Is there a sensible version of the slogan “Art for art’s sake”? If there is, does it apply to anything? I believe that the answers to these questions are Yes and Yes. A positive answer to the first question alone would not be of interest; an intelligible claim without application does not do us much good. It’s the positive answer to the second question which is, I think, more important and perhaps surprising, since I claim to find art for (...) art’s sake at a time well before most authorities would allow that there was any art at all. But I begin more recently than that. (shrink)

What is the relationship between the philosophical concept of the “autonomy of art” and the cultural policy-notion of “artistic freedom”? This article seeks to answer this question by taking the Swedish governmental report This Is How Free Art Is (Så fri är konsten 2021) and its reception in the Swedish main stream media as an emblematic example and by reading it symptomatically. Firstly, it traces the critical history of “artistic freedom” and the interrelated term “arm’s length distance”, primarily in the (...) context of Great Britain. Secondly, it critically reconstructs the concept of the “autonomy of art” in the history of Western philosophy by making a critique of a fetishized notion of art’s autonomy in the name of l’art pour l’art. The main argument is that the idea about art’s autonomy, on which the Swedish report leans, resembles such philosophical and art historical idea of art’s autonomy. The claim is also that such an understanding of art does not tie up, either philosophically or historically, with the arm’s length principle, since they ultimately rely on different conceptions of art’s freedom. (shrink)

This piece is a commentary on a precis of Maggie Boden's book "The creative mind" published in Behavioral and Brain Sciences.

THE cult of “art for art's sake,” which had a great vogue at the end of the last century, was, in pictorial art, set aside, or rather absorbed between the two wars by other cults of a similar nature, such as the cult of pure form, of plastic form, of cubism, and these in their turn have been pushed into the background by the sinister spectre of the unconscious. There are genuine problems behind these cults, and they are (...) by no means easy problems. The cult of art for art's sake fell into disrepute; but this was not so much because of its artistic products as because of the kind of life which the devotees of this cult thought they were entitled to lead. (shrink)

Contemporary public art is still in the process of defining its artistic and legal identity. Indeed to juxtapose the terms public and art is a paradox. Art is often said to be the individual inquiry of the sculptor or painter, the epitome of self-expression and vision that may challenge conventional wisdom and values. The term public encompasses a reference to the community, the social order, self-negation: hence the paradox of linking the private and the public in a single concept. A (...) goal of any general or jurisprudential theory concerning government sponsorship or ownership of art in the public context must reconcile, through state institutions and law, this tension between art’s subjectivity with hits potential for controversy and government’s need to promote the public good.This essay critically examines and discusses existing contemporary legal doctrine and its failure to accommodate or even adequately define the issues and competing values at stake in the public art context. Such failure may be attributed in part to the fact that neither legal theory nor art policy have been inspired by the vision of or located in the broader context of a sociopolitical public realm. Barbara Hoffman practices arts and entertainment law in New York and is counsel to the College Art Association. She is a former professor of constitutional law at the University of Puget Sound, and she has served as chair of the Public Art Committee of the Art Law Committee of the Association of the Bar of the City of New York, and president of the Washington Volunteer Lawyers for the Arts. (shrink)

The social novel ought not to be confused with didacticism in literature and ought not to be expected to provide prescriptions for the cure of social ills. Neither should it necessarily be viewed as ephemeral. After examining justifications of the social novel offered by William Dean Howells (in the 1880s) and Jonathan Franzen (in the 1990s), the author explores the way in which social novels alter perceptions and responses at levels of sensibility that are not usually susceptible to rational argument, (...) push back moral horizons, contribute to the creation of social conscience, and expose the complexity and contextuality of moral discernment. As a concrete example, Howells's 1889 novel "A Hazard of New Fortunes" is analyzed (and defended against its detractors) in terms of its sophisticated treatment of the dilemmas that arise from a recognition of personal complicity in structural sin, its disclosure of the context-indexed evolution of values, and its attention to the importance and fragility of social trust. (shrink)

This study examines the changing role of art and artist during the turn-of-the-century period, offering a consideration of the multiple dichotomies of art and life, aesthetics and economics, production and consumption, and centre and periphery.

