Information Consistency and Perceptual Set: Overcoming the Mental Retardation “Schema”1

Two factors that were thought to promote or inhibit schema-based or stereotypic responding in impression formation were examined in two experiments. Subjects were asked to provide evaluations of artwork supposedly painted by either mentally retarded or nonretarded children. Based on previous research, it was assumed that subjects would expect relatively poor quality artwork from retarded children, which would he consistent with a negative schema that they maintain for this group. It was also predicted that this negative schema would result in cursory examinations and unfavorable evaluations of the retarded artists' artwork, but only when the evaluative conditions were conducive to schematic responding. Specifically, the schema effect was predicted to occur when the artwork was of poor quality and subjects were instructed to provide an overall evaluation of the painting rather than an assessment of its specific characteristics. No derogation was expected when these factors were not present. Results supported these hypotheses. Additional analyses indicated that subjects were conducting a cursory search of the target stimuli when conditions favored schema-based responding.     

Turning art into mere illustration: concretizing art renders its influence context dependent

Broadly speaking, artworks are accorded a special significance and are recognized as powerful communication tools. In the current research, the authors posit that the "specialness" of artworks may be diminished simply by emphasizing that which is depicted in them. This emphasis results in the artwork being viewed as a mere illustration rather than a work of art. Specifically, the influence of an "artwork as art" is context independent, but the influence of an "artwork as illustration" is context dependent. The authors demonstrate this phenomenon in two experiments, in the context of products associated with artworks. In a third experiment, they further demonstrate that an abstract (concrete) mind-set aligns with the influence of an artwork as art (illustration).     

Nous avons l'art pour vivre dans la vérité

The paper aims at sketching the outline of a phenomenology of the artwork on the basis of the short analyses devoted to the topic by Hannah Arendt in a few texts. In order to overcome the mostly allusive and even superficial character of these texts, the paper refers to Kant's teaching in theCritique of Judgment and to Arendt's interpretation of it in several essays. We have tried to pursue as far as possible, in the direction of a philosophy of art, the path opened by her political interpretation of the thirdCritique. We have also endeavoured to develop, beyond what she writes explicitly but in an attempt to make her thought as consistent as possible, the marginal suggestions provided by the book onThinking about the relations between judgment and thought and the theses stated byThe Human Condition about the work of art as a reified thought. Accordingly, the artwork appears to be, in the realm of artefacts, what is the best, appropriated to provide to a human world its stability; since the artwork is the most enduring product of thehomo faber, while escaping the means-end categories as well as any usefulness. Hence the artwork is able to display within the realm of human artefacts the meaning of a human world; namely, a home on the earth, a dwelling to be shared in their being-together. While being useless and merely appearing in the world, the work is also what calls for a judgment of taste such as Kant describes it. This means a judgment of common sense based upon a sharing of the world by fellowpeople, and aiming at a standard which is the sensus communis as the very condition of possibility of such a sharing. Moreover, the artwork is a thought made into a thing. Again, as a thought which appears in the world, it calls for judging; for a judgment is a thought which renouncing solitude comes back to the human community. Therefore it turns out that the artwork unifies the human community in its sharing of a common world. Indeed, by requesting that we judge it, the artwork appeals in ourselves to asensus communis through which our thought takes into account the point of view of the others. Moreover, as a thought embodied in a hand-made thing, the artwork makes meaning present and publicly appearing in the sensible world.     

Nous avons l'art pour vivre dans la vérité

The paper aims at sketching the outline of a phenomenology of the artwork on the basis of the short analyses devoted to the topic by Hannah Arendt in a few texts. In order to overcome the mostly allusive and even superficial character of these texts, the paper refers to Kant's teaching in theCritique of Judgment and to Arendt's interpretation of it in several essays. We have tried to pursue as far as possible, in the direction of a philosophy of art, the path opened by her political interpretation of the thirdCritique. We have also endeavoured to develop, beyond what she writes explicitly but in an attempt to make her thought as consistent as possible, the marginal suggestions provided by the book onThinking about the relations between judgment and thought and the theses stated byThe Human Condition about the work of art as a reified thought. Accordingly, the artwork appears to be, in the realm of artefacts, what is the best, appropriated to provide to a human world its stability; since the artwork is the most enduring product of thehomo faber, while escaping the means-end categories as well as any usefulness. Hence the artwork is able to display within the realm of human artefacts the meaning of a human world; namely, a home on the earth, a dwelling to be shared in their being-together. While being useless and merely appearing in the world, the work is also what calls for a judgment of taste such as Kant describes it. This means a judgment of common sense based upon a sharing of the world by fellow-people, and aiming at a standard which is thesensus communis as the very condition of possibility of such a sharing. Moreover, the artwork is a thought made into a thing. Again, as a thought which appears in the world, it calls for judging; for a judgment is a thought which renouncing solitude comes back to the human community. Therefore it turns out that the artwork unifies the human community in its sharing of a common world. Indeed, by requesting that we judge it, the artwork appeals in ourselves to asensus communis through which our thought takes into account the point of view of the others. Moreover, as a thought embodied in a hand-made thing, the artwork makes meaning present and publicly appearing in the sensible world.     

