Schopenhauer the Art of Controversy
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Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Outline of a Sociological Theory of Art Perception∗
From: Pierre Bordieu The Field of Cultural Production: Essays on Art and Literature ©1984, Columbia University Press Part III: The Pure Gaze: Essays on Art, Chapter 8 Outline of a Sociological Theory of Art Perception∗ PIERRE BOURDIEU 1 Any art perception involves a conscious or unconscious deciphering operation. 1.1 An act of deciphering unrecognized as such, immediate and adequate ‘comprehension’, is possible and effective only in the special case in which the cultural code which makes the act of deciphering possible is immediately and completely mastered by the observer (in the form of cultivated ability or inclination) and merges with the cultural code which has rendered the work perceived possible. Erwin Panofsky observes that in Rogier van der Weyden’s painting The Three Magi we immediately perceive the representation of an apparition’ that of a child in whom we recognize ‘the Infant Jesus’. How do we know that this is an apparition? The halo of golden rays surrounding the child would not in itself be sufficient proof, because it is also found in representations of the nativity in which the Infant Jesus is ‘real’. We come to this conclusion because the child is hovering in mid-air without visible support, and we do so although the representation would scarcely have been different had the child been sitting on a pillow (as in the case of the model which Rogier van der Weyden probably used). But one can think of hundreds of pictures in which human beings, animals or inanimate objects appear to be hovering in mid-air, contrary to the law of gravity, yet without giving the impression of being apparitions. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
Plato's Euthydemus
PLATO’S EUTHYDEMUS: A STUDY ON THE RELATIONS BETWEEN LOGIC AND EDUCATION Plato’s Euthydemus is an unlucky dialogue. Few dealt with it in its own right, not just as part of a wider discussion of Plato, and fewer still saw in it more than a topic of sophistic fallacies. Some, of course, paid attention to the constructive sections of the dialogue, but only rarely do we come across a real attempt to unify its different aspects.1 In this paper I propose to show how, in the Euthydemus, Plato tries to distinguish between the Socratic and the Sophistic conceptions of education, by tracing them to their roots in the opposing views of the Sophists — and especially those of the second generation — and of Socrates about truth and about the role of logic. And although the eristic techniques of Euthydemus and Dionysodorus are obviously fallacious, they turn out to be developments of Protagoras’ views and follow from philosophical positions worthy of serious examination. The Euthydemus is a caricature, to be sure. But, as all good caricature, it has a serious intent. It sketches the degeneration of the Sophistic approach to education, in some of its aspects. More important ly, it distinguishes Socratic education from the methods and effects of its Sophistic counterpart. Euthydemus and Dionysodorus, the two sophist brothers, are reminis cent of the great Sophists of the Protagoras in more than one way. They are polymaths like Hippias, and at one time or another have taught a variety of arts, from forensic rhetoric to armed combat. Also, they have Prodicus’ penchant for linguistic analysis. -
MF-Romanticism .Pdf
Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. -
10 Great Reasons to Support Public Art
Article 26 10 Great Reasons to Support Public Art 1. It’s public! Everyone has access to public art. It’s directly in the public sphere and not confined to galleries or museums. 2. It enriches our physical environments, bringing streetscapes, plazas, town buildings and schools to life. 3. It’s a great tool for civic engagement, building social capital and encouraging civil discourse. 4. It provides professional opportunities for artists and cultivates an environment in which the creative class thrives. 5. It boosts local economies. Businesses supply materials and labor; restaurants, hotels and transportation companies benefit from a site that attracts visitors. 6. It’s an investment in place making—measured by livability and quality of life—that also engenders community pride. 7. It connects citizens to their neighbors and their shared history through documentation and celebration, and makes cultural heritage a tangible community asset. 8. It enlivens places where people work, which can improve employee morale, productivity and respect. 9. It creates supportive learning environments. It opens eyes—and minds! It attracts students to environments conducive to both learning and fun. 10. It raises public awareness about important community issues, such as environmental stewardship and respect for diversity. --From the Amherst Public Art Commission and the National Assembly of State Arts Agencies. The Amherst Public Art Commission Why Public Art for Amherst? Public art adds enormous value to the cultural, aesthetic and economic vitality of a community. It is now a well-accepted principle of urban design that public art contributes to a community’s identity, fosters community pride and a sense of belonging, and enhances the quality of life for its residents and visitors. -
