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This paper explores arts leadership through the lens of systems intelligence, one leadership strategy that offers new ways of thinking and behaving applicable to a rapidly changing landscape. The authors employ a systematic literature review to 1) establish a foundation and then 2) examine this knowledge through the lens of systems intelligence to fill gaps in arts leadership theory and practice. The research concludes with a conceptual model and three leadership capacities that emerge from the convergence of foundational arts leadership literature and the systems intelligence frame: shared leadership, managerial creativity, and systems-based relationship building. Ultimately, this research offers collective foundational knowledge and advances emerging theory related to the conceptualization of arts leadership. [ABSTRACT FROM AUTHOR]

This paper discussed the art appreciation technique using Jerrold Levinson's artistic value in arriving at the importance of aesthetic experience in artwork. Levinson claimed that artistic value covers aesthetic value and achievement value, specifically in analyzing Juan Luna's Spoliarium, which is considered the largest painting in the Philippines and is proclaimed as a national heritage. This paper argued that art should have aesthetic engagement from the viewer's point of view which would lead them to discover its artistic value. Thus, this paper used the contextualizing technique since it augments and strengthens artistic engagement. [ABSTRACT FROM AUTHOR]

Ronald Bogue, Distinguished Research Professor of Comparative Literature and the Josiah Meigs Distinguished Teaching Professor at the University of Georgia, has compiled many of his previously published journal articles and chapters on Gilles Deleuze in this book. Thinking with Deleuze: by Ronald Bogue, Edinburgh, Edinburgh University Press, 2019, xvii + 450 pp., $33.95/£25.99 (paper) The comprehensive nature of Bogue's analysis and application of Deleuze's ideas make the volume valuable to anyone who wants to learn more about Deleuze. [Extracted from the article]

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]

This paper examined seventy-one "Hyakki Yagyō Emaki" ("Night Parade of One Hundred Demons" Picture Scroll; Demons Scroll) and estimated the artistic editing process using a digital humanities approach. The edit distance was used to illustrate the lineage trees of Demons Scrolls, focusing on the arrangement of the demons in the procession. The author concluded that a type of scroll depicted the demon arrangement closest to the prototype of the renowned Shinjuan lineage scrolls. By numbering the demons in the procession, the author contributed quantitative evidence to the ongoing iconographical interpretation debate. The paper ends with a discussion of new questions regarding Demons Scrolls that have arisen as a result of this research. By applying similar methods to other materials, the scope of digital humanities can be expanded. [ABSTRACT FROM AUTHOR]

Alfredo Panizo was a philosopher who served in various capacities at the University of Santo Tomas (UST) during the twentieth century. In 1954, he gave an address at the university that was also published in book form as Art and Morals. In his address/book, Panizo systematically laid out his aesthetics, which offers a criticism of modern art during a time when Edades and other modernists received institutional support from UST. Unfortunately, scholars have neither provided a comprehensive explication of Panizo's aesthetics nor situated it in the broader history of Philippine modern art. This paper aims to address this problem. By employing Gadamerian hermeneutics, the author of the paper offers an interpretation of Panizo's aesthetics that (1) forms a connection between his ideas and S. P. Lopez's thoughts on proletarian art, (2) explicates Panizo's views on beauty and transcendence, and (3) investigates Panizo's position on modern art. Through this paper, the author hopes to add more nuance to the story of modern art in the Philippines. Although much has been written about the modernists, who made UST a springboard for spreading their ideas, scholars have barely looked at what the Dominicans at the university thought about modern art. [ABSTRACT FROM AUTHOR]

Copyright of Archivaria is the property of Association of Canadian Archivists 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 recent remarkable success of generative AI models to create text and images has already started altering our perspective of intelligence and the "uniqueness" of humanity in this world. Simultaneously, arguments on why AI will never exceed human intelligence are ever-present as seen in Landgrebe and Smith (2022). To address whether machines may rule the world after all, this paper zooms in on one of the aspects of intelligence Landgrebe and Smith (2022) neglected to consider: creativity. Using Rhodes four Ps of creativity as a starting point, this paper evaluates the creative ability in visual generative AI models with respect to the state of the art in creativity theory. The most part of the reflective evaluation is performed through a case study in generating illustrations of dogs using the generative AI tool Midjourney. [ABSTRACT FROM AUTHOR]

