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Building on the embodied consumption literature, we draw on Merleau-Ponty's theory of art to consider how new modes of visibility arise in interactions between individuals online. Focusing on one particular virtual and collaborative museum programme, we use ethnomethodological analysis of interactions to analyse video recordings of virtual arts conversations. The analysis explores how participants render visible their orientation to each other and to the works of art discussed in the workshop. Thus, we can see how participants produce the sense and significance of works of art in, and through 'intercorporeal interactions' while participating in a virtual arts programme. Observations and findings from our research have significant implications for the strategic management of virtual consumer experiences. [ABSTRACT FROM AUTHOR]

This article weaves together three main strands: first, the ambiguities of mirror metaphors in relation to concepts of artistic representation and expression; secondly, the double-sided and sometimes paradoxical influence of Plato in this area of aesthetics; thirdly, the need to interpret long-lasting metaphors in the history of ideas not as static figures of speech but as dynamic tropes which shift in sense and implications with changes of context. In constructing and exploring this thematic configuration of mirrors, metaphors, and Plato, the chief concern is to draw out—via a small selection of texts, including passages from Schopenhauer and Nietzsche—some underappreciated complexity in the various classical traditions that have contributed to aesthetics and philosophy of art. [ABSTRACT FROM AUTHOR]

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay discusses the positing of the eye in Georges Bataille’s work in an attempt to connect Bataille’s thought with Horst Bredekamp’s notion of the image act. The image act attributes an active nature to images and places them in the sphere of entities capable of acting upon the configuration of our reality. This paper begins by first describing the conceptual framework of critical iconology and then traces its overlap with the work of Georges Bataille. This tracing is achieved through the understanding of Bataille’s subversive use of images, as read by Benjamin Noys. The work proceeds by arguing for a movement away from reading Bataille exclusively under the concept of transgression, and suggests introducing the concept of oscillation. Reading Bataille as such, critical iconology and Bataille’s critical dictionary meet. The paper concludes by engaging with Bataille’s Story of the Eye, as this is read under critical iconology. [ABSTRACT FROM AUTHOR]

This article offers a fresh exegesis of Heidegger's philosophy of art, focusing on his conceptualization of artwork as the reproduction of the thing's general essence. Grounding the analysis in Heidegger's revisit of Kant's Transcendental Aesthetic, this study explores Heidegger's interpretation of a thing as a "composed homogeneity" that reveals inherent determinations of temporality and spatiality in the self-presence of beings as a phenomenon grasped within finite human cognition. This is inextricably linked to the ecstatic temporality of Dasein, elucidating a cyclical human–thing dynamic integral to Heidegger's ontology. Going deeper, I draw parallels between Kant's "supersensible" realm and Heidegger's "earth", revealing a teleological (ethical) design manifested in art that captures the dual essence of Nature—using Kantian terminology, its purposiveness and contrapurposiveness—intersecting with Heidegger's notion of the counter-essence of ἀλήθεια in relation to freedom. Finally, I show how the manifold aesthetic metamorphoses of this existential scheme within the existentiell ordinariness through nonradiant φαίνεσθαι, such as equipmentality, emerge as the everyday incarnation of this design. [ABSTRACT FROM AUTHOR]

This paper posits participatory art as a distinct but underexplored practice of interest for human geography's contemporary work on art and aesthetics. It suggests that participatory art needs a conceptual, critical, and interdisciplinary grounding in human geography to advance the expanding relationship between participatory art practice and theory, aesthetics, and geography. Through three analytical themes – politics, publics, and space – the paper argues for an interdisciplinary approach to participatory art that draws across art theory, participatory praxis, and geography. The paper concludes around geography's suitability to critically explore the ethical and aesthetic relations created by participatory art. [ABSTRACT FROM AUTHOR]

Copyright of Scientific Research / Elmi Tədqiqat is the property of Azerbaijan Science Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