1 Argumentation in the Framework of Deliberation
1 ARGUMENTATION IN THE FRAMEWORK OF DELIBERATION DIALOGUE Douglas Walton, Katie Atkinson, Trevor Bench-Capon, Adam Wyner and Dan Cartwright According to argumentation theory, reasoning takes place in different types of dialogue: persuasion dialogue, negotiation, deliberation, information-seeking dialogue, inquiry, and eristic dialogue. These different dialogue types may be nested within one another. Current research in artificial intelligence is building formal models corresponding to each of these types of dialogue and showing how they can be implemented in, for example, multi-agent communications systems. In this paper, we (1) clarify the distinction between deliberation dialogue and persuasion dialogue, (2) survey some recent research in artificial intelligence studying formal properties of deliberation dialogue, (3) present a model of argumentation in deliberation dialogue that has proved to be useful in electronic democracy, and (4) argue that this model provides an attractive alternative to the dominant cost-benefit model of rational argumentation traditionally accepted in economics and other fields as the basis for evaluating argumentation of the kind used in policy decision making. One of the most important lessons of argumentation theory has been that arguments need to be analyzed and evaluated not only by identifying the logical form of an argument in abstraction from its context of use, but also by paying attention to the purpose for which an argument was supposedly used in a conversational setting. In particular, as we will show in this paper, it is vitally important to distinguish between two different types of conversational frameworks called persuasion dialogue and deliberation dialogue. As we will show, logical fallacies can easily be committed in the most common kinds of everyday reasoning by failing to take this distinction into account. -
Reading the Proemium of Plato's Theaetetus: Euclides in Action
Reading the Proemium of Plato’s Theaetetus: Euclides in Action Eleni Kaklamanou and Maria Pavlou HE FRAMES of the Platonic dialogues constitute a vexed and contentious issue and have been variously treated T by students of Plato throughout the centuries. Proclus classified Plato’s ancient commentators as those who pay little or no attention to the prefatory parts, those who acknowledge their moral aspect but deem them irrelevant to a dialogue’s subject-matter, and those who contend that they have a bear- ing on the main philosophical discussion.1 Modern scholars have adopted a similar stance: while some either completely ignore or attribute little philosophical significance to the proemia, others consider them to be an integral part of the dialogues and not merely ‘trimmings’ or decorative literary devices.2 This paper focuses on the opening of the Theaetetus, one of the most peculiar and paradoxical of the Platonic proemia.3 Two friends, the Megarians Euclides and Terpsion, acci- 1 Proclus In Prm. 658–659 (I 46 Steel); for comments see G. R. Morrow and J. M. Dillon, Proclus Commentary on Plato’s Parmenides (Princeton 1987) 11 and 47 n.40. For ancient views on the importance of Plato’s prologues in general see H. Tarrant, Plato’s First Interpreters (Cornell 2000) 39–40. 2 See e.g. D. Clay, “Plato’s First Words,” in F. M. Dunn and T. Cole (eds.), Beginnings in Classical Literature (Cambridge 1992) 115: “to write com- petently about the beginning of [any] Platonic Dialogue is to understand the other extremity of the dialogue, its middle, and the unity of the dialogue as a whole.” For further bibliography see W. -
Best Management Practices for Fine Art Painting Studios
