A journey through Johannesburg via three art projects raises intriguing notions about the constitutive relationship between the city, imagination and the public sphere- through walking, gaming and performance art. Amid prevailing economic validations, the trilogy posits art within an urban commons in which imagination is all-important.

Art and Abstract Objects presents a lively philosophical exchange between the philosophy of art and the core areas of philosophy. The standard way of thinking about non-repeatable (single-instance) artworks such as paintings, drawings, and non-cast sculpture is that they are concrete (i.e., material, causally efficacious, located in space and time). Da Vinci's Mona Lisa is currently located in Paris. Richard Serra's Tilted Arc is 73 tonnes of solid steel. Johannes Vermeer's The Concert was stolen in 1990 and remains missing. Michaelangelo's David was attacked with a hammer in 1991. By contrast, the standard way of thinking about repeatable (multiple-instance) artworks such as novels, poems, plays, operas, films, symphonies is that they must be abstract (i.e., immaterial, causally inert, outside space-time): consider the current location of Melville's Moby Dick, the weight of Yeats' "Sailing to Byzantium", or how one might go about stealing Puccini's La Boheme or vandalizing Mozart's Piano Concerto No. 9. Although novels, poems, and symphonies may appear radically unlike stock abstract objects such as numbers, sets, and propositions, most philosophers of art think that for the basic intuitions, practices, and conventions surrounding such works to be preserved, repeatable artworks must be abstracta. This volume examines how philosophical enquiry into art might itself productively inform or be productively informed by enquiry into abstracta taking place within not just metaphysics but also the philosophy of mathematics, epistemology, philosophy of science, and philosophy of mind and language. While the contributors chiefly focus on the relationship between philosophy of art and contemporary metaphysics with respect to the overlap issue of abstracta, they provide a methodological blueprint from which scholars working both within and beyond philosophy of art can begin building responsible, mutually informative, and productive relationships between their respective fields.

In here is an offering. An offering designed to enlighten and inspire anyone who is on the less traveled road laid out by the 12 steps of recovery. I say less traveled because the numbers of true recoverees is relatively small in comparison to the numbers of people caught in addictions. This collection has been many, many years in the making. I hope that it may bring some light and maybe a little humor to a relatively dark subject.I have tried not to offend sensitive eyes and pallets but there is some language used in the cramped world of users that works when other language doesn't, and some of it is in this collection. I have refrained from vulgarity however and if you can tolerate some compromise I am sure you will be pleasantly rewarded. If you are new to recovery you may be surprised at some of the things here that you thought no one else had ever thought.It is important to remember that the common thread in addiction is the lie that you are the only one who has ever done the things you are doing. There is only so much dysfunction in the world, and when you have been on the road of recovery for a while it becomes amazingly redundant. Everybody is stunned to find out they are not alone in their weirdness. Stunned and then relieved to find out that there is a way out.The bottom line is that we give up a life of using for a life of service. When you find this and come to terms with serving people who usually don't care, and you serve them anyway, then and only then will you start receiving the rewards that await you.

This collection of articles by Susan W. Stinson, organized thematically and chronologically by the author, reveals the evolution of the field of arts education in general and dance education in particular, through narrative and critical reflections by this unique scholar and a few co-authors. It also includes contextual insights not available elsewhere. The author's pioneering embodied research work in arts and dance education continues to be relevant to researchers today. The selected chapters and articles were predominantly previously published in a variety of journals, conference proceedings and books between 1985 and the present. Each section is preceded by an introduction and the author has written a post scriptum for each article to offer a commentary or response to the article from the current perspective.

Deeper than Reason takes the insights of modern psychological and neuroscientific research on the emotions and brings them to bear on questions about our emotional involvement with the arts. Robinson begins by laying out a theory of emotion, one that is supported by the best evidence from current empirical work on emotions, and then in the light of this theory examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone who is interested in the emotions and how they work, as well as anyone engaged with the arts and aesthetics, especially with questions about emotional expression in the arts, emotional experience of art forms, and, more generally, artistic interpretation. Part One develops a theory of emotions as processes, having at their core non-cognitive 'instinctive' appraisals, 'deeper than reason', which automatically induce physiological changes and action tendencies, and which then give way to cognitive monitoring of the situation. Part Two examines the role of the emotions in understanding literature, especially the great realistic novels of the nineteenth century. Robinson argues that such works need to be experienced emotionally if they are to be properly understood. A detailed reading of Edith Wharton's novel The Reef demonstrates how a great novel can educate us emotionally by first evoking instinctive emotional responses and then getting us to cognitively monitor and reflect upon them. Part Three puts forward a new Romantic theory of emotional expression in the arts. Part Four deals with music, both the emotional expression of emotion in music, whether vocal or instrumental, and the arousal of emotion by music. The way music arouses emotion lends indirect support to the theory of emotion outlined in Part One. While grounded in the science of emotion, Deeper than Reason demonstrates the continuing importance of the arts and humanities to our lives.

