Beyond the politics of reception: Jacques Rancière and the politics of art

Jacques Rancière’s work has become a major reference point for discussions of art and politics. However, while Rancière’s negative theses (about what “political art” is not) are becoming widespread and well understood, his positive thesis is still poorly understood, owing partly to Rancière’s own formulation of the issue. I first clarify Rancière’s account of the links between politics and art. I then explore a gap in this account; Rancière has stuck too closely to a politics of art’s reception. I argue for a politics of art production, which would expand the possible engagement between politics and art.     

Nuancing the Healer's art — The epistemology of patient competence

The programmatic thrust of Thomasma and Pellegrino [5] is clarified and underscored and is interpreted as an attempt to introduce a fixed point into the ethical dimension of medicine by specifying some regulative principles for the medical profession. Two important features of this type of enterprise are noted: on the one hand, it may lead the profession to distinguish between technically identical actions on the basis of the normative principles it produces, thus excluding some morally permissible actions as duties constitutive of the art. It is argued that the formulation of the grounds for this ethic given by Thomasma and Pellegrino is insufficient. In order to speak to the clinical situation, medical ethics must not be based on merely the ‘living human body’ alone, but on the patientqua person.     

Re‐framing systemic paradigms for the art of learning

Thoughtful people are increasingly concerned that the current paradigms for social, corporate, and educational activities are in disgraceful disarray. The “problem‐solving” or analytical model, the competitive or game model, the commercial or consumer model, the bureaucratic or institutional model, and the disease or illness model which prevail in public discourse are proving to be especially unwholesome. We cannot, however, educate ourselves without paradigms. A credible educational paradigm must be generally accessible without being simplistic, informative without being monothematic, and accommodating as well as discriminating. Given our disquiet with the current cognitive situation, a renewing paradigm must be somehow novel; given the character of human nature, a sustaining paradigm must be somehow familiar.

For a very long time now, professional Sciences have committed themselves to paradigms about “reality out there,” while professional Arts have devoted themselves to expressing “imagination from within here.” The more these two worldviews polarize in opposition to one another, the more room there is—and the more human heed there becomes—for mediation by an applied philosophy which accommodates the “real” as well as the “imaginary” in a complementary way. Such a philosophy would address not only “what do you know?” and “how do you do?” but also “how do you know?” and “why do you do?” In earlier times, people would have been considered neither educated nor wise unless they appreciated the Sciences and the Arts whole. In our time, we may not survive unless we can re‐integrate our fractured perceptions. How might we proceed to do so? There may be a systemological way.     

Einfühlung as the breath of art: six modes of embodiment

Robert Vischer’s concept of Einfühlung, feeling-into, translated as empathy, serves as the departure point for a proposal about viewing art using the body for a non-imitative form of empathy termed a transomatization and for other embodied operations. A transomatization occurs when viewers reinterpret a component or process of their own bodies to serve as a non-imitative stand-in, or correlate, for something outside of the self, specifically, some quality of an art work or its production. This creates an overlap of the self and other that might be experienced subjectively as a feeling of projection, an operation characteristic of empathy. Transomatizations and other embodied experiences are grounded in empathic, intersubjective modes of engaging others that begin in early life. As applications of the proposed concepts, six different embodiments of the viewer’s breathing are explored in regard to Friedrich E. Church’s 1848 oil painting Morning, Looking East over the Hudson Valley from the Catskill Mountains. Support for elements of the proposed concepts and applications is drawn from research in the biological and social sciences and from first person, embodied accounts of viewing.     

Mikhail Lifshits’ logomythy: “the art of discrimination”

The article reconstructs an original concept of myth developed by Mikhail Lifshits. He invented the term “logomythia”, as the “art of discrimination”, to show the ambivalent nature of creative work, where archaic myth dies as a historical nonsense and resurrects as a human meaning. Logomythia demonstrates the overcoming of the irrational element in the life of societies by linking it to the rational or meaningful content of artistic images. And, on the other hand, the concept contains more than a hint of the crisis of rationalism in the twentieth century which destroyed the harmony of man with nature.     

Elephants painting? Selfness and the emergence of self states as illustrated in conceptual art

Abstract :  The traditional view of the self is that of a singular entity whose ground is an inherent function of the mind. The more recent conception of the self is moving toward the social constructionist concept that its ground is the discourses of the particular culture into which one is born. These two divergent views have created an irresolvable binary of inner/outer that limits their explanatory power. To resolve this dilemma I suggest that the abstract noun 'selfness', indicating a  general  state, should replace the representational noun 'self', that indicates a  specific  state. I will propose that 'selfness' is indeed the 'ground' from which our unique self states emerge. I will illustrate this with examples from conceptual art and will discuss its relevance to analytic theory and treatment.     