God the Father was considered so completely inexpressible and unembodied that his visual appearance in early modern masterpieces has long challenged the theological accuracy of such works. A recent discovery complicates that issue. Albrecht Dürer's 1500 Self-portrait as Christ is incorrectly considered an isolated example of divine self-representation. It was, in fact, as shown here, part of a long tradition throughout Europe between at least the fifteenth and seventeenth centuries. The praxis, potentially sacrilegious, raises questions about the truth of art at its highest level. To address this conundrum, this article analyzes works by three eminent, but very different, artists: Michelangelo, Raphael, and Dürer. Two current methodologies—visual exegesis and the poetics of making—support the argument. The analysis reveals that there is a fundamental unity to their work, which has not been recognized on account of three popular misconceptions about the nature of art, divinity, and the mind. This article concludes that depictions of God the Father and Christ by these artists are neither heretical nor false because, as the evidence shows, all three were part of a continuous spiritual tradition embedded within their craft. [ABSTRACT FROM AUTHOR]

In recent years, photographs and visualisations of glacier retreat have become emblematic images of climate change and its ecological consequences. This paper presents glacier photography as a subtype of environmental photography. I argue that photographs and photographic projects that focus on glacial retreat are best conceived not only as strategies for proving climate change or as visual rhetoric for social transformation, but also as a practice that potentially plays an integral role in dealing and coping with human-induced environmental loss. To this end, I draw on praxeological accounts in theory of photography and philosophy of art as well as some exemplary photographic projects to develop a framework to analyse glacier photography. With the help of this praxeological framework, multiple orientations in glacier photography are identified: epistemic, aesthetic, emotional and evocative, social, ethical, and political orientations. All these photographic orientations, I argue, point in their own way to the process and consequences of glacial disappearance and loss. The framework presented innovatively brings together scholarship on climate change visualisation, imagery and art, the theory of photography, and philosophical aesthetics. [ABSTRACT FROM AUTHOR]

Towards the end of his life, Bataille became increasingly fascinated by prehistoric culture. His analysis of the Lascaux cave frames it as the symbolic site of our birth, envisioning in its art the final step to anthropogenesis: we, as a species, became human once we began smearing pigment on cave walls. Bataille’s account of this dual birth of art and humanity is neither an ode to our rational mind nor to our capacity for aesthetic contemplation. Rather, the murals adorning the cave would be the result of primordial ecstatic experiences. For Bataille, art ties in with excess: an activity devoid of use-value rising above necessity or instinct. Lascaux becomes the scene of a primordial crime against utility. Bataille’s cave stands as a counterargument to the enlightenment’s fixation on progress and productivity. The decades since, have seen our obsession with productivity grow even more pervasive. This paper explores the constellation of excessive behaviours which Bataille presents as key to the birth of art and, through an autoethnographic study, asks whether, and how, this ‘spectrum of excess’ is still relevant to artists today. [ABSTRACT FROM AUTHOR]

The advent of non-fungible tokens (NFTs) in the art world has led to the emergence of a unique aesthetic sensibility, ‘crypto-aesthetics.’ This nascent phenomenon is marked by the amalgamation of digital and traditional art forms, the exploration of decentralisation and blockchain themes, and an emphasis on scarcity and digital ownership. This article proposes to examine the crypto-aesthetic phenomenon of NFT art through the lens of New Materialism, in particular the key concepts of two major New Materialist thinkers, namely Karen Barad and Jane Benett. Our application of New Materialism elucidates crypto-aesthetics as a distinct occurrence stemming from the interplay of object-reality, agency and networks, sociomateriality, and cultural and historical contexts. Utilising the New Materialism perspective to investigate crypto-aesthetics sheds light on the intricate relationships, processes, and consequences shaping the art market vis-à-vis NFTs and digital art. By acknowledging the agency of matter and the entwined nature of human and non-human entities, a more holistic comprehension of crypto-aesthetics’ transformative potential for artistic expression, value generation, and cultural dynamics can be attained. Our theoretical framework offers a novel lens through which to explore and understand the burgeoning world of NFT art and its crypto-aesthetic tendencies. [ABSTRACT FROM AUTHOR]

