scholarly journals The Return to Kalokagathia: Curating as Leverage in the Ongoing Dialogues between Aesthetics and Ethics

Philosophies ◽  
2020 ◽  
Vol 5 (4) ◽  
pp. 29
Author(s):  
Suzana Milevska
Keyword(s):  
Art Criticism ◽  
Art World ◽  
Art Theory ◽  
Ancient Greek ◽  
The West ◽  
Ethical Concerns ◽  
Catalyst Potential ◽  
Ethical Responsibilities

This essay argues that curating brought back a kind of leverage that redressed the otherwise imbalanced relationship between aesthetics and ethics. Curating lends out to art its innocent and aspirational belief in such a balance because the ethical concerns in art theory and art criticism have long been toned down while form was prioritized over content. Ever since the curatorial profession created its own niche in the art world—started, for example, in the West, in the late 1960s with curators such as Siegelaub, Szeemann, or Lippard—curating began to mediate this relationship, thus helping to activate the catalyst potential of art without having to compromise its formal aspects. More specifically, this essay explores the ways in which theories and practices of curating brought back to mind the ancient Greek notion of kalokagathia, the intertwinement of aesthetics and ethics and, with it, other ethical responsibilities, principles, and values that art forgot to address while giving privilege to its formal aspects.

scholarly journals La educación artística como configuración de lo contemporáneo en el arte

2018 ◽  
pp. 149
Author(s):  
Daniel Montero
Keyword(s):  
Contemporary Art ◽  
Art Criticism ◽  
Art World ◽  
Art Theory ◽  
Palabras Clave ◽  
Or Practice ◽  
Art Research ◽  
Global Art ◽  
Art Schools ◽  
Arte Contemporáneo

Resumen: El siguiente texto es una reflexión personal que parte de mi experiencia profesional como investigador en historia y crítica de arte, así como de mi labor docente en escuelas de formación artística en niveles de licenciatura y posgrado y que permite pensar en cómo es que tanto la teoría, la historia y las prácticas del arte coinciden necesariamente. Se argumenta, en general, que la noción de arte contemporáneo, más que un estilo o una moda, es un espacio de experimentación que puede ser aprovechado en las escuelas de arte como un lugar para pensar en cómo es que se percibe la realidad inmediata y cómo es que se pueden singularizar ciertas experiencias de una manera única, de forma muy diferente a cualquier otra disciplina. En ese sentido, y al contrario de lo que se podría esperar por las reglamentaciones y tradiciones que lo predeterminan, el espacio académico se convierte a su vez en un lugar en que la práctica del arte puede escapar y empezar a dialogar de otra forma con la institucionalidad del mundo del arte global y de ciertas maneras de hacer que se han convertido en códigos fácilmente comprensibles. Así, la noción de arte contemporáneo incorporada a la escuela podría incluso cuestionar las mismas bases del conocimiento artístico permitiendo cierta movilidad de los sujetos, así como de las prácticas. Palabras clave: Investigación artística, Arte contemporáneo, Arte crítico, Escuela de arte, Formación artística.   Abstract: The following text is a personal reflection from my professional experience as a researcher in arte history and art criticism, as well as from my teaching work in art schools at undergraduate and graduate levels. That allows me to think about how the art theory, art history and practice of art necessarily coincide. It is argued, in general, that the notion of contemporary art, rather than a style or a fad, is a space for experimentation that can be used in art schools as a place to think about how it is perceived the immediate reality and how it is that you can single out certain experiences in a unique way, very differently from any other discipline or practice. In that sense, and contrary to what could be expected by the regulations and traditions that predetermine it, the academic space becomes a place where the practice of art can escape the institutionality of the global art world and of certain ways of doing that have become easily understandable codes. Thus, the notion of contemporary art incorporated into the school could even question the very foundations of artistic knowledge allowing certain mobility of the subjects, as well as of the practices. Keywords: Art research, Contemporary art, Critical art, School of art, Artistic education.   http://dx.doi.org/10.7203/eari.9.11492

Levantine Art in the “Orientalizing” Period

2019 ◽  
pp. 369-383
Author(s):  
Marian H. Feldman
Keyword(s):  
Twentieth Century ◽  
Cultural Relations ◽  
Ancient Greek ◽  
The West ◽  
False Dichotomy ◽  
First Millennium

The “Orientalizing period” represents a scholarly designation used to describe the eighth and seventh centuries bce when regions in Greece, Italy, and farther west witnessed a flourishing of arts and cultures attributed to contact with cultural areas to the east—in particular that of the Phoenicians. This chapter surveys Orientalizing as an intellectual and historiographic concept and reconsiders the role of purportedly Phoenician arts within the existing scholarly narratives. The Orientalizing period should be understood as a construct of nineteenth- and twentieth-century scholarship that was structured around a false dichotomy between the Orient (the East) and the West. The designation “Phoenician” has a similarly complex historiographic past rooted in ancient Greek stereotyping that has profoundly shaped modern scholarly interpretations. This chapter argues that the luxury arts most often credited as agents of Orientalization—most prominent among them being carved ivories, decorated metal bowls, and engraved tridacna shells—cannot be exclusively associated with a Phoenician cultural origin, thus calling into question the primacy of the Phoenicians in Orientalizing processes. Each of these types of objects appears to have a much broader production sphere than is indicated by the attribute as Phoenician. In addition, the notion of unidirectional influences flowing from east to west is challenged, and instead concepts of connectivity and networking are proposed as more useful frameworks for approaching the problem of cultural relations during the early part of the first millennium bce.

