimentación musical

by Carlos Yebra Lopez

Puzzle Art in Story Worlds: Experience, Expression and Evaluation

by Veli-Matti Karhulahti

Presented at The Philosophy of Computer Games Conference, Madrid 2012.

This paper discusses the aesthetic value of a specific video game challenge, the fiction puzzle, though cases such as... more This paper discusses the aesthetic value of a specific video game challenge, the fiction puzzle, though cases such as L.A. Noire, Grim Fandango and Leisure Suit Larry. The discussion is carried out through John Dewey's pragmatist aesthetics.

Storia dell'estetica moderna e contemporanea

by Alessandro Bertinetto

Bertinetto Vedere la musica

by Alessandro Bertinetto

Arte e terrore. La filosofia dell'arte di Félix Duque e il jazz, in “Tropos”, p. 67-78, 1/2011.

by Alessandro Bertinetto

Improvvisazione e formatività, in “Annuario filosofico” 25/2009, Mursia, 2010, pp. 145-174.

by Alessandro Bertinetto