Nous avons l''art pour vivre dans la vérité Hannah Arendt, lectrice de Kant: indications pour une méditation de l''art

The paper aims at sketching the outline of a phenomenology of the artwork on the basis of the short analyses devoted to the topic by Hannah Arendt in a few texts. In order to overcome the mostly allusive and even superficial character of these texts, the paper refers to Kant's teaching in theCritique of Judgment and to Arendt's interpretation of it in several essays.We have tried to pursue as far as possible, in the direction of a philosophy of art, the path opened by her political interpretation of the thirdCritique. We have also endeavoured to develop, beyond what she writes explicitly but in an attempt to make her thought as consistent as possible, the marginal suggestions provided by the book onThinking about the relations between judgment and thought and the theses stated byThe Human Condition about the work of art as a reified thought.Accordingly, the artwork appears to be, in the realm of artefacts, what is the best, appropriated to provide to a human world its stability; since the artwork is the most enduring product of thehomo faber, while escaping the means-end categories as well as any usefulness. Hence the artwork is able to display within the realm of human artefacts the meaning of a human world; namely, a home on the earth, a dwelling to be shared in their being-together. While being useless and merely appearing in the world, the work is also what calls for a judgment of taste such as Kant describes it. This means a judgment of common sense based upon a sharing of the world by fellowpeople, and aiming at a standard which is the sensus communis as the very condition of possibility of such a sharing. Moreover, the artwork is a thought made into a thing. Again, as a thought which appears in the world, it calls for judging; for a judgment is a thought which renouncing solitude comes back to the human community. Therefore it turns out that the artwork unifies the human community in its sharing of a common world. Indeed, by requesting that we judge it, the artwork appeals in ourselves to asensus communis through which our thought takes into account the point of view of the others. Moreover, as a thought embodied in a hand-made thing, the artwork makes meaning present and publicly appearing in the sensible world.

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Republished; incomplete in preceding issue.     

“Album V”

“Album V” is an inquiry on aesthetic experience, particularly the perception of analogy in our encounter with works of art. It takes the form of a visual essay comprised of dozens of images culled from a variety of published sources, and montaged together in the form of an “image bank” or photo album. Supplementing this visual essay, “Notes on “Album V”” is a text that reflects on the questions raised by “Album V”. The text describes analogy as a play of correspondences occurring at two levels: correspondences between the sensible forms of which a given artwork is composed; and correspondences between the artwork as a whole, and the experiential forms of the embodied and situated viewer while encountering the artwork. A precondition of this play of correspondences is the “intimacy” that defines all the relationships that constitute existential being-in-the world.     

Images of Resistance: A Qualitative Enquiry Into the Meanings of Personal Artwork for Women Living With Cancer

This study explored the meanings, inspirations, and subjective significance of personal artwork created as a leisure activity by women living with cancer. A convenience sample of 12 women aged 23–74 years participated in semistructured interviews. Participants were living in various stages of the cancer trajectory, and engaged in several forms of visual art-making. They submitted examples of their artwork by photograph and explored the meanings of this work in semistructured interviews. The study found that body imagery was extremely rare in participants' array of artwork, unlike the images typically created in art therapy. Few pieces expressed fears about cancer in symbolic terms. Participants described their selected artwork as offering sensuous pleasures, and confirming their ongoing capability, personal continuity, and social connectedness. Participants acknowledged ongoing loss and difficulties related to cancer. However, each piece of art offered a tangible record of resistance against the psychologically and socially disruptive effects of cancer, helping to maintain a familiar noncancer identity. The preinterview photography activity was helpful for empowering participants in the interview, and for stimulating detailed memories.     