This paper focuses on Arthur Danto's approach to literature. One of the leading philosophers of art in the analytical philosophical tradition, Danto published on art ontology, defining art and art historicity as well as serving as an art critic for the magazine The Nation in the late phase of his career. The essence of Danto's philosophy thus lies in the visual arts, and it seems he was not interested in literature from a philosophical point of view. However, following Garry L. Hagberg, I show that Danto was not only a keen reader but also reflected on literature, its specificity, and its role. In the first part of the paper, I scrutinize what -- in Danto's view -- is a literary work of art, and I compare his position to the view of New Criticism. In the second part, I explore the often neglected dimension of Danto's philosophy of art, i.e., the spectator's emotional response to an artwork. I argue that Danto draws on works of literature to illustrate the nature of this response for the reason that they provide the basis for a deeper understanding in this context. [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]

This document provides a list of books received by the journal "European Legacy." The books cover a wide range of topics, including history, politics, philosophy, and literature. Some notable titles include "On a Knife Edge: How Germany Lost the First World War" by Holger Afflerbach, "Political Rumors: Why We Accept Misinformation and How to Fight It" by Adam J. Berinsky, and "The Internet Is Not What You Think It Is: A History, a Philosophy, a Warning" by Justin Smith. These books offer valuable insights for library patrons conducting research on specific subjects. [Extracted from the article]

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]

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation 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.)

Mária Jančová (1908 -- 2003) has been primarily known as the author of children's books. This paper, however, aims to focus on her -- largely overlooked -- poetry. After an initial mapping of the theme of motherhood in Slovak women poets from the late 19th to the mid-20th century, the article takes a look at the phase of Jančová's writing career when she authored poems. Some of these were published in her only collection of poetry, Blahoslavení ([Blessed] 1940, 1968). The article provides a close reading of several poems and comments on the flowing of energy between the movements of the body (external movements and internal processes) and nature, with reference to the notion of "lyrical gestures" as defined by the French literary scholar Dominique Rabaté. It also discusses the image of the bodily connection between the mother and her sick little son and the transmigration of the human element into meteorological phenomena and flowers. The poet's inclination towards the country life connected to the elements and rhythms of life (in this collection) or her confessional-referential poetry of sentiment (present in other poems) may resonate with contemporary readers or inspire theory of the lyric. The essay's theoretical framework is based on the conceptualisation of motherhood in literary studies, philosophy, and art theory, and on theories that connect aesthetics with bodily processes. [ABSTRACT FROM AUTHOR]

The objective of this paper is to understand the difference between Expressionist Theory and Objectivist Theory of Art and critically evaluate the importance of both of them. There have been many theories in Art. The Expressionist Theory can be considered as the most popular one. Croce and Collingwood are two major representatives of this theory. According to this theory, Art is basically the self-expression of the artist shared by others. In 20th Century Karl R. Popper raised some serious objections against the Expressionist Theory and presented his own theory of Art called the Objectivist Theory. The study is fundamentally theoretical and qualitative in nature and the original writings of Collingwood, Kant and Popper are used. Finally, it has been concluded that this theory is outstanding from the point of view of an artist but has certain limitations, if we analyze it from the point of view of a philosopher and a metaphysician. [ABSTRACT FROM AUTHOR]

