Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent (...) formal conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

This book, the first comprehensive study in English of Heidegger's philosophy of art, starts in the mid-1930s with Heidegger's discussion of the Greek temple and his Hegelian declaration that a great artwork gathers together an entire culture in affirmative celebration of its foundational 'truth', and that, by this criterion, art in modernity is 'dead'. His subsequent work on Hölderlin, whom he later identified as the decisive influence on his mature philosophy, led him into a passionate engagement with the (...) art of Rilke, Ce;zanne, Klee and Zen Buddhism, liberating him not only from the overly restrictive conception of art of the mid-1930s but also from the disastrous politics of the period. Drawing on material hitherto unknown in the anglophone world, Young establishes a new account of Heidegger's philosophy of art and shows that his famous essay 'The Origin of the Work of Art' is its beginning, not its end. (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)

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)

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)

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy (...) of art into four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

What role does race play in the moral judgment of character? None, ideally, philosophers insist, contending that the proper assessment of an action requires that we disregard any social values associated with the body performing it. What rightly comes under evaluation, they assert, is the neutral, abstract deed irrespective of the race of the agent. Only under these conditions, presumably, can we gauge true moral worth. Reading together Immanuel Kant and Frantz Fanon on ethics and race, I propose instead that (...) embodied values such as those accorded by race do not distort the portrait of the ethical subject but rather bring that subjectivity into being. Key Words: blackness • embodiment • ethics • Frantz Fanon • Immanuel • Kant • morality • race • value. (shrink)

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy (...) of art into four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

Brings together essays on the philosophy of art in which a philosophical theory of aesthetic judgment is tested and developed through its application to particular examples. Each essay approaches, from its own field of study, what Roger Scruton argues to be the central problems of aesthetics -- what is aesthetic experience, and what is its importance for human conduct? The book is divided into four parts. The first contains a resume of modern analytical aesthetics, which also serves as an (...) introduction to subsequent chapters. It also includes an essay that reviews current theories of literary criticism. The second part is devoted to musical aesthetics and contains the theoretical core of the work. Here Scruton describes the contours of aesthetic understanding, and defends the view that the object of aesthetic experience is inherently significant, even when it has no "content" that can be described in propositional terms. He rebuts the view that music is representational, and in the third part goes on to propose a theory of representation whereby to refute the suggestion that photography is a representational art. This third section also contains a study of film. The final part comprises essays relating aesthetic judgment to the understanding of culture, humor, and design. It covers many subjects, including the prose works of Samuel Beckett and the architecture of Leninism. The essays in this book form parts of a single intellectual enterprise, which is to give analytical foundations to the criticism of literature, visual art, music, and culture. (shrink)

It is the aim of this work to examine the pivotal role of Johann Joachim Winckelmann (1717-1768) as a judge of classical sculpture and as a major contributor to German art criticism. John Harry North seeks to identify the key features of his treatment of classical beauty, particularly in his famous descriptions of large-scale classical sculpture. Five case studies are offered to demonstrate the academic classicism that formed the core of his philosophy of art. North aims to establish Winckelmann's (...) place in the development of the German language. His prose contributed to a literary style that was suitable for the expression of an emotional response to visual experiences. His use of rhetoric in the assessment of classical art, however, make his judgements propagandist rather than analytical. The published works of Winckelmann, his draft essays and his collected private correspondence are advanced as criteria in the evaluation of his impact on the development of German classicism that culminated in the Weimar group of poets and writers. His Grecophile enthusiasm, however, led him to introduce stylistic categories in the development of classical marble sculpture that are no longer regarded as truly reflecting the evolution of Greco-Roman art. Thus his historicity and his classification of styles remain in doubt. Winckelmann proposed that the training of modern artists should concentrate on the observation and imitation of classical models instead of looking to nature as the source of inspiration. This plan succeeded to some extent in the generation that followed his untimely death. Throughout the succeeding century, artists and their sponsors did favour classical models and developed stylistic classicism in European freestanding sculpture, in painting and in architecture. (shrink)

A comprehensive review of Paul Horwich's _Truth_ and _Meaning_.

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.

George Will, the well-known pundit, once observed: “A society's recreation is charged with moral significance. Sport—and a society that takes it seriously—would be debased if it did not strictly forbid things that blur the distinction between the triumph of character and the triumph of chemistry.” In opposition, Dan Duchaine, the highly publicized “steroid guru” and counter-culture columnist, declared: “There comes a time for many in competitive athletics where winning is more important than those initial goals of health, recreation, and relaxation.” (...) The parallels of these two philosophies to life in general are patent simply by substituting “sports” and “winning” for “career” and “success,” respectively.This paper will review the basis for banning anabolic steroids in athletics, and consider especially the recent medical findings that support this prohibition. This survey leads into a discussion of the available deterrents, and the secondary, but essential, role of random drug testing as a final safeguard. (shrink)