This article explores the relationship between skin, materiality and medicine in the early modern German-speaking lands. It focuses on the understudied artwork of the Munich-born artist Johann Rottenhammer (1564–1625), demonstrating that his painted bodies were related to medical understandings of skin. Skin was a mediating boundary between inside and outside: the colour and texture of skin carried meanings about the internal state of the body. In this period, 'exploration' beyond Europe was destabilizing the definition of 'good' or 'normative' skin. The appearance of healthy or unhealthy skin was expressed in contemporary northern European artistic theory, for example in Karel van Mander's Book on Painting. This article contributes to the growing literature on materiality and medicine by demonstrating their indelible impact on the artist's project. Medical histories of the sixteenth century have traditionally positioned the Galenic and Paracelsian medical traditions as diametrically opposed. This article observes, however, key areas of similarity—the origin of curative materials, and the relationship between the internal body and the external natural world—and considers how they were present in early modern German understandings of skin. [ABSTRACT FROM AUTHOR]

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Similar to religious reverse glass paintings, Gilan's holy shrine paintings are also religious art from the Qajar period. Among these paintings in the matter of religious beliefs and artists' origins, a unity in the style of narration and illustration can be found. Transtextuality, introduced by Gérard Genette, is one of the most important theories in literature and art. He addresses different ways of how a text can remind the reader of a previous one and guide the reader towards it. The main question of the research is which factors that have been used in reverse glass paintings and holy shrine paintings have transtextuality and similarity. The research method is descriptive and analytic and the library collecting content method is taking fiche notes and reading pictures text; the data analyzing is qualitative. Findings are indicative of a similarity and transtextuality relation between holy shrine paintings and reverse glass paintings. Forgery similarity is the application of visual elements and semantic implications, with functioning and imitating form and pretext content. Transposition Transtextuality in the visual structure and semantic implications has a critical role in hypertextuality. Artists have created a new concept by modifying elements and changing the concept in Gilan's holy shrine painting. [ABSTRACT FROM AUTHOR]

The research on the interpretation of mathematics as part of the sciences of mind, introduced as 'Geisteswissenschaften' in the German philosophy, reflects the relationship between mathematics and arts, including architecture. This study focuses on the early works of the philosopher Max Bense where he described the contours of an intellectual history of mathematics related to philosophy. He pointed out strong relationships between mathematics and all areas of human creation abilities. In particular, his investigations on the relationship between arts, including architecture, and mathematics in important historical phases reveal that the mathematics of an age is reflected aesthetically in the artistic styles or theories of art. His thesis posits that a high point in mathematics corresponds to a high point in art. Later on, Bense developed an aesthetic theory on the basis of mathematics, semiotics and information theory. [ABSTRACT FROM AUTHOR]

Copyright of Asian Studies is the property of University of Ljubljana, Faculty of the Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this study I investigate aesthetics of agency in games in terms of rhythm. Following C. Thi Nguyen's theory of agency as the aesthetic medium of games, I suggest that the aesthetic experience of agency can be interpreted in terms of rhythm. First, I provide an overview of Nguyen's theory of games as the art of agency. By focusing on Nguyen's characterization of the aesthetic experience of agency, I highlight a need for a more detailed description of agential aesthetics. Second, I introduce a philosophical interpretation of rhythm as a distinction between form and flow. Finally, by using Elden Ring as an example I argue that an understanding rhythm as form in continuous motion captures the transient and mutable character of agency as the object of the player's aesthetic experience. Rhythm provides insight into the temporal nature of Nguyen's process aesthetics and explains how agency can have nonconceptual meaning. [ABSTRACT FROM AUTHOR]

