Of Art and Blasphemy

What does philosophy have to say about the argument that blasphemous art ought not to be publicly displayed? We examine four concepts of blasphemy: blasphemy as offence, attack on religion, attack on the sacred, attack on the blasphemer himself. We argue all four are needed to grasp this complex concept. We also argue for blasphemy as primarily a moral, not a religious concept. We then criticise four arguments for the public display of blasphemous art: it may be beautiful, provocative, devoutly intended, and is autonomous of religious concerns. Finally, we discuss the notions of blasphemy and blasphemous art as public offences. We conclude that the display of blasphemous art is a public, and not merely a private moral offence, and that there are respectable philosophical arguments for this conclusion.     

Neurobiological foundations of aesthetics and art

A theory of the neurobiological foundations of aesthetics and art is described. This has its roots in emotion, in which what is pleasant or unpleasant, a reward or punisher, is the result of an evolutionary process in which genes define the (pleasant or unpleasant) goals for action. To this is added the operation of the reasoning, syntactic, brain system which evolved to help solve difficult, multistep, problems, and the use of which is encouraged by pleasant feelings when elegant, simple, and hence aesthetic solutions are found that are advantageous because they are parsimonious, and follow Occam's Razor. The combination of these two systems, and the interactions between them, provide an approach to understanding aesthetics that is rooted in evolution and its effects on brain design and function.     

A new theory on children's drawings: Analyzing the role of emotion and movement in graphical development

The aim of this paper is to develop a new understanding of children's drawings and to provide ideas for future research in early childhood. Starting from classic theories on child graphical development, we proceed to analyze them and provide our own views on the subject. We will also recount a number of relevant empirical studies that appear to validate our theory. Our belief is that emotion and self-expression through movement play a key role in the development of child art, and that this may be already visible during the scribbling stage of drawing.     

A field is to play. Enacting mental images of the soundscape

The article mainly focuses on the presentation of “A field is to play”, a collaborative and interactive installation dedicated to the recording and the reenacting of the relationship between the inhabitants of Mazama, WA – a small community in the USA – and their sonic environment. Through multimedia local interactions, enaction and emplacement, the project aimed to give expression to the many, individual and socially constructed, mental images of the local soundscape. A physical, interactive audio installation presented excerpts from individual interviews, emplacing and activating such mental representations, to merge them back into the environment. The artistic intervention was conceived as a localised process, acting through an engagement with publics. The soundscape itself, and its mental representations, were manipulated both as relational media, and subject matter. The presentation is preceded by three sections that introduce the theoretical context at the origin of the installation starting from urban theory in architecture, to the role of public art up to the discussion around the topic of soundscape, in a path from the most general issues to those more related to the specific character of the installation. The conclusion pulls together the theoretical and the applied sections and offers some response to the questions raised in the introduction. Through a theoretical engagement with the installation, it asks the reader to rethink the relationship between sound, memory and mental images.     

Art,Ethics, and Critical Pluralism

Those who have views about the relation between aesthetic and ethical value often also have views about the nature of art criticism. Yet no one has paid much attention to the compatibility of views in one debate with views in the other. This is worrying in light of a tension between two popular kinds of view: namely, between critical pluralism and any view in the art and ethics debate that presupposes an invariant relation between aesthetic value and ethical value. Specifically, the tension with invariance arises insofar as critical pluralism accommodates the aesthetic value of interpretive richness, including the aesthetic value of ethically conflicted interpretive richness. Given this tension, a shift of focus is needed in the art and ethics debate; from specifying the criteria for the aesthetic relevance of a work's ethical qualities to defending the fundamental nature of the aesthetic‐ethical value relation.     

Learning the Church: ecclesiological thought and ecclesial practice

This article illustrates how the ecclesiological ideas developed by Professor Daniel Hardy (1930–2007) have been received and used in the life of the Church of England's Diocese of Coventry. It highlights the importance of theological engagement for those in a position of oversight and leadership in the Church, and goes on to connect Hardy's language of intensity and extensity with the story, structure and ethos of Coventry Cathedral in general, and with the iconic Stalingrad Madonna in particular, illustrating the rich synthesis that can be achieved between systematic ecclesiology and the central ethos of a church. The article goes on to argue that certain practices in the Church of England in general, and Coventry Diocese in particular, resonate well with Hardy's idea of ‘socio-poiesis’. These include the nurture of virtuous ecclesial practice and use of measurement in parish life (notably through ‘Natural Church Development)’, the new form taken by ecumenism in British cities and the role of the Bishop within it, as well as the embeddedness of the Church of England in many of the nation's schools. In relating Hardy's key themes to these concrete practices, this article challenges the stale division between Church and Academy, advocating fruitful and animating dialogue between the two as the best response to the challenges faced by each today.     

Accessing Digital Images

SUMMARY

This article discusses sources for and issues related to digital Christian art images available on the Internet. An annotated list of relevant Web sites is listed, along with advice on how to locate specific images. Also included in the article are discussions of vocabulary, fact verification, and copyright issues.     

The Senses Considered as Perceptual Systems,by J. J. Gibson

This paper examines the relationship of Jean-François Lyotard’s aesthetics to phenomenology, especially the works of Mikel Dufrenne and Maurice Merleau-Ponty. It argues that this comparison allows a greater understanding of Lyotard’s late aesthetic writings, which can appear gnomic and which have received relatively little critical attention. Lyotard credits Merleau-Ponty with opening the theme of difference in the aesthetic field, yet believes that the phenomenological approach can never adequately account for it. After outlining Lyotard’s early critiques of Dufrenne and Merleau-Ponty, the paper will demonstrate how his late aesthetics can be understood as returning to phenomenological themes but in the form of a reversal. Lyotard’s “lesson of darkness” is that the secret power of art can never be brought into the light of phenomenal appearance, and that artworks do not testify to the birth of perception, but to its death and resurrection.     

Necessity of origins and multi-origin art

The Necessity of Origins is the thesis that, necessarily, if a material object wholly originates from some particular material, then it could not have wholly originated from any significantly non-overlapping material. Several philosophers have argued for this thesis using as a premise a principle that we call ‘Single Origin Necessity’. However, we argue that Single Origin Necessity is false. So any arguments for The Necessity of Origins that rely on Single Origin Necessity are unsound. We also argue that the Necessity of Origins itself is false. Our arguments rely on a thesis in the ontology of art that we find plausible: Multi-Work Materialism. It is the thesis that works of art that have multiple concrete manifestations are co-located with those manifestations.     

Solving Wollheim's Dilemma: A Fix for the Institutional Definition of Art

Richard Wollheim threatened George Dickie's institutional definition of art with a dilemma which entailed that the theory is either redundant or incomprehensible and useless. This article modifies the definition to avoid such criticism. First, it shows that the definition's concept of the artworld is not vague when understood as a conventional system of beliefs and practices. Then, based on Gaut's cluster theory, it provides an account of reasons artworld members have to confer the status of a candidate for appreciation. An authorised member of an artworld has a good reason to confer the status on an object if it satisfies a subset of criteria respected as sufficient within this artworld. The first horn of the dilemma is averted because explaining the reasons behind conferral cannot eliminate references to the institution, and the second loses its sharpness, as accepting partial arbitrariness of the conferral does not deprive the theory of its explanatory power.