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11 Μαΐ 2016 · Rather than appearing always to efface itself before the art objects of its contemplation, art history and criticism are considered here to have their own philosophical commitments that are taken up and adapted in the development of other kinds of work more broadly accepted as philosophical.
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Thought of in this way, the work of art becomes not so much...
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3 Νοε 2017 · In this article, we critique the “Two Cultures” view that separates art history from the history of science and holds that scientific methods are irrelevant to our philosophical understanding of art. By contrast to this view, we argue that the arts and the sciences are codependent phenomena.
Whereas the most influential mod-ernist art theory and criticism concerned painting (and, secondarily, sculpture), photography (and, to a lesser extent, the moving image) now makes a credible claim to being the privileged object of art theory and criticism.
1 Οκτ 2017 · Specifically, we explore the co-dependence of art and science in the context of an historical analysis of their interactions and in the context of contemporary debates on the cognitive science...
1 Φεβ 2020 · Skinner’s notion of the “speech act” was borrowed from philosophy and linguistics to intellectual history. In the study of literature, the “literary act” has become a center of interest. In anthropology, Gell’s Art and Agency: An Anthropological Theory (Oxford, 1998) has become a classic.
3 Νοε 2017 · To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history.
29 Αυγ 2011 · Idealists invert this hierarchy. This is explicit in Benedetto Croce (1913, 1965, 9–10) when he asserts that works of art cannot be physical entities because works of art are “supremely real” whereas the physical world is “unreal.”. Another proponent of an idealist ontology of art is Waldemar Conrad (1908–09).
