Search

Franco-Swiss multimedia artist Julian Charrière finds in the world's most uninhabitable places the material that shapes his artistic research. Through the discussion of two exhibitions, Desert Now (Hencke and Samman 2016) with Felix Kiessling and Julius von Bismark, and Future Fossil Spaces (Charrière 2017), this article shows how Charrière critically reflects on romantic, western representations of the desert as a separate space untouched by human activity to reframe it as a liminal space where the relationship between mankind and nature is negotiated. While our perception of the desert is highly mediated—via national parks, westerns, or screen savers—Charrière's installations show that the desert is the resource that needs to be physically hollowed out for this imaginary experience to take place, and for western existence to go on: salt flats are mined to extract the lithium used in batteries; nuclear test sites were made forever uninhabitable for the sake of a technology built for imperialist domination over nations and nature, whose domestic applications sustain digital infrastructures. Life nonetheless continues to thrive but is transformed. Charrière's dystopic "entroposcenes" are poetic invitations to reflect on how the West's use of the desert induces its own literal and metaphorical desertification, and to contemplate new ways for life to go on in a man-made desert. [ABSTRACT FROM AUTHOR]

"The Ontology of Artifacts in the Long Middle Ages: An Introduction" is a document that explores the ontological status of artifacts in medieval philosophy. It discusses the distinction between artifacts and natural things, drawing on the influence of Aristotle's theories. The document also examines the theological dimension of artifacts in the Middle Ages, where they were seen as both separate from nature and as reflecting God's activity. It concludes by mentioning the blurring of the line between art and nature in the 17th century. The text provides an overview of the main ontological problems discussed during this period, focusing on the definition of artifacts and the criteria that must be met for an object to be considered an artifact. The document explores the debates and philosophical perspectives surrounding the ontology of artifacts in the Middle Ages, including the views of realists and nominalists. It also highlights the complex conceptual framework used by medieval thinkers to understand the nature of artifacts, including the distinction between substantial and accidental forms. The special issue includes articles from various perspectives, including Byzantine, medieval, and Renaissance philosophers such as Michael of Ephesus, Peter Abelard, William of Ockham, and René Descartes. [Extracted from the article]

This article takes up and responds to the recent ecological turn in adaptation studies, exploring the discipline's widespread interest in the overlap between the notion of adaptation in evolutionary biology and the notion of adaptation in literature, film, and media studies. It argues that in order to develop a historically and ecocritically alert approach to adaptation studies, it is necessary to unpack what is at stake in using biological terms and paradigms to study adaptation in art. Firstly, it offers a survey of several studies that have explored the overlap between adaptation in nature and adaptation in culture, arguing that these have been overly influenced by the notions of neo-Darwinism that were popularized by Richard Dawkins in The Selfish Gene (1976). Secondly, it offers a rereading of the film that has become a primary case study among theorists who have reached for biological metaphors to explain cultural change: Adaptation (2002). It argues that whereas scholars have often tended to use Adaptation as a springboard from which to launch an exploration of the purported homology between adaptation in nature and adaptation in art, in fact, the film's evolutionary themes are clearly historicizable, tied to a set of values coordinated around ideas of heteronormative reproductivity, dissemination, and growth. Examining those values helps to demonstrate how the film's evolutionary themes are deployed as part of its representational strategies, thereby challenging the idea that they might be unproblematically used to describe the overlap between adaptation in biology and adaptation in art. [ABSTRACT FROM AUTHOR]

Copyright of Potestas: Estudios del Mundo Clásico e Historia del Arte is the property of Potestas Estudios del Mundo Clasico e Historia del Arte 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.)