I argue that ethical features of sport strongly interact with aesthetic features of sport, such that all pro tanto ethical merits/defects count as aesthetic merits/defects. This is a much-debated topic in the philosophy of art and aesthetics literature, in which recent critics have taken to task this interactionist take on how ethical evaluative properties interact with aesthetic ones. The critics' main argument against this view is that far too many works of art than theorists of this strong interactionist kind care to admit either lack the evaluative ethical properties they claim for them, or their ethical properties do not appreciably affect their aesthetic properties. Sport, I argue, is a notable exception. That's because in sport ethical flaws in athletic performances double as aesthetic flaws with very few exceptions, or so I will argue. Unlike artworks, therefore, the interactionist thesis holds mostly true across the entire athletic spectrum, which is why, in my view, it warrants far more serious attention and appreciation than it is commonly given in both the philosophy of art and aesthetics and philosophy of sport literature. [ABSTRACT FROM AUTHOR]

The paper examines crucial topics of reflection on the nature of art in L. N. Tolstoy’s works (1890–1900) in the light of their interpretations by V. B. Shklovsky. The principal part of these reflections is the search for a new mode of writing, “beyond any form,” which Shklovsky inherits and analyzes in his fragmentary aphoristic prose. The fragmentary forms in the late period of Tolstoy’s works and Shklovsky’s writing stem from the era of dramatic, rapid, and irreversible changes at the turn of the 19th–20th centuries. The paper pays particular attention to aspects of Shklovsky’s interpretation of Tolstoy’s technique of defamiliarization (ostranenie) and examination of the contexts of Tolstoy’s thought, which combine the themes of freedom, memory, and imagination in the existential, ethical, and aesthetic registers. Shklovsky translates Tolstoy’s existential thought into an aesthetic register, considering it as a result of a long process of emerging new forms in art.

Susanne Langer sees the 'the public importance of art' as one of 'the ultimate questions in a philosophy of art'. Indeed, Langer is often referred to as an authority on the justification of art education and is cited as providing good reasons for incorporating the arts in the curriculum. It is therefore surprising to note, as Elliot Eisner does, that Langer's theory has had little influence on actual art education. For while many theoreticians in the social sciences and education have found Langer's contribution to the understanding of the arts highly significant, Eisner laments that 'alas, the lesson Susanne Langer was trying to teach ... in her remarkable book, never took hold in ... American public schools'. It seems that policy-makers outside of art education circles remain sceptical regarding the need for art education. The substantiation of art education requires firm ground against scepticism. It is therefore important to understand the ways in which Langer's project fails to fulfil its promise. In examining Langer's aesthetic theory, I will show that despite its philosophical acuity, Langer's argument fails to persuade the art education sceptic who believes that art occupies a minor role in education and should therefore remain marginal in the school curriculum. [ABSTRACT FROM AUTHOR]

Studio Art Therapy is a unique learning ecology with border crossings between visual arts therapies and art studio practice, education, and health. The increased fluidity between research and practice spaces, art therapy, and arts health are elaborated as a concept, theorized with the western Deleuzoguattarian philosophy. Connections and differentiations between art making and art as therapy are revealed in a discussion of an empirical research project Art, Visual Narrative, and Wellbeing Project (AVNAW). Studio art therapy focuses on body, meaning, and healing. It speaks to the value of people making art, reflecting and talking about their making processes alone and together through an autoethnographic visual narrative approach to artmaking. The paper asks how studio visual artmaking can activate individual productive desire to adapt toward becoming well through artmaking. Care, community, belonging, and resilience are core to a studio art therapy learning ecology that responds to real-life experiences in the support of personal care and wellbeing. [ABSTRACT FROM AUTHOR]

This document provides brief biographical information about several contributors to the journal CounterText. The contributors are academics and writers from various universities and institutions, specializing in fields such as English literature, cultural studies, critical theory, and poetry. Their research interests include topics such as posthumanism, death studies, queer theory, Romantic poetry, and contemporary fiction. The contributors have published books, articles, and book chapters on these subjects, and their work has appeared in various journals and anthologies. [Extracted from the article]

