What 4′33″ Is

What is John Cage's 4′33″? This paper disambiguates this question into three sub-questions concerning, respectively, the work's ontological nature, the art form to which it belongs, and the genre it is in. We shall see that the work's performances consist of silence (rather than containing environmental sounds), that it is a work of performance art (rather than music), and that it belongs to the genre of conceptual art. Seeing the work in these ways helps us to understand it better, and promises to assuage somewhat the puzzlement and irritation of those who are at first resistant to its charms.     

Perceptual flexibility is coupled with reduced executive inhibition in students of the visual arts

Artists often report that seeing familiar stimuli in novel and interesting ways plays a role in visual art creation. However, the attentional mechanisms which underpin this ability have yet to be fully investigated. More specifically, it is unclear whether the ability to reinterpret visual stimuli in novel and interesting ways is facilitated by endogenously generated switches of attention, and whether it is linked in turn to executive functions such as inhibition and response switching. To address this issue, the current study explored ambiguous figure reversal and executive function in a sample of undergraduate students studying arts and non-art subjects (N = 141). Art students showed more frequent perceptual reversals in an ambiguous figure task, both when viewing the stimulus passively and when eliciting perceptual reversals voluntarily, but showed no difference from non-art students when asked to actively maintain specific percepts. In addition, art students were worse than non-art students at inhibiting distracting flankers in an executive inhibition task. The findings suggest that art students can elicit endogenous shifts of attention more easily than non-art students but that this faculty is not directly associated with enhanced executive function. It is proposed that the signature of artistic skill may be increased perceptual flexibility accompanied by reduced cognitive inhibition; however, future research will be necessary to determine which particular subskills in the visual arts are linked to aspects of perception and executive function.     

ART AND CLIMATE CHANGE: CONTEMPORARY ARTISTS RESPOND TO GLOBAL CRISIS

This essay examines various contemporary artistic responses to climate change. These responses encompass multiple media and diverse philosophical and emotional forms, from grief and resignation to resistance, hope, and poignant celebration of spiritual value and natural beauty. Rejecting much of the terminology of current theory, the author considers the artworks in relation to interrelated and arguably unjustly discredited aesthetic and theological categories, namely, the sublime and the beautiful as well as the via negativa, the latter adapted from Thomas Aquinas by theologian Matthew Fox. Art's power is seen largely as the ability to “humanize” the science by rendering it emotionally, psychologically, and spiritually relatable to individuals. The broken relationship between humanity and nature seems related to the need for a renewed religious sense of integration with, and belonging to, the cosmos. Art might play a pivotal role in bringing this about.     

Using found poetry to illuminate the existential and posttraumatic growth of women with breast cancer engaging in art therapy

Arts-based research (ABR) is an expanding methodological genre, which adapts the tenets of the creative arts to make social science research accessible, evocative, and engaging. It crosses the boundaries of both art and science, but has made few inroads within the discipline of psychology. This article describes a pilot project examining how art-making shaped the trajectories of women diagnosed and treated for breast cancer. Using ABR as a way of distilling the findings, we demonstrate how experiences of existential and posttraumatic growth can be understood more intensely and profoundly through found poetry. Found poems (excerpts from interviews reframed as poetry) offer a richer, more meaningful, and potent evocation of themes than traditional coding categories. Poetry permits the voice of the participant to be more clearly heard and allows the reader to access deeper insights and understandings of the complexities of growth through adversity.     

Sleep of Reason: critical reflections on performance arts-based research as psycho-social commentary in expressive arts therapy praxis

This arts-based case study is a critical reflection on how performance art can be used as psycho-social commentary. It is an attempt to amplify arts-based inquiry using critical understandings of diverse and inclusive meaning making in expressive arts praxis and psychology. It examines the use of performance art in the expressive arts to understand psycho-social proximity to and complicity in dehumanization and structural racism. This arts-based research exists in the intersections of culture, race, the arts, and social commentary with the goals of learning how it facilitates awareness of psycho-social justice and how current uncritical expressive arts and psychology praxis and practitioners can perpetuate structural racism and racial trauma. It asserts performance art can be utilized as a catalyst for psycho-social transformation in creative ways.     