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.     

Forms of gnosis in Sulamī's Sufi exegesis of the Fāti&art1;a

This paper will look at the Sufi interpretations of Sūrat al-fāti&art1;a found in the early mystical Qur'an commentary known as the &art2;aqā'iq al-tafsīr by the well known Sufi, Abū ^c Abd al-Ra&art1;mān al-Sulamī (d. 1021). The Sufi tafsīr of this sūra will be read not only as a compilation of early mystical interpretations of the Qur'an, but also as a unique work by Sulamī himself. A close reading of the various Sufi authors' interpretations set out by Sulamī will show how his own positions concerning the fundamental Sufi concept of ma^crifa come about.     

Post-struggle art: Its vicissitudes and atavisms Reconsidering the political value of Brett Murray’s Hail to the Thief works

This article revisits some of the controversies and debates that arose in 2012 over works by South African artist Brett Murray and his painting The Spear in particular. It aims to offer a more sober, profound and instructive evaluation of the painting and the larger body of works it was part of, displayed in the two-part exhibition titled Hail to the Thief. It undertakes an immanent critique of these works, assessing their appropriateness with regard to the liberatory aims and horizon of Murray’s art practice, as well as staking out the level of analysis most fundamental to such an evaluation. It does so, first, by taking issue with two dominant readings and critiques of Murray’s works in terms of unintended and unconscious messages that are found to be counterrevolutionary and racist respectively. Over and against such content analyses and criticisms, the article closes in on a more properly aesthetic form of politics embedded in the communicative mode, subject position and scenario of interaction performed by Murray’s Hail to the Thief works. Although such aspects were mostly overlooked, the article argues that they are key to determining the liberatory potential of Murray’s political art. In the end, the latter is criticised for still adhering to a rather conventional vanguardist model of art’s political role— postmodern tendencies notwithstanding. The article argues that this is untenable from a liberational perspective mainly because of the maintenance of an epistemic hierarchy between critical art and its publics and the ensuing debilitating agential effects.     

Synaesthesia,creativity and art: What is the link?

It has been suggested that individuals with synaesthesia may show heightened creativity as a result of being able to form meaningful associations between disparate stimuli (e.g. colour, sound). In this study, a large sample (N=82) of people with various kinds of synaesthesia were given two psychometric tests of creativity (Remote Associates Test, Alternate Uses Test) and were also asked about the amount of time engaged in creative arts (visual art, music). There was a significant tendency for synaesthetes to spend more time engaged in creative arts and this was, at least in part, dependent upon the type of synaesthesia experienced. For example, synaesthetes experiencing vision from music were far more likely to play an instrument than their other synaesthetic counterparts. There was no relationship between this tendency and the psychometric measures of creativity, but synaesthetes did outperform controls on one of the two psychometric measures (Remote Associates). We conclude that the tendency for synaesthetes to be more engaged in art is likely to have a different mechanism to psychometric measures of creativity, and that there is no direct link between them. Although synaesthetes may well perform better on some measures of creativity, we suggest that synaesthetes have better bottom‐up access to certain associations, but are not necessarily better able to use them flexibly (in divergent thinking).     

Experiences with the René Bloch "multidimensional art test"

The Multidimensional Drawing Test of René B l o c h is a little-known projective test method in psychological diagnosis. In a series of 30 pictures, free associations are recorded graphically, with a time limit of 60 seconds per picture. The test material consists of a DIN A 6 jotting pad and seven felt pens, red, orange, yellow, blue, brown, green, and black. The test results can be equated with statistically determined combined variables, and thus enable differential diagnosis distinction between acute and chronic schizophrenia, hebephrenia, "schizoaffective psychoses", and more especially, endogenous and other forms of depression. The test can also be used in psychotherapy.     

“… the art of shaping a democratic reality and being directed by it …”—philososophy of science in turbulent times

This article has three objectives: First, it revises the history of the reception of Ludwik Fleck??s monograph Entstehung und Entwicklung einer wissenschaftlichen Tatsache (1935, Genesis and Development of a Scientific Fact). Contrary to the established picture, Fleck??s book was largely discussed in the years before the outbreak of World War II. What becomes clear when reading these early reviews and especially Fleck??s comments to those written by representatives of Nazi Germany is, second, the political dimension of his epistemology. In this respect, Fleck??s emphasis on the genuinely democratic character of science will be discussed in some detail. And third, Fleck??s notion of ??Denkstil????thought-style??shall be examined more closely since, as we will claim, it can be understood as a notion indicating where the democratic dimension of science encounters its limits.     

