Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

The problem being considered in this paper is the alienation of the general viewer from contemporary art. Modern art has become less understandable than ever before to the non-art audience because it has, in many cases, ceased to deal with human-oriented subject matter, and has become detached from life. This paper examines ways in which modern art might be made more accessible to the world through the artists' use of emotion, intuition, intelligence, and other Humanistic elements as content for paintings. It contains a four-part proposal of what Humanist art is. The basic form is the use of rhetorical questions about modern art, leading one to more questions and to a broader, more open-minded attitude toward modern art.

This dissertation applies philosopher Henri Bergson's methodology and his ideas of duration and creativity to the definitional problem of art, particularly as formulated within analytic aesthetics. In mid-20th century, analytic aesthetics rejected essentialist definitions of art, but within a decade, two predominant definitions of art emerged as answers to the anti-essentialism of the decade prior: functionalism and proceduralism. These two definitions define art, respectively, in terms of the purpose that art serves and in terms of the conventions in place that confer the status of art onto artifacts. Despite other important definitions (including historical and intentionalist definitions), much of the literature in the analytic field of aesthetics center on the functional/procedural dichotomy, and this dichotomy is an exclusive one insofar as the two definitions appear incompatible with each other when it comes to art. I use Bergson's methodology to demonstrate that the tension between functionalism and proceduralism is an artificial one. In turn, abandoning the strict dichotomy between these two definitions of art opens the way for a more fluid conception of art. Using Bergson's application of duration and creativity to problems of laughter and morality, I draw parallels to what a Bergsonian characterization would entail.

This study examines how fanart users perceive image-generating AIs and AI fanart. The study examines ideas of agency by looking at themes in TikTok comment sections and discourses in AI fanart users’ communication when asked about AI fanart. Findings from the study illustrated how fanart users are confused about artist agency and AI fanart’s authenticity. Their ideas and arguments are contradictory and confusing. AI fanart is ultimately perceived as more exploitative than empowering by fanart users, presumably due to both fanart users’ subject position and AIs being a new emerging technology. The discussion of the analyses underlines different ways a contemporary technology, such as AIs, can impact the production of contemporary society and culture both positively and negatively depending on the actors involved. The findings furthermore exemplify how agency can be both enabled and limited by various agents and structures in the AI and fanart community. The conclusive results show that fanart users are unclear and confused about AI agency and AI fanart authenticity, which is mirrored in society. AI fanart may have both an exploitative and empowering nature but just which of the two will be dominant remains unclear and changeable.

Thesis (MPhil (Sociology and Social Anthropology))--University of Stellenbosch, 2008. / It has been said that anthropology operates in “liminal spaces” which can be defined as “spaces between disciplines”. This study will explore the space where the fields of art and anthropology meet in order to discover the epistemological and representational challenges that arise from this encounter. The common ground on which art and anthropology engage can be defined in terms of their observational and knowledge producing practices. Both art and anthropology rely on observational skills and varying forms of visual literacy to collect and represent data. Anthropologists represent their data mostly in written form by means of ethnographic accounts, and artists represent their findings by means of imaginative artistic mediums such as painting, sculpture, filmmaking and music. Following the so-called ‘ethnographic turn’, contemporary artists have adopted an ‘anthropological’ gaze, including methodologies, such as fieldwork, in their appropriation of other cultures. Anthropologists, on the other hand, in the wake of the ‘writing culture’ critique of the 1980s, are starting to explore new forms of visual research and representational practices that go beyond written texts.

"One of the most contentious issues in aesthetics is whether or not there can be truth in art. This is so because the question of the possibility of truth in art implicitly assumes two other fundamental questions: the nature of truth and the nature of human understanding. In his treatment of truth in art, Gadamer comes down roundly on the side of the possiblity of truth in art. In this thesis, I show how Gadamer's approval of truth in art hinges on his notion of hermeneutics and his belief in art's transformative power, and propose that his account of truth in art is still a viable and creative approach to the question today. After taking a look at the Kantian, Heideggerian, and Aristotelian background with which Gadamer is operating in his treatment of truth and art, I trace where this led Gadamer, specifically in the sense of his move to have aesthetics so closely connected to hermeneutics. Through interaction with work by Mary Devereaux, I highlight some concerns over Gadamer's use of tradition and of order as a fundamental feature of the artwork, and give an account of how those concerns may be addressed."