scholarly journals Art Criticism and the State of Feminist Art Criticism

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 28
Author(s):  
Katy Deepwell
Keyword(s):  
Women Artists ◽  
Art Criticism ◽  
The State ◽  
Art World ◽  
Feminist Art ◽  
The Gaze ◽  
The Third ◽  
Fourth Part ◽  
State Of Art ◽  
First Offers

This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.

scholarly journals #ForYou: The User’s Perspective on How TikTok Recommends Videos

2020 ◽  
Author(s):  
Marco Scalvini
Keyword(s):  
Thematic Analysis ◽  
Recommendation System ◽  
Safe Space ◽  
Self Identity ◽  
Ethical Concerns ◽  
Private Data ◽  
The Impact ◽  
Social Causes ◽  
Depth Interviews ◽  
Ethical Responsibilities

<p>The current study is aimed at understanding the impact of TikTok’s recommendation system. The algorithm is perceived as very efficient in targeting users but raises several ethical concerns regarding the ability to manipulate users’ experience and the extent to which private data and preferences are respected. Utilizing the data collected from 40 in-depth interviews, this study explores: How do users perceive TikTok’s ethical responsibilities in regard to their algorithmic recommendation system? Furthermore, the analysis discusses and evaluates the tension between a) how the platform’s algorithm feeds users similar videos that they highly appreciate; and, inversely, b) how the diversification of recommendations is limited. A thematic analysis shows interviewees describe TikTok as a safe space where users can be themselves and feel included in a community of people interested in posting content to connect and engage meaningfully beyond difference. However, the algorithm is perceived as harmful because it tries to manipulate and drive users towards specific videos that increase their ‘addiction’ to the platform. Interviewees consider some of the recommendations on the ForYou page to be questionable because they aimed at persuading or nudging in favor of particular hashtags and social causes. This contradiction may partly be explained by the fact that interviewees report their rationalizations in a performative manner in order to avoid feelings of dissonance while attempting to relate to their own self-identity. This observation leads to the idea that the concept of mediated diversity can explain the tension between the expectation of similarity and diversity. </p>

Excavations at Halos

1912 ◽  
Vol 18 ◽  
pp. 1-29 ◽  
Author(s):  
A. J. B. Wace ◽  
M. S. Thompson
Keyword(s):  
Ancient Greek ◽  
The West ◽  
The Hill ◽  
The City ◽  
Limestone Hill

Although one of the smaller and less well-known cities in Thessaly Halos in Achaia Phthiotis has played an important part in history. Tradition attributes its origin to Athamas, and its position guarding the coast route between Othrys and the sea into the Spercheios valley, brought it on several critical occasions into prominence. In 480 B.C. together with the rest of Thessaly it submitted to Xerxes without a struggle, but in 346 B.C. it withstood a long siege by Philip and Parmenio. Some mediaeval and Turkish fortifications on the ancient Greek acropolis show that its strategic importance continued down to the last century. The walls which surrounded the city in the plain and the citadel on the hill to the west can still be traced, but of the city itself nothing is now visible. The acropolis is the last peak of the projecting spur of Othrys, which running down towards the bay of Halmyros shuts off the plain of Sourpe from that of Halmyros. This is now a bare limestone hill covered with scrub, and whatever may exist in the plain is hidden beneath the cultivated fields.

Music

2009 ◽  
Author(s):  
Frank Burch Brown
Keyword(s):  
Emotional Response ◽  
Religious Studies ◽  
Spiritual Life ◽  
Ancient Greek ◽  
The West ◽  
Greek Myth ◽  
Historical Perspectives ◽  
The Arts ◽  
Comparative Religions ◽  
Insight Into

Music has often been regarded as the most directly emotional of the arts and the art most intimately involved with religious and spiritual life. In the endeavor to understand music's relation to emotion and religion, a variety of approaches and disciplines are relevant. There are, for example, scientific and psychological studies that can yield insight into the character of musical and emotional response, and of music's access to the affective life. Thus, multiple disciplines are pertinent, from musicology (including ethnomusicology) and history to philosophy, psychology, and various branches of religious studies, particularly theology and comparative religions. This essay deals with historical perspectives, major theories, and current issues regarding music, emotion, and religion. It begins by considering classic and exceptionally enduring images and ideas of music, including the ancient Greek myth of Orpheus. It then considers musical ethics and metaphysics in the West from antiquity through the Renaissance. The essay also examines remaining issues and unresolved tensions about music, emotion, and religion.

Art Periodicals and Contemporary Art Worlds (Part I): A Historical Exploration

ARTMargins ◽  
2016 ◽  
Vol 5 (3) ◽  
pp. 35-61 ◽  
Author(s):  
Gwen L. Allen
Keyword(s):  
Art Criticism ◽  
American Art ◽  
Online Media ◽  
Art World ◽  
Art Worlds ◽  
Little Magazines ◽  
The North ◽  
Distribution Form ◽  
The 1960S

This essay explores the role of art periodicals in art worlds past and present. It examines the histories of Artforum and October within the context of the North American art world of the 1960s and 1970, and contextualizes these publications within a larger field of publishing practices, including self-published Salon pamphlets, little magazines, and artists' periodicals. It explores how the distribution form of the periodical affects the politics of art criticism, and considers how art magazines have served as sites of critical publicity, mediating publics and counterpublics within the art world. It also reflects on the role of magazines and newer online media in the contemporary, globalized art world.

Modern art history as a human science in a situation of cultural turn

2019 ◽  
Vol 11 (3) ◽  
pp. 94-106
Author(s):  
Nikolai A. Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Linguistic Turn ◽  
Self Protection ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

Modern art history as a human science in a situation of cultural turn

2019 ◽  
Vol 11 (1) ◽  
pp. 82-98
Author(s):  
Nicolai A. Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Linguistic Turn ◽  
Self Protection ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

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