The purpose of the article is to reveal the peculiarities of the manifestation of termediality in modern art in their influence on perceptual processes and to propose appropriate technologies for the perception of intermedial artistic phenomena. The research methodology is based on the concepts of media theory, communication theory, modern art theory and uses general scientific principles of interconnection, systematisation, and synergy. The purpose and objectives of the article necessitated the application of the method of extrapolation of heuristic algorithms of exact sciences to the heuristics of artistic phenomena with a view to practical methods of organising the perception of the intermediality of modern art by students of higher education. The use of the analytical method made it possible to identify the content and design resources of intermediality in its current development. The scientific novelty consists in projecting the properties of intermediality of modern art onto the technology of its perception in the process of university training. In the article, for the first time in domestic art history, the peculiarities of the manifestations of intermediality of modern art in connection with the communication of its recipients are understood. Conclusions. Intermediality is one of the main trends in the development of art, which consists in a kind of dialogue. From the point of view of perceptual processes, intermediality actualises the integrity of perception, which involves different sensory modalities. Intermediality in the modern artistic space outgrows the boundaries of the interaction of arts, connecting other spheres of culture and ensuring the inseparability of synthesised elements in creative practices different from traditional ones. Perception of intermedia modern art requires preparation, which should be carried out in the educational process. Effective technologies for perceiving the intermediality of modern art are interactive and intermedial. [ABSTRACT FROM AUTHOR]

What does it mean to teach philosophy today? This question occupies a central position in Bernard Stiegler's thinking and his practice. For Stiegler, to teach philosophy is to initiate, so that an individuation, or a quantum leap, could take place within and between the teacher and the participants. This article traces a mystagogical thinking in Stiegler's work, especially his reading of Plato and Simondon. This mystagogical thinking, present in philosophy and art, is also an antidote against the becoming herd in the consumerist society, which also means disindividuation. [ABSTRACT FROM AUTHOR]

This article embarks on a sociological explanation of the genesis of talent as an embodied experience and as bodily hexis generated within a system of social and aesthetic relations which are characterised by symbolic oppositions. Using Bourdieu's theory of artistic production, I argue that talent in theatrical dance constitutes an ideal type materialised through the construction of the dancing body as a site of excellence, only possible through access to specific forms of capital. Drawing on historical and contemporary empirical material to conceptualise talent in dance, the article critiques the notion of talent as an innate gift, contending that virtuoso physical performance is a product of history and practice and acquires meaning within such conditions of engagement. [ABSTRACT FROM AUTHOR]

This text provides an overview of the work and contributions of sociologist Bridget Fowler. It highlights her focus on challenging power structures and social inequalities, examining topics such as unequal employment outcomes for children of migrant families and the experiences of women architects. Fowler's approach is grounded in history and theory, emphasizing the importance of understanding and critiquing social reality. The text also discusses her engagement with various intellectual influences and her exploration of photography as a transformative practice. Additionally, the text is a collection of articles that cover a range of sociological topics, reflecting Fowler's commitment to social change and interdisciplinary conversation. [Extracted from the article]

This article pays tribute to Katerina Clark, a renowned scholar in Russian literature and cultural history, who passed away in 2024. The author, Evgeny Dobrenko, shares his personal and professional relationship with Clark, highlighting her groundbreaking work on Soviet literature. Clark's book, "The Soviet Novel: History as Ritual," challenged traditional approaches to studying Soviet literature and introduced new avenues of research. Dobrenko praises Clark's ability to blend literary theory with a fresh perspective, enabling her to uncover the true essence and structure of Soviet literature. The article discusses Clark's work, emphasizing her unique approach as a literary historian and interpreter. She relied on her imagination, extensive knowledge, and conceptualization skills rather than relying solely on established theoretical frameworks. Clark's book explored the antihero in Socialist Realist novels and the de-historicization of history during Stalinism. She also emphasized the role of aesthetics in shaping political discourse and representational practices. Clark's work has had a significant impact on post-Soviet Russian studies, opening up new dimensions in the study of Stalinism. [Extracted from the article]