* Approaches the practice of screenwriting from an intersectional and inclusive perspective. * Offers practical ways in which screenwriters can approach their craft to tell stories of under-represented individuals in an authentic way. * Includes examples from Killing Eve, Pose, Sense8, Vida, and I May Destroy You to illustrate inclusive screenwriting.

Object fetishism is becoming a more and more pervasive phenomenon. Focusing on literature and the visual arts, including cinema, this book suggests a parallelism between fetishism and artistic creativity, based on a poetics of detail, which has been brilliantly exemplified by Flaubert's style. After exploring canonical accounts of fetishism (Marx, Freud, Benjamin), by combining a historicist approach with theoretical speculation, Massimo Fusillo identifies a few interpretive patterns of object fetishism, such as seduction (from Apollonius of Rhodes to Max Ophuls), memory activation (from Goethe to Louise Bourgeois and Pamuk), and the topos of the animation of the inanimate. Whereas all these patterns are characterized by a projection of emotional values onto objects, modernism highlights a more latent component of object fetishism: the fascination with the alterity of matter, variously inflected by Proust, Woolf, Joyce, Barnes, and Mann. The last turning point in Fusillo's analysis is postmodernism and its obsession with mass media icons-from DeLillo's maximalist frescos and Zadie Smith's reflections on autographs to Palahniuk's porn objects; from pop art to commodity sculpture.

The first of its kind, this anthology in the burgeoning field of technology ethics offers students and other interested readers 32 chapters, each written in an accessible and lively manner specifically for this volume. The chapters are conveniently organized into five parts: I. Perspectives on Technology and its Value II. Technology and the Good Life III. Computer and Information Technology IV. Technology and Business V. Biotechnologies and the Ethics of Enhancement A hallmark of the volume is multidisciplinary contributions both (1) in "analytic" and "continental" philosophies and (2) across several hot-button topics of interest to students, including the ethics of autonomous vehicles, psychotherapeutic phone apps, and bio-enhancement of cognition and in sports. The volume editors, both teachers of technology ethics, have compiled a set of original and timely chapters that will advance scholarly debate and stimulate fascinating and lively classroom discussion. Downloadable eResources (available from www.routledge.com/9781032038704) provide a glossary of all relevant terms, sample classroom activities/discussion questions relevant for chapters, and links to Stanford Encyclopedia of Philosophy entries and other relevant online materials. Key Features: Examines the most pivotal ethical questions around our use of technology, equipping readers to better understand technology's promises and perils. Explores throughout a central tension raised by technological progress: maintaining social stability vs. pursuing dynamic social improvements. Provides ample coverage of the pressing issues of free speech and productive online discourse.

Are contemporary art theorists and critics speaking a language that has lost its meaning? Is it still based on concepts and values that are long out of date? Does anyone know what the function of the arts is in modern society?Roy Harris breaks new ground with his linguistic approach to the key issues. He situates those issues within the long-running debate about the arts and their place in society which goes back to the Classical period in ancient Greece. Contributors to the debate included some of the most celebrated artists and philosophers of their day--Plato, Aristotle, Leonardo, Kant, Hegel, Wagner, Baudelaire, Zola, Delacroix--but none of these eminent figures or their supporters provided a reasoned overview examining the multilingual development of Western artspeak as a whole. Nor did they develop any explicit account of the relationship between the arts and language.The Necessity of Artspeak shows for the first time that what have usually been considered problems of aesthetics and artistic justification often have their source in the linguistic assumptions underlying the terms and arguments presented. It also shows how artspeak has been--and continues to be--manipulated to serve the interests of particular social groups and agendas. Until the semantics of artspeak is more widely understood, the public will continue to be taken in by the latest fads and fashions that propagandists of the art world promote.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

This book examines the contribution of mass-produced original painting to the psychology of art, psychological aesthetics, and art criticism. Mass-produced paintings are an inexpensive, accessible, ubiquitous, and hand-painted popular art by anonymous artists or teams. Sold in an array of outlets, ranging from flea markets to shopping centers to cruise ships, they decorate hotels, offices, and homes. Addressed is their neglect in current scholarship in favor of a nearly exclusive investigation of the high arts and their audiences, as represented by museum paintings. Lindauer contextualizes his analysis by tracing the historical origins of this type of painting, popular art in general, and their evolutionary trajectory, exploring issues including: the impact of art and artists' creativity on viewers; the overemphasis on originality and name recognition; what is art and who can be called an artist; and the extension of aesthetics to include an everyday kind. The book concludes with directions for future research in the popular and traditional arts, the psychology of art, and, more broadly, the ties that transcend barriers between science, the arts, and the humanities. It will appeal to students and scholars from across the fields of psychology, sociology, philosophy, art history, and cultural, media and communication studies.