Fictionalism about musical works

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop a version of such an analysis in line with a broad commitment to philosophical naturalism.     

Hegel,Danto, Adorno,and the end and after of art

In this paper, I consider Adorno's claim that art is at, or is coming to, an ‘end’. I consider Adorno's account in relation to the work of Arthur Danto and G. W. F. Hegel. I employ Danto's account, together with two distinct interpretive glosses of Hegel's account, as heuristic devices in order to clarify both Adorno's own arguments, and the context within which they are being advanced. I argue that while Danto and Hegel see art as coming to an end autonomously, owing to art's successful realization of its governing principle, Adorno by contrast sees art as coming to an end heteronomously. Art's narrative is forcibly broken off, rather than completed. Adorno's account, indebted to Hegel, of art's commitment both to autonomy and the realization of ‘spiritual needs’ is explored in order to clarify how, on Adorno's view, this has happened to art; and why, precisely, he believes art is coming to an end.     

Nuanced aesthetic emotions: emotion differentiation is related to knowledge of the arts and curiosity

The ability to distinguish between emotions is considered indicative of well-being, but does emotion differentiation (ED) in an aesthetic context also reflect deeper and more knowledgeable aesthetic experiences? Here we examine whether positive and negative ED in response to artistic stimuli reflects higher fluency in an aesthetic domain. Particularly, we test whether knowledge of the arts and curiosity are associated with more fine-grained positive and negative aesthetic experiences. A sample of 214 people rated their positive and negative feelings in response to various artworks including positive and negative themes. Positive ED was associated with the embracing sub-trait of curiosity that reflects engagement and enjoyment of novelty and complexity, but was unrelated to artistic knowledge and perceived comprehension. Negative ED was associated with higher curiosity and particularly more knowledge of the arts. This relationship was mediated by appraised comprehension suggesting that deeper engagement with art, by those with more art knowledge, is associated with more fine-grained emotional experiences. This finding extends ED beyond well-being research and suggests that more nuanced emotional experiences are more likely for those with expertise in the arts and motivation for exploration.     

PHILOSOPHY AS A WAY OF LIFE TODAY

This essay discusses the possibility, relevance, and pertinence of a reactivation of philosophy as a way of life today on the basis of Pierre Hadot’s account and recent scholarly approaches to the topic. In the wake of John Sellars, it regards philosophy as a way of life as a metaphilosophical option that can still be applied today. The essay starts by addressing John Cooper’s criticism of philosophy as a way of life in the contemporary philosophical landscape and shows that, against the background of the model defined by Hadot, Cooper’s objections do not apply. It then illustrates the clear expression of the model in contemporary philosophy through the particular case of Nietzsche. It concludes by outlining some of the considerations that, in the wake of Hadot, Sellars, Michael Chase, and others, might persuade researchers, teachers, and academics to embrace philosophy as a way of life in their work and lives.     

WHAT IT TAKES TO LIVE PHILOSOPHICALLY: OR,HOW TO PROGRESS IN THE ART OF LIVING

This essay presents an account of what it takes to live a philosophical way of life: practitioners must be committed to a worldview, structure their lives around it, and engage in truth-directed practices. Contra John Cooper, it does not require that one’s life be solely guided by reason. Religious or tradition-based ways of life count as truth directed as long as their practices are reasons responsive and would be truth directed if the claims made by their way of life are correct. The essay argues that these three conditions can be met by progressors as well as sages. Making progress in how one acts in the world, and improving one’s understanding and direction through being part of a community is living a philosophical way of life. The offered view acknowledges more ways to develop the art of living and enables a broader range of people to count as living philosophically.