Eight responses, from India, Canada, the US, and Australia, highlight pedagogical issues that are raised in the essay 'Integrated Foundation Studio and Art History at the School of the Art Institute of Chicago'. The comments includes questions of practicability, history of pedagogy, similar initiatives, and philosophic assumptions. [ABSTRACT FROM AUTHOR]

By constructing and analyzing a dialogue about dialogue among Plato, Mill, and Oakeshott, this paper considers conversation in the liberal arts and political theory classrooms as a form of political education that prepares students for the responsibilities of citizenship. An education in and through conversation can cultivate a disposition that is willing and able to engage with others. With less at stake in the classroom, the skills that are necessary for politics—the frankness, good will (and self-control), knowledge, listening, and respect for particularity—can be developed and practiced. This paper advocates a respect for particularity in conversation over an optimism regarding progress toward truth, arguing that our contemporary polarized politics needs conversation that respects difference now more than ever. [ABSTRACT FROM AUTHOR]

The article offers information on the accidental nature of the author's work, characterized by unplanned projects driven by curiosity and unique insights. Topics include the author's approach to giving talks, which diverge from conventional formats, their reinterpretation of architectural typologies in "The Third Typology," and the influence of fairy tales on architectural theory as explored in "The Architectural Uncanny."

The article offers information on Anthony Vidler's career as a pivotal figure in American architectural theory from the 1970s to the 2000s. It discusses Vidler's influential essays, notably "The Third Typology," which initially outlined distinctions between modern and postmodern architecture but later questioned its own conceptual framework.

The article discusses two different topics. The first topic is a film called "An Affair to Forget" directed by Jens Neubert, which explores the relationship between Richard Wagner and Mathilde Wesendonck. The film takes some liberties with the truth and simplifies the complex dynamics of the relationship. The second topic is a production of Wagner's opera "Der fliegende Holländer" by the Sofia Opera, which takes place outdoors. The production has some promising elements, such as the lakeside setting, but ultimately falls short in terms of dramatic success and vocal performances. Overall, the article provides critical assessments of both the film and the opera production. [Extracted from the article]

Rembrandt van Rijn's A Woman Bathing in a Stream (1654; The National Gallery, London) defies neat categorization. Although painted with loose, vigorous brushwork and prominently unfinished passages that suggest an informal study, the painting is signed and dated, indicating that it is a completed work. Its subject is similarly ambiguous, straddling a genre scene and a narrative representation. This article embraces these indeterminacies as purposeful and argues that Rembrandt's play with early modern hierarchies of artistic classification extends to his experimentation with interrelated topoi central to Dutch artistic theory and practice. With this unprecedented image of a woman and her reflection, I argue, Rembrandt renders the metaphor of the mirror and mirroring as inadequate for his virtuosic art and challenges deeply gendered and poeticized tropes about artistic authority to assert his unique position within Dutch artistic culture. [ABSTRACT FROM AUTHOR]