In this review we deal with open quantum systems within the Bohmian mechanics framework which has the advantage to provide a clear picture of quantum phenomena in terms of trajectories, originally in configuration space. The gradual decoherence process is studied from linear and nonlinear Schrödinger equations through Bohmian trajectories as well as by using the so-called quantum-classical transition differential equation through scaled trajectories. This transition is governed by a continuous parameter, the transition parameter, covering these two extreme open dynamical regimes. (...) Thus, two sources of decoherence of different nature are going to be considered. Several examples will be presented and discussed in order to illustrate the corresponding theory behind each case, namely: the so-called Brownian–Bohmian motion leading to quantum diffusion coefficients, dissipative diffraction in time, dissipative tunnelling for a parabolic barrier under the presence of an electric field and stochastic early arrivals for the same type of barrier. In order to simplify the notations and physical discussion, the theoretical developments will be carried out in one dimension throughout all this wok. One of the main goals is to analyze the gradual decoherence process existing in these open dynamical regimes in terms of trajectories, leading to a more intuitive way of understanding the underlying physics in order to gain new insights. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt’s Art: A Paradigm for Critical Thinking and AestheticsMark S. Conn (bio)IntroductionThe purpose of art is to lay bare the questions, which have been hidden by the answers.—James BaldwinPhilosophers have asked, How do we know the world? Over centuries, many visual artists have responded to this question by provoking us to see the world differently—through their own eyes. Rembrandt, by no small measure, is one of those artists. While (...) many people have attempted to understand and interpret the art of this quintessential master, few have used his art as a tool to teach critical thinking. The challenge, then, is to set forth a paradigm, using Rembrandt’s art as the vehicle, to teach critical thinking skills. These skills can be applied across the curriculum without losing an appreciation for the aesthetic characteristics of his art.Several sections in this article begin with a foundational discussion of the connection between art and the general curriculum, including how the effectiveness of that curriculum may then be measured. Continuing with a working definition of critical thinking, I demonstrate how Rembrandt’s work relates particularly well to the social studies curriculum. Definitions of critical thinking skills are discussed just prior to introducing the paradigm. A discussion of the paradigm’s relationship to aesthetics and necessary concepts is followed by the conclusion, which contains the graphic illustration of the paradigm. [End Page 68]Foundational DiscussionIn order to create a paradigm that encompasses Rembrandt’s art, critical thinking, and aesthetics, it is important to understand the connection that art has to the curriculum. By examining the way in which this relationship has evolved and is measured, we discover its foundation. It also produces a rationale for the paradigm.For decades the educational community has debated the validity of including arts in the curriculum. There are those who believe that in order to justify inclusion in the curriculum, there needs to be evidence that art has a quantifiable impact upon learning. Others believe that there is a need to teach art for art’s sake.1 Elliot Eisner stated, “More often than we would like, arts educators receive requests to justify their professional existence or existence of the arts in our schools on the basis of their contribution to non-art outcomes.”2 According to Eisner’s research, there have been no studies that show a statistically significant relationship between the arts and academic success.3 Additionally, in their final report evaluators from Transforming Education Through the Arts Challenge (TETAC) concluded that “Analysis of site-specific data found no significant relationship between program implementation and performance on reading and math tests.”4 There are many sources that can be cited that report the same findings. In assessing these kinds of findings we find the conclusions to be approximately the same.If we look at the U.S. Department of Education’s National Assessment of Educational Progress, which each year releases “The Nation’s Report Card,” we find a tremendous amount of data.5 However, most of what we find is data that is analyzed scientifically, with a long but incomplete list of incomplete variables. Therefore, it is difficult to come to any consensus about which programs, in which states, are successful and why. All we actually see is who is supposedly doing better in various curriculum areas based upon standardized tests that vary from state to state. Consider an example of current thinking regarding curriculum and testing from an article by Diane Ravitch, former assistant U.S. secretary of education, and Deborah Meir, senior scholar at New York University’s Steinhardt School of Education:Both of us acknowledged that our choices involve risks. A national curriculum might be unwieldy and superficial (“a mile wide and an inch deep—ironically the charge directed at our current incoherent and fragmented curriculum”) as well as politically compromised, while a local one might reflect the low expectations of the local community as local foolishness and local biases (some schools, for example, might teach intelligent design). We agreed that the measurement of “results”—what constitutes intellectual achievement—has been badly distorted by current local and state tests, which undermine high-quality tasks and make... (shrink)

Many Christian thinkers have embraced the notion “art for art’s sake.” Chesterton did not. To the contrary, he saw such an idea as deeply problematic for a Christian aesthetic. In the following article, I will explore some philosophical aspects of the “art for art’s sake” movement and then explain why Chesterton parted company with it.