Copyright of Imagofagia is the property of Imagofagia - AsAECA 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 paper aims to explore the theme of art in Helmuth Plessner's philosophical anthropology and show the possibilities of its use in the analysis of artistic creation and artwork. The article is divided into three parts: in the first part, it presents the background of Plessner's anthropological project and the intersection of his philosophy with Edmund Husserl's phenomenology. This strategy enables the synergy of both approaches which can be used for reflection of art. The second part displays the scope and ingenuity of Plessner's approach through a selection of texts where he addresses art. And finally, the third part delves into a functional elaboration of the anthropology of an artwork, specifically, using Max Beckmann as an example, into the question of anthropological foundations in art making, and the question of new form in art. For the latter question, I use the approach to architecture as an example relying on corporeality and Umwelt as guiding concepts. This analysis provides, on the one hand, description of anthropologically significant phenomena of artistic production of the first half of the twentieth century, and on the other hand, reveals functional determinations of corporeality, the world, and resonance with the world, the so-called equilibrium, which can be used to understand the artwork, and artistic production in the creation of a new form in art. [ABSTRACT FROM AUTHOR]

From genre to interdisciplinary and trans-medial artistic practice, "autotheory" has attracted great attention for formally distilling a troublesome contradiction of dualistic opposition between theory and practice in arts and attempting to solve it. In this paper, autotheory is understood as the joining of reflective thinking through the "collective self" and the reflective thinking of "theory". Based on Lauren Fournier's research, this paper investigates two kinds of art practices in contemporary Chinese art. The first developed from the art movements of the late 1970s to the late 1980s, when there was a rethinking of collective selfhood in Chinese art circles. This "collective self" in Chinese culture expands the parameters of autotheory's individualized, autobiographical "self", as described by Fournier. The second example of autotheory discussed in this paper explores contemporary Chinese feminist art. Due to its cultural background and historical trajectory, different dimensions of individualized autotheoretical practices have developed in feminist contemporary art in China in the new era. The case studies presented in this paper show the flexibility of autotheory as a methodology, the complex conditions it applies to, and the potential to generate theory from expanded notions of "self" in art practice. [ABSTRACT FROM AUTHOR]

Starting from the hypothesis that an exhibition can be analyzed independently of its formal particularities, as well as being aware of the need for a research exercise focused on the conceptual mechanisms with which Belu-Simion Făinaru operates, the present article represents an interdisciplinary study on his most recent solo-show (The void of silence, Romania, 2023). Although controversial, the exhibition project stated an anti-extremist stance, criticizing political ideologies and the polarizing perspectives in contemporary status-quo. The purpose of this paper is to identify the methodological landmarks and the functional principles used in the act of artistic representation, respectively to point out the curatorial mechanism of valorization of the above-mentioned project. By using research strategies from the field of cultural studies, art history and the philosophy of arts, the main objective of this article is to identify the junction between the objectual and imagistic dimension of Belu Făinaru's installations. The research is structured on three levels: a contextual one, necessary for (art) historical and archival documentation; an imagistic/video-graphic one, regarding a possible turn in the artist's creative practice; respectively an objectual (corporeal) one, which interprets the indexical systems used to aggregate the exhibition. On a side note, the present article brings together the diachronic insertions (of a technological and video-graphic nature) from Belu Făinaru's works, in order to foreshadow his current and future visual discourse. Also, this paper aims to engage in future researches regarding the origins of his conceptualist reasoning, the artistic practices debating effects of extremism and political polarization, all the above-mentioned placed in the context of Belu Făinaru's creation affiliated within the existentialism of Paul Celan's poetics. [ABSTRACT FROM AUTHOR]

This is a performative piece of writing in the presence of and inspired by Richard Shusterman's Philosophy and the Art of Writing. It tries to show that the relationship between the act of writing and the formation of our human consciousness (philosophical and, more deeply, poietic) is a developing and growing process through history, and before it. The dominance of an image consciousness was slowly challenged and then replaced by a linguistic consciousness with the advent of writing, and accelerated by the invention of printing and mass literacy. Shusterman teaches us an embodied kind of philosophizing that uses the word but isn't limited by it. This paper suggests that a return to image consciousness has already occurred and that the old book consciousness is disappearing. Lessons from the book consciousness are offered. [ABSTRACT FROM AUTHOR]

There are excellent research papers in the field of visual studies that examine the relationship between war and images. This paper has other and additional aims. The first is to examine not so much how war is transferred from the ground to image production, but how war, as intrusion of the real, forces a general reflection on image techniques. The second is to examine whether there is an instance of art that is somehow different from the instance of the mere image, which is always related to something that manifests itself in war, and which, especially on the occasion of a war, invites a broader reflection on existence, judgement and the world. The paths taken for these investigations are rooted in the idea that a (political) theory of art cannot be reduced to an internal classification of image theory, since it investigates aspects that go beyond the definition of the image itself. [ABSTRACT FROM AUTHOR]

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Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) 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.)

