Aesthetic Investigations (E-Journal, Dutch Association of Aesthetics)
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Painting (in) the imperative form: an exploration of instruction painting
Get PDFThrough my role as artist-curator I hope to have presented a public contemplation of how a painting might perform and instruct, to test the relationship between conceptual and painting practice, and collectively ask: what is imperative to painting
The Experimental Art of Noel Harding: At the Intersection of Nature and Technology
Get PDFUntil his death in 2016, artist Noel Harding demonstrated continual growth from fairly traditional art objects to large-scale, public sculptures bordering on urban planning. Detailing three major works, this article reveals the artist\u27s conscious move away from art contained within galleries to open-air installations created with environmental stewardship in mind. Projects from Harding\u27s final years affected real change in the community through ongoing audience participation and the actions of many. By uniting the community together with technological and natural forces, Harding\u27s practice ultimately demonstrated that an ecological focus is possible without shunning modernity
Introducing a painter\u27s opinion into the discussion about visual perception and painting
Get PDFThe artistic vision and artistic painting have been a topic of numerous discussions in phenomenology and neurosciences. I will try to introduce the painter´s opinion, which I have gained through practice, into the discussion. I’ll be aiming at: distinguishing the painting experience from the painting observation experience; distinguishing vision from cognition; and the manifestation of the visible on the canvas. I also propose the possibility of gaining a dignifying awareness of the self and of the perception through the painting, for both the painter and the observer
An Old Dog Rants Backwards: 1
Get PDFThose familiar with my more general views will be unsurprised to find me ranting about the need to find philosophical room for the normative, as well as the causal. In this respect, this typical thread in my ranting aligns in effect with two points made by Frege (1984 p. 351) in noting that “[e]rror and superstition have causes just as much as correct cognition.” Now, it seems to me that in the fairly recent past there has arisen a new way of making a similar mistake
Reversed Essentialism
Get PDFTreating exceptional cases as marks of an essence is as bad as essentialism. I suggest we understand art as a practice, not as something we could, or should find the eternally necessary and sufficient conditions of
Reanimation and Copyright. Rob Scholte’s Work. Part II
Get PDFA viable way to defend the rights of later picture makes to use and change the works of their predecessors is by reference to the artistic merit of the later works. Rob Scholte intentionally infringes on copyright law by making new works, and it is the artistic merit of his work that should give him that liberty
A Letter to Jeffrey Steele
Get PDFIn this letter, Steele\u27s work and Cavell\u27s and Wollheim\u27s positions on art are discussed
Imagine that! A conversation with John Stezaker
No full textJohn Stezaker, one of the most prolific collage artists of our time in conversation with Yuval Etgar about the distinction between photomontage and photo-collage, and the role of found photographic materials from the dawn of the digital age in the late 1970s to the present day
Philosophy and Aesthetics Inform Science: illuminating the complex dynamics of seeing
Get PDFAesthetic responsivity and the phenomenology of arts processes reflect integrative self-world engagements, and are informative about the nature of the world and our biology in ways that are often not be made evident through scientific research. Akins’ and Hahn’s research regarding human trichromatic visual perception brings together the art of photography, neuroscience, and psychophysics, along with analyses of perspectives on vision in science and philosophy, to invoke anti-reductive, holistic understandings of how we see colour. We bring aesthetics and the phenomenology of arts processes to bear in exploring creaturely re-sponsivity to the complex inter-relational dynamics of light perception, and o˙er reflective metaphors for human engagements that challenge Darwinian utilitarian conceptions. We argue that attending to aesthetic and phenomenological aspects of experiences is essential to understanding how the shared circuits of cognition and sensory-motor engagement shape our perceptive responsive interactions