Copyright of Magazine of Historical Studies & Archaeology is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Sport & Tourism Central European Journal / Sport i Turystyka Srodkowoeuropejskie Czasopismo Naukowe is the property of Jan Dlugosz University in Czestochowa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One of the most important features of Pop Art is its critical approach to idealistic aesthetics. In addition to this characteristic, one can find other characteristics in Pop Art that show the relationship between Pop Art and the philosophical school of pragmatism. Pragmatism, as a philosophical school, takes a critical approach to the philosophy of idealism. Pragmatism looks for the practical consequences of affairs and establishes evaluation criteria dependent on these results. According to the followers of this approach, a proposition is true if it can be considered valid in the context of a practical effect. In other words, the meaning of a proposition should be sought in its practical consequences. The philosophers of pragmatism, like the idealists, were not indifferent to the theory of art and beauty; John Dewey was one of the most important philosophers of this school. His book Art as Experience proposes pragmatic features in the theory of art. According to these features, pragmatism can be considered one of the trends influencing art in the second half of the 20th century. At the same time, Pop Art, as one of the important artistic currents in the second half of the 20th century, seems to have a significant relationship with the philosophical school of pragmatism. An accurate understanding of Pop Art depends on the detailed evaluation of its pragmatist characteristics. In its main purpose, the current research seeks to identify and analyze this relationship. Therefore, the questions addressed by the current research can be stated as the followings: - In addition to its critical opposition to idealist aesthetics, what pragmatic qualities does Pop Art contain, and what kinds of thought and philosophical foundations underpin this pragmatic quality? - How can the processes of ideation, topic selection, execution, and presentation in Pop works be understood in relation to the philosophical school of pragmatism? - What changes in valuation and critical judgment result when idealist aesthetics give way to a kind of public aesthetics? With these questions in mind, the necessary data have been collected through documentary methods and written sources which have been analyzed qualitatively. Based on the obtained results, we can conclude that Pop Art is influenced by the philosophy of pragmatism in addition to the critical approach to idealistic aesthetics. In addition to the theoretical foundations of the Pop movement, pragmatism also influences the process of ideation, the choice of topic and content, formal qualities, and performance of the works. In the context of the execution of the works, the use of techniques borrowed from commercial printing or what was introduced under the general title of "process abbreviation" expresses a pragmatic quality. The Pop movement influenced by pragmatism gives art a practical character and considers it a medium of communication. In addition, according to pragmatism's approach to art, Pop Art can be said to have a dialogue-oriented characteristic, so it cannot be evaluated by mere aesthetic criteria. Therefore, it can be acknowledged that in art criticism, valuation and judgment become relativistic and descriptive criticism. [ABSTRACT FROM AUTHOR]

The article aims to explore the evolution of the concept of the artist from the Renaissance to the modern era, focusing on how cultural, philosophical, and socio-economic factors have redefined the artist's role in Western society. The study examines the shift from viewing artists as artisans or servants of religion and power to recognizing them as autonomous creators embodying individualism, creativity, and genius. To achieve this, a multidisciplinary methodology was employed, integrating historical analysis, philosophical examination, and socio-cultural contextualization. The research draws on primary sources such as archival documents, artistic manifestos, and philosophical texts, alongside secondary sources including critical essays and historical analyses. The study's theoretical framework is grounded in concepts from art philosophy, socio-cultural theory, and intellectual history. The results highlight significant transformations in the artist's status and self-perception, emphasizing the impact of Enlightenment ideas on creativity and individualism, the influence of socioeconomic changes on artistic autonomy, and the evolving relationship between artists and their patrons. The article concludes that these shifts have had a profound and lasting impact on Western art philosophy and contemporary understandings of art and the artist. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Important works in the Dewey corpus -- particularly those discussing the theory and practice of art and aesthetic education, prepared from 1896 through 1900 while Dewey was working out the plan for the University's Laboratory School -- remain virtually unstudied. When interpreting or building upon Dewey's theory of art and art education, scholars have relied on major works including Democracy and Education, Experience and Nature, and Art as Experience. The purpose of this paper is to revisit the Lab School works and reinterpret them for contemporary philosophers of education and art educators. [ABSTRACT FROM AUTHOR]

Innovative applications of human movement analysis, for example, for mitigating/slowing down certain pathological conditions, have recently emerged from the modeling and automated measurement of full‐body expressive midlevel individual and group movement qualities, at a higher complexity level than movement qualities derived directly from physical signals, still not characterizing any gesture in a specific way. More in general, the availability of automated analysis techniques of midlevel expressive movement qualities can contribute to interaction design incorporating body‐based performance practices inspired by artistic theories in dance and music. This work investigates how such practices and techniques can support embodied interaction design by enabling automated measuring of cues of leadership, cohesion, and fluidity in full‐body movement in group settings. In particular, the dance‐inspired scientific approach, the data collection protocol, and the analysis techniques adopted for assessing movement qualities connected to leadership and cohesion within the group and fluidity of the dancers' full‐body movement are described. Finally, future developments of this research are outlined. [ABSTRACT FROM AUTHOR]