Empathy and the aesthetic: Why does art still move us?

In this article I will argue for the affective-motivation (background affective attitude or orientation) hypothesis that incubates the aesthetic experience and sets the deep frame of our engagement with art. For this, I look at these microgenetic—early passages of (a) affective perception as mapped into the early emergence of tertiary qualities that underlie a sensorimotor synchronization—a coupling of action, emotion and perception via mirroring that result in dynamic embodied anticipatory control and a feeling of proximity/connectedness and (b) developmental passages that are characterized by spatiotemporal coordination and proximity of the self-other/interactive object and thus structure intentionality, shape experience, in an engaging world of action potentialities forming a background affective attitude. As I will argue these qualitative emergent layers provide the minimal for the aesthetic and the ‘feeling into’ empathy, or their phenomenological counterparts enable engaged, embodied perception and imagination underlying expressive symbolic communication in interpersonal settings but also for the possibility of art. These layers have an ‘echoing’ effect (pre-attentive) when we let ourselves to be ‘moved’ from within by art. The underlying mechanism could be found in the mirroring interface of the upcoming bottom-up and feeding forward anticipatory/predictive (top-down) function of the ‘embodied action’ representations that are affective, imitative and grounded in the body-affective matrix—carrying experiential affordances and keeping the intersubjective ties between spectator and beheld/object. Given the asymmetry on action tendency between them that affords the ‘subordination of the goal-directed action’ into to the means of the action’s unfolding, aesthetic experiences can go deeply back reconstructing the first level of emerging consciousness where both the aesthetic and ethic became actualities. This could be by itself deeply rewarding, amplifying the experience to the ‘edge’. This is a ‘hot’ cognition self-restructuring related to morality when facing the sufferings—so there might be something special bout art and negative emotions in relation to empathy.     

The Return of the Myth of the Mental∗

McDowell's claim that “in mature human beings, embodied coping is permeated with mindedness”,1 1. “What Myth?”, this issue, p. 339. suggests a new version of the mentalist myth which, like the others, is untrue to the phenomenon. The phenomena show that embodied skills, when we are fully absorbed in enacting them, have a kind of non‐mental content that is non‐conceptual, non‐propositional, non‐rational and non‐linguistic.

This is not to deny that we can monitor our activity while performing it. For solving problems, learning a new skill, receiving coaching, and so forth, such monitoring is invaluable. But monitoring what we are doing as we are doing it degrades performance to at best competence. On McDowell's view, there is no way to account for such a degradation in performance since the same sort of content would be involved whether we were fully absorbed in or paying attention to what we were doing.

McDowell claims that it is an advantage of his conceptualism that it avoids any foundationalist attempt to build up the objective world on the basis of an indubitable Given or any other ground‐floor experience. And, indeed, if the world is all that is the case and our minds are unproblematically open to it, all experience is on the same footing. But one must distinguish motor intentionality, and the interrelated solicitations our coping body is intertwined with, from conceptual intentionality and the world of propositional structures it opens onto. The existential phenomenologist can then agree with McDowell in rejecting traditional foundationalisms, while yet affirming and describing the ground‐floor role of motor intentionality in providing the support on which all forms of conceptual intentionality are based.     

To be at the tail of the lions or the head of the foxes?

Agents seeking an opportunity for profit often have to compete with others who pursue the same opportunity. When having to choose between a number of opportunities differing in their value and if individuals differ in their chances of outperforming others, the choice can be cognitively and emotionally demanding. We explore choice between opportunities using stylized Lions–Foxes games. In such a game, each of three players, with different odds of beating others, has to choose one of two contests that offer different rewards. After game theoretically analyzing the games, which we have experimentally employed, we report four experiments that vary in choice elicitation (repeated play or strategy method), in players' matching (random strangers or partners) and in rewards. Regarding contest choices, we found the choice of the higher value (and seemingly more prestigious) contest to be positively related to winning odds, contrary to what four out of the five (mixed, partially mixed, or pure) equilibria predict. Participants started out rather optimistic, with a large majority choosing the higher value option, but with experience, they approached the only viable of two pure strategy equilibria. Still, mixing continued via reacting to past play and outcome, apparently balancing dissatisfaction from choosing either contest.