NARRAGANSETT BAY COMMISSION Environmental, Health & Safety MANAGEMENT BEST PRACTICES for FINE ART PAINTING STUDIOS The purpose of this brochure is to guide you in protecting your health and preserving the environment as you work with various supplies and materials in your studio. It is also intended to help you save money and to comply with existing environmental regulations. Following these guidelines will keep you and your environment safe. Sources of health & safety information on the Internet for artists Disposal of household hazardous waste in RI: www.rirrc.org/site/ecodepot/eco_depot_broc.pdf A searchable health & safety database by medium: www.ci.tuc- son.az.us/arthazards/home.html List of references and more: www.library.unisa.edu.au/internet/pathfind/arthazards.htm Comprehensive list of articles covering many mediums: www.croetweb.com/outreach/croetweb/ links.cfm?topicID=2 List of books, periodicals and organizations: http://wally.rit.edu/pubs/guides/healthhaz.html Comprehensive list of articles: www.library.wwu.edu/ref/subjguides/art/arthazards.html Article entitled Art Painting and Drawing www.uic.edu/sph/glakes/harts/HARTS_library/paintdrw.txt Very comprehensive list of resources for many media: www.trueart.info/hazards.htm Safety Primer with references: www.ianr.unl.edu/pubs/consumered/nf126.htm Safety Primers: www.artspaceseattle.org/solutions/safety.html www.uwlax.edu/ehs/arthaz.html www.gamblincolors.com/safety.html Paint MSDSs available under Health & Safety section: www.winsornewton.com/index2.php Studio Ventilation: -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
In Praise of Eristics
University of Windsor Scholarship at UWindsor OSSA Conference Archive OSSA 4 May 17th, 9:00 AM - May 19th, 5:00 PM In Praise of Eristics Pedro Reygadas Col. Santa María La Ribera Follow this and additional works at: https://scholar.uwindsor.ca/ossaarchive Part of the Philosophy Commons Reygadas, Pedro, "In Praise of Eristics" (2001). OSSA Conference Archive. 102. https://scholar.uwindsor.ca/ossaarchive/OSSA4/papersandcommentaries/102 This Paper is brought to you for free and open access by the Conferences and Conference Proceedings at Scholarship at UWindsor. It has been accepted for inclusion in OSSA Conference Archive by an authorized conference organizer of Scholarship at UWindsor. For more information, please contact [email protected]. Title: In Praise of Eristics Author: Pedro Reygadas Response to this paper by: Mark Weinstein © 2001 Pedro Reygadas The international field of argumentation theory is dominated by the logical-dialectical approach. This approach is centered in a linear logical dimension: propositions and schemes of argument. The argumentative discourse is defined in terms of the ancient tradition: a dialogue game developed according to rational rules. Van Eemeren and Grootendorst describe this latter aspect in the principle of dialectification: If a language user advances a constellation of statements calculated either to justify or to refute an expressed opinion. ...The language user addresses another language user who is supposed to adopt the position of a rational judge and who reacts to the argumentation critically, so that a critical discussion ensues (van Eemeren and Grootendorst 1984, p. 15). The logical-dialectical approach is exemplified in several theories: Pragma-dialectics in Holland, Informal Logic and Critical Thinking in the United States and Canada, Logical Propaedeutic from the Erlangen School, Barth and Krabbe's Formal Dialectics, and Habermas' Communicative Action Theory in Germany. -
A Mathematician's Lament
A Mathematician’s Lament by Paul Lockhart musician wakes from a terrible nightmare. In his dream he finds himself in a society where A music education has been made mandatory. “We are helping our students become more competitive in an increasingly sound-filled world.” Educators, school systems, and the state are put in charge of this vital project. Studies are commissioned, committees are formed, and decisions are made— all without the advice or participation of a single working musician or composer. Since musicians are known to set down their ideas in the form of sheet music, these curious black dots and lines must constitute the “language of music.” It is imperative that students become fluent in this language if they are to attain any degree of musical competence; indeed, it would be ludicrous to expect a child to sing a song or play an instrument without having a thorough grounding in music notation and theory. Playing and listening to music, let alone composing an original piece, are considered very advanced topics and are generally put off until college, and more often graduate school. As for the primary and secondary schools, their mission is to train students to use this language— to jiggle symbols around according to a fixed set of rules: “Music class is where we take out our staff paper, our teacher puts some notes on the board, and we copy them or transpose them into a different key. We have to make sure to get the clefs and key signatures right, and our teacher is very picky about making sure we fill in our quarter-notes completely.