Whiteness as a construct of ideal skin colour was created at the intersection of the visual arts, literature, natural history and medicine (among others). This paper traces the construction of whiteness through four case studies in sixteenth-century Venice and Rome, examining the works of Agnolo Firenzuola, Lodovico Dolce, Girolamo Mercuriale, and Giulio Mancini. It shows that this construct of whiteness was rooted in ancient medical theories of internal equilibrium and by the seventeenth century had been gradually transferred to the external surface. Notions of beauty, gender dynamics and the emergence of colonial and racial ideologies were closely linked to this ideal. In close interaction with medicine, sixteenth-century art played a crucial role in making complexion a central theme in both visual art and art theory, and in establishing a hierarchy through the ostentatious absence of non-whiteness. Depictions of darker skin tones did not appear until the seventeenth century when attention shifted from a colour mixture of red, white and black to a polarity of light and dark. [ABSTRACT FROM AUTHOR]

The birth of printing brought great changes to literature, and the continuous fragmentation of printmaking media allowed pictorial art products to flow into the market. However, no one could have imagined that just a few decades later, the birth of photography would remove the human hand from the main artistic task of image reproduction, which would henceforth be reserved for the eyes staring at the lens. Walter Benjamin, as an early scholar among Western intellectuals in the 20th century, paid attention to the study of the relationship between photography and painting. The Small History of Photography and Works of Art in the Era of Mechanical Reproduction written by him can be regarded as classic works of photographic theory, modern cultural theory and modern art theory. His focus is on the juxtaposition study of photography and painting, two art categories that are both visual image presentation, which is pioneering, original and foundational. Although the paper is not long, the game between symbol and image, politics and economy, and subjective and objective is particularly wonderful. Therefore, it is particularly necessary to dig deeper into Benjamin's theoretical connotation and fully reveal his value in all aspects. The combination of the relationship between painting and photography has also injected impetus into the construction of contemporary visual culture. [ABSTRACT FROM AUTHOR]

In his early writings up unto his so-called "middle period" Schelling treats art as having a crucial role with respect to philosophy. Yet there is no consensus in the secondary literature as to the nature of this role, and the extent to which Schelling changed his mind on the subject. The paper will defend the claim that Schelling holds consistently, from his early texts to the Philosophy of Art, that philosophy is in some sense prior to art while essentially dependent on it. The paper will explore the development of this position from various perspectives. This will shed light on Schelling's view on both art and philosophy and his view that in the future the two will merge. [ABSTRACT FROM AUTHOR]

The article discusses the technical image, a central concept in Vilém Flusser's later main work Into the Universe of Technical Images (1985a). After identifying its various dimensions, the analysis frames the concept as an amalgamation of disciplines, theories, and artistic practices the cultural philosopher Flusser explored during the 1960s and especially the 1970s. In particular, the field of information aesthetics developed by Max Bense and Abraham A. Moles, among others, as well as artistic video practices in France and the United States played an important role in both Flusser's biography and the formation of his technical image concept. At the same time, in Flusser's cultural philosophy the technical image is the condition and result of a new kind of human imagination, which in this paper is specified as 'projective imagination'. [ABSTRACT FROM AUTHOR]