This text provides coverage of the history of the Japanese philosophy of art, from its inception in the 1870s to modern day. In addition to the historical information and discussion of aesthetic issues that appear in the introductions to each of the chapters, the book presents English translations of otherwise inaccessible major works on Japanese aesthetics, beginning with a complete and annotated translation of the first work in the field, Nishi Amane's ""Bimyogaku Setsu"" (""The Theory of Aesthetics""). The text is divided into four sections: the subject of aesthetics; aesthetic categories; poetic expression; postmodernism; and aesthetics. It examines the momentous efforts made by Japanese thinkers to master, assimilate and originally transform Western philosophical systems to discuss their own literary and artistic heritage.

In New Approaches to Contemporary Adaptation, editor Betty Kaklamanidou defiantly claims that "all films are adaptations". The wide-ranging chapters included in this book highlight the growing and evolving relevance of the field of adaptation studies and its many branding subfields. Armed with a wealth of methodologies, theoretical concepts, and sophisticated paradigms of case-studies analyses of the past, these scholars expand the field to new and exciting realms. With chapters on data, television, music, visuality, and transnationalism, this anthology aims to complement the literature of the field by asking answers to outstanding questions while proposing new ones: Whose stories have been adapted in the last few decades? Are films that are based on "true stories""simply adaptations of those real events? How do transnational adaptations differ from adaptations that target the same national audiences as the texts they adapt? What do long-running TV shows actually adapt when their source is a single book or novel? To attempt to answer these questions, New Approaches to Contemporary Adaptation is organized in three parts. Part 1, "External Influences on Adaptation", delves into matters surrounding film adaptations without primarily focusing on textual analysis of the final cinematic product. Part 2, "Millennial TV and Franchise Adaptations", demonstrates that the contemporary television landscape has become fruitful terrain for adaptation studies. Part 3, "ElasTEXTity and Adaptation", explores different thematic approaches to adaptation studies and how adaptation extends beyond traditional media. Spanning media and the globe, contributors complement their research with tools from sociology, psychoanalysis, gender studies, race studies, translation studies, and political science. Kaklamanidou makes it clear that adaptation is vital to sharing important stories and mythologies, as well as passing knowledge to new generations. The aim of this anthology is to open up the field of adaptation studies by revisiting the object of analysis and proposing alternative ways of looking at it. Scholars of cultural, gender, film, literary, and adaptation studies will find this collection innovative and thought-provoking.

This book offers a clear, accessible account of the American litigation over the restitution of works of art taken from Jewish families during the Holocaust. For the past two decades, the courts of the United States have been an arena of conflict over this issue that has recently captured widespread public attention. In a series of cases, survivors and heirs have come forward to claim artworks in public and private collections around the world, asserting that they were seized by the Nazis or were sold under duress by owners desperate to escape occupied countries. Spanning two continents and three-quarters of a century, the cases confront the courts with complex problems of domestic and international law, clashes among the laws of different jurisdictions, factual uncertainties about the movements of art during and after the war, and the persistent question whether restitution claims have been extinguished by the passage of time.Through individual case studies, the book examines the legal questions these conflicts have raised and the answers the courts have given. From the internationally celebrated "Woman in Gold" lawsuit against Austria to lesser-known claims against Germany, Hungary, Spain, and museums and private collections in the United States, the book synthesizes the legal and evidentiary materials and judicial rulings in each case, creating a coherent narrative of proceedings that are often labyrinthine in complexity. Written by a leading authority on litigation and procedure, the book will be of interest to readers in various fields of the humanities and social sciences as well as law, and to anyone interested in the fate of artworks that have been called the "last prisoners" of the Second World War.

The Art Book, an award-winning art survey

Spotlighting more than 600 great artists from medieval to modern times, The Art Book has been translated in 20 languages and has introduced millions of people around the world to art and artists in an accessible, acclaimed A-Z guide.

Breaking with traditional classifications, it throws together brilliant examples from all periods, schools, visions, and techniques, presenting an unparalleled visual sourcebook and a celebration of our rich, multifaceted culture. Each artist is represented by a key work and an informative, explanatory text on the piece and its creator.

The 2020 edition includes 40 additional works, including overlooked historical and cutting-edge contemporary artists. Artists featured for the first time in this edition include: Berenice Abbott, Hilma af Klint, El Anatsui, Romare Bearden, Mark Bradford, Cao Fei, Cecily Brown, Judy Chicago, John Currin, Guerrilla Girls, Lee Krasner, Jacob Lawrence, Kerry James Marshall, Joan Mitchell, Zanele Muholi, Takashi Murakami, Louise Nevelson, Clara Peeters, Jenny Saville, Wolfgang Tillmans, and more.