Browsing by Subject "art"

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  • Kluger, Nicolas (2020)
    Abstract The oil canvas ?Punch or May Day? (1829) by British painter Benjamin Robert Haydon (1786-1846) is exhibited at Tate Britain in London [1,2]. The painting theatrically depicts a colorful London-street scene not far from St Marylebone church during May Day a bit after noon. The crowd attends Punch and Judy puppet show in the middle of the street and blocks the coaches? traffic (Figure 1). Among the 25 characters in this painting, a seeming aged-man wearing a creamy white coat and top hat stands out. He has his pocket picked deftly by a small hand while gawping [2].
  • Radomska, Marietta (2020)
    In the contemporary context of environmental crises and the degradation of resources, certain habitats become unliveable, leading to the death of individuals and species extinction. Whilst bioscience emphasises interdependency and relationality as crucial characteristics of life shared by all organisms, Western cultural imaginaries tend to draw a thick dividing line between humans and nonhumans, particularly evident in the context of death. On the one hand, death appears as a process common to all forms of life; on the other, as an event that distinguishes human from other organisms. Against this background, this article explores how contemporary art-in particular, the series of worksThe Absence of Alice(2008-2011) by Australian new-media and bioartist Svenja Kratz-challenges the normative and human-exceptionalist concept of death. By employingqueerfeminist biophilosophyas a strategy that focuses on relations, processes and transformations instead of 'essences', the article examines the ways Kratz's worksdeterritorialisethe conventional concept of death. In this way, it hopes to attend to the intimacies between materialities of a human and nonhuman kind that form part of the processes of death and dying, and what follows, to reframe ethico-ontology of death as material and processual ecologies of the non/living.
  • Lammenranta, Markus (The Finnish Society for Aesthetics, 2019)
    In “How Art Teaches: A Lesson from Goodman”, Markus Lammenranta inquires if and how artworks can convey propositional knowledge about the world. Lammenranta argues that the cognitive role of art can be explained by revising Nelson Goodman’s theory of symbols. According to Lammenranta, the problem of Goodman’s theory is that, despite providing an account of art’s symbolic function, it denies art the possibility of mediating propositional knowledge. Lammenranta claims that Goodman’s theory can be augmented by enlarging it with an account of direct reference developed by Bertrand Russell and contemporary philosophy of language. On this basis, an expanded version of Goodman’s theory can explain how artworks can express propositions even without being linguistic, representational, or non-fictive. Lammenranta explicates his theory by explaining how abstract paintings and literary fictions can mediate propositional claims about the actual, everyday world.
  • PAX 
    Hartama-Heinonen, Ritva; Kukkonen, Pirjo (University of Helsinki, Nordica/Department of Finnish, Finno-Ugrian and Scandinavian Studies, Swedish Translation Studies, 2015)
    Volume 3
    The questions which this volume addresses are the following: How do we, as researchers in the arts, see the language of peace? How do we conceive of peace as a concept, as modalities, and as metaphors? What types of interdisciplinary approaches can we create, what types of borders can we transcend, and what types of bridges can we construct in the context of peace? How do we cherish our humanism and all that is good from the perspective of all humankind? How do we speak and write about peace within our disciplines in order to also promote it?
  • Huotilainen, Minna; Rankanen, Mimmu; Groth, Camilla; Seitamaa-Hakkarainen, Pirita; Mäkelä, Maarit (2018)
    Art and craft practitioners have personal experience of the benefits of making: the handling of material can help to regulate our mental states through providing a means to reach flow states. The mirror neuron system helps in skill learning, and the plasticity of the brain ensures that skills may be learned at all stages of life. Arts and crafts play a role in controlling stress and enhancing relaxation. They also enable us to fail safely and handle our emotions. Furthermore, they facilitate social activity for many individuals who are at risk of social isolation. This article aims to integrate knowledge from both the field of neuroscience and the arts by focusing on the implications that flow experience and the mirror neuron system integral to making processes have on our psychophysical well-being.