How to Understand the Completion of Art

There are a number of recent discussions on the question of when an artwork is complete. While it has been observed that a work might be complete in one way and not in another, the impact of this observation has been minimal. Discussion has been continued as if there is only one real sense of completion that matters. I argue that this is a mistake. Even if there were only one (or one most important) kind of completion, extant theories of completion would be bad candidates for that one kind. The best explanation of the failure of extant theories is that there are many kinds of completion, many corresponding senses of “completion,” and no kind of artwork completion is objectively more important than any other. We have a good reason to think that this is the case given the disparate interests we have when we ask completion questions. Once we have realized that those concerns track properties that are often unrelated, the question for theorists to answer becomes, “In how many ways can an artwork be complete?”     

Imitation,Inspiration, and Creation: Cognitive Process of Creative Drawing by Copying Others' Artworks

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: (a) copying an artist's drawing, then producing an original drawing; (b) producing an original drawing without having seen another's work; and (c) copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork.     

Creativity and the artwork: the perspectives of a painter and a philosopher

Creativity in Robert Henri's view is a gratuitous act, shot through with mystery; what is left after such an act is the artwork itself as concrete evidence that such a heightened state of consciousness has been achieved. This paper will examine Henri's understanding of the nature of creativity from his perspective as a twentieth century New York painter, in conjunction with Eliot Deutsch's theoretical insights as a philosopher deeply interested in the nature of the experience of an artwork. In his Essays on the nature of art, Deutsch presents the view that the experience of an artwork involves the assimilation of the work's aesthetic force, the recognition of its meaning, the discernment of its formal dimensions, and ‘calls for a special appropriation that yields an integrated wholeness’. This paper presents commonalities between Henri's and Deutsch individual perspectives and discusses some value‐centred educational implications that could be drawn from these commonalities.     

Frauds,Posers And Sheep: A Virtue Theoretic Solution To The Acquaintance Debate

The acquaintance debate in aesthetics has been traditionally divided between pessimists, who argue that testimony does not provide others with aesthetic knowledge of artworks, and optimists, who hold that acquaintance with an artwork is not a necessary precondition for acquiring aesthetic knowledge. In this paper I propose a reconciliationist solution to the acquaintance debate: while aesthetic knowledge can be had via testimony, aesthetic judgment requires acquaintance with the artwork. I develop this solution by situating it within a virtue aesthetics framework based on Ernest Sosa's virtue epistemology. I go on to apply the solution to the debates on moral testimony and expert testimony. An interesting variant on Gettier cases emerges: cases in which subjects have knowledge, but it has been formed by the wrong competence.     

Richard Wagner and the Birth of The Birth of Tragedy 1

Abstract

Nietzsche writes that the ‘real task’ of The Birth of Tragedy is to ‘solve the puzzle of Wagner’s relation to Greek tragedy’. The ‘puzzle’, I suggest, is the intermingling in his art and writings of earlier socialist optimism with later Schopenhauerian pessimism. According to the former the function of the ‘rebirth of Greek tragedy’ in the ‘collective artwork’ is to ‘collect’, and so create, community. According to the second the function of the artwork is to intimate a realm ‘beyond’ this world of pain and death. The audacity of The Birth is that it attempts to show that Wagner can have his cake and eat it: the ‘Dionysian’, musical, element provides a ‘metaphysical comfort’, while the ‘Apollonian’, verbal, element draws a ‘veil of oblivion’ over the metaphysical, thereby allowing the artwork to solidify community. Contrary to the standard Anglophone view, this perspective on The Birth shows that Nietzsche’s intimate association with Wagner during the period of its creation lies at the heart of its philosophical content.     

Interpretative memories of artworks

It is well known that memories of self-relevant experiences are reconstructed over time. Artworks often require an elongated period of interpretative meaning-making. Such works were therefore used to study temporal aspects of memory construction. In a longitudinal study, individuals' memories of artworks were examined to explore the idea that only with the passage of time would autobiographical memory and emotion be associated with thematic integration of the artwork memory. We also expected that integrated artwork memories would be more differentiated (in terms of number of details) than memories that were not integrated. Memories of artworks were collected from visitors to an art gallery in person as they left the gallery, and 5 months later in a phone interview. Participants were also asked, at both interviews, whether the memory recollection was associated with an autobiographical memory and with an emotion. Associations among the elements of autobiographical memory, emotion, differentiation, and integrated artwork memories were significant only at the time of the longer-term recollection. The data suggest that, during an incubation period, these elements moved from a state of disconnection to interconnection.     