We can see personhood as a philosophical and historical struggle between positive and negative forms of 'being at one', a struggle most succinctly described by Hölderlin, a central figure in Romanticism and in German idealism through his close friendship and collaboration with Schelling and Hegel. For Hölderlin, 'Being at one is god-like and good, but human, too human, the mania / Which insists there is only the One, one country, one truth and one way'. This paper is an exploration of a range of forms of aloneness, linked by the family resemblance of a number of such 'solitude' terms (loneliness, solitude, solitary, aloneness, lonesome, individual, atonement) to the idea of 'oneness'. 'Being at one' was distinctively articulated in the Romantic period, in philosophy as well as in the arts. Based on this distinctiveness, this article presents an historical account of the developing philosophical anthropology of being at one, dividing the development of 'being at one' between the pre-Romantic, Romantic, and post-Romantic eras. [ABSTRACT FROM AUTHOR]

The Stoics argue that philosophy as an art of living (techne) is not only a theoretical and intellectual pursuit of knowing the rational order and harmony (or logos) of nature/physics/God but it is also a practical activity that aims to transform and shape our lives in accordance with this knowledge. In this sense, the Stoics argue that philosophy is not an abstract subject to be considered but rather a practical matter that has a direct influence on our way of living. Based on this main Stoic conception of philosophy, in this paper, I fundamentally take issue with the general claim about the the Stoic moralism entails that philosophy is solely grounded on the purpose of achieving moral virtue, suggesting that all other elements are excluded from its purview. By arguing that Stoic moralism is not contrasted with the conception of moral beauty, I adopt the view that Stoic moralism is not free from the conception of beauty, such that it encapsulates the idea that beauty is within the virtuous. In light of this, I focus on the conception of philosophy is to lead a virtuous life that is grounded on our understanding of the rational order and harmony (or logos) of nature, the philosophical life does also correspond to a moral life, which has the aesthetic aspect of embellishing our lives with beauty, harmony, and order [ABSTRACT FROM AUTHOR]

This paper reconstructs Margaret Cavendish's theory of the metaphysics of artifacts. It situates her anti-mechanist account of artifactual production and the art-nature distinction against a background of Aristotelian, Scholastic, and mechanist theories. Within this broad context, it considers what Cavendish thinks artisans can actually do, grounding her terminological stipulation that there is no genuine generation in nature in a commitment to natural and artistic production as the mere rearrangement of bodies. Bodies themselves are identified, in a conceptually Ockhamist manner, with their figures, so that the resulting theory of mere rearrangement is Scholastically respectable. The paper also offers literal interpretations, focused narrowly on the philosophical content of her theories of art and artifacts, of her claims that art concerns only "nature's sporting or playing actions", that its products are "deformed and defective", and that they are "at best ...mixt or hermaphroditical." [ABSTRACT FROM AUTHOR]

Since the 1950s, we have seen a steady increase in the usage of the prefix meta (gr. ... change of place, order, state, nature) in literary and theories of visual art. This paper revisits the terms containing this prefix in the theories of arts: metatext, metafiction, metapicture, metamedia, and metafilm. The paper also seeks to isolate the basic premises of these theories in order to more closely determine the prefix meta in the field of visual arts. The point of departure of this examination is Gerard Genet's definition of metatext, since it is most widely applied and, to a greater or lesser extent, included in the definitions of related terms. All these terms are generally used to denote those works where some kind of change of state or place has occurred, works that take a critical attitude towards other works, or which bear a distinct self-awareness or self-reference. The paper takes into account referential theorists and examples of artwork that can be considered exemplary of the definitions. The examination of these terms shows that, despite their different interpretations, they always serve to denote the works characterized by the creation of another level of representation, which does not have to be included in the work itself, but can be the reality itself, thus consciously shifting the boundary between the artwork and reality. [ABSTRACT FROM AUTHOR]

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This paper examines an overlap between Simon Waters' theory of the 'performance ecosystem' and Nicolas Bourriaud's 'relational aesthetics'. Grounded on Tom Davis's prior synthesis of the two ideas, I examine the resourcefulness of relational aesthetics—a theory of contemporary art practice—when applied to the types of music that are routinely identified with Waters' model (and vice versa). I extend Davis's take by introducing two noteworthy critiques of relational aesthetics: Claire Bishop's 'Relational Aesthetics and Antagonism', and Georgina Born's work on social aesthetics and improvisation. To put these ideas into context, I examine two pieces that can be reasonably described as both 'relational artworks' and 'performance ecosystems': Martin Parker's 'Sonikebana' and Benny Nemer's 'I Don't Know Where Paradise Is'. I conclude by unpicking a key assertion made in Davis's synthesis, that a relational understanding of Waters' theory can help encourage artworks to manipulate the social worlds around them (presumably for the better). While I fundamentally agree with this notion from a rhetorical perspective, without an expanded level of critique, it can be difficult to see where this change takes place and who it materially benefits. [ABSTRACT FROM AUTHOR]