Noël Carroll denies and Robert Stecker affirms that it is a necessary condition of aesthetic experience that it should be valued for its own sake. I make use of their controversy to argue for the psychological impossibility of discharging very common practices of art evaluation and analysis without undergoing an aesthetic experience valued for its own sake. By way of supporting my thesis and also making progress in Stecker and Carroll’s dispute about aesthetic experience, I analyse their methodological (...) assumptions and develop further our understanding of negative, indifferent and unexpected aesthetic experiences. The article provides a defence of Stecker’s position based on my contention regarding art evaluation and analysis. (shrink)

: A survey of arguments made by fiscal conservatives who wish to eliminate federal funding of the National Endowment for the Arts (NEA) is given and a critique of them stemming from Danto's argument for art for our sake. Following Hegel's lead, Danto shows us that there is an intimate relationship that exists between nations and their art—that is, that art is central to the political health of a nation. The arguments by conservatives are found wanting and pose no (...) threat to the welfare of the NEA. (shrink)

To give concrete meaning to the phrase "Art for Life's Sake," Jenkins assumes that "the general purpose that animates all of man's activities and artifacts is adaptation to the environment and satisfaction of the conditions of life." A phenomenological survey of human experience reveals three basic modes of viewing or adapting to the world--the affective, the cognitive, and the aesthetic. Each is intertwined with the others, and all three are necessary if man is to adapt to his environment; but (...) as one or another mode dominates experience, attention is focused on the self, the relatedness of entities, and the particular entities themselves. The view of art that emerges is a reformulation of the imitation theory; skillfully and systematically applied to the persistent facts of aesthetic life, it offers solid, common-sense illumination of traditionally obscure problems.--D. W. S. (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 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)

Maude's excellent translation of Tolstoy's treatise on the emotionalist theory of art was the first unexpurgated version of the work to appear in any language. More than ninety years later this work remains, as Vincent Tomas observed, "one of the most rigorous attacks on formalism and on the doctrine of art for art's sake ever written". Tomas' Introduction makes this the edition of choice for students of aesthetics and anyone with philosophical interests.

Maude's excellent translation of Tolstoy's treatise on the emotionalist theory of art was the first unexpurgated version of the work to appear in any language. More than ninety years later this work remains, as Vincent Tomas observed, "one of the most rigorous attacks on formalism and on the doctrine of art for art's sake ever written". Tomas' Introduction makes this the edition of choice for students of aesthetics and anyone with philosophical interests.

The perfect books for the true book lover, Penguin's Great Ideas series features twelve more groundbreaking works by some of history's most prodigious thinkers. Each volume is beautifully packaged with a unique type-driven design that highlights the bookmaker's art. Offering great literature in great packages at great prices, this series is ideal for those readers who want to explore and savor the Great Ideas that have shaped our world. Regarded as the father of Existentialism, Kierkegaard transformed philosophy with his conviction (...) that we must all create our own nature; in this great work of religious anxiety, he argues that a true understanding of God can only be attained by making a personal "leap of faith.". (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)

In this... essay,... linguist Roy Harris reflects on the early nineteenth-century doctrine of 'art for art's sake'. Attacked by Proudhon and Nietzsche, but defended by Theophile Gautier and E. M. Forster, it influenced movements as diverse as futurism and Dada. Over the past two centuries, three main positions have emerged. The 'institutional' view declares art to be a status conferred upon certain works by the approval of influential institutions. The 'idiocentric' view gives absolute priority to the judgment of (...) the individual. The third is the 'conceptual' view of art, which insists that what counts is the idea that inspired a work, not the physical execution. But, as Harris shows, the tacit assumptions which once supported this debate and these positions have now collapsed. 'Art' as a coherent category has imploded, leaving behind a historical residue of empty questions that contemporary society can no longer answer." --book cover. (shrink)

This is the first comprehensive study of Nietzsche's earliest (and extraordinary) book, The Birth of Tragedy (1872). When he wrote it, Nietzsche was a Greek scholar, a friend and champion of Wagner, and a philosopher in the making. His book has been very influential and widely read, but has always posed great difficulties for readers because of the particular way Nietzsche brings his ancient and modern interests together. The proper appreciation of such a work requires access to ideas that cross (...) the boundaries of conventional specialisms. This is now provided by M. S. Silk and J. P. Stern in their joint study of Nietzsche's book. They examine in detail its content, style and form; its strange genesis and hybrid status; its biographical background and the controversy engendered by its publication; its value as an account of ancient Greek culture and as a theory of tragedy and music; its relation to other theories of tragedy; and its place in the history of German ideas and in Nietzsche's own philosophical career. (shrink)

In this wide-ranging and authoritative volume, leading scholars engage with the philosophy and writings of Wilhelm Dilthey, a key figure in nineteenth-century thought. Their chapters cover his innovative philosophical strategies and explore how they can be understood in relation to their historical situation, as well as presenting incisive interpretations of Dilthey's arguments, including their development, their content, and their influence on later thought. A key focus is on how Dilthey's work remains relevant to current debates around art and literature, the (...) biographical and autobiographical self, knowledge, language, science, culture, history, society, and psychology and the embodied mind. The volume will be important for researchers in hermeneutics, aesthetics, practical philosophy, and the history of German philosophy, providing a valuable introduction to Dilthey's work as well as detailed critical analysis of its ongoing significance. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public (...) good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

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