Kant, in both the unpublished First Introduction to the Critique of Judgment and the officially published "Introduction" of Critique of Judgment, divides practice into two types: "technological" and "moral". This distinction reflects the depth and foresight of his practical philosophy. The technological concept as a mediator between art and nature holds significant aesthetic importance. The distinction between the two types of practice concerning the purpose of the will endows them with different roles in generating beauty in the world. Today, as technological determinism and rationalism have led to severe ecological issues, Kant's concept highlights its profound and far-sighted ecocritical significance. Firstly, it reveals the double-edged nature of technology, warning people about the potential ecological disasters that may result from its non-moral consequences. Secondly, it helps people deeply understand the ecological structure of human nature inherent in practical will, curbing and preventing the anti -ecological consequences of the one-sided marketization of technological intelligence. Thirdly, it points out the relationship between the phenomenal world, as the object of practice, and the noumenal world, urging people to revere the cosmos as the fundamental ecological significance of existence. Fourthly, it emphasizes the moral spirit embodied and symbolized by beauty, highlighting the importance of examining technological rationalism from the perspective of ecological aesthetics. [ABSTRACT FROM AUTHOR]

The Middle Ages and Early Modern periods saw the interpretation of reality through symbols, connecting the natural world to the divine using symbolic thinking and images. The idea of a correspondence between the human and universal macrocosm was prominent in various fields such as medicine, philosophy, and religion. Symbolism played a crucial role in approaching divine matters, with symbols serving as a means of direct presence and embodiment. Plato's influence on Neoplatonist and Hermetic thinkers emphasized the role of dreams and eidola (images) for interpreting the divine. Contemplation of art and nature was an epistemological tool, seeking hidden cosmic harmony and understanding. Christianity embraced worshiping images as representations of the divine, granting believers a way to understand religious concepts. Icons were considered mirrors reflecting the spiritual and divine aspects. The medieval concept of speculum books as mirrors containing all knowledge offered instructional and subjective insights on various subjects. Speculum humanae salvationis illuminated books demonstrated the interplay between the Old and New Testaments, influencing artists like Rogier van der Weyden. [ABSTRACT FROM AUTHOR]

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade 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 Palíndromo is the property of Universidade do Estado de Santa Catarina 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 Contrastes: Revista Internacional de Filosofia is the property of Contrastes: Revista Internacional de Filosofia 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 Quintessenz der Zahntechnik is the property of Quintessenz Verlags GmbH 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.)

Inspired by the field of eco-crip theory, Dandelion Rebellion is the crip author's art-as-research project focused on accessible nature, environmentalism, and activism for weedy species such as the dandelion. Drawing on relationships between dandelions and disabilities, Dandelion Rebellion investigates urban nature and examines multispecies relations and responsibility. Accessibility is central to this project's design, participation, and conceptual process in digital and analog forms. Even as this project practices a model of accessibility, it also envisions a more fundamental reconceptualization of access called crip nature. [ABSTRACT FROM AUTHOR]

This study addresses Roger Scruton's understanding of what he called "moments of revelation". In two short essays, both entitled "Effing the ineffable", Scruton framed his discussion of moments of revelation with reference to the medieval Christian mystical discourse. Introducing the medieval discussion of this topic, this study provides an analysis of Scruton's approach to the theme. In tune with the traditional discourse on revelation, his general aim was to demonstrate that there are ways of revealing important truths about the supernatural, of the world "beyond the window", that do not require words to be pronounced. He calls our experiences of such phenomena moments of revelation and identifies four different transitory sources of revelation. This study deals with them one by one, after considering whether it is right to label such a revelation transcendental. The four sources of Scruton's moments of revelation are natural beauty, the beauty of painting, the beauty of music, and personal encounters. The first three examples are connected to his thoughts on art and beauty as a substitute of divine revelation. Perhaps the most surprising of these is the last ones, moments of intersubjective human relationships, "our knowledge of each other". Relying on both Buber and Levinas, Scruton makes the strong claim that it is in the other that we can experience that world "beyond the window". His phenomenological exploration of human encounters sheds light on concepts like grace, shekhinah, or real presence and gift. He explains the Christian understanding of the human–divine relationship as well along the lines of the nature of interpersonal human relationship, both of them being in a certain sense, he claims, transcendental. From grace, his account moves forward to self-sacrifice and finally arrives at his idiosyncratic understanding of gratefulness for life. His moments of revelation in art and interpersonal exchange turn out to be, indeed, late and secular versions of the Christian understanding of revelation. In its summary, this study claims that revelation, understood by Scruton as a form of general human experience, allows to catch a glimpse of that which is beyond the window, by the direct, sensually based experience of either the existence of another person or of the beauty of nature and art. [ABSTRACT FROM AUTHOR]

Copyright of Foro Revista de Derecho is the property of Universidad Andina Simon Bolivar, Sede Ecuador 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.)

