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.     

How do teachers think about pluralism in a Jewish Community School?

Pluralism is a notion that regularly appears in education literature regarding social injustice or teaching for democracy. Over the last decade, a new type of Jewish Day School has emerged, the Jewish Community School. These Jewish Community Schools distinguish themselves by adopting pluralism as one of their core values. What is unclear is how teachers within such a school think about the notion of pluralism. This case study describes and analyses the way that members of a Jewish Studies faculty in one Jewish Community High School thinks about pluralism and the pedagogical implications of this thinking.     

Triangulating Creativity: Examining Discrepancies Across Self-Rated,Quasi-Expert-Rated and Verbalized Creativity in Arts-based Learning

This convergent mixed methods study examined the triangulation of self-rated, quasi-expert-rated and verbalized creativity in students enrolled in a year-long photography program. The quantitative data included self-report scales in creativity, and ratings of creativity in students’ photography. The qualitative data included student interviews reflecting on their photographs and verbalizing their beliefs about creativity. The data were first analyzed separately and then merged for analysis to determine possible relationships between these three data sources. Merging quantitative and qualitative data highlighted two key discrepancies between students’ actual creative performance and their perceptions as creative individuals. Possible explanations of these disceprancies are discussed in light of research on creative self-efficacy and creative mindsets.     

A Forward Bias in Human Profile-Oriented Portraits

The spatial composition of human portraits obeys historically changing cultural norms. We show that it is also affected by cognitive factors that cause greater spontaneous attention to what is in front rather in the back of an agent. Scenes with more space in front of a directed object are both more often produced and judged as more aesthetically pleasant. This leads to the prediction that, in profile-oriented human portraits, compositions with more space in front of depicted agents (a “forward bias”) should be over-represented. By analyzing a large dataset (total N of 1,831 paintings by 582 unique identified European painters from the 15th to the 20th century), we found evidence of this forward bias: Painters tended to put more free space in front of, rather than behind, the sitters. Additionally, we found evidence that this forward bias became stronger when cultural norms of spatial composition favoring centering became less stringent.     

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.     

Ethnography and Jewish Ethics

This essay offers a Jewish approach to ethnography in religious ethics. Following the work of other ethnographers working in religious ethics, I explore how an ethnographic account of reproductive ethics among Haredi (ultra‐Orthodox) Jewish women in Jerusalem enhances and improves Jewish ethical discourse. I argue that ethnography should become an integral part of Jewish ethics for three reasons. First, with a contextual approach to guidance and application of law and norms, an ethnographic approach to Jewish ethics parallels the way ethical decisions are made on a daily basis in Jewish communities. Second, ethnography bolsters the voices of those involved in ethical discourse. Third, ethnography facilitates the bridge between local ethical questions and global ethical discourse.     

Law,Ethics, and the Needs of History: Mendelssohn,Krochmal, and Moral Philosophy

Although the role of ethics in modern Jewish thought has been widely explored, major works by foundational philosophers remain largely absent from such discussions. This essay contributes to the recovery of these voices, focusing on the Hebrew writings of Moses Mendelssohn (1729–1786) and Nachman Krochmal (1785–1840). I argue that these texts reveal the existence of a shared ethical project animating these founding philosophical voices of Jewish modernity, and that reconstructing their claims contributes to broader conversations about the relationship between ethics and law. Mendelssohn and Krochmal present Jewish law as addressing needs emerging from the history of moral philosophy—from the modern histories of Platonic and Aristotelian ethics. Moreover, my reading highlights these thinkers’ ongoing relevance, suggesting that their work illuminates the role of law in ethical cultivation.     

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.