This paper centres in and around words. I have incorporated words into my recent work in a variety of ways including drawing, Letraset, sound and fiction writing. The philosophical questions which arise through any use of language and the various ways of adopting these questions and words within a 'visual art' context is considered in a number of ways. These include The Voyager Interstellar Space Mission which was humankind's first attempt to communicate with other hypothesized populations, conceptual word-incorporating artists, writers of fiction and philosophers within whose work can readily be found an extreme vigilance towards language. Alongside this word exploration I will consider other processes through which I've made and continue to make, works of art. These processes include drawing and film/video. My drawings (which sometimes include words) will be addressed in terms of a crossover between the drawn line and words found in Raymond Carver's story Cathedral. This story made me think about what it means to 'be led' by somebody and how I'm led (by myself or perhaps those mysterious 'populations' the Voyager team of thinkers had in mind) when drawing. It also marks an interesting point in my discussion of a state of being 'without words.' In addition to words an important focus in this paper are the windows through which I've spent a lot of 'my life' looking at 'life pass by' (which are in many ways a physical reality corresponding to the metaphorical 'frame of language'). The time I've spent looking out windows over the past few years has resulted in. several film and video pieces in addition to my latest work (presented as the appendix of this paper) which comprises of a series of short stories. The paper opens with a quote by German philosopher Martin Heidegger: "Language is the house of Being. In its home man dwells." The enigmatic broadness of this statement is appropriate to the apprehensive and cautious attitude towards words found throughout the paper (also it mentions 'house' which immediately brings to my mind 'windows')