George Will, the well-known pundit, once observed: “A society's recreation is charged with moral significance. Sport—and a society that takes it seriously—would be debased if it did not strictly forbid things that blur the distinction between the triumph of character and the triumph of chemistry.” In opposition, Dan Duchaine, the highly publicized “steroid guru” and counter-culture columnist, declared: “There comes a time for many in competitive athletics where winning is more important than those initial goals of health, recreation, and relaxation.” (...) The parallels of these two philosophies to life in general are patent simply by substituting “sports” and “winning” for “career” and “success,” respectively.This paper will review the basis for banning anabolic steroids in athletics, and consider especially the recent medical findings that support this prohibition. This survey leads into a discussion of the available deterrents, and the secondary, but essential, role of random drug testing as a final safeguard. (shrink)

_Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way (...) enriching the readers understanding of art theory as well as the appreciation of art. Unique features of the textbook are: * chapter summaries * summaries of major theories of art and suggested analyses of the important categories used when talking and thinking of art * annotated suggested readings at the ends of chapters. Also available in this series: _Epistemology_ Pb: 0-415-13043-3: £12.99 _Ethics_ Pb: 0-415-15625-4: £11.99 _Metaphysics_ Pb: 0-415-14034-X: £12.99 _Philosophy of Mind_ Pb: 0-415-13060-3: £11.99 _Philosophy of Religion_ Pb: 0-415-13214-2: £12.99. (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.

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...) ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...) ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.

Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let us (...) explore the differences between the arts. He presents five case studies, three from literature, two from music. With its combination of historical and analytic approaches this is a book for a wide range of readers in philosophy, literary studies, music, and non-academic readers with interests in the arts. (shrink)

Written with clarity, wit, and rigor, _The Philosophy of Art_ provides an incisive account of the core topics in the field. The first volume in the new _Foundations of the Philosophy of the Arts_ series, designed to provide crisp introductions to the fundamental general questions about art, as well as to questions about the several arts. Presents a clear and insightful introduction to central topics and on-going debates in the philosophy of art. Eight sections cover a wide (...) spectrum of topics such as the interpretation of art, the relation between art and moral values, and the expression and arousal of emotion through art. Pedagogical features include full-color illustrations, vibrant examples, thought-provoking discussion questions and helpful suggested readings. (shrink)

The philosophy of art and empirical aesthetics are, to all outward appearances, natural bedfellows, disciplines bound together by complimentary methodologies and the common goal of explaining a shared subject matter. Philosophers are in the business of sorting out the ontological and normative character of different categories of objects, events and behaviors, squaring up our conception of the nature of things, and clarifying the subject matter of different avenues of intellectual exploration via careful conceptual analyses of often complex conventional practices. (...) Psychologists have developed careful empirical methods for measuring and modeling behavior, methods that are fruitfully used in practice to test and evaluate hypotheses derived from our conception of the nature of our own cognitive and emotional engagement with the world. So, for all appearances, philosophy and psychology are grounded in complimentary research methods directed at the common task of sorting and testing theories about the nature of art and artistic practices, e.g. what is an artwork, what is the nature of the productive practices involved in creating these kinds of artifacts, or what is the nature of a consumer's artistic engagement with these artifacts. Unfortunately appearances can be deceptive. Despite common calls for rapprochement the two disciplines rarely meet. There are methodological and ideological reasons for this rift, and they are, not surprisingly, related. In what follows I will explore and evaluate some of the central sources of resistance on both sides this divide, introduce a model for the possibility of rapprochement, and briefly sketch the promise and pitfalls of current research in two areas, dance and film, where an active attempt at bridging the divide between philosophy and empirical aesthetics is underway. (shrink)

Although experimental philosophers have been busy kindling fires under well-worn armchairs in areas of philosophy as varied as epistemology, normative ethics, theories of reference, and the free will controversy, the philosophy of art has remained largely untouched. As Denis Dutton observes: “There is precious little reference to empirical psychology in contemporary philosophical aesthetics, almost as if philosophers of art have wanted to protect their patch from incursions by psychologists.” I intend to show how techniques borrowed from experimental psychology (...) can bring light as well as warmth to the old debate over “What is art?”. (shrink)

Music teachers are often inclined to advocate the aesthetic value of music that is uncritically propagated by their conservatory training.1 Consequently, a host of misleading assumptions that music is a "fine" art that exists solely to promote aesthetic experience is simply taken for granted as the benefits of art and music education—thus ignoring the differences of purpose between school music and university-level training. Just offering routine musical activities and performances is thereby assumed to kindle students' aesthetic appreciation. Whether the experiences (...) provided have led to an enriched life of playing and enjoying... (shrink)

1929. Contents: Art and the Creation of Beauty; Art the Language of Feeling.

The Philosophy of Art is a highly accessible introduction to current key issues and debates in aesthetics and philosophy of art.