Interpretative memories of artworks

It is well known that memories of self‐relevant experiences are reconstructed over time. Artworks often require an elongated period of interpretative meaning‐making. Such works were therefore used to study temporal aspects of memory construction. In a longitudinal study, individuals' memories of artworks were examined to explore the idea that only with the passage of time would autobiographical memory and emotion be associated with thematic integration of the artwork memory. We also expected that integrated artwork memories would be more differentiated (in terms of number of details) than memories that were not integrated. Memories of artworks were collected from visitors to an art gallery in person as they left the gallery, and 5 months later in a phone interview. Participants were also asked, at both interviews, whether the memory recollection was associated with an autobiographical memory and with an emotion. Associations among the elements of autobiographical memory, emotion, differentiation, and integrated artwork memories were significant only at the time of the longer‐term recollection. The data suggest that, during an incubation period, these elements moved from a state of disconnection to interconnection.     

The Complete Work

What is it for a work of art to be complete? In this article, we argue that an artwork is complete just in case the artist has acquired a completion disposition with respect to her work—a disposition grounded in certain cognitive mechanisms to refrain from making significant changes to the work. We begin by explaining why the complete/incomplete distinction with respect to artworks is both practically and philosophically significant. Then we consider and reject two approaches to artwork completion. Finally, we set out and defend our own account.     

Interpretation and Intention: The Debate between Hypothetical and Actual Intentionalism

Regarded for decades as a fallacy, intentionalist interpretation is beginning to attract a following among philosophers of art. Intentionalism is the doctrine that the actual intentions of artists are relevant to the interpretation of the artworks they create – just as actual intentions are relevant to the interpretation of the everyday words and deeds of other people. Although there are several forms of actual intentionalism, I defend the form known as modest actual intentionalism, which holds that the correct interpretation of an artwork is compatible with the author's actual intention, which itself must be supported by the artwork. Looking at literary works specifically, I consider criticisms of actual intentionalism – for example, the contention that such a stance substitutes paraphrase for a reading of the text. In particular, I argue against hypothetical intentionalism, which maintains that the correct interpretation of an artwork is constrained by the best hypotheses of the artist's intentions. As I show, the methodology of this position is in fact designed to track the author's actual intentions, and furthermore, hypothetical intentionalism does not accurately depict existing interpretive practices.     

Adorno and Schelling on the art–nature relation

When it comes to the relationship between art and nature, research on Adorno’s aesthetics usually centres on his discussion of Kant and Hegel. While this reflects Adorno’s own position – his comprehension of this relationship is to a large extent developed through a critical re-reading of both the Kantian and the Hegelian position – I argue that we are able to gain important insights into Adorno’s aesthetics and the central art–nature relation by reading his ideas in the light of Schelling’s conception of this relationship. The article focuses on the similarities between Schelling’s notion of nature’s productivity and Adorno’s understanding of natural beauty. It concludes with a discussion on Adorno’s re-evaluation of the reconciliatory power of the exemplary unity of the artwork in conjunction with Schelling’s comparison between artwork and organism, as well as his concept of the construction of nature.     

What Kind of Paintings Inspire Children when Viewing Art?

Viewing art inspires creativity, which can encourage learning in art education. A previous study revealed that the type of artwork and the way art is viewed affects adults' inspiration; however, no study exists concerning the way children are inspired by viewing art. Thus, the current study aimed to examine whether children's age group/grade level, art style (figurative or abstract), and artwork creators (children or adults) influence children's inspiration, and whether the effects of the art style and creators vary by children's age group/grade level. An online questionnaire survey was conducted with the help of 600 pairs of parents and their elementary-school-aged children. They were asked to view eight paintings that differed in terms of the artists and their individual style and they then rated their inspiration experience when viewing each artwork. The results revealed that children were more inspired when viewing abstract, rather than figurative, paintings, and the effect of the type of painting differed in the third and sixth grades. Additionally, children gained more inspiration by viewing paintings created by children rather than by adults; a difference observed in all grade levels.     

Learning from Aesthetic Disagreement and Flawed Artworks

Disagreements about art are considered here for their potential to pose questions about reality beyond the artwork. The project of assessing artistic value is useful for bringing complex questions to light. The ambitiousness of the cognitive stock, in Richard Wollheim's term, that can be relevant to understanding an artwork may mean that confident evaluation will elude us. Thinking about artistic value judgment in this way shifts its centrality as the point of artistic interpretation and evaluation; the goal of judging a work's meaning and value is a useful tool for prompting us to understand a work. But if we fail to reach that goal, that does not mean we have failed to engage with the work appropriately. The artistic value judgment, and achieving consensus on that value, can be secondary in importance to grasping the problems a work poses that are not immediately resolvable. Examples drawn from literary and philosophical imagining, in the work of Grace Paley and Mary Mothersill, and from Toni Morrison's literary criticism are used to illustrate and support the fruitfulness of this approach.