It is known that the artists of the Venetian Renaissance were heavily influenced by the developing relations between the Venetian Republic and the Ottoman-Eastern Empire, and that they sometimes reflected these influences in their works. In the paintings of the Venetian School period, it is seen that the artists visualised the nature, architecture and cultural figures of the distant Ottoman Empire from a certain perspective. As a matter of fact, it is possible to see the manifestations of these images in a wide range, starting from more realistic depictions based on the impression of Ottoman-Eastern merchants or ambassadors strolling in Venetian squares to the "fantastic oriental" image presented by sacred texts. In this respect, this study analyses the impact of the humanitarian relations between the Ottoman Empire and the Republic of Venice on the arts; evaluates the presence of this interaction in the works of the prominent Venetian School artist Vittore Carpaccio and tries to explain with examples how the arts of the two societies affected the works of art depending on the growing relationship. [ABSTRACT FROM AUTHOR]

In her article "Die Irrealität des Kunstwerkes," first published in 1938, Hedwig Conrad-Martius delves into the question of the artistic representation of the real reality of the world, which basically concerns the classical distinction between art and nature. It is in this context that Conrad-Martius rejects idealism and the concomitant assumption that an artwork imitates the "living reality" of Nature. She clearly distinguishes between the task of phenomenology and that of art: while phenomenology should surpass the sphere of mere sensuous appearances and inquire into the "real reality" (wirkliche Wirklichkeit) of the world, phenomenological aesthetics should conversely deal with the expressive character of appearances and assume their inherent "irreality" (Irrealität), such that phenomenological ontology and aesthetics involve distinctive ontological realms that vary according to the subject-matter. However, while she clearly distances herself from Husserl's phenomenology in her search for the consciousness-independent facticity of the world, she concurs with him in her eidetic enquiries and in the assertion of the creative potential of art, which lies in the creation of a new, even "irreal," world. For this purpose, I will explore confluences and divergences between their respective conceptions. [ABSTRACT FROM AUTHOR]

It is often assumed that in the collapse of the Aristotelian distinction between art and nature that results from the rise of mechanical philosophies in the early modern period, the collapse falls on the side of art. That is, all of the diversity among natures that was explained previously as differences among substantial forms came to be seen simply as differences in arrangements of matter according to laws instituted by the "divine artificer", God. This paper argues that, for René Descartes, the collapse occurs on both sides. Natures are artefacts of God, and human artefacts, under some conditions, can be classified as natures or, at least, continuous within nature. Drawing on developments across both horticulture and engineering in the 16th and 17th centuries, as well as Descartes' mechanical philosophy, this paper explores challenges to the Aristotelian nature/art distinction. The question then is what, in the advent of this collapse, are human artificers doing when they construct artefacts? Are they replicating God's powers by creating new natures, or are they doing something else, and if so, what might that be? It is argued that we should view human invention for Descartes not as creating new natures so much as discovering them. These findings have consequences for how we interpret Descartes' use of the term "nature" in relation to automata and other artefacts produced by human hands. [ABSTRACT FROM AUTHOR]

Sara Baume's novel A Line Made by Walking (2017) focuses on a young female artist, Frankie, who escapes from the pressures of a globalized urban society by returning to the rural environment of her late grandmother's house. Overwhelmed by the looming presence of death--from the "deadness" of her depressed mind to the frequent encounters with dead animals that disturb the pastoral idyll of her retreat--Frankie turns both to art and nature in an effort to achieve a spiritual revival and a return to normality. This paper draws on the theoretical works of Eshelman (2008), Vermeleun and van den Akker (2010), and de Mul (1999) to argue that Frankie represents an example of a performatist subject: opaque, deeply separated from the external world, trapped within a confined space (both in terms of her depressed mind and her mortal existence). She strives for a sense of transcendence that relies on the Romantic aesthetization of reality, such as in her photography project which aims to transform dead animals into artwork. The paper shows that the striving for transcendence is realized in the "escaping from a frame" plot pattern and that the structure of the novel, with its ten "inner scenes" each featuring an "ostensive sign" (a photo of a dead animal), corresponds with the performatist aesthetic device of "double framing" (Eshelman 2008). Finally, the paper posits that the novel participates in a "metamodern (neoromantic) sensibility" (Vermeleun and van den Akker 2010) that replaces postmodern nihilism with enthusiasm, hope, and the desire to turn the finite into the infinite. [ABSTRACT FROM AUTHOR]