_The Philosophy of Art_ is a highly accessible introduction to current key issues and debates in aesthetics and philosophy of art. Chapters on standard topics are balanced by topics of interest to today's students, including creativity, authenticity, cultural appropriation, and the distinction between popular and fine art. Other topics include emotive expression, pictorial representation, definitional strategies, and artistic value. Presupposing no prior knowledge of philosophy, Theodore Gracyk draws on three decades of teaching experience to provide a balanced (...) and engaging overview, clear explanations, and many thought-provoking examples. All chapters have a strong focus on current debates in the field, yet historical figures are not neglected. Major current theories are set beside key ideas from Plato, Aristotle, Kant, Marx, and Hegel. Chapters conclude with advice on further readings, and there are recommendations of films that will serve as a basis for further reflection and discussion. Key ideas are immediately accompanied by exercises that will test students' reactions and understanding. Many chapters call attention to ideology, prejudices, and common clichés that interfere with clear thinking. Beautifully written and thoroughly comprehensive, _The Philosophy of Art_ is the ideal resource for anyone who wants to explore recent developments in philosophical thinking about the arts. It is also provides the perfect starting point for anyone who wants to reflect on, and challenge, their own assumptions about the nature and value of art. (shrink)

What often occurs in relation to contemporary culture are attempts to develop a philosophy which would be focused on culture which is gaining in importance and which would thus complement the extant philosophy of art. The author discusses two such attempts, namely those of Heinz Paetzold and Fredric Jameson. Nonetheless, in his view, in both cases the theories offered remain insufficient and in need of further development if they are to philosophically grasp the current changes in art and (...) culture. (edited). (shrink)

Derek Matravers introduces students to the philosophy of art through a close examination of eight famous works of twentieth-century art. Each work has been selected in order to best illustrate and illuminate a particular problem in aesthetics. Each artwork forms a basis for a single chapter and readers are introduced to such issues as artistic value, intention, interpretation, and expression through a careful analysis of the artwork. Questions considered include what does art mean in contemporary art practice? Is the (...) artistic value of a painting the same as how much you like it? If a painting isn't of anything, then how do we understand it? Can art be immoral? By grounding abstract and theoretical discussion in real examples the book provides an excellent way into the subject for readers new to the philosophical dimension of art appreciation. (shrink)

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

First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" occupies the central position in (...) the book — thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study. (shrink)

_The Philosophy of Art _is a highly accessible introduction to current key issues and debates in aesthetics and philosophy of art. Chapters on standard topics are balanced by topics of interest to today's students, including creativity, authenticity, cultural appropriation, and the distinction between popular and fine art. Other topics include emotive expression, pictorial representation, definitional strategies, and artistic value. Presupposing no prior knowledge of philosophy, Theodore Gracyk draws on three decades of teaching experience to provide a balanced (...) and engaging overview, clear explanations, and many thought-provoking examples. All chapters have a strong focus on current debates in the field, yet historical figures are not neglected. Major current theories are set beside key ideas from Plato, Aristotle, Kant, Marx, and Hegel. Chapters conclude with advice on further readings, and there are recommendations of films that will serve as a basis for further reflection and discussion. Key ideas are immediately accompanied by exercises that will test students' reactions and understanding. Many chapters call attention to ideology, prejudices, and common clichés that interfere with clear thinking. Beautifully written and thoroughly comprehensive, _The Philosophy of Art _is the ideal resource for anyone who wants to explore recent developments in philosophical thinking about the arts. It is also provides the perfect starting point for anyone who wants to reflect on, and challenge, their own assumptions about the nature and value of art. (shrink)

Book review of The Philosophy of Art. By STEPHEN DAVIES.. Blackwell. 2006.

First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" occupies the central position in (...) the book — thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study. (shrink)

A study of the philosophy of art that addresses the question of definition presented by both continental and analytic thinkers.

This anthology is intended as a core text for courses in aesthetics or philosophy of art. It contains a wealth of readings from both classic and contemporary sources, and aims to present substantial selections from those texts rather than mere "snippets." Readings are organized historically within four broad themes so that students can see how concepts of art have evolved and been debated. Each reading is introduced by the authors, who suggest connections between the reading and others in the (...) anthology. Unlike other anthologies on the market, The Philosophy of Art is both comprehensive and affordable, making it the ideal book for course use. (shrink)

With the sustained, coherent perspective of an authored text and the diverse, authoritative views typical of an anthology, Philosophy of Art: Aesthetic Theory and Practice by David Boersema provides the context and commentary students need to comprehend the various issues in philosophy of art. Throughout the book, issues are examined using the lenses of the three broad areas of philosophy: metaphysics, epistemology, and value theory. That is, concerns are raised about what is expressed, how it is expressed, (...) and why it is expressed. Chapters on the artist, the audience, and the artwork further break down the discipline and are applied to the final chapters on the specific types of art. The differences between art and science as well as the relationship of art and society provide a refreshing discussion of overlooked areas in philosophy of art. (shrink)