In modern science and human activity, we increasingly refer to creative thinking that does not belong to the strict definition of art. Art studies and art theory should answer the questions that emerge in the complex interaction among diverse creative fields. Art experience may be considered as one of many different manifestations of creative thinking (general creativity). When we develop ideas involving heterogeneous nuclei, our thoughts aim to encompass or reflect upon the area in between their fusion. This paper proposes a method of implementing an introspective analysis that brings the artist to a new position—the position of an explorer of their own cognitive space. [ABSTRACT FROM AUTHOR]

Richard Shusterman's Philosophy and the Art of Writing suggests something vital about the tension between philosophical discourses that cannot capture or be the full meaning of living a life in relation to wisdom, and lived philosophies that cannot do away with discourses to deepen a lived experience beyond them: that philosophy as "an embodied way of life" is a sub‐creation that emerges from the tension between them. This paper uses several different moments and ideas from Philosophy and the Art of Writing as points of departure for further inquiry. Some "memories," repurposed, reorganized, and manipulated, take up these starting points to further the investigation. The present work was a spiritual exercise for the author and, one hopes, will be for the reader in what it means to practice philosophy as a way of life. By doing so, we may find more forgiveness and appreciation for our philosophical vocation that creates something more than what we say or are now. [ABSTRACT FROM AUTHOR]

In responding to the three creative interpretive discussions in the symposium on my book Philosophy and the Art of Writing, this paper explores the different styles of philosophical discourse and their role in the practice of philosophy as a way of life that extends beyond the discursive and that combines self‐cultivation with care for others in the ethical‐aesthetic pursuit of living beauty. In advocating this aesthetic model of philosophical life over a purely therapeutic model, I suggest how the former can incorporate the latter's concerns for spiritual health and liberation. In developing my response to the symposiasts while elaborating on the themes of my book, I consider issues of ineffability, creative performance, embodiment, truth, heroism, vulnerability, possession, art, spirituality, love, and liberation. [ABSTRACT FROM AUTHOR]

This response to Richard Shusterman's Philosophy and the Art of Writing focuses on his concern that philosophy is, first and foremost, a way of life, illustrated in the West by the Socratic ideal of the philosopher and in the East by the example of the scholar‐artist‐gentleman. This paper examines the process of Buddhist meditation and the process of creating novels, supplementing the authors Shusterman carefully examines with examples from Black American literature, the author's own teacher John Gardner, and artistic colleagues the author has known. The basic thrust of the response is that the skillful means used in writing can indeed be a form of self‐creation, but it can also be a means of liberation from the self. [ABSTRACT FROM AUTHOR]

Purpose: The paper aims to analyze the contribution of young academics to the field of public relations (PR) and shows which authors exert most influence on them. The study thereby contributes to the assessment of the state of the art of theory building in the field. The authors analyzed the study data against the background of two approaches on progress in the field: Nothhaft et al.'s (2018) idea of strategic communication as an elusive concept and Winkler et al.'s (2021) narrative approach. Design/methodology/approach: The study comprises two parts. First, the authors conducted a survey among participants of the EUPRERA PhD-workshops between 2007 and 2019, asking respondents about their perception of the state of the field. Second, the authors performed a bibliometric (co-)citation analysis of the young scholars' most important works. Findings: Results indicate that though the field has progressed in terms of quantity and diversified with regard to established paradigms, it has not matured in a sense that it has settled on a generally accepted theoretical underpinning. However, the data show how the dominant paradigms in the field map onto the co-citation networks that emerged out of the works of young scholars. The authors' findings imply that this new generation might signal their allegiance to a paradigm by citing the works of its emblematic authors. Originality/value: Unlike most bibliometric studies, this one uses an author-centered approach, thus studying works that matter most to young academics themselves. Not only do the authors thereby contribute to the analysis of the state of theory building in PR research, but also expand the scope in looking at research as a social system, in which young researchers need to position themselves. [ABSTRACT FROM AUTHOR]