Copyright of Prudentia Iuris is the property of Pontificia Universidad Catolica Argentina 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.)

Qualitative researchers continue to push methodological boundaries to study social phenomena using arts-based practices. Research methodologists suggest that the arts open new possibilities in research through the very nature of the arts to stimulate and evoke perspectives. The arts promote dialogue, which yields new insights, highlights multiple meanings, and questions norm-based traditions. This article presents findings from a duo-ethnography to explore the application of the arts as a dialogic-reflexive process during the data analysis phase in qualitative research. Findings contribute with insights into how science and culture are combined methodologically to facilitate dialogic-reflexivity in research and meaning-making. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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.)

If mental health enables us to reshape the world, we need design approaches that value and prioritize this within the actual process. Imagine reconnecting with some of the things you loved as a kid—arts and nature—as a means to cope with the stresses of today's world and flourish as a designer! [ABSTRACT FROM AUTHOR]

Copyright of Journal of Nabo 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.)

The purpose of writing the article is to study the peculiarities of the formation of the content of the aesthetic category «beautiful» in the historical development of philosophical thought, to clarify the logic of changes in the understanding of the beautiful in the modern aesthetic space. According to the author, the aesthetic views of such thinkers as Plato, Augustine Aurelius, Alexander Baumgarten, Immanuel Kant, Georg Wilhelm Friedrich Hegel are most characteristic for understanding the historical development of the content of the category «beautiful». Characteristic for the historical formation of the change to the category «beautiful» is the manifestation of the ontological and subjective formation of the beautiful, tied to the ideal incorporation of the visual idea into a beautiful object. The author claims that the characteristics of beauty in historical understanding were proportion, symmetry, measure, perfection of form, orderliness, harmony and perfection. .It was beautifully seen in unity with other values - moral (good), utilitarian (meanness), acknowledgment (truth). So, Plato shows the best way to know the truth. Augustine Aurelius singled out “beautiful” and “appropriate” as the basic categories of aesthetics. In the understanding of Augustine Aurelius, the beautiful is valuable in itself, and in the corresponding moment there are moments of benefit and expediency. Augustine Avreliy the beauty of a person closely connects the beauty of his actions, along with moral reasons. Beautiful, according to I. Kant, those who fit us and are created only by geniuses. O. Baumgarten connects the beautiful with the perfect, an important point of which was harmony, which he interprets as the unity of three elements: content, order, expression.. For Hegel, the object is beautiful, in which the idea is the most perfect. Hegel saw beauty in nature and in art, but art is more beautiful than the beauty of nature, for the beauty of art is born on the soil of the Spirit. Today, the aesthetics of the classical format are appreciated, what is beautiful is the process, the manifestation of reality, the creation of mysticism, how to give people a sense of happiness, spiritual exaltation, freedom and fullness of life of the individual. Postmodernist aesthetics respects that the understanding of the beautiful, the beauty is no longer the main one, the aestheticization of the indulgent is considered. The author concludes that modern man increasingly contemplates artifacts not in reality, but in a computer-generated space, which he can change, supplement, even independently construct beautiful things. [ABSTRACT FROM AUTHOR]

Plankton researchers can point out that plankton dominated the first issue of 10 plates. Google Scholar Google Preview OpenURL Placeholder Text WorldCat COPAC 3 Levit, G. S. and Hossfeld, U. (2019) Ernst Haeckel in the history of biology. All in all, of the 100 plates of Haeckel's book on the art forms of nature, 37 were devoted to taxa of the plankton, solid evidence of the beauty of the plankton, explaining in part his own devotion to plankton research!. [Extracted from the article]