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.     

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.     

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.     

The Creative Dilemma: The Influence of Schiller''s Aesthetics on the Life and Work of Otto Rank

The impact of philosophical wisdom on the pioneers of psychoanalytic work is presented in this article, in particular the influence of Schiller's aesthetics on the theoretical and clinical work of Otto Rank. The essay will compare and contrast Schiller's major themes—in particular his notions of the aesthetic impulse, will, and his concept of harmonia—with aspects of Rank's contributions, namely, his notions of creativity and the art of living. Drawing from Schiller's aesthetic vision, Rank's notion that art and play are foundational sources for healing is described in the author's own clinical work.     

Art within analysis: scapegoat, transference and transformation

Through clinical example and pictorial illustration, the author examines ways in which art offers a particular means of psychological transformation in states which may otherwise be in expressable. A transference to the art work itself is proposed. It is submitted that, mediated within the transference/ countertransference dynamic, this 'scapegoat transference' facilitates a particular process of psychological differentiation. The aesthetic qualities of art presented within analysis will resonate with other countertransference affects. Clinical material demonstrates how observation of this--aesthetic countertransference--leads to a distinction between the 'diagrammatic' and the 'embodied image. The process of integration of shadow material is furthered by the temporary safe-keeping of the art work by the analyst.     

On the Art of Finding Arguments: What Ancient and Modern Masters of Invention Have to Tell Us About the "Ars Inveniendi"

This paper deals with what has been called "ars inveniendi" (art of finding) in antiquity, medieval and early modern times. A survey of different techniques of finding tenable and relevant arguments is presented (among them, the Topical tradition, Status theory, Debate theory, Encyclopedic systems, Creativity techniques). Their advantages and disadvantages are critically compared. It is suggested that a mixture of strategies of finding arguments should be used. Finally, a few remarks showing the relationship beween the strategies of finding arguments and creativity in general are given.     

Re-Collection in Existential Psychotherapy with Couples and Families Dealing with Death

Re-collection is a treatment dynamic in existential family therapy in which the client family is helped to remember and honor meanings that family members have previously actualized and deposited in the past. This shrinks the family meaning vacuum and those symptoms and problems that grow and flourish in a family meaning vacuum. In this article, an existential orientation to re-collection with families who are dealing with the death of a loved one is presented, described, and illustrated with case material.     

Elements of a counter‐exhibition: Excavating and countering a Canadian history and legacy of eugenics

Into the Light, a recently mounted collectively curated museum exhibition, exposed and countered histories and legacies of 20th‐century “race betterment” pedagogies taught in Ontario's postsecondary institutions that targeted some groups of people, including Anishinaabe, Black, and other racialized populations, and disabled and poor people, with dehumanizing ideas and practices. This article advances understandings of the transformative potential of centralizing marginalized stories in accessible and creative ways to disrupt, counter, and draw critical attention to the brutal impacts of oppressive knowledge. The “counter‐exhibition” prioritized stories of groups unevenly targeted by such oppression to contest and defy singular narratives circulating in institutional knowledge systems of what it means to be human. The authors draw on feminist, decolonial and disability scholarship to analyze the exhibition's curation for the ways it collectively and creatively: (1) brought the past to the present through materializing history and memory in ways that challenged archival silences; and (2) engaged community collaboration using accessible, multisensory, multimedia storytelling to “speak the hard truths of colonialism” (Lonetree) while constructing a new methodology for curating disability and access (Cachia). The authors show how the exhibition used several elements, including counter‐stories, to end legacies of colonial eugenic violence and to proliferate accounts that build solidarity across differences implicated in and impacted by uneven power (Gaztambide‐Fernández).     

The authority of pleasure

The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non‐contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes their aesthetic evaluation and appreciation. This is why and how art is non‐contingently related to pleasure. Call this, the Affective View. While I don't advance conclusive arguments for the affective view in this paper, I aim to reassess its prospects by (1) undermining central objections against it, (2) dissociating it from hedonism about the value of artworks (the view that this value is grounded in, and explained by, its possessors’ power to please), and (3) introducing some observations on the practice of art in support of it. Given that the objections I discuss miss their target, and given the observations in support of it, I conclude that the affective view is worth serious reconsideration.