The paper investigates the problem of the time arrow in terms of artistic creation. The statistical model of artwork signal processing is established in order to identify a duality relation between psychological and intrinsic time. The intrinsic time is linked to the time operator of wavelets, and the psychological one is metaphorically related to the spatial domain of an artwork. The increase of irreducible randomness along the timeline is formulated by the second law of thermodynamics. The dual statement concerns an increase in statistical complexity, which is the definition of self-organization. In that manner, two arrows of time which are opposed and dual to each other are recognized. The authors have indicated a link to the theory of musical forms, the originality issue, and the perspective problem. Some repercussions for art theory, neuroaesthetics, and psychophysics have also been implied. [ABSTRACT FROM AUTHOR]

Polyvagal theory advocates for working with the body, becoming aware of the body and connecting with the senses. Similarly, paying attention to and influencing one's physical and sensory experience is a core aspect of the creative arts and psychomotor therapies. Polyvagal theory offers opportunities for strengthening resilience by treating emotion-regulation problems, stress, and trauma, as well as restoring regulation of the autonomic nervous system. Paying attention to and influencing physical and sensory experiences are core aspects of creative arts and psychomotor therapies. This theoretical paper explores how polyvagal theory can serve as a foundational theory and support the creative arts and psychomotor therapies for emotion regulation in stress and trauma. A number of pillars in polyvagal theory have links with arts therapies, such as an emphasis on physical and sensory experience in situations of safety or threat. This theory may offer insight into the role of the body in stressful situations, the role of co-and self-regulation, and thus the functioning of and the rationale for use of creative arts and psychomotor therapies. Through interventions focused on promoting healthy autonomic responses and regulating physiological responses, clients can learn to better regulate and process their emotional experiences. Although this could be broadly useful, it would seem particularly promising in therapies focused on stress and trauma. This article provides an introduction to polyvagal theory and outlines how it can serve as an explanatory, hypothetical model for the working mechanisms that underlie creative arts and psychomotor therapies. The application of PVT in creative arts and psychomotor therapies will be explored by describing techniques for "noticing and naming" and "learning to change," as well as by highlighting the role of PVT in the therapeutic relationship. It provides case examples and discusses the role of creative arts and psychomotor therapies for stress regulation and resilience conceptualized in line with the polyvagal theory. [ABSTRACT FROM AUTHOR]

In this paper, I discuss how 'sense' is made in art therapy regarding three uses of the term: that of 'meaning', 'somatic experience' and the capacity for 'sensing'. I suggest that the patient in an art therapy session produces actions and artefacts which come into contact with the mind of the therapist/group. This allows for a dream to be generated between the creator and the observer, that the artwork can tell us something about internal mental states within the creator. I propose a theory of observation by application of an Aesthetic Grid – an adaptation of Bion's Grid of genetic epistemology. This is an attempt to bring together 'three waves of art therapy theory and practice', and incorporates the function of the art object, as well as the phases of art making and looking/talking. The Aesthetic Grid is not intended for use in sessions but rather to be utilized after the event, in order to reflect upon the status of the 'art-psychotherapy object' - the totality of the triangular relationship, creator-artwork-viewer, and whether this constitutes development and growth or its inverse. [ABSTRACT FROM AUTHOR]

This study examines Max Dvořák's previously unknown papers prepared for his one-semester lecture series at the university of Vienna in 1913. Dvořák titled these lectures "explanations of Selected Works of Art" (Erklärung ausgewählter Kunstwerke) and in doing so developed a distinctive method within the art historical research of the so-called vienna School of Art History. The paper interprets the lectures through a close reading of the method as a parallel to the change in the concept of the work of art as it occurred in the philosophy and practice of art at the beginning of the twentieth century, demonstrated in the study by examples from the thinking of the German philosopher Oskar Becker and a transformation of the meaning of painting by the French artist Marcel Duchamp. As the study shows, such analogies allow us to understand the meaning of the work of art in Max Dvořák's art history in a new way. [ABSTRACT FROM AUTHOR]

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