This paper sets forth some hypotheses on Horst Bredekamp's research. Bredekamp's Bildwissenschaft has a peculiar thought dynamic that was initially developed in his art historiographical efforts. These show a relevant entanglement of present interest and past issues, research method and research object. I will show this with a focus on his research on the Kunstkammer. This dynamic developed later in Bredekamp's research on the image act in a theoretical way. It is transformed here in the attempt to develop a thought which is not overcome by, and does not destroy, the energy which lies at the core of the image act. The peculiar connections between these dimensions are discussed as the effects of the problematic urges that the different developments of his method and theory try to address always anew. It will be shown that a hidden, vital core of his work is a striving towards critique. [ABSTRACT FROM AUTHOR]

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According to the nineteenth-century polymath William Stanley Jevons, natural phenomena were a series of combinations and permutations. The similarity between Jevons's account and other instances of ars combinatoria has already been noticed, although this topic has never been extensively addressed in the literature. In this paper, I offer a novel interpretation of Jevons's logic and philosophy of science as an art of combinations. Jevons's position shall be compared with other theorizers in the ars combinatoria tradition. This study will show that Jevons's art of combinations differed from some of the examples here investigated because he did not believe that language could refer to the primal constituents of reality. Rather, his art of combinations relied on the order of combinations, displaying a syntactical nature. Consequently, I will argue that Jevons's logic presents some relevant similarities to Leibniz's characteristica. Moreover, this analysis offers a contribution to the study of Jevons's logic, highlighting the ontological implications embedded in his logical thought. [ABSTRACT FROM AUTHOR]

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This paper presents four different readings of Victor Burgin's essay "The End of Art Theory", between colleagues who work in the environments of four different disciplines, that feasibly influenced and led formations of their interpretations. Hence, these four readings present one part of the multiple transdisciplinary potentials of Burgin's theoretical research. Their explications revolve around influences of media on art evaluation, constraints of institutional discourse, feminist features of the theory, problematics of binary divisions, as well as foundations of the new institutionalism. At the end of this paper, it becomes clear that the richness of Burgin's theory relates to multiple segments of cultural studies, social studies, art history, and media, and is easily transferable and interconnectable between them. Furthermore, the transdisciplinary nature of "The End of Art Theory" text testifies to its unquestionable value and fruitful source for future rereadings. [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.

In Schelling's Lectures on the Philosophy of Art, he outlines an aesthetic theory of the novel and how it communicates truth, based around his Identitätssystem. In doing so, he understands truth as symbolic, where the symbolic is tautegorical. In his later lectures on mythology he instantiates a new understanding of ontology and mythology as tautegorical, and makes gestures towards how to understand aesthetic forms based on these new accounts. This paper explores how that new aesthetic understanding of truth, ontology, and aesthetics can be used to create a new Schellingian theory of the novel. To explore this, the paper looks at the worldview presented in Thomas Mann's Doktor Faustus, arguing that it could be seen as the late Schellingian novel and as such, present a new paradigm for understanding truth as communicated through literature. [ABSTRACT FROM AUTHOR]

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The author comments on a paper by Patrick Grafton-Cardwell about literature on artwork completion. The author discusses the assumptions from philosophers about artwork completeness, Grafton-Cardwell's argument about completion pluralism, and the objections facing all philosophical theories. Also, the author argues that much of Grafton-Cardwell's paper is aimed at satisfactionism, which claims that completeness is a match between a work and the artist's plans for it. The author also examines Grafton-Cardwell's concerns on the possibility of completed works requires that the relevant perspective be the wider one.

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]