Orientador: Oswaldo Giacoia Junior / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciiêcias Humanas / Made available in DSpace on 2018-08-17T11:40:25Z (GMT). No. of bitstreams: 1 Rabelo_RodrigoCumpre_D.pdf: 2368471 bytes, checksum: fff7509f5292c93e001c9735b4a2cc2d (MD5) Previous issue date: 2011 / Resumo: O intuito do presente trabalho é procurar, na filosofia de Friedrich Nietzsche, respostas à seguinte linha de questionamento: o que esperar da atividade artística, no plano existencial concreto? Qual é, e/ou qual pode, e/ou qual deve ser a natureza e a extensão do papel da arte na vida humana? A arte parece tão importante no contexto de sua filosofia que muitos estudiosos, notadamente em língua inglesa, chegam a lhe imputar o rótulo de esteticismo. Perceber o que significa dizer isso constitui uma etapa decisiva do presente trabalho. Para tanto, faz-se necessária uma exegese do conceito de arte no pensamento nietzscheano. Aí se determina o primeiro problema no estabelecimento desse inquérito: onde, no amplo, profundo e rico mundo de Nietzsche, focalizar tais indagações e expectativas? Pois a resposta acerca de qual a natureza do conceito de arte no pensamento nietzscheano não teria como ser unívoca: depende, antes de mais, do momento ao qual se escolha se referir, dentro da totalidade da obra por ele legada ?considerando impraticável, respeitando os limites de uma Tese de Doutoramento, analisar o problema ao longo de toda sua obra?. Escolho enfocar preferencialmente o arco mais maduro da obra nietzscheana: de ?A gaia ciência? a ?Ecce homo?. Segundo minha Tese, Nietzsche não rompe com a instrumentalização filosófica da arte ?segundo as mesmas razões pelas quais que ele não propõe, com seu pensar maduro, um esteticismo (conforme demonstro)?. Nesse sentido, Nietzsche é continuador daquela tradição, na medida mesma em que é filósofo, e não esteta ou historiador da arte. Para Nietzsche, aquilo que distingue e eleva a arte e o artista autênticos é aquilo mesmo que ele descreve como sendo a função da arte para o pensador da gaia ciência, para o crítico do ascetismo: a boa consciência para com a aparência. Ao fim e ao cabo, a filosofia nietzscheana não libera a arte da Filosofia, nem a valoriza como um fim em si mesmo. Porém: poderia ela, de alguma forma, vir a proporcionar tal liberação e valoração? Num certo sentido, parece-me que este poderia ter sido, ao menos, um caminho de desenvolvimento de suas idéias, que Nietzsche escolheu não tomar. / Abstract: The purpose of this study is to question the philosophy of Friedrich Nietzsche in search of answers to the following line of questioning: what to expect from the artistic activity, in the concrete existential plane? What is and/or what can and/or what should be the nature and extent of the role of art in human life? Art seems to be so important in the context of his philosophy that many scholars, especially in the English language community, tend to impute it the label of aestheticism. To understand what such statement really means is a decisive step in the present work. Therefore, it is necessary to proceed to an exegesis of the concept of art in Nietzschean thought. That determines the first problem in establishing such an investigation: where, in the wide, deep and rich world of Nietzsche, to focus such questions and expectations? For the answer about the nature of the concept of art in Nietzschean thought would not be unambiguous: it depends, above all, on the moment to which one chooses to refer, in the totality of his work ?considering to be impractical, as I do, to analyze the whole of the problem throughout it, if one is due to respect the boundaries of a PhD Thesis. Therefore, I choose to focus mainly on the more mature arch of Nietzsche's works: from "The Gay Science" to "Ecce homo". This happens in the last movement of this work, entitled ?Ulterior considerations: toward the existential function of art?. According to my Thesis, Nietzsche does not break with philosophy's instrumentation of the art ?due to the same reasons according to which he does not propose an aestheticism his mature thinking (as I demonstrate) ?. In this sense, Nietzsche is follower of that tradition, to the extent that it is a philosopher and not an aesthete or an art historian. For Nietzsche, what distinguishes and elevates authentic art and artist is the same thing he uses to describe art's function to the thinker of the gay science and the critic of asceticism: the good conscience toward appearance. After all, Nietzsche's philosophy does not release art of philosophy, nor values it as an end in itself. However: could it, somehow, come to provide such a release and valuation? In a sense, it seems to me that this could have been at least one way of developing his ideas, that Nietzsche chose not to take. / Doutorado / Historia da Filosofia Contemporanea / Doutor em Filosofia

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Much has been said about what artists experience when they make visual art individually, but less has been said about what artists experience when they make art together. The study is based on the author’s perception, elaborated below, that artistic co-creation in the visual arts seems to be regarded as less valuable than individual artistic creation. To explore and richly describe the experience of artistic co-creation from the perspective of artists themselves, I initially invited three duos of artists to create visual art together in an experimental, time-bound co creation. After the onset of COVID-19, however, I amended the study by inviting participants to co-create art by virtually passing pieces of art to one another. I then interviewed them about their experience. Guided by a phenomenological approach, I conducted semi-structured interviews using questions sourced from the study purpose and related research questions. These interviews, held periodically through the co-creative project, sought to uncover the emergent themes of the experience of artistic co-creation. After reviewing the transcripts from these interviews, I created a representative written likeness of each duo experience, called a portrait, using the qualitative modes of portraiture. Six themes emerged from these portraits in the ways the artists reflected on their experiences of creating art together, including: moments of relationship and connection in the process of co-creation, the context and structure of the experiment, seeing experiences differently in the process of co-creation, finding agreements between the perspectives of the co-creators, developing creative rhythms based on temporal parameters, and learning in the partnership of the project. I did not begin this study with a formally-articulated conceptual framework, but I was influenced in my thinking by Basquiat and Warhol’s relationship and subsequent collaborative artworks. This research contributes to the literature in key areas by examining existing assumptions about the value of